#it’s more like. I should be allowed to just die

[gay-dorito-dust]

Batboys and reader doing the hear me out cake trend and reader pulls out a picture of Bruce when he was in his prime.

Apologies anon but this trend…Do not get me started on how misconstrued the phrase ‘hear me out’ is. I’ll rant about how a lot of ppl should look up the definition first. I’m very passionate about how butchered the trend is that every time I see one I can’t help but think ‘not a hear me out, try again or don’t to save my small remnants of sanity.’ I hate it so much.

Dick

Pouts.

‘My dad? Really?’ He’d ask you.

‘Yeah, what can I say he was a total hunk.’ You shrugged.

‘Was?!’ Dick replied, looking at you as though you had grown a second head. ‘What is he now then chopped liver? Do you not like older men?! Do they loose their charm the moment they have a few grey hairs and lines on their face?!’ He exclaims.

This wasn’t what you were expecting when doing this challenge because now you were being grilled by dick on whether you’ll still feel attractive to him when he himself gets old and grey.

‘I don’t have anything against older men dick, I just find your dad hot in this specific picture.’ You defended yourself and dick only puts his hands on your shoulders and gives them a firm squeeze as he presses his forehead against yours.

‘Sweetheart I don’t think you understand because what do you mean you find him hotter in the picture?! It’s Bruce the man is just naturally photogenic!’ Dick tells you. ‘You could’ve chosen a recent picture of Bruce and say the exact same thing.’

‘Eh, it’s not the same thing.’ You say and dick felt as though he might as well rip his hair from his head because what do you mean it’s not the same thing?! He was now more certain that you didn’t like older men if Bruce was only appealing to you in his youth, his supposed prime.

Needless to say the conversation diverted from the fact that you found his dad hot, to one where dick was trying to prove to himself that you just didn’t like older men/ silver foxes for whatever absurd reason.

Jason

He’s oddly silent.

You feared you did something the moment you pulled the picture of young Bruce Wayne out to put on the cake.

The wait was over the moment he did decide to say something but it was nothing like you’d expect to come out of his mouth;

‘Out of all the pictures there are of Bruce, that’s the one you picked? Nothing about that picture is flattering to him in any way whatsoever.’

‘Oh you’re just jealous.’ You’d tell him and Jason only raises his brow at you.

‘Jealous, babe have you seen me? What’s there to be jealous of that old bat.’ Jason replies as he gestures towards himself before pinching your cheeks. ‘I just think it’s adorable how you consider Bruce in his prime as a hear me out, it’s laughable really but you do you chipmunk.’ He adds.

However when you weren’t looking, he’d take the picture of Bruce from the cake and throw it over his shoulder, for there was no way in hell he was going to have a picture of Bruce on a cake. No sir, Jason would much rather die again than allow his own father to overstay his welcome on the damn cake.

He’d even act innocent when you would ask where the picture went as though he didn’t set it on fire with a lighter after plucking it off the cake. ‘It must’ve grew legs and walked off.’ He’d shrug but it wasn’t hard to know the truth.

His dad can fuck off away from the cake and you.

Damian

Another one who’s not so amused by the fact that you added his father on a ‘hear me out’ cake.

He doesn’t partake in such stupid trends that’ll sooner or later long forgotten by the public consciousness in favour of a new trend that’ll run itself to the ground just as quickly as the last. He questions the publics attention span if it was this short and unreliable, he really does and fears that the age of stupidity has begun with people who think a conventional attractive man with a Roman nose or any other unique feature is a ‘hear me out.’

As if they were any less attractive than a man with a plain featured, and rather unappealing and basic appearance. They’re weren’t, if anything people with romantic noses or any other unique features were just as attractive as the plained featured ones, and Damian found it rather ridiculous that is what is being considered a secrete that many think they’ll be judged for finding appealing.

‘My father? Really?’ He’d say as he looked between you and the picture of his father.

‘Yeah.’ You shrugged.

Damian only sighed as he crossed his arms over his chest. ‘A conventionally attractive man is you hear me out?’

‘Not just any conventionally attractive man-‘ you tried to explain but Damian didn’t allow you the space to do so.

‘My father in his prime doesn’t count, you should really do better research before putting random people on a cake, or better yet don’t partake in a challenge you don’t understand.’ Was all Damian said before he leaves the room, he’s not impressed and feared that there was too many people who for some stupid reason also though his father in his prime is a ‘hear me out.’

It freaks him out and disappoints him greatly of what the future of Gotham and humanity as a whole would look like if these people were to be at the helm.

Tim

Not amused.

He’s sick and tired of people putting conventional attractive people and anthropomorphic animals who are drawn in a specific way to elicit such emotions out of people.

So to see that you had put his father, more specifically Bruce in his first steps as the dark knight, he couldn’t help but look at you disappointedly.

One, you obviously didn’t understand the concept of a hear me out and Tim is more then ready to educate you on what one is with his long ass PowerPoint presentation. And two, really? His dad? What was wrong with his dad in his current old age? Did you have something against older men?

Wait- why was he so suddenly concerned whether or not you find his father less appealing now than how he looked in his prime? He should be more focused on the fact that you found such pristine picture of Bruce during that time, he’s tried multiple times but the resolution was god awful and didn’t do anything to flatter Bruce.

You’re still getting lectured on what a proper hear me out is though. Tim’s got fucking tons.

[as8bakwthesage]

How Revenge Consumed the Administrator (Part III)

Part I - Part II - Part III

Spoilers below

So, she's on death's door, she's given up all of her remaining Australium in order to watch him die. But I think it's more than just that.

She not only wants to look her best, but she also wants to look exactly how she looked like when she first met him, face to face. I think she wants him to see her, at least one more time, as she was. She wants him to see the face of the woman who ruined him.

And right as the final moment is about to arrive, Miss Pauling and the Mercs walk in. And Miss Pauling asks her one question:

The Administrator's response?

And it's fitting. She's been doing this for so long, it's consumed her every living moment. She's been alive for so long, living as a ghost of a person, all for the sole purpose of torturing someone she hates. And it was all thanks to the Australium.

I think when we saw the Administrator talking about "it" in the previous chapter, we assumed she was talking about Australium. But that isn't the case. The Australium is what allowed her to keep going for so long, it was a tool to her. There was no big world ending or world dominating plan for her. It was so personal, so intensely personal that it consumed her entirely. Until there was nothing left. The reason doesn't matter anymore.

But upon seeing Miss Pauling, The Administrator has a glimmer of hope.

There's more! Of course there's more! The Engineer had been wrong! It can continue! In her delirium, she begs Miss Pauling to tell her if she found more. Perhaps she can keep this going again! Perhaps she can extend Zepheniah Mann's suffering even longer! Perhaps- perhaps...

But Miss Pauling hesitates. She hides the Australium behind her back. She considers the woman in front of her. And I think she feels pity.

This facial expression right here. You can see Miss Pauling realising just what the Australium has turned her boss into, you can see her realising that the woman she looked up to all this time... was someone who should have been dead a century ago.

And perhaps, as a mercy, she tells the Administrator:

And you can see the exact moment the Administrator realises that it is finally over.

In disappointment? Relief? I think it might be a combination of both. But regardless, she'd make these last moments count.

She turns back to the man who destroyed her... and she laments.

She's trying to process all of her feelings, all of this time she spent doing this. She's angry, she's horrified, she's mourning. All the time lost and wasted. She could have done anything. Could have been anything. She was smart enough, and she knew this. She falls to her knees, and weeps.

But even still... she wipes her tears, and grins.

And then she proclaims:

Because at the end of the day, no matter how much time she wasted, no matter how much pain and energy she put into this... it was all she ever was. She knew this when she tried to kill herself all those years ago. She knew this the moment her parents died.

In the end? It was worth every single moment.

She takes his body down, holding it. And I genuinely believe that they are both dead here. They've been alive for so long that when the Australium is gone, they both turn to dust. Not even the bones remain. There is no way to bring them back now, and I highly doubt that either of them want to come back.

"Just you and me" until the bitter end.

~~~

The Administrator has become one of my favourite characters of all time and it is solely because of this amazing end to a comic series I have been following since I was tween. And it's solely because of just how fucking personal her motivations are. It's not grand or glorious or even anything to do with the world. She doesn't give a shit. She's not your typical villain, she's not Grey Mann.

She's caused so much pain and turmoil just because of her insatiable desire for revenge. And not just revenge, but to torment the man who ruined her life. But at the end of the day, she ruined and fulfilled her own life. And even though it was so bleak and terrible, it was her happy ending to finally die.

Just... wow. What a send-off to a character. What a brilliant fucking character. Massive props to the writers and artists for conveying such a complex yet still absolutely cruel and vicious character. It is so much better than a typical "take over the world" plot and her character is better for it.

This was the best holiday present ever.

Anyway, uh... thanks for reading this! I hope you enjoyed my ramblings!

[pokemonshelterstories]

Are there any pokemon species that, as a whole, aren't suited for battle?

oh, absolutely. there are plenty of pokemon out there who mostly shouldn't battle as a species.

sometimes this is a matter of the pokemon's safety. consider pokemon like minior, which are far out of their natural environment and die if their core is exposed for too long, or shedinja, which is extremely fragile and could easily be destroyed in a battle. with these two pokemon, there's a lot of debate as to whether or not they even really have any measure of sentience, so battling with them is even more of an issue, and some leagues ban them from battle altogether.

not every case of this is as intense, but there are some pokemon that really shouldn't battle unless absolutely necessary because it uses up valuable energy stores. think about pokemon like metapod and cascoon, which cannot eat and must wait out the time it takes for them to evolve. or consider a pokemon like abra, which needs to sleep for most of the day to allow its powerful brain to develop. making these pokemon fight may not be as immediately detrimental to them as with minior or shedinja, but fatigue can cause them to fail to thrive, leading to lack of evolution (which, in the case of cocoons, means death).

there are also pokemon species that on the whole just prefer not to fight. leafeon, for example, have a very nonaggressive nature and don't like to fight unless necessary; zorua and wimpod, on the other hand, are very timid and would rather run or hide than enter combat. these pokemon could, with the right temperament and a very skilled trainer, be encouraged to battle. but in most instances, getting them to battle is going to stress out both trainer and pokemon.

i would say that the vast majority of pokemon enjoy battle as a form of play and a method of training, and some pokemon really need the physical activity and mental engagement battling provides! but for sure there are some pokemon that should give you pause if you see them on a battling team.

[esoteric-crow]

hey actually isn’t there something kind of really sad about the fact that the hardest difficulty (that isn’t just like. hell or hell. which is just ‘haha hehe Blow up.’) is called Dante Must Die. i think about it a lot. i can’t quite put my finger on why it makes me miserable but maybe someone else can.

but you know what i CAN talk about and i DO have actual fully formed thoughts about?

regenerating like crazy is great. but isn’t there something kind of inherently fucked up about the fact that, because of the regeneration dante and vergil have, neither of them will ever have tangible evidence to themselves or others of their suffering? asking themselves, was it really that bad? did it even happen at all? no matter how much you put vergil through hell and how afraid he is inside, there will never be a mark on his skin that says “i have suffered”. the world leaves no proof, nothing to take home from this experience aside from a more broken mind. vergil doesn’t say his feelings, or even allow them to surface properly, because that’s a kind of vulnerability he cannot handle. the only way he could perhaps earn someone’s sympathetic care is by expressing what he has suffered through, but he cannot verbalize that. and he looks perfect. unmarked by time or trauma. there isn’t a single part of his body that could scream out for him that something horrible has happened that he cannot figure out how to deal with alone.

and dante is just as poor off. and he’s very difficult to figure out emotionally to a passerby. dante purposefully puts on a happy face every day, and to the majority of the world, it’s convincing. there’s certainly no evidence to themselves contrary. not a scratch on him. but he is like kind of constantly getting the ever loving fuck beat out of him. stabbed and jabbed. when you look at him, you see happy, sweet, goofy dante. for all the years of pain he’s gone through, there isn’t a single marred inch of his skin that could tell you even a day of the agony unless he told you. and why would dante do that when he can pretend it simply isn’t happening until he’s alone and can sit with the terror that’s constantly in him and the loss he’s been living with, over and over losing people and being surrounded by the ghosts of their presence. whether the ghost is a wayward descendent, a gun, or just a lingering smell of ash in his childhood home. but that will only be private. he can be the walking dead, he can treat himself like shit, but his body refuses to show anything for it. and he’s certainly not going to die.

obviously, the same thing can be said for the opposite side of the spectrum: scars can be a constant reminder in the mirror of what happened that you cannot erase, always to some degree a part of you. among other stuff. so both sides of the coin are full of The Pains and The Anguishes.

on a side note, i really like when people give them like, one scar. i don’t really have a favorite one that people give vergil but i really like dante with just the one bigass gnarly one in the middle of his abdomen from the rebellion gettin jammed in there. his One scar. a treate. like it defies his regeneration somehow.

i love making a scarred up guy. i have plenty of scars n marks myself, and i feel like they should definitely be more normalized, so like, no this post isn’t anti scars or something. they’re normal and not ugly or whatever the hell people try to say. this side note is probably entirely unnecessary, but i’m tired and i’m worried about someone misunderstanding me i think. anyway i’m trying to say ooh scar angst yeah but sometimes No scars is also fucked up too. that’s the point here.

to sum up: i believe there can be something Fucked Up and angsty to be said about the fact that the sparda boys heal perfectly fine, but only externally. it is 3am. this is not articulated as well as it could be i don’t think. aaaand post.

[fuji09]

Thank y'all both so much for what y'all added!

So many people don't understand that survival mode, isn't something easily overcome when you're in it for years. And Derek was in it for 6 years before we first met him. His fight or flight (and freeze!) response is literally why he reacts the way he does.

He sometimes fights, especially with hunters or the supernatural, it can be kill or be killed, with Kate and hunters, and sometimes just the people around him, he flees.

He looks scared so many times, he puts himself in danger to try to keep others from dying so many times, and he really is just a scared boy.

I hate that they changed his age, 19 was perfect for him. Him being 21 isn't too bad, plus it makes the trauma so much worse that he literally isn't a functioning adult 6 years later.

Derek is betrayed so many times that it's kinda gross. Derek can't risk trusting the wrong person again.

Derek keeps being hurt but because of his age, people don't care. Because he's a guy, he wasn't really raped. Derek keeps being blamed for everything because he's the only person that isn't allowed to fuck up, even though he does fuck up a lot. Derek is obviously power hungry because he killed Peter instead of *checks notes* letting a traumatized boy who was bitten against his will that doesn't want to be a werewolf and knows nothing about being a werewolf, in love with a hunter's daughter, would not be able to mentally handle killing someone, and has been a werewolf for like a few months and would not be able to handle being an alpha werewolf or handle more power than he already has trouble with, kill Peter because a rumor says killing the one who bit you could possibly turn you back to human.

Derek was traumatized, Derek was used and abused, Derek had to mercy kill his first love, Derek lost his entire family in the fire and feels guilty for it, Derek loses his last family member, Laura, who is also his alpha and probably the only person who actually interacted with him for 6 years, and Derek has been tortured, raped, and sexually assaulted.

But Derek isn't allowed to make mistakes because he isn't a minor. Derek isn't allowed to have ugly symptoms of PTSD because he's expected to just get over it. Derek isn't allowed to be scared because he should know better.

Derek literally feels he has to be useful to someone to be worthy of kindness.when he tells Scott he needs him alive to survive the hunters or tells Stiles he needs him alive to protect him from the Kanima, he's literally pleading with them to not let him die. Because they need him alive. Not because it's the right thing to do or because they care, but because Derek has to be of use for them to trust in these two teens that they won't let him die.

And I feel that's how a lot of people see Derek. He has to be useful to anyone and everyone all the time (whether he has the ability to do so or not) and if he's not or he makes a mistake, then clearly he deserves all the bad shit he gets.

It's heartbreaking. The lack of empathy for Derek in the show and within the fandom is appalling.

Derek Hale has PTSD. I think people tend to forget that he wasn't an ass for the hell of it. He put up a rough asshole front to protect himself. He has the ugly symptoms of PTSD. Does it excuse some of his actions? No. But he does deserve some understanding and empathy.

No matter what age you see him as, he just isn't a 'grown ass man'. He had no idea how to take care of himself. He was still mentally that 15 year old who lost everything and was traumatized beyond reason.

Derek continuously kept being kicked while he was down. The poor guy couldn't catch a break. Like have a heart y'all. He was never a villain. An antagonist at one point, yes. Villain, no.

Trauma literally rewires your brain, and that poor kid got enough trauma before the first episode. Derek needed lots of therapy, he needed friends, and he needed a pack.

Derek could literally trust no one. Not because he didn't want to, but because he couldn't. He tried his best with what he had, which wasn't much, and he fucked up at times. But he kept trying to do and be better.

[crimsonphantasmagoria]

I'm still thinking about the divide between people who think Solas was depicted as too sympathetic and people who think he was shown very unsympathetically because...both are weirdly right? Leaving aside any actual discussion of whether he's right to want the veil brought down.

In Trespasser he seems to imply that the whole world will die when the veil comes down, like what was shown in one of the potential ideas in the Veilguard artbook. That was my assumption going into Veilguard. Hence why my Solas romancing Inquisitor didn't ask to go with him! But in Veilguard, it's implied to just be some demons? Just a few thousand deaths? He fully expects at least Charter and the Inquisitor to survive. That's a wild deescalation! It actually converted me to the idea that the Veil probably should come down. It makes him way more sympathetic from minute one. Weird choice, if you wanted to make him more unsympathetic?

Then there's companions and NPCs who talk about Solas. The companions are incredibly unsympathetic to him during his memory reveals. There's basically no nuance. They even blame him for things he didn't cause, like the Elf-Titan wars. I would have expected, if we wanted to be nuanced, for there to be at least one companion who was sympathetic to his choices in each memory. But there isn't. Even the one where he puts up the veil. You know, the thing they're guarding? But also, Varric is out here actively encouraging Rook to help Solas in the regret prison. But also the Inquisitor is treated as delulu for asking if there's a way to save him. It's kinda weird.

And of course, the decision to have him kill Varric specifically to make him less sympathetic, and not to further either character's story or growth. Also, we don't find out about it for most of the game, for cheap shock value. It would have been more effective to know from the start. It also would have allowed me to make an informed decision about whether my Inquisitor should go into the Fade with him at the end in the romance, because I don't think I personally would have changed my mind if I'd known, but somebody might have.

There's also the thing about the psychology of having a secret ending, which makes people want to get that ending, but I don't think the devs will have thought of that, exactly.

Idk, maybe it was actually the perfect amount balanced. Or maybe the scales were so wildly tipped from Inquisition that there was no balancing them. At which point, it probably would have been better to try and work with that, rather than against it. But, hey, what do I know.

Frankly, if they truly wanted to make Solas unsympathetic, they should have stuck with the whole world being destroyed by the veil coming down, explained the full consequences to us directly, and given us some reasons to believe why this was definitely what would happen. I might still have sympathised with the man, but others wouldn't have once they knew that he knew that.

[lunarmothim]

shadowbound- john price x reader

part ii: soon - the truth comes out.

word count: 4.5k tags/warnings: language, abduction, canon typical violence.

It's quiet. Too quiet- all you can really hear is the creak of footsteps against the flooring downstairs, a small indication of your captors moving about. If they speak they don't do it at a volume you can hear no matter how hard you strain your ears. 

It's fine. This is fine. You've gotten out of worse situations, haven't you? You were supposed to die in Al Mazrah, a bullet in your head while the Russians made off with your cargo. You didn't. You were supposed to die back in Texas, locked in a cell deep underground with no hope of escape. You didn't.

You can make it out of this. 

Your options are limited, though. Breaking out of your zip cuffs would require an injury, something that would require medical attention and slow you down, and that's not even considering your chances of making it past the four men downstairs. Talking your way out of it is even less likely especially now that they know you're a former Shadow, something they don't seem to like all that much. So what's left?

You don't know. You've been in survival mode the last few months, no time to plan or prepare- not that you have that luxury now, but it's still a situation that requires some thought, and that alone gives you pause. What do I do? Figure a way out of here, obviously, but you can't quite figure out where to start, not when every thought you have has a counter-plan staring right back at you.

Well, when in doubt do what you know.

It's awkward, the shift to shimmy your wrists down to your ankles, bringing your bound hands in front of you, and for a second you worry your hips won't allow you to move your arms the way you need to. You make it somehow, immediately reaching up to yank the bag from your head. 

Which brings you to the next step you're not a hundred percent sure of. You have your sight back but limited use of your hands- do you run? You're fast enough you could make it, but your mobility could present a problem until you're able to get the cuffs off. The city would be easy enough to disappear into until you could get new documents, but how hard would it be for them to find you? The military has resources, a lot more than you do at this point, and you imagine it would take them no time at all to locate and apprehend you again.

So what the fuck do you do?

You have no fucking clue, and you're not given a lot of time to think about it. The door slams open and you're looking up at the captain again. He doesn't look entirely surprised by the state you definitely hadn't been left in.

"We're moving," is all he says, stalking forward to yank you up out of your chair. Think. Think. Formulating plans on the go is your specialty, but everything you'd ever been taught is a vague memory on the edges of your subconscious, just out of reach, as he leads you through the house, down the stairs and out the front door. He doesn't bother with a blindfold when he throws you into the back of the van again, at least, nor does he change your cuffs to rebind you behind your back. 

You're not sure if you should find that comforting or not.

You decide on not when it's Ghost that climbs into the back after you, his dark eyes boring into your soul.

"So," he says, leaning forward with his elbows on his knees, lurching slightly when the van starts moving. Your patch is in his hand, the worn edge peeking between his fingers. "Wanna tell us what you did to Graves?"

Oh, you're not fucking ready for that. The silence between Ghost leaving you and you being dragged out to the van clearly hadn't been empty- they'd dug, found something you weren't entirely prepared to address if they know about Graves. 

"Dunno what you mean," you croak out, voice breaking slightly on the syllables. He doesn't look like he believes it. 

"Try again." His hand catches you by the jaw again, refusing to let you look away, refusing to give you even a second to gather your racing thoughts. They know you're a Shadow, they know about Graves. What else do they know? Do they have your file? His fingers tighten when he says your name- your full name, not just the first name you'd given the captain at the train station. They have your file. 

Graves burned the files of anyone he lost. He clearly hadn't burned yours.

There's no use pretending anymore.

"You're taking me back to him, aren't you?" you whisper, staring up at him. If he's going to lie to you, you're going to make him look you in the eyes while he does it. You think of your last interaction with the commander, the barely healed scars scattered across your body. The days spent in a cell before he'd released you with the false promise of safety.

"It's just how we have to do things, doll," he drawled, dragging his palm over the deep cut on your shoulder even when you flinched away. "Gotta make sure you know how not to talk, no matter the circumstance."

You knew how not to talk. He knew that you knew how not to talk. He chose to torture you anyway.

So if this group is taking you back to Graves, you'll find a way to make them kill you along the way. 

And if they won't? You'll just do it yourself.

You lunge before Ghost can react. The knife strapped to his thigh is in your hands, slicing through your cuffs in one fluid motion. In the same breath you have the back door of the van open, tucking in on yourself as you roll out onto the street- you can hear the screech of the tires, the van jerking to a halt, but you pay it no mind, leaping to your feet and sprinting back down the road. It's lined with sparse trees on either side and not much else, not a lot of options to hide.

Don't hide, your brain chides you, urging you on. Keep running.

You'd run track in school, a sprinter through and through. Always the fastest, taking first every time. It's been a while since you've needed it, but it's easy to fall back into old habits, keeping your elbows close to your body and your frame tilted slightly forward, your center of gravity kept low. Keep it close, keep it tight. Sprint like your life fucking depends on it.

The tree you pass catches the bullet shot after you. You hear it thud into the wood seconds after you duck around it, inches from your head. Too close. Keep running. There's a wheat field in the distance, tall golden stalks swaying in the breeze. Make it there and you can disappear into them, hide until they pass. Find your way back to the city, find your way out.

If only things were that simple.

A heavy weight strikes the center of your back, driving the air out of you as you crash into the ground. Your stolen knife tilts up, digging into flesh that doesn't even get a reaction beyond the hot spurt of blood across your knuckles before your arms are wrestled behind your back again. You feel the scratch of his balaclava against your cheek, his weight pinning you to the ground with ease.

"Makin' my job fun," he pants low in your ear, a hint of amusement in his tone. You struggle against his hold when he stands, hauling you up to your feet, but his grip is unrelenting. "C'mon then. Let's go."

The van is waiting in the same spot you'd left it. This time, after zip-cuffing your hands behind your back again, Ghost keeps hold of you.

"Slippery little minx, isn't she?" The captain's voice as you're shoved into the back of the van again has you bristling, wanting to rip free and strangle him with your bare hands. "You good?"

"M'solid," Ghost grunts, and you hiss when he brackets your shoulders between his knees. "Sit fuckin' still."

"Fuck you," you can't help but growl, wrenching forward until your shoulders ache. "Let me fucking go-"

"Not a chance." His tone brooks no argument, and you almost howl when he grabs you by the back of the neck, fingers digging into the sides of your throat. "Sit. Still."

What else can you do but obey? You don't relax against him, body tense against his calf and ready to run again- not that his hold on you would let you. 

"Talk." It's the captain that speaks, and when you look up at him he's twisted in his seat, staring back at you.

"Eat shit, captain," you spit back, and his eyes narrow in response. "I'm not goin' back. Just fuckin' kill me."

That, it seems, gives him pause. Narrowed eyes widen slightly, really taking you in for the first time. The defiant set of your shoulders, the way you're ready to spit acid despite your captivity. He sees you, sees the way you're ready to run again, how you're ready to die. His voice drops.

"What happened." It's no longer a question, his hand twitching toward his gun. You're out of chances.

What can you do but tell him the truth?

DELIVERY ROUTE AL MAZRAH 12 AUGUST 2022, 0300

The road is dark, quiet. Not uncommon in the deserts of Al Mazrah this time of night, but still unnerving as you navigate toward the drop off point. The SUV follows a large cargo truck with a blue shipping container on the back, two more with similar cargo in front of them in the convoy. You don't know what you're transporting, but a nagging feeling in your gut tells you it's big. Important. Behind the wheel, Erikson seems to think the same.

"What are we carrying this time, Graves?" he asks, glancing at you in the rearview when you make a small noise of agreement, slightly narrowed eyes telling you to keep quiet. One curious team member asking questions is one thing, two becomes an irritation. No one likes it when Graves gets irritated.

The radio crackles with static, followed by that smooth southern drawl that to some is probably charming, but to you just feels slimy. "If I told ya, I'd have to kill ya."

"I bet he'd do it, too," Vance mutters, and you hum in agreement as you flick your gaze between the two men in the front seat and the truck in front of you. Of the members of your team Vance is the one you're closest to, the one who shares your whispered concerns about what the hell it is you're even doing these days and why you seem to be so far up Shepherd's ass you know what meal he's currently digesting. Concerns he'd only brought up to you over a stolen bottle of whiskey on the HQ rooftop, the haze of a shared cigarette hanging between you. 

He's a good man, a little softer around the edges than the rest of the hardened soldiers that make up the Shadow Company. He'd told you once that he'd wanted to be a teacher, before a terrorist attack had taken down planes in New York. That he'd enlisted the next week and before long his hands were so bloody he could barely look anyone in the eye. To this day, he refuses to tell you why he decided to go private, how he'd ended up on this dark desert road transporting who the hell knows what to who the hell knows who. 

Classified, Graves had told you all at the meeting before you'd shipped out, with some vague story about delivering some aid to your allies in the area. The rest is need to know. 

Need to know always raises interest, makes you speculate when there's little else to focus on but making sure you aren't being followed. You can't speak for the dozens of Shadows that make up the convoy, but you know for sure that you and the other three in this SUV are all wondering what's so important that you have to transport it in the dead of night through hostile territory.

"This's nothing but a milk run, boys," Graves answers after a moment, sounding a little too smug as always. He enjoys having the upper hand, knowing things that others don't. He does throw you a bone though, edged with warning - "Guns for the good guys - you'll be back at HQ for breakfast. Don't shit the bed and there'll be bonuses all around. Find me when you're back."

While the other three answer in the affirmative, Vance and Erikson bumping fists, you stare out the window at the black windows of the abandoned buildings you're driving past, eyes scanning for anything out of place. Something about this just isn't sitting right with you, even more so when the radio crackles again and Graves informs you that Shepherd's waiting for a sitrep.

"Three containers..." Vance muses, and when your eyes shift to him, his own gaze is fixed on the shipping container in front of you, contemplative. His face is obscured by his balaclava and shadows, but you can see the corner of his jaw working behind the black fabric, slowly clenching and unclenching. He's on edge, too.

"That's a lotta fuckin' milk," Dipaolo agrees from where he's sitting next to you, and you can see his wry grin bunching up the balaclava at the corners of his mouth.

"Thirsty friends," Erikson responds with a slight shrug, radioing in to Shepherd with the sitrep, who warns them much like Graves had not to fail. That alone rings alarm bells in your head, but before you can voice them Vance beats you to the punch.

"Do not fail...? Told you this shit was important," he says, and when his green eyes meet yours in the rearview, you can see the worry buried in the furrow of his brows. You're sure his mouth is pressed into a tight line beneath the balaclava.

The cargo truck in front of you comes to a sudden stop, drawing all of your attention forward. You weren't supposed to stop, had been ordered to keep moving no matter what. Doesn't matter if there's a civvy, just drive through them, Graves had said. Fucking sick, you'd muttered under your breath in response.

"What's this?" Dipaolo asks, his grip tightening on his rifle as he glances between the stopped truck and Erikson, white-knuckled on the wheel.

"Three, this is Erikson, what's up?" the driver demands into the radio, fingers of one hand loosening to twitch toward the sidearm strapped to his thigh. Nothing but a crackle of static for two very long seconds, before 3-1's voice comes back.

"Got a vehicle in the road," he reports, followed by voices calling out loudly in Arabic.

"Stand by, comin' to ya." Erikson spins the wheel and carefully pulls around the cargo truck, and if the alarm bells weren't sounding before, they're practically screaming now - it's only you and the SUV behind you bringing up the rear of the convoy, and all of this feels like a trap. But Erikson is the superior in this car, it's his call. Still...

"Is this the best idea?" you ask quietly, shifting your rifle in your lap as you creep up alongside the stopped convoy toward the commotion at the front. "Weakening the rear like this?"

"Not your call," Vance warns, a flash of green in the rearview again. You can see the same unease you feel reflected in what little you can see of his face as he picks up the radio. "Graves, Vance - be advised, we're held up, sortin' it out now."

"Handle it - keep the line movin'." The look Vance gives as he acknowledges Graves' response says see? We're solid. You don't feel solid. You feel like the earth is about to open up beneath your feet, even more so when you reach the front and see the brake lights of 3-1's armored truck, doors open as he stands in the road trying to coax the driver of the heavy cargo truck blocking the road at an angle out of the way in broken Arabic.

"I don't like this," Erikson says quietly, glancing back at you. For the first time since the convoy had stopped, you can see a hint of unease in his brown eyes. 

"Something's wrong," you murmur in agreement, fingers tightening on your rifle as your wary eyes stare ahead at the vehicle blocking the road, the lone Shadow trying and failing to convey the urgency with which he needs them to move. His Arabic is atrocious, an obvious fact that probably isn't helping matters, but even his bastardized accent and butchered words are clear - the person in the vehicle needs to move, and move now. But he doesn't, and that alone has the hairs on the back of your neck standing on end. 

"Dipaolo, Harbinger, lean out and cover him," Erikson orders, and without hesitation Dipaolo hauls himself up into the open window, leaning out to raise his M4 at the situation in front of them. You mirror him on the opposite side, staring down your sights as the people blocking the road continue to refuse to move.

"We need a 'terp out here, what's the call sir?" 3-1 asks, sounding frustrated as another yelled order goes ignored. Your finger shifts off the trigger guard, wary eyes taking in everything - from the lone man standing near the tailgate of the truck, his two friends peering casually over the back to the man in the road... wrong. Something's wrong. Your instincts are screaming at you, but you tamp them down as you wait for orders.

"Vance, Dipaolo, go help him out," Erikson orders, gesturing to 3-1, who's yelling again. "Harbinger, cover from here."

"Aye sir," you answer, tensing as the door starts to open - and then gunfire erupts. You can barely tell up from down as you return fire, zeroing in on a man who's emerged from a hatch on the top of the body of the truck. 3-1 goes down in the mayhem, and several more enemies pour out of the surrounding shadows.

You barely hear your teammates yelling around you over the rush of blood in your ears, the explosive sound of gunfire echoing off the nearby buildings. The muzzle flash has a strobe-like effect, making you nauseous as you duck back down into the SUV to reload.

"Back up, back up!" Vance is yelling. His voice distant, like it's coming from the far end of a long tunnel. You can't focus on it, can't focus on anything but slamming the magazine into your rifle and leaning out the window again to cover your retreat from the truck that had driven into the road in front of you, full of enemy reinforcements. 

Above it all, two voices stand out - Graves ordering you to eliminate the threat, and Shepherd... prioritizing the cargo. Something is wrong.

And then everything explodes in a spray of metal, fire and blood and body parts. Ears ringing, you throw yourself back into the vehicle as Erikson tries to maneuver you out of there. You can see the muzzle flash, your team's mouths moving, but all you hear is the ringing. When you reach up to touch your ear, your gloved fingers come away bloody.

Your eyes meet Vance's when your escape route is blocked off, the car jolting as Erikson throws it in reverse, and the last thing you see is Vance's masked face as the flare of the RPG lights the interior of the car, sending it end over end.

141 TRANSPORT PRAGUE, CZECH REPUBLIC 06 DECEMBER 2024, 1830

"I was the only survivor," you tell the Captain quietly. The van had been silent as you told your story. You hadn't wanted to share it at all, but now that you had, it feels almost... cathartic. An outlet for the trauma of what had happened then and what had come after. "I woke up at a field hospital in Urzikstan two, three weeks later? Still not sure, it's all pretty fuzzy. Graves was there, which seemed pretty normal at first. He's a smarmy asshole but no one can say he doesn't care about his team. He was livid with Shepherd for not sending backup. We lost a lot of good men that day.

It wasn't until we were back on base that things started to change. He got quiet, even more secretive than before. Had a lot of closed door meetings with Shepherd, and one fine Thursday morning, he called me into his office. Wanted to hear again what I remembered about the attack. About the cargo. I, like an idiot, voiced my suspicions. Earned myself a one way trip to a cell for it. He did fight Shepherd about killing me, but in the end Shepherd won. In his words, I knew too much.

While the rest of Shadow Company headed out for a mission in Mexico, a dozen of them stayed behind to deal with me. I killed them and dragged their bodies into his office before I escaped. Little message for him. If I had to guess, he decided to just kill me in retaliation. Knew he'd never be able to find me, so he sent someone else to do his dirty work." 

Wringing your hands, you stare out one of the two small windows set in the back doors of the van, watching a middle-aged woman in the sedan behind you yelling into her phone, swerving slightly in her anger. It seems so... normal. So mundane. You wonder what has the woman so pissed.

"Why give us so much attitude then?" It's the Captain that speaks. You glance over at him again, note the way his brow furrows as he studies you from beneath the brim of his boonie hat. You can't read his expression fully, but he looks conflicted. 

"Don't know you, don't trust you," you answer simply, holding his gaze steadily. Your fear from the train station is long gone, and now you're just tired.

His expression flashes with understanding before smoothing into something unreadable again. "I see."

"Yeah." You study him for a moment, watching the corner of his jaw twitch, the way he rubs at his beard. "I'm not your enemy, you know."

"Do I?" His eyes are exhausted, deep blue staring into yours.

"You should." You want to go home. You want to sleep for a week, take a second to gather your thoughts before you have to move again. You can't help the way it bleeds into your words. "I'm fuckin' tired, Captain. I miss home."

"Where is home?" It's an innocent question, innocuous. It's a window into your soul.

"I don't know anymore." It comes out a whisper, a quiet breath. You haven't had anything to call yours beyond a small room on base in a very long time, the Shadows the only home you'd cared about. You rip your gaze back, staring out the window again. "Born in Minnesota, moved around a lot growing up. Had an apartment in Texas, near Dallas. Didn't much care for it, if m'honest."

"That why you joined the military?"

"S'pose." You don't want to answer the captain's questions but his voice makes it hard, deep and gravelly and demanding answers. "Family's more likely, maybe. Dad was a Marine, made me want to be one too. Went through MARSOC training with Graves. Fuckin' asshole, if m'honest-"

"We know." The Scot is the one to reply, surprisingly, and you glance up to find icy blue eyes staring back. "Nearly killed us."   "Bit of a habit of his, isn't it?" you muse, glancing back down again. You hadn't been expecting to find a kindred spirit in this, spewing as much vitriol as you already felt toward Graves. You almost wonder what they'd say if you told them what Graves had threatened to do to you. "Heard he went a bit nuts after Mexico."

"My doin'," the Scot murmurs proudly, and your eyes track over to him once more. Up close like this you can see a scar on his head, the starburst of a gunshot wound. "Blew 'im up."

"Shame it didn't stick," you reply quietly, and his grin drops. They obviously have some kind of connection with Graves too, just as contentious as yours. You won't question it, but you're glad for that little bit of camaraderie. "Next time."

"Next time," Mohawk agrees, and you can't help the tiny smile that splits across your lips at the promise, vague as it is. 

It's a flicker of hope. You can't help but latch onto it.

"Can't keep callin' you Mohawk," you murmur out loud, glancing between him and the black man sitting next to him opposite you, your shoulder still pressed into Ghost's knee. "You know my name, sems fair I know yours."

"Soap," he answers after a moment. You don't miss the way his eyes flick between Ghost and Mutton Chops up in the driver's seat. "Captain Price, Gaz, Ghost." You catalogue the names with the men- it's easy with what you know already. Price. The captain's eyes meet yours in the mirror, stormy blue.

"Harbinger," you reply quietly, drawing your legs in. They know it already, if they have your file. It still makes you feel at least a little better, makes you feel like you have even the smallest iota of control.

You keep your hold on the captain long after he's looked back at the road. He looks like he's in charge, turbulent eyes and tense shoulders. If you have even a chance at freedom he's probably the one that will decide, the one that will either order his men to kill you or let you go. You're not holding your breath either way.

"I'm not goin' back." You don't mean it to be rude, but it's true. "Graves can eat a bag of dicks."

"Not takin' you to Graves," Soap tells you, and you almost believe it. Almost.

"Then where?" They won't keep you in Prague. You know that, know the playbook they're working with. Their base is the most likely option, or some kind of middle ground with the agencies that wanted you in the first place. So where? Their accents scream UK.

The van stops. Ghost confirms it, his hand tightening on the back of your neck several minutes before he hauls you out of the vehicle and on to the tarmac. You see the plane you've been brought to, small and private, and it brings you back to the thought of who'd brought you here- you're a hot commodity and you know it, but the question is which three letter agency wants you the most? 

They don't tell you. You're given no idea of your destination, no clue who blocks your path. All you know is the firm hold on the back of your neck, Ghost keeping you close. You want to throttle him for it.

Soon.

part one - masterlist - part two

please like/reblog if you enjoyed! :) top/bottom divider by: me line divider by: @/saradika-graphics

[gxyhxrror]

.

[roots-symphony]

what's so interesting is that agatha and nicky clearly had their cons well-oiled, and at the end it seems they even started turning their song into a part of it as well, like i don't think that was the first time nicky sang that song for an audience and they used it to lure witches (i do think it's the first time that it /technically/ didn't work), and how after nicky died it continued to gain popularity and be so well-known it became a legend, and along with that agatha being known as the only survivor of the road and people (like billy) seeking her out to walk it or just for knowledge of it. and i think that had been the idea when they first started using it as a con. making it so they no longer had to travel and scavenge, using it as a lure to bring the witches to them in order to keep nicky alive, but only one small misstep and rio got him anyway

and then thinking about how lorna, who had a generational curse placed upon her family that is going to kill both her and her daughter and who desperately wants to see her daughter survive, heard this song and created her own version to use as a protection spell for her daughter and, like agatha did before her, she made her version so well-known and so popular that years and years after death it's still protecting her daughter, until ultimately her daughter was finally able to use it to break the curse and save herself

idk just.. they're like two sides of the same coin, or distorted mirrors of each other

agathas love was so powerful and so strong that death gave nicky time

lornas love was so powerful and so strong that the ballad gave alice time and even freed her

if nicky hadnt been taken that night, could it have eventually freed him as well? rio said agatha used the dark magic of the darkhold to hide herself from rio, so was that the end goal? they'd continue to lure witches to both keep nicky alive and to have agatha become powerful enough to forever keep them hidden?

[wonder-worker]

I've been thinking about the tragedy of Elizabeth Woodville living to see the end of her family name.

I don't mean her family with her husband, which lived on through her daughter and grandson. I mean her own.

Her sisters died, one by one, many of them after 1485. When Elizabeth died, only Katherine was left, and she would die before the turn of the century as well.

All her brothers died, too. Lewis died in childhood. John was executed. Anthony was murdered. Lionel died suddenly in the peak of Richard's reign, unable to see his niece become queen. Edward perished at war. Richard died in grieving peace. For all the violence and judgement the family endured, it was "an accident of biology" that ended their line: none of the brothers left heirs, and the Woodville name was extinguished. We know the family was aware of this. We know they mourned it, too:

“Buy a bell to be a tenor at Grafton to the bells now there, for a remembrance of the last of my blood.”

Elizabeth lived through the deposition and death of her young sons, and lived to see the end of her own family name. It must have been such a haunting loss, on both sides.

[birb--birb]

Soooooo I did lich emmrich...for science..

AND IM SORRY I DONT LIKE IT HOW IS IT MORE COMON THAN SAVING MANFRED??????????

[lastoneout]

Tbh I have a lot of complicated feelings about the whole OceanGate thing and I'm not really a fan of how this is being treated as The Evergiven 2, but as it becomes more and more likely that the sub suffered a critical failure and imploded days ago my main thought is that visiting the Titanic's wreck should be in the same category as climbing Mt. Everest; a pointless, unfathomably dangerous, disrespectful excursion that should not be allowed, or at least regulated and reserved for experts who know what they're doing to conduct research and/or matinance.

I mean like at this point I don't even think the average person should know where Titanic is. What is the benefit? All it leads to is death and the disruption and/or potential destruction of a mass gravesite that also doubles as a unbelievably valuable historic artifact that will not be around forever. Why the hell are people just allowed to go down there?? We don't let people go rub their hands all over the Mona Lisa, and that wouldn't even kill anyone, why can billionaires just go tromping around in far more deadly and fragile locations, especially ones where hundreds of people have already died?

But yeah idk there's no real point in adding my input to the discussion and I kinda don't want to comment on it beyond this anyway, but the whole situation sucks and def makes it clear there are simply some things people should not be allowed to do no matter how much goddamn money they have.

[thedreadvampy]

legitimately insane how to some people, "we should wipe out this ethnic group that we've violently constrained to a ghetto because they're just genetically more violent and dangerous" is a reasonable and justifiable statement but it's Nazi Rhetoric to say something like, "it's bad that Israeli civilians are being killed but acknowledging that as tragic includes acknowledging that the almost daily state-sanctioned murder of civilians by the Israeli government is also tragic and unacceptable"

btw guys speaking of Nazi shit - can we check in, alongside what's been done to Palestinians in the last 75 years, what's the Israeli government's take on the Azerbaijani government's newest round of ethnic cleansing of Armenians? oh are the Israeli government's actions maybe not determined by Jewish identity, but by a commitment to colonial supremacy which puts them on the same page as other violently genocidal states like Azerbaijan, the US, and the UK? god can you Even Imagine?

(framing speaking against Israeli war crimes as inherently antisemitic requires understanding the Israeli state as representing all Jewish people, when it doesn't even represent all Israelis.

framing Israeli war crimes as synonymous with Jewish identity is pretty fucked up if we're being honest. I don't think that controlling water and power and movement for a captive population and shooting children dead for throwing stones is an inherent value of Judaism, any more than I think the torture carried out at Guantanamo Bay is an inherent value of Christianity - in both cases they're atrocities carried out by a far right genocidal government using religious identity as a shield.

Calling statements like "Israel is committing genocide against the people it's displaced" inherently antisemitic is doing more to further the idea that all Jewish people are associated with Israel than saying "the Israeli government is doing war crimes," which is a statement of fact about a country that exists and does war crimes. Is criticism of Israel as a nation often used as cover for antisemitism? Absolutely. Does that mean the Israeli government isn't doing literal war crimes repeatedly, on record, while talking publicly about scrubbing an ethnic group off the map? Uhhhhhhhhhhhhhhhhh well in the last 48 hours they've definitely cut off water and power to almost 600,000 civilians and allegedly used white phosphorus against civilians so in an extremely factual and unambiguous way yeah man those are Literal War Crimes whoever does them.)

[it-begins-with-rain]

Halloween Recommendation: Stephen King's Rose Red

** This one can be tricky to find. It was originally released as a 3 night mini-series in 2002, but then re-released as a motion picture. Apparently Hulu has it?

In 1906, oil barron John Rimbauer built a veritable palace overlooking Seattle. It was his young bride, Ellen, who would give the house it's name: Rose Red.

First blood was drawn before the foundation was even laid. A foreman, murdered over a simple argument. Bizarre deaths and mysterious disappearances plagued Rose Red, swallowing up the Rimbauer family, their servants, friends, and anyone who dared enter.

Eventually, the grand estate fell into disrepair. Paranormal investigators descended upon the property, but none were ever able to solve the mystery, nor stop the deaths.

Now, more than 90 years after the first deaths at Rose Red, Steven Rimbauer, the last living descendant of John and Ellen Rimbauer, has been offered massive sums of money to sell Rose Red. It will be totally leveled, the land used for condos.

Before the house is destroyed, Steven agrees to let Dr. Joyce Reardon and a cobbled-together team of psychics, mediums, and other paranormal investigators do one final sweep of the house.

What evil lurks within Rose Red?

What horrors did John and Ellen Rimbauer summon in their palatial estate- or were they victims themselves?

Why does Rose Red kill the men, but swallow the souls of the women and force them to haunt it's halls?

How many of Dr. Joyce Reardon's team can escape with their lives?

*** Stephen King wrote the screenplay for this story, but there is no novel. Instead, as part of the publicity and hype leading up to the miniseries premiere, "The Diary of Ellen Rimbauer" was published, serving as a prequel. You can buy the novel on Kindle.

[fore-seer]

i don’t really ship owain with anyone in either game he’s in but he’s such a good dad to ophelia that i can’t imagine him not having her, and i had the idea yesterday that it’s severa he approaches about wanting a kid bc after their time in fateslandia with inigo the three of them are bonded for life anyway and she’s the only one he trusts with something like that

[todayisafridaynight]

one day ill stop treating aoki like he was a guy i personally knew that died but todays not that day