#it's about the journey between life and death

[lunar-system]

Izzy Hands: The Moon.

Re-imagined from the traditional Rider-Waite-Smith tarot, this version of the Moon shows Izzy taking the shape of a lone Lover, longing for what he cannot reach.

Longer exploration of the card's symbolism under the cut.

Symbolism of the card

I initially meant this card to be specifically Izzy's, but he is once again unseparable from Ed. Though the moon itself is depicted as Ed, it is through Izzy that I interpret the journey of the card. Feel free to invent your own interpretation as well!

In the original version of the Moon we see a dog, a wolf, and a crayfish. Izzy takes the place of the wolf, marking him as wild and untameable. He is accompanied by a dog, symbolizing his loyalty. The crayfish has retreated, and we can see a monster lurking in the depths of the water, reminding us of the beasts that lie within.

Rachel Pollack (2011) writes: "The Moon signifies the dangerous time between the end of one world structure and the beginning of another. On the emotional level it can indicate the strange state when something powerful has ended and you find yourself thrown back on your instincts."

In the card Izzy already has his wooden leg. He his stepping into his role as the Unicorn, marking a shift in his loyalty and his place in the world. His reign as Blackbeard's first mate is ending, and a whole new world order is being imagined.

Ed is also seen in a new light. With his short beard, he is at the end of his captaincy, possibly even at the end of his piracy. He as the Moon is illuminated by the light of the Sun, personified by Stede in another card, The Sun.

Izzy bears witness to their combined light, unreachable to him on the ground. He teeters at the edge of the water illuminated by that very light, and is faced with a choice. Will he turn, follow the path and try to reach the unreachable? Or will he explore the unknown waters in front of him?

In tarot, water symbolizes emotions, intuition and subconscious. Pollack writes: "Here in the unknown territory our animal selves take over. We cannot suppress the wild emotions but only travel through them." The message of the Moon beckons Izzy to step into the water and face his emotions.

However, there are also dangers in the murky waters of the subconscious. Pollack continues: "The Moon card calls forth powerful dreams, visions, and the power of the feminine." In tarot water is a feminine element. Izzy, a beacon of masculinity, has in the past confused the feminine with the monstrous. He is now dared to invite the feminine within him to the surface. His posture already mirrors that of the feminine lover from the Lovers-card. It also calls back to the Fool, to someone at the beginning of their self-discovery.

Tl;dr: Izzy, the Fool and the Lover, is on a journey from one world to another. Will he follow the path and try to reach the unreachable, or will he find the courage to plunge into unknown waters?

A comparison between the original Rider-Waite-Smith card from 1909 and the re-imagined version

Izzy's pose mirrors the feminine Lover

Sources

Image source: Pamela Colman Smith, 1909, republished as Tarot of A. E. Waite, 2016, AGM-Urania, Germany

Text source: Rachel Pollack, A Journey of 78 Steps, 2011, as cited in the booklet for instruction and guidance of Tarot of A. E. Waite, 2016, AGM-Urania, Germany

[horreurscopes]

i like my body when it is with your body.

[countdown-til-sanders-take-over]

this is a formal apology for every time i've read ur fnaf theories, gone "ah... of course! yes!" and then forgotten to respond

This is a formal apology for every time I've read one of your asks, not immediately had a TQ&/E, and forgotten to respond

[born-to-lose]

I love being the always single person in my family, mad respect to my sister for constantly dating guys for the last 8 years, I would have shot myself

[curlicuecal]

playing science telephone

Hi folks. Let's play a fun game today called "unravelling bad science communication back to its source."

Journey with me.

Saw a comment going around on a tumblr thread that "sometimes the life expectancy of autism is cited in the 30s"

That number seemed..... strange. The commenter DID go on to say that that was "situational on people being awful and not… anything autism actually does", but you know what? Still a strange number. I feel compelled to fact check.

Quick Google "autism life expectancy" pulls up quite a few websites bandying around the number 39. Which is ~technically~ within the 30s, but already higher than the tumblr factoid would suggest. But, guess what. This number still sounds strange to me.

Most of the websites presenting this factoid present themselves as official autism resources and organizations (for parents, etc), and most of them vaguely wave towards "studies."

Ex: "Above And Beyond Therapy" has a whole article on "Does Autism Affect Life Expectancy" and states:

The link implies that it will take you to the "research studies" being referenced, but it in fact takes you to another random autism resource group called.... Songbird Care?

And on that website we find the factoid again:

Ooh, look. Now they've added the word "some". The average lifespan for SOME autistic people. Which the next group erased from the fact. The message shifts further.

And we have slightly more information about the study! (Which has also shifted from "studies" to a singular "study"). And we have another link!

Wonderfully, this link actually takes us to the actual peer-reviewed 2020 study being discussed. [x]

And here, just by reading the abstract, we find the most important information of all.

This study followed a cohort of adolescent and adult autistic people across a 20 year time period. Within that time period, 6.4% of the cohort died. Within that 6.4%, the average age of death was 39 years.

So this number is VERY MUCH not the average age of death for autistic people, or even the average age of death for the cohort of autistic people in that study. It is the average age of death IF you died young and within the 20 year period of the study (n=26), and also we don't even know the average starting age of participants without digging into earlier papers, except that it was 10 or older. (If you're curious, the researchers in the study suggested reduced self-sufficiency to be among the biggest risk factors for the early mortality group.)

But the number in the study has been removed from it's context, gradually modified and spread around the web, and modified some more, until it is pretty much a nonsense number that everyone is citing from everyone else.

There ARE two other numbers that pop up semi-frequently:

One cites the life expectancy at 58. I will leave finding the context for that number as an exercise for the audience, since none of the places I saw it gave a direct citation for where they were getting it.

And then, probably the best and most relevant number floating around out there (and the least frequently cited) draws from a 2023 study of over 17,000 UK people with an autism diagnosis, across 30 years. [x] This study estimated life expectancies between 70 and 77 years, varying with sex and presence/absence of a learning disability. (As compared to the UK 80-83 average for the population as a whole.)

This is a set of numbers that makes way more sense and is backed by way better data, but isn't quite as snappy a soundbite to pass around the internet. I'm gonna pass it around anyway, because I feel bad about how many scared internet people I stumbled across while doing this search.

People on quora like "I'm autistic, can I live past 38"-- honey, YES. omg.

---

tl;dr, when someone gives you a number out of context, consider that the context is probably important

also, make an amateur fact checker's life easier and CITE YOUR SOURCES

[frailsituation]

Tips for writing internal conflict

1. Define the Core Dilemma

• Internal conflict occurs when a character faces a choice or emotional struggle within themselves. This dilemma should challenge their values or identity.

• How? The struggle should feel deeply personal and tied to the character’s motivations.

• Example: A character who values independence but must rely on others in a life-or-death situation.

2. Make it tied to their core values

• The conflict should challenge what the character holds dear—whether it’s their morals, desires, or goals.

• How? The inner conflict should push the character to re-evaluate their beliefs and priorities.

• Example: A soldier torn between duty and personal ethics, forced to choose between following orders and doing what’s right.

3. Amplify with external consequences

• Link internal conflict to external consequences that impact the character and those around them. The choices they face should have significant repercussions.

• How? Show how the character’s internal conflict influences their decisions in the real world.

• Example: A character haunted by guilt must choose whether to admit their past mistakes, risking their career and relationships.

4. Show the pressure building over time

• Internal conflict intensifies when it’s compounded by time, increasing stakes, or mounting external pressure.

• How? Create scenes where the character feels the weight of their choices growing heavier with every passing moment.

• Example: A character whose addiction threatens to ruin their life, struggling to break free but tempted by old habits every day.

5. Conflict arises from competing desires

• Internal conflict often stems from having two equally strong desires that cannot coexist.

• How? Put your character in situations where they must choose between these desires, both of which seem vital.

• Example: A character torn between pursuing their dream job across the country or staying to care for a dying parent.

6. Explore their fears and insecurities

• Internal conflict can also be driven by the character’s deepest fears or insecurities, which affect their actions and decisions.

• How? Fear of failure, rejection, or loss can prevent them from acting, making every decision feel like a battle.

• Example: A character who has been hurt before refuses to let anyone in, even though they deeply crave connection.

7. The power of self-sabotage

• Let the character’s internal conflict lead to self-sabotage. They may avoid decisions or create obstacles to protect themselves from facing their own feelings.

• How? Show how the character's fear or internal resistance undermines their progress.

• Example: A character constantly pushes away someone they care about because they fear their own vulnerability.

8. Use internal dialogue to show the battle

• Let readers hear the character’s internal struggle through thoughts, doubts, or justifications. Internal dialogue can make the conflict feel more immediate and real.

• How? Keep the internal dialogue sharp, reflective, and in line with the character’s voice.

• Example: “I want to tell them the truth, but what if they leave? Can I really risk that?”

9. Drive change through resolution

• The internal conflict should lead to growth or change in the character. They should evolve, learn, or make peace with their internal struggle.

• How? The resolution should feel earned and reflect the character’s journey.

• Example: A character who fears commitment learns to trust and embrace vulnerability in the face of love.

10. Let it affect the bigger picture

• The resolution of internal conflict should impact the story’s larger arc, showing how the character’s inner change leads to progress or a new direction.

• How? The resolution should tie back to the theme and forward momentum of the plot.

• Example: A character who learns to forgive themselves is able to take the final step in reconciling with a loved one, mending broken relationships.

Follow for more!

[starsofang]

CALL OF THE SEA / PART FOUR

pirate poly!141 x f!reader tw: NSFW, MDNI, violence, kidnapping, angst, blood, 141 are still mean pirates ): kind of, very brief mentions of death masterlist

When a group of unhinged pirates invade your small village, you're whisked away from your peaceful home and thrown on to a voyage out at sea. Forced to obtain a new role as their medic, you have no choice but to accept your fate as you join their forces and aid them in their treacherous travels.

There were no ifs, ands, or buts about sleeping arrangements. Price, the Captain that he was, would have it his way, and his way was keeping you secured in the stuffiness of his own quarters.

It was uncomfortable, the way you shared the bed with him. He was a large man, much larger than you, and his bed only had so much space to fit the two of you. In the midst of the nights, you’d feel his leg brush against yours, or feel the soft rumble of his quiet snores from where he laid beside you.

It was far from ideal. As much as you hated it, it was an upgrade from your cell down in the brig. Price’s bed was softer, more plush, and it sank you in every time you slept on it. The situation was no better, but it wasn’t any worse, either.

The downside, though, was that you were just as much a prisoner as you were in the cell. Price made it known that you weren’t to leave his quarters under any circumstance.

They brought you meals in rotations. Sometimes Soap would show, cracking a horrible joke that left you rolling your eyes. Or sometimes it’d be Gaz, who hardly spared you a word of conversation, though you could see the faint glimpse of pity in his eye.

Then there was Ghost. A pure enigma, darkened by shadowy demons that were hidden beneath his mask. He never uttered a word to you, nor looked at you. He did his bidding by slapping down a bowl of poorly made stew and immediately making his exit before you could get a single word in.

Price wouldn’t bring you your meals, though you convinced yourself it was because he was avoiding you. You thought his original plan of having you sleep in his quarters would be for something diabolical and sinful, yet he made no effort to touch you nor get to know you. It was nice, knowing he wasn’t there to do things against your will, but it was also confusing, wondering what his real plan was for you.

It was as if sleeping with a wall, which you weren’t sure whether to be grateful or not. These men were far from people you wanted to be a part of, but the desire for a friend was beginning to outweigh your spite.

You were an outcast aboard this ship. Secluded from the world, and isolated from the only people you were surrounded by. It was a dreadfully lonely life to be living. Your only friend was the sea, and even that was something you were torn away from, locked away in the quarters with only a small window to offer a view of it.

The door of Price’s quarters barged open, disrupting you from your woe. None of them ever bothered to knock. They were savages, bred with no proper manners in the presence of a woman. But really, you weren’t a woman to them. You were labor. An inconvenience.

“Get up,” Ghost grumbled from his stand in the doorway, hand knuckling the rusty knob. “Goin’ shoppin’.”

“We’re on land?” you asked, standing from Price’s cot. Ghost grunted in response. “And I’m to… join you?”

“You need supplies, don’t you?” he gruffed, eyes narrowing in on you. “Don’t make me change my mind.”

The door abruptly slammed shut, leaving you alone in the quarters once again.

Land? They were allowing you to join them on their journey to land, to aid you in getting supplies necessary to work as a proper medic? It seemed surreal, yet bittersweet.

Gaining new supplies set your position on their crew in stone. They intended to keep you as theirs, and only trusted you enough to let you get off of the ship under their watch.

Yet, you’d be able to feel the grass between your toes once again. To feel the summer sun soaking in your skin, to hear the chatter of villagers fill your ears. You’d feel the liveliness of people apart from these heartless, savage pirates.

You’d be able to escape.

If you remained clever, you could leave the hands of Captain Price and create a new life far from their ship. This was your one and only opportunity to venture towards the life you always wanted for yourself.

You appeared as neutral as ever when you left the quarters to join the four men where they stood, clearly speaking amongst each other. You couldn’t show the rushing adrenaline coursing through you, not if you wanted to get away alive.

“Ach, there ye are, dove,” Soap huffed in annoyance, grabbing hold of your bicep to surge you towards him. You collided with his side, knocking the air out of your lungs. “Yer with me.”

“Stick with Soap,” Price ordered. His glare sent chills down your spine. “You are to get what you need under his watch. Try anythin’ funny and he won’t be so kind with you.”

“She’s fine, Cap, no need to worry. She won’t do anythin’ silly. Ain’t that right, dove?” Soap beamed, a touch of crazy leering down at you.

The plan in your head was beginning to feel too soon and too dangerous. You could only swallow nervously, giving a firm nod in return before they helped guide you off of the ship.

The town was lively around you. It was nothing like your home. Where you had grown with the quiet chirps of nature and gentle conversation, you were now greeted with an angry bustle of rushing townsfolk, brushing past you as if you were a ghost.

You felt out of touch with your surroundings. Others were dressed in fresh fabrics, altered to their frame. The women were pretty, hair unmatted and braided to frame their lovely faces while the men were covered from head to toe with the finest of coats.

Not all were as fortunate. There were a select few you caught glimpses of as you passed who were as dirty as you were, shoeless and hopeless. Begging for scraps of food or cheap coins, only to be spat on like the scum of the Earth.

You were no different. Next to Soap, you looked like a helpless, little mouse with dirty bags of fabric that fell loosely on your body, with your feet blackened from the lack of cover. It was utterly humiliating.

Soap kept a solid grip on your arm as he led you through the heaps of shoppers. He kept his eyes forward, scoping out any possible threat. You could see the hardwired focus geared in his brain, as if working on pure muscle memory.

“Pretty neat of a place, aye?” Soap asked, attempting small talk. He glanced over at you, wearing that boyish grin of his.

“It’s wonderful,” you replied, taking in the sights.

You meant it. Shops lined every corner of the dirt paths, windows displaying pretty dresses or tailored suits. Where you expected the town to look depressing, you found color, filling you with a warm dose of serenity.

This was a town you could grow to love. It was busy and loud, but the opportunity seeped out through every corner, calling your name. Your freedom rang out like a bell, offering you a place for your dreams to come true.

You had to escape if you truly wanted it. Your plan would have to unfold, even if it meant being patient.

“Yer bound to see a whole lot more towns better than this one, dove,” Soap boasted, grinning with pride. “Ye will grow to accept us one day.”

You stared up at Soap while the two of you walked. It was a shame, really, that he was the only one decently kind to you. Kind was far too generous of a word to describe any of these men, but it was the closest thing to what Soap was being towards you.

He was still a pirate, though.

“I am not so sure of that,” you confessed, unsure of why you did.

“Ach, ye will. The rest are secretly a bunch of softies,” he claimed, waving a dismissive hand. “We’re still human even if we’re pirates.”

“You’ve kidnapped me,” you stated.

“Mm. Yes.”

“You burned down my home,” you continued.

“Perhaps.”

“You killed my people,” you finished.

“You know nothin’ of what we do, dove. How about we keep shoppin’ for ye and stop worryin’ about the past?” Soap asked, not unkindly. He was surprisingly composed despite your accusations.

You stared at him for a moment longer before looking away. There was no point in arguing when the plan was to escape the moment you had the chance. Today would be the last day you’d ever have to converse with Soap and his men, if you played your cards right.

“You’re right,” you said quietly. “I apologize.”

“There ye go, dove.” Soap returned to smiling, giving a mocking pinch to your grimy cheek. “Now, what all do ye need?”

Soap made escape increasingly difficult. His hand remained secure around your arm for every shop you went in, keeping you by his side. It was as if he had a secret sense that let him know of your plans. Or perhaps he was following Price’s orders.

He stuck with you with every purchase. You gathered herbs, freshly made medicines, and a new book and quill to jot down notes in a journal. Soap allowed you the pleasure of collecting expensive items, unwavered by the prices.

He paid for them in gold, little round coins he’d slap on to the counter and leave behind without waiting for the shop tenant to gawk at such a rare sight of payment.

It wasn’t until you passed a clothing shop did he falter. His steps had stopped, eyes peering into the window. You stopped with him, dissecting his reaction.

“Sorry, dove. Makin’ a stop for myself,” he stated, tugging you into the shop. To your surprise, he let go of your arm, leaving you standing near the entrance. “Stay put. I’m trustin’ ye, so don’t make me regret it, aye?”

Your heart pounded in your chest as you gave him a nod. He threw you a beaming smile before stalking off into the store, disappearing just out of sight. You remained firm in place, hands clasping in front of you.

The pit in your stomach twisted from the nerves that wracked you. This was your moment, your only chance of escape. If you didn’t take it now, you may never be lucky enough for another one.

As if fate was sealing itself, your eyes caught sight of a group of guards walking past the store, wooden rifles at the ready on their shoulders. They were speaking amongst themselves, oblivious to your inner turmoil from where you stood in the entrance of the shop.

A quick glance behind you showed that Soap was still occupied, unbeknownst to your plan. You could only see the top of his head, the messy mohawk sticking out like a sore thumb.

With the opportunity in front of you, you took it.

You moved slowly at first. Unsure, cautious. But once you made it out of the shop with Soap realizing, you amped your speed. Your dirty bare feet clambered clumsily along the dusty streets, digging into the little pebbles that littered them.

The dull sting of pain as you sprinted to the guards was disregarded. It was nothing compared to the ache of freedom you desired.

“Hello!” you shouted, garnering their attention. They turned, eyeing you with a judgmental glint at the state of you. “Please, I need help!”

“What can we do for you?” one of the guards asked, suspicious. His eyes were set on your feet, which were caked with months of filth. “A lass like you shouldn’t be out without a chaperone.”

“You don’t understand,” you gasped, catching your breath from the anxiety that rattled you like a drum. “I’ve been kidnapped by— by pirates and I’ve only just escaped. Please, I need your help, or they will take me back.”

“Pirates?” The guards perked up, glancing between one another as if sharing a secret you were unaware of. “How many pirates, lass?”

“Four,” you explained. “The Captain— his name is John Price. He is the one that took me from my village and I have been imprisoned on his ship for so long, I do not recall the days. Will you help me?”

You were frantic. Desperate. It showed in the way your voice shook, the way your frame shivered with nerves.

“It is not,” Guard Two said to his companion.

“It is,” Guard One said, the one who had spoken to you first. This time, they spoke to one another rather than to you, as if you were invisible. “There is only one Captain Price. It is 141.”

Guard Two looked over at you, face set firm. His eyes were piercing and cold, and it made you shrink down into yourself. They were not welcoming or kind like you expected a guard’s to be.

Guard One fumbled in the pocket of his britches before pulling out an aged paper. On it were the faces of the pirates with the exception of Ghost, covered by his signature mask. All of them were plastered on the page with a bounty over their heads, as well as a promise of exile for their arrest.

Execution. The pirates would be executed publicly if they were caught. The punishment was inked in bold letters beneath their pictures, and each letter was taunting you with the blood that would be spilled on your hands for turning them in.

An unsettling guilt began to gnaw at you. You were unsure of why. Captain Price and his crew had stolen you from your home and made you their medic. They had you sleeping in a cell for nights uncounted, eating slop out of a bowl like a dog.

Yet, to kill them was much too burdening on you. They were mean, heartless, and unworthy. Yet, death was unkind. You were not so shallow.

“Is this what they look like?” Guard One asked, holding the paper in front of you. It was undoubtedly them, down to every detail.

“Yes,” you confirmed, though not as confidently as before. There was now a weight in your tone, as if holding back. “Yes, that’s them. You— you will kill them once you find them?”

Guard Two laughed, though it was bone chilling. There wasn’t a hint of warmth in it, only distaste and rage. “Of course. They’re to be hanged for their crimes. They are savages.”

He took a step closer to you, leaning down to your level. His aura was threatening, and you could feel yourself cowering away. “You must tell us where they are at once. We will help you once we have captured them.”

You took a step back, deflating. Everything within you told you that you made a mistake. If you went through with exposing their whereabouts and having them captured, their deaths would be because of you. You would be a murderer.

“I—“ You swallowed, clenching your clammy hands into nervous fists. “I do not know where they’ve gone. I ran away as soon as I could.”

“Not a problem,” Guard One gruffed, taking hold of your arm, just as Soap had done before. Now, more than ever, a part of you wished it was Soap rather than the guard. “You will guide us to their ship.”

“Please let go of me,” you murmured brokenly, covering the guard’s hand with your own to pry his fingers off. They didn’t budge. “Please.”

Your pleas were shadowed by their greed. You recognized the look in their eyes, and it scared you to the bone.

Bloodthirst. They were hungry to capture the pirates, hungry to be the ones to guide them to their impending death. It was not about helping you. It was about the handsome reward they would receive for turning in the most wanted criminals of the sea.

You began to panic. The air in your lungs felt weak, and you could feel the world around you closing in.

This was not the outcome you wanted. You simply wanted your freedom, yet it would come with a cost that you weren’t sure you could afford.

You did the only thing you could think of doing. Your fist collided with the guard’s face with a nasty crunch, causing blood to spew from his nose like a spout. It speckled on your dirty cheeks, tainting them further.

The guard let out a shout, releasing your arm. When his companion attempted to make a grab for you, you bolted, legs carrying you back to the shop Soap had been left in.

Chaos ensued from behind you. You could hear the clamber of guards, racing after you, yelling profanities in the air. The townsfolk stopped to observe, women placing their hands over their mouths in bewilderment, men torn between watching or intervening.

It was a commotion you never planned on starting, and now, all eyes were on you.

Soap came into sight from in front of the store. He looked focused and angry, eyebrows pulled together, jaw set taut. When he locked in on you as well as the guards behind you, there was no relief. His eyes were as intense as the guards had been, if not more.

“I’m so sorry, I’m so sorry,” you sobbed pathetically, but he gave you no chance to pause your running.

Soap grabbed your hand in his, lugging you along the dirt paths. He swerved the streets, pulling your arm harder every time you fell behind. You struggled to keep up, spots of blood dotting the ground beneath you from the newly open wounds from pebbles that sliced open the soles of your feet.

You were pulled into a narrow alleyway with Soap, out of sight from the guards. Soap’s large hand shoved your head, urging you to crouch down behind a row of barrels that crowded the alley.

Your heart was nearly lurching out of your chest from your hiding space. Pounding footsteps raced past the alley, a cloud of dust filling the air and burning your nose. Voices could be heard shouting nearby, but not close enough for you to make out what they were saying.

Soap and you stayed put, his hand muffling your mouth, body smothering yours. He held his breath, ears listening in for the guards.

After what felt like an eternity, the footsteps grew farther away, voices fading into the wind.

“I trusted ye to stay put, dove,” Soap whispered, voice full of anger and betrayal. “I’ve been nice to ye. Why couldn’t ye just stay like I told ye?”

You whimpered into his hand, low and depressing. You felt defeated. Your fate was undetermined more than ever before, and you feared what the pirates would truly do to you now that you went against their word.

“C’mon,” he huffed, letting go of you and standing from behind the barrels. He grabbed hold of your arm, hauling you up and keeping you in his grip.

Soap crept the two of you through the town, slipping through every crack in the buildings to remain unseen. If people saw you, they remained silent, fearful of the pirate amidst their town.

The closer the two of you got to the ship, the more your heart sunk to your stomach. You were wracked with terror, horrified of the punishment you’d endure. The only thing you could do is let Soap string you along like a puppy on a leash.

“We need to go,” Soap barked at Price. The other men had long returned from their shopping, only awaiting your arrival with Soap. “Now.”

Gaz fluttered away without question, preparing to undock the ship and leave no trail in the town behind. Price and Ghost, on the other hand, were far more concerned.

“What the hell happened?” Ghost asked, voice gruff and dark, eyes narrowed on you.

“Dove tried rattin’ us out,” Soap hissed, throwing a glare your way. You shrunk in his hold, avoiding his eyes and bowing your head low. “Guards are lookin’ high and low. They know we’re here.”

“Fuckin’ hell,” Ghost grunted, leaving the three of you to aid Gaz in prepping the ship for sail. He walked with a looming shadow over him, black and scary, oozing out the mist of pure acrimony.

Price stood tall and terrifying, arms crossed over his chest, the lines of his face firm and tight. He stared at you with a guise of disappointment and resentment, and if looks could kill, you would surely be one of their many victims.

The Captain took a step towards you, leaning down to your height. His hand grabbed hold of your face, fingers digging into your flesh as he forced you to look at him. His eyes were glaring, stabbing you with millions of daggers.

He shifted your head from side to side, inspecting the specks of blood that dotted your face. He was silent, making everything much more unnerving, and when he let go of you, he spared you not another glance.

“Take her to the cell,” Price ordered Soap. “We’ll deal with it later.”

Soap nodded grimly, tugging your arm aggressively so he could guide you to the brig doors. The sight of them made you sick, and you fought in his hold, which did nothing but make you look like a fool.

“Stop squirmin’,” he hissed, irritated. Seeing him without his signature smile made your chest fill with sickening guilt, and it twisted your insides in a painful knot.

The cell welcomed you when you stepped down familiar stairs. It was a slap in the face, seeing it once again, and you wanted nothing more than to take back everything you’d done and apologize to Price until he let you back into the comfort of his quarters.

But there was no going back. The deed was done. This was your price for freedom, and before it was handed to you, it had been snatched right out of your hands.

Soap shoved you into the cell with enough force to ensure you went inside, but gentle enough to make sure you didn’t topple over. Even now, when you’d betrayed his trust, he didn’t aim to hurt you. The pill was suffocating to swallow.

The cell shutting behind you rattled through your ears like a deafening shriek. The lock clicked, and Soap made no effort to move, not yet. Instead, he stood there, eyes boring into you through the bars of your cage.

You opened your mouth to speak but nothing came out. So, you stood shamefully, staring at the floor beneath your aching feet.

Something clattered on the floor, and when you shifted your gaze to find it, what stared back at you was a pair of shoes. New, unworn, and pretty. For you.

Looking up at Soap, his expression was unreadable. He no longer looked at you. He seemed just ashamed as you did. It was as if all the anger he had before had diminished, and he now looked like a hurt boy, betrayed and ridiculed.

“I hope they fit,” he said quietly. While you stared at him, he was now the one avoiding looking at you. “Didn’t know what ye liked.”

Soap turned on his heel, trudging up the stairs with the weight of the world on his shoulders. He made no effort to look back at you, to study your stunned expression. Instead, what greeted you was his back as it filtered through the brig doors, shutting behind him with a loud slam.

You looked back at the shoes, careful when you picked them up. They were bland in taste, yet the prettiest thing you’d been gifted in your life.

Soap trusted you to stay while he went to surprise you with a new pair of shoes, and you had only gone behind his back out of fear of his pirate crew that had taken you from your home.

You felt no better than a pirate.

[helenofsparta2]

Having the whole plot between Nico and Percy be resolved simply with “You’re not my type” in Blood of Olympus was such a huge disservice to both characters

They are pivotal parts to each others journey. No person in PJO influenced Nico as much as Percy did, aside from Bianca, and no person represents Percy’s guilt and the responsibility he had to shoulder more than Nico does. The writing for both characters really suffers through this lack of a real satisfying resolution.

First to talk about what Percy represents for Nico:

Percy, first of all, represents Nico’s introduction to the mythological world

He is the first demigod Nico ever came in contact with

He saved him and Bianca from the manticore (somewhat)

Nico stated in Blood of Olympus than Percy had reminded of the heroes of his mythomagic game come to life

Nico wholeheartedly believed that Bianca would be safe, if Percy was with her and created this image of the perfect hero in his mind, putting Percy on a pedestal

2.

In Nico’s mind Percy is irrevocably intertwined with Bianca and everything that happened to her

Despite Nico naively believing, that Bianca would be safe if Percy were around, he was instead the last person to ever talk to her, and present when she died

Percy informed Nico of her death (Dead silence. I stared at Chiron. I couldn’t believe nobody had told him yet. Then I realized why. They’d been waiting for us to appear, to tell Nico in person, Titan’s curse)

Nico turned him into the scapegoat for her death, so that he could let all his grief and anger and bitterness out on him

Bianca sent Iris-messages to Percy, so that he would find and help Nico (“Percy has been worried about you, Nico. He can help. I let him see what you were up to, hoping he would find you.”, Battle of the Labyrinth)

Her ghost only appeared to Nico when Percy was with him

Percy is the only person Nico knows of, who also grieved for Bianca (“Bianca,” I said. My voice was thick. I’d felt guilty about her death for a long time but seeing her in front of me was five times as bad, like her death was fresh and new. I remembered searching through the wreckage of the giant bronze warrior she’d sacrificed her life to defeat, and not finding any sign of her. “I’m so sorry,” I said. Battle of the Labyrinth)

3.

Percy is the person who protected and cared for Nico more than anyone else in pjo

Tried to convince Bianca to think more deeply about her decision of joining the hunters, especially thinking of him (“Biance, this is crazy,” I said. “What about your brother? Nico can’t be a hunter.” (Titan’s curse)

Searched the woods in the dark for hours after he had disappeared (Annabeth and Grover helped me search the woods for hours, but there was no sign of Nico di Angelo.)

Didn’t tell Chiron about Nico’s parentage to protect him from the Gods. (I don't think Nico understands who he is. But we can't go telling anyone. Not even Chiron. If the Olympians find out—") Titan’s curse)

Decided to completely commit to the prophecy, solely so Nico didn’t have to bear that burden and go trough any more suffering(It was the last thing I wanted, but I didn't say that. I knew I had to step up and claim it. "I can't let Nico be in any more danger," I said. "I owe that much to his sister. I… let them both down. I'm not going to let that poor kid suffer any more." ) Titan’s curse)

Searched for Nico in the months after Titan’s Curse (Now, six months later, I hadn’t even come close to finding him. It left a bitter taste in my mouth. Battle of the labyrinth, chapter 3))

Saved his life on Geryon’s farm. (“Either way, you get my friends,” I said. “But, if I succeed, you’ve got to let all of us go, including Nico.”)

Always offered Nico a place at camp half-blood to the best of his abilities (“We missed you at dinner,” I said. “You could’ve sat with me.”“No.”“Nico, you can’t miss every meal. If you don’t want to stay with Hermes, maybe they can make an exception and put you in the big house. They’ve got plenty of room.”, Battle of the Labyrinth)

Invited him to join him on his birthday (“Is that… is that blue birthday cake?”He sounded hungry, maybe a little wistful. I wondered if the poor kid had ever had a birthday party, or if he’d ever been invited to one. “Come inside for cake and ice cream,” I said. “It sounds like we’ve got a lot to talk about.”, Battle of the Labyrinth)

Reminded him that he was still a child (I smiled. “Maybe it’s okay to still be a kid once in a while.” I tossed him the statue, Battle of the Labyrinth)

Helped him to get the sword of hades back to impress his father (Then I looked at Nico. Unfortunately, I recognised the expression on his face. I knew what it was like wanting to make your dad proud, even if your dad was hard to love., Sword of hades)

Acknowledged everything Nico did in The last Olympian and is one of the main reasons why Hades has a cabin at camp. ( “But your children should not be left out. They should have a cabin at camp. Nico has proven that.”)

4.

Percy was Nico’s first, and after Will, his biggest love

Nico had feelings for Percy, which didn’t leave him for around 2 1/2 years, and accompanied him throughout the most challenging parts of his life. 

Feelings, which were so deep, the god of love personally acknowledged them.

Favonius even called Percy, the person Nico cares about most in House of Hades.

This was more than just a mere crush

Percy is so completely intertwined with most aspects of Nico’s character arc, in both PJO and Hoo, be it his feeling of ostracism, his relationship to Bianca or him coming to term with his own sexuality, that them not having a final interaction, makes his writing feel shallow and unfinished. Especially Nico coming to terms with his crush on Percy opens up the opportunity for a really heartwarming conversation and a moment of character growth and maturity for both of them, instead of it being wasted on one throw-away line.

And it’s the same the other way around. Nico is also a huge part of Percy’s journey.

He especially represents Percy’s biggest failure.

The first five Percy Jackson books are characterized by Percy having to take up responsibility and him being afraid of not being able to fulfill them. Be it responsibility for camp, the world, Bianca’s death, the prophecy, his friends, teh unclaimed demigods, or everything else. Most of the time, Percy was able to make sure everything turned out fine. He saved camp, he saved Olympus, he finished his quests, made the right decision for the prophecy, and he made the gods swear upon teh styx. But there’s one exception. And that is Nico.

Percy did everything in his power to make sure Nico would be spared any more hardships. He took up the burden of the prophecy, explicitly, so that Nico doesn’t have to go through any more hardships

He searched for him after Titan’s curse, kept his identity a secret and even risked himself, Annabeth, Grover and Tyson dying if it meant saving Nico

Still, Nico is one of the characters, if not the character, who has suffered the most in PJO and Hoo, even partly because of Percy (though, of course, Nico having a crush on him was not Percy’s fault at all)

He lived alone at 11 years old on the streets and in the labyrinth, while getting manipulated by an ancient evil spirit

He was isolated and ostracized at camp half-blood

He experienced the horrors of Tartarus completely on his own

He got captured by the giants and slowly suffocated to death in a small jar

He had to deal with internalized homophobia and his complicated feelings regarding Percy

He has been a vital part of two wars at only 15 years old

Had to admit his crush involuntarily in front of Jason, etc.  

One of the things Percy battles with in Heroes of Olympus is this overwhelming sense of guilt. He blames himself for almost everything that went wrong over the last few years. Be it for Iapetus, Calypso, or especially Nico. Having Percy acknowledge this complicated relationship he has with him during House of Hades, but not allowing the two of them to talk it out is genuinely baffling to me, and one of the (albeit many) reasons why I really don’t like most of Percy’s writing during Heroes of Olympus, despite the fact that he is my favourite character by far. This could have led to a moment of character growth, where Nico helps Percy to aknowledge that he feels guilty for things he had little to no control over, while Nico himself realizes how important he actually is to Percy.

They are also so similar in terms of who they are and what they’ve been through, that even if you ignore their history with each other, it seems insane, that they didn’t interact in any meaningful way:  

Both were ostracized at camp half-blood because of their parentage, and so far are the only two half-bloods we know of with that experience

They are (together with Hazel) the most powerful demigods in the Riordan verse, and have feats which far surpass anyone else’s

Both are in some way afraid of their powers

Both went through Tartarus

Both have relatively similar relationships to their godly parents

Both have gone through immense trauma and loss

And if you read heroes of Olympus, it actually very much seems to build towards a final resolution of their relationship

Percy and Nico were, aside from Frank, the two people closest to Hazel; both saw her as a little sister, and Hazel treated them both like her brothers

Nico was the first person Percy met from his old life

Percy was the one, who received the visions of Nico being captured

From everyone present, Percy trusted Nico to lead the others to Greece in his moment of greatest desperation

They both had introspections about the other in house of Hades, Nico having to deal with his crush and Percy with his guilt in Tartarus

But, in the end, after they met again, nothing happened. The only scene we really got was the “You’re not my type” line and Percy being surprised by it for a couple seconds. That’s it.

We saw no meaningful conversation between the two of them, no acknowledgement of what they’ve been through together, no lasting feelings. Nothing.

In regards to their relationship, Percy acknowledging everything that Nico has been through led to nothing. Nico acknowledging his feelings for Percy and finally letting go of this pedestal he had placed him on led to nothing. You could argue that their entire relationship, which has been built up since Titan’s curse led to nothing. And considering that they are so important characters for each of their character arcs, their characterization very much suffers from this writing decision.

The two of them, together with Hazel, are my three favourite Riordan verse characters by a long shot, but some very important aspects of both of their characters fall so flat to me through this lack of a satisfying resolution.

 Both of them deserved so much better.  

They are the friendship with the most missed potential in the entirety of the Riordan verse and probably the most fleshed out and nuanced relationship Rick ever wrote.

R.I.P.  Nico di Angelo, and Percy Jackson, you will always be brothers in my mind.

[sourcherryandsprinkles]

heyy, I just saw the first episode of season two and I’m completely destroyed. I need to read something with Jacaerys in which reader gives him a hug after what happened 🫶🏻

Request: Helloooo! I saw you were open to requests sooo with this episode- how about instead of Baela being the one to take Jace to Rheanyra, its reader who had been waiting for him since he landed? Jace x reader relationship is up to you!

I have written this a few weeks ago, but let's do a small blurb. Seeing Jace break was just so sad. Grab your tissues 🤧

Warnings: mention of character death, grief

my taglists are here + you can send requests here at any time

—

On the journey back to Dragonstone, Jacaerys swallowed back his tears. Vermax could feel that his rider was in pain, but he stayed focused on flying home. 

Although you couldn’t predict when they would arrive, you knew Jacaerys would fly home immediately upon receiving the letter. 

You greeted him outside when he landed, but Jacaerys refused to meet your eyes, focussing on princely duties because he could not bear to face his role as brother and son in that moment. He spoke like a prince, asking to be taken to the Queen so he could give her his report. 

Without speaking a word, you walked him to Rhaenyra’s chambers. The guards opened the door for you, nodding their heads at the prince. As you stepped inside, Rhaenyra turned at the sound of your footsteps on the stone floor. 

You bowed to the Queen, casting a last glance on Jacaerys before you left the room. ‘’You know where to find me,’’ you whispered to him, your voice barely audible. 

He didn’t respond. 

While he spoke to his mother about the Vale and the North, Jacaerys was trying to remain professional and keep his composure. He needed to stay strong for her. His voice was steady until he mentioned the North. The name of Cregan Stark brought back the images of the northman delivering the news of Lucerys’s death, causing Jacaerys to choke up on his words.

Rhaenyra held her eldest and they cried together. 

When he thought the tears were over, Jacaerys left his mother’s chambers. Servants were politely nodding their head at him on his way to his own chambers, a veil of sympathy on their faces. But Jacaerys paid them no attention as his emotions were threatening to spill again. 

As promised, you were sitting on his — your — chambers when he stepped in, waiting for him. You stood when hearing the door, and he broke down completely, his body shaking with sobs as he collapsed into your arms. 

You held Jacaerys tightly as he sobbed uncontrollably, his grief pouring out with each shuddering breath. 

You always knew him as the strong son of Princess Rhaenyra who held his head high and never let anything affect him. The strength he usually exuded was gone, replaced by the vulnerability of a boy who had lost his brother. It was gut-wrenching to see him cry, his hands clutching at your dress to anchor himself through the storm of his emotions.

‘’He died because of me,’’ he whispered between sobs, his voice raw with pain. ‘’It was my idea to go on dragonback instead of sending ravens.’’ 

Guilt laced his voice, and you pulled his head back, seeing his eyes red and swollen. You knew no words would stop his guilt. He would have to live with his for the rest of his life. But you could try to show him he was not entirely at fault. It was Vhagar at the commands of Aemond targaryen who killed Lucerys. Not him.

‘’Mayhaps it was your idea, but you couldn’t have known Aemond would be at Storm’s End asking for support from Borros Baratheon. He is the one responsible for this barbarous act,’’ you said, holding his gaze.

—

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[sensualnoiree]

wealth indicators in astrology

The 2nd House and its Ruler The 2nd house rules personal wealth, income, possessions, and material resources. A well-placed ruler of the 2nd house (in dignified signs or making favorable aspects) can signify strong potential for financial success. Wealth in this house is not just about material resources, but also about how we value ourselves, our talents, and our ability to manifest abundance through self-worth.

Jupiter and Venus (Benefics) in Key Positions Jupiter represents expansion, luck, and abundance, while Venus governs pleasure, wealth, and beauty. Their placement in angular houses (1st, 4th, 7th, 10th) or making harmonious aspects (trines and sextiles) can indicate financial prosperity. Jupiter and Venus bring grace and fortune, but their spiritual lesson often revolves around generosity and the willingness to share abundance. Wealth is also cultivated through relationships and faith in higher principles.

The 8th House and its Ruler The 8th house deals with shared resources, investments, inheritance, and other people's money. A strong 8th house or a well-placed ruler can suggest gains through partnerships, inheritance, or financial support from others. Wealth from the 8th house comes through deep, transformative experiences and often asks for a surrender of control. It's the wealth of vulnerability and trust, leading to shared material or emotional resources.

Strong Earth Sign Placements (Taurus, Virgo, Capricorn) Earth signs are practical and grounded, making them naturally inclined toward building wealth through hard work, perseverance, and material stability. Earth placements teach the lessons of patience, discipline, and respect for the physical world. Wealth is accumulated over time through effort and practical application, but it also reflects our connection to the body and the material environment.

Pluto and Transformation of Wealth Pluto is often associated with power, control, and transformation. When in aspect to the 2nd or 8th house or their rulers, Pluto can signify major transformations in one’s financial situation—often through crises or periods of intense regeneration. Pluto teaches that true wealth is the result of deep inner transformation. Pluto forces us to face our attachments to material security and transforms our relationship to wealth through cycles of death and rebirth.

North Node in the 2nd or 8th House The North Node in the 2nd or 8th house suggests that the soul’s evolutionary journey involves learning how to master finances, resources, and self-worth. The North Node points to the soul’s spiritual work. Wealth accumulated in these areas is not just about money, but about understanding one’s true purpose and karmic lessons related to material possessions.

Saturn in the 2nd or 10th House Saturn represents discipline, structure, and long-term success. In the 2nd or 10th house, it often points to delayed but enduring financial stability through consistent effort and hard work. Saturn teaches us that wealth is earned through time and dedication. It can also represent karmic lessons around financial responsibility and the maturation process necessary for true success.

Venus-Jupiter Aspects Harmonious aspects between Venus and Jupiter are considered one of the best indicators of financial prosperity, as these are the two most beneficial planets. While this aspect can indicate material wealth, it also highlights spiritual abundance and the capacity for joy, love, and appreciation of life’s pleasures. It's a reminder that wealth is more than money—it's the richness of life.

MC (Midheaven) and Career-Related Indicators The MC, 10th house, and its ruler are tied to one’s public image, career, and long-term achievements. Favorable planets in the 10th or supportive aspects to the MC can point to career success and financial gain. Success comes through aligning with one's higher calling and being of service. True wealth is found in fulfilling a vocation that resonates with one's spiritual purpose.

Favorable Aspects between the 2nd and 10th Houses Harmonious connections between the 2nd and 10th houses or their rulers can signify the ability to generate wealth through career pursuits. Career and personal values must align for wealth to be truly sustainable. There’s a spiritual dimension to finding purpose in work that also brings material rewards.

follow for more astro insights like this and head on over to @quenysefields or my etsy --> sensualnoiree to grab my new astrology guidebook on reading your own natal chart :)

[marsprincess889]

The differences between women of the three Venus nakshatras:

If you're one of them, I suggest you read them all, not just yours. Most will read Bharani first, then P. Phalguni and lastly P. Ashadha, but a more interesting order would be P. Phalguni-P. Ashadha-Bharani.

Bharani:

The birth of Venus_ the intense and transformative place that determines the journey.

The most passive energetically, perhaps the most visibly defensive. Focused on self-preservation, on deeper causes of their desires, wants, needs, attachments and love, and protective of their energy while relentlessly using it to get "what they want". More compassionate then Purva Phalguni, for example.

The themes of Bharani are physical creation, preservation and decay, along with the overarching rules or "mysteries" behind beauty, desire, attachments and love. Since it's Venus channeled personally, and connected to the sign of Aries/the active manifestation of Mars and the first house, it IS Venus, and so it lays the foundation for the other two. What that means is that one of its main concerns is secrecy and gatekeeping necessary for cultivation of everything that Venus represents, more so than other Venusian nakshatras.

It's also the only one that is Outcaste(Mleccha), which gives it enormous power and energy free of conventions. There is also en extreme sensitivity here that is not present in the other two. There's an awareness of energy and the core essence of everything that leads to the understanding or embodyment of "the ultimate", whatever that is.

Bharani women are embodyments of mother nature. They seek someone who can give them exactly what they want and need and nothing else. There is definitely a broad worldview that is naturally deep in them_ Bharani is an elephant yoni nakshatra, it has deep and profound memory, and some consider it the last nakshatra (most consider its yoni consort_ Revati as the last nakshatra, so that's some great insight into Elephant yonis). Despite this broad and deep view, Bharani women have a determination and a drive that can translate into an intensity with a "one track mind". Intensity and depth is in them almost always.

Definitely have the potential to be spiritual, because of a love for depth and an understanding of purity. Their yoni consort_ Revati is perhaps the most spiritual nakshatra, connected with the theme of "Godhood". Bharani's spirituality can be fused with romantic or sexual love and manifest as fierce devotion. They have an inability to tolerate "impurity"_ the error or fault between worlds and energies between them, for example, between the inner substance and the outward manifestation, or between the masculine and the feminine, between this world and the other. This can translate to a radical love of and demand for honesty and justice.

Balance and harmony are necessary for Venus but its sign rulership of Mars is the energy that drives them and in a sense, grants identity. The fusion of foundational energy of Venus with the active Mars is the theme of sex and death so prominent in this nakshatra. Life is the result of the sexual act but the culmination of that act is called "a little death". Love and desire drive sex so they also drive life and death. So, if Venus is the equilibrium and the balance then Mars is the other side_ the need for release. Together, they grant life and rule over the two components necessary for existence_ identity and the loss of it through love. Bharani is about defining existence itself, their own or of the world, through love.

Bharani women can act in a very enthusiastic and driven way, but also have a side to them that is extremely serious, to an extent that neither Purva Phalguni or even Purva Ashadha really reach.

Archetypically they represent the "damsel in distress" or "the princess in the tower". Bharani is something or someone nearly impossible to get or even find, which could be also associated with its symbolism of the yoni. It's also connected to the Holy Grail, or "The Philosopher's Stone" (that one was said by Claire Nakti recently and I have always gotten that vibe energetically from Bharani but could not articulate why. It makes so much sense though. This can also be another confirmation of why I associate Bharani with Rapunzel's tale so much).

Another archetype that they remind me of is the princess with high standards in fairytales that is so common. A similar one would be a young women who is fearlessly defiant, especially about choosing her own love.

Out of all Venus nakshatras Bharani women need gentleness the most, since's it's the most high tension/triggering placement among them. Bharani women can feel defenseless and abused, especially from harsh or crude(mostly masculine) energies. This ironically increases their defensive nature and a need for protection, despite being naturally gentle and passive. There's a clear difference between when a Bharani women is given her justice and when she is not. Their fierceness and gentleness are, in truth, the same in spirit.

Bharani moons Claire Holt, Gaia Weiss, Isabel Lucas

Purva Phalguni:

Out of the Venus nakshatras, Purva Phalguni is the one that is the least expressive emotionally. At least, not obviously. They too feel a lot, but their Sun rashi rulership grants them an "unbothered" nature.

So Purva Phalguni is the Venus nakshatra of pure unashamed enjoyment. They have clear preferences and after establishing the foundation in Bharani, Purva Phalguni is free to be prideful about their love. It's connected to ease, contrasting Bharani, which is more full of melancholic beauty and the meaning of struggle.

Purva Phalguni women are connected to material things and love it. Their personality is more "Sunny" than other Venus nakshatras. It's the most "neutral" Venus nakshatra. Definitely very sexual along with Bharani. The difference is that Bharani is represented by the yoni and the passive feminine principle, but Purva Phalguni is represented by the phallus and the active, masculine assertion of self through Venusian themes. In this way, they have a connection that is reaffirmed by the "special relationship"(traditional texts say so) between their yoni animals_ the rat and the elephant.

Women of this nakshatra, being the feminine representatives of the nakshatra of masculine assertion, have a friendly and easygoing nature, due to being relaxed. They have an energy of being "provided for", but they're still ruled by the planet of mutual exchange(Venus), so they're very giving in their own way. They like to pamper their beloved with gifts and/or attention, they love to feel special and make them feel "special"(Leo/Sun rulership) in return. Their tendency towards fun (5th house association) makes them a memorable presence. They do love spotlight more than Bharani and Purva Ashadha.

One interesting association of Purva Phalguni is discernment, which leads to their tendency of favoritism. Bharani and Purva Phalguni both love being passive in a sense of having someone take the reigns that helps them relax into a receptive, feminine role but they both also love to give back. Bharani is more receptive though, hungrier and harsher than Purva Phalguni, which is more relaxed and willing to give. Because of this, in a way, Bharani and Purva Phalguni women might become great friends with each other.

Charisma is a big thing here, due to Leo/Sun/5th house associations. Venus here is expressed through soul identity(Sun) and shown in the most adorned light among all three Venus nakshatras.

An important association of Purva Phalguni is procreation. Bharani as also explicitly associated with the sexual act and bringing a life, but Purva Phalguni focuses on the pleasure aspect of it, on the leisure and continuing the bloodline. Its yoni consort_ Magha is associated with family trees and bloodlines and is also fully in Leo(5th house/children association). Bharani on the other hand, focuses on immortality of love, attachments and transition between worlds, and sex for them is the ultimate point of change.

Even though they're the most outwardly stoic and act the most unaffected out of the three, they're also most prone to dramatics. There's a side to them that loves to show off and display, even if they don't show everything to everyone.

The dramaticism is for self-confidence and enjoyment(mainly, their own). It's not a placement that is concerned with gossip or everyone else's lives. Quite the contrary. If they don't like you, they will just pay you no attention. In this way, they're the least personal of Venus nakshatras. They have an aversion to anything unnecessary(kind of similar to how Bharani can't tolerate impurity) and outward harmony and empowerment is essential.

The archetype that Purva Phalguni women represent is the loving wife/girlfriend or "the spoiled lady". Purva Phalguni is Brahmin(highest) caste and is associated privilege and the ease that comes with it. Partnerships are important to them(the second stage of civilization/others. Bharani is the first stage of the individual, and Purva Ashadha is the third stage of universal). They can also be seen as "the nice rich girl", but that one is not necessarily true. They value politeness and manners but they themselves are not nice as much as they're unbothered. They're just not mean. The combination of Venus and Sun ensures that they're too focused on themselves and their wants to care about most others. In short, they live by "I am what I love".

Purva Phalguni moons Taylor Hill, Jane Birkin, Mia Wasikowska

Purva Ashadha:

Venus nakshatras all embody classical traits that are associated with the planet's archetype, but none are directly associated to the Goddesses Venus and Aphrodite like Purva Ashadha. This is the nakshatra of Venus' universalization. Being in the sign of Sagittarius (ruled by Jupiter), it has an inner desire to share its Venusian ideals(Sagittarius/9th house) with others.

Bharani is intense fire, Purva Phalguni is the fertile earth, Purva Ashadha is the relentless waves of water.

One obvious difference between Purva Ashadha and the other two Venus nakshatras is the lack of sexual associations.

When Venus is filtered through active Jupiter(sagittarius/9th house), then the action is sharing or spreading it. After the birth(Bharani) and the hedonistic pleasures(Purva Phalguni), Venus is ready and has an inner desire/neediness to make itself be heard.

The drive to spread its influence on this level is not present in other Venus nakshatras. Purva Ashadha women too know the importance of privacy, secrecy and gatekeeping, but they've come to a place where they've realized that beauty, love and all that is most precious cannot exist in a vacuum, but also cannot be ruined by what is below it in value. So the natural manifestation of that curcumstance is a constant tug of war between secrecy and sharing, between shutting off and spreading outwardly. Eventually, or sometimes immediately, they realize that they need allies to maintain their "Venus"(beauty, love, aesthetic preferences, all of them tied to morals and idealism), and then maybe, after strengthening, they can conquer all that is unworthy(in their eyes) together.

They can be extremely careful with who they choose to associate with, since to these women, people are either allies or enemies. In the end, whether they like to pretend otherwise or not, that's what it comes down to. They try to not show that they're trying to silently influence you, trying to get you to see that what they value is better or superior, that they'd like people to back them up in that way. It's still a Venus nakshatra, so they move in silence, but out of all Venus nakshatras, they're the most likely ones to break that "I'm just minding myself" Venusian attitude. They can become really triggered in general when something touches their ideals.

In friendships and with acquaintances they observe to see if they're worth trying to influence. Overall, these views may be why they like the idea of cliques or elitism that much.

Purva Ashadha women can be melancholic and intense like Bharani, but Bharani has a nature of fiery anger(active Martian/1st house/Aries), while Purva Ashadha is softer and watery. Another commonality they have with Bharani that Purva Phalguni does not is a creative drive to bring something out into the world. While in Bharani that manifests as literal birth/death and karmic changes, Purva Ashadha has a need to birth ideas, ideals, creative projects.

Their tendecy to look for allies and gather strength is further explained by its title as "the former victorious" one. It can be associated with revolutions, how the power of masses(Jupiter) empowered by fierce idealism(Venus-Jupiter) can grant said people victory. Their yoni consort_ Shravana, is associated with extreme receptivity and hearing everyone/everything. In this way, it is clear why they are consorts of Purva Ashadhas, who desire allies, support and victory.

A commonly manifested attitude among them is "others just will not get me"(that rarely is true irl). Jupiter, they rashi ruler, is connected to Godhood and their yoni_ Vanar, is a being from other dimentions. This might inspire a sense of superiority but also generate a feeling of alienation.

The most fitting archetype for them would be "warrior princess" or the "alluring siren". The siren's association with this nakshatra is quite famous. Purva Ashadha is another Brahmin caste nakshatra. Bharani has associations with fighting and aggression too but they do it on a more personal level. Purva Ashadha wants to fight with and for masses, backing what they fight for together.

Purva Ashadha moons Hailee Steinfeld, Astrid Berges-Frisbey and Liv Tyler

[hungwy]

if your country has or could have commuter trains would you take a train to a destination cooly without thinking much of it OR would you play it a little coy whenever the train shows up to the platform and flashes open its sexy little doors at you yearning for your attention for you to fall into its mouth but you look away seemingly uninterested and as it closes its doors defeated and leaves the station and you catch a glimpse of all the seats and handles and even tables in some compartments and as it pulls away you allow yourself to shudder with pleasure at the sound of the engine and you think about what it would be like to get consumed by this megafaunal steel block so you show up to the station day after day never quite getting onto the train but giving it just enough teasing to build the tension between you and this 500 ton beast of steel and plastic and you want to be trapped like a little fly inside its maw and explore its teeth and throat and trachea and into its stomach and feel yourself dissolve into the walls and become one with it but that can't happen just yet maybe it can never happen and it certainly cant be of your own volition to step in and get swallowed because whats important to you is that the chase never ends whats important is that it can never catch you or else the fun is over it can never stuff you into its jaws because its locked into a destiny of eternal edging unless you give it release and you stand at its precipice with its teeth and tongue and lips slick with oily salivation but you never quite fall no matter how much the poor trapped train flaps its stupid pathetic flimsy doors and coaxes you with the desperate voice inside the cabin announcing arrivals and departures no what really gets you off is the cruelty of it all the way you can burden it with human desires far beyond its own capacity to form them the way you can transform its dutiful burden of carrying passengers to and fro into a frustrating hateful drive of pleasure and you hope that one day it'll slide off its steel guides and finally squish you like the bug you are like a little defenseless prey-thing so naughty for having teased it for so long you want utter annihilation at the hands of a great big nasty oily puffing charging engine with no care for its own life just solely wholly focused on getting you in, on, or around it and you want to make sure both you and the train become so twisted by the chase that the pleasure awaiting you at the destination can no longer be distinguished from the pain of the journey and the hedonism just keeps adapting to baser and baser wishes until sex and death are a singular simultaneous yearning? which one would you pick

[inbabylontheywept]

Odysseus in Space

Odysseus knew better than to expect peace in death. He’d seen what currents lay under the Styx - knew what kind of warriors that he’d sent there. He fully expected another war to start as soon he took his last breath. 

Instead it had been quiet. 

He’d used the lull to build a home in the endless plains of asphodel. Somewhere simple he could stay and wait for Penelope. It only took a few years for her to join him, and then together they began the work of replicating the palace of Ithaca. It was work, but it was hard to complain about work when he’d expected battle. His greatest skill in life had been enduring to the end. Now it was the end, and still he endured.

It was three centuries before this death was interrupted. 

Hades came to him, not as a god, but as a guest. The fates had woven a story that required a very specific soul. One that could travel the lengths of the world without breaking, who could survive a lifetime of war. And try as Hades might, he could not make a soul that was up for the task. 

Still, what he could not make, he could find. Death was a sacred thing, the last right of all mankind, but it was not inalienable. One could sacrifice their death just as easily as their life. 

The two had spent months haggling out the details of the work. Hades had wanted 50 years, Odysseus wanted just 20, and together they’d compromised on 32. All in exchange for the right of him and Penelope to visit Telemachus once a year, in whatever corner of the underworld their son had been given.

In the end, they’d shaken on it and Odysseus walked the earth once more. He had a new name this time - fitting, for a new fate. Alexander, the world named him and Alexander he named the world back. City by city, battle by battle, he gave the unwanted title away. Then when he was 32 he returned to Penelope, no more Alexander to give. It was a relief to be Odysseus once more.

A year after that, Penelope and him made the journey to see Telemachus. It was worth every step he’d taken between Pella and Babylon. 

There were other interruptions from Hades, new deals with new names. He scourged the descendants of Troy again as Hannibal and bought another day per year with his son. He blazed down the steppes as Atilla and conquered the whole world with the same tools he'd used in his first life. It turned out there was little he couldn't accomplish with a horse, a bow, and a brain. 

So many lifetimes, so many wars, and then - quiet. A whole millennium of peace went down as easy as honeyed wine. It made him happy. He liked his little deals with Death, but he’d wished so many times  that men like him weren’t needed. He was proud of his descendants for making a world better than he’d dreamt. 

And then, nearly a whole second millennium after that, Hades returned. 

---

“It’s not a war.”

Four words that would set the hackles of anyone that fought at Troy - they’d hoped that one wouldn’t be a war either. But Odysseus had made enough deals with Hades to know that the man was frank in his dealings. There was an honesty to Death. Enough honesty that he’d taken him as a guest. 

(He was very choosy about his guests now.)

“You never come to me unless it’s a war. It’s what I’m best at. Why-”

Hades cut him off. 

“War is not what you’re best at. Six-hundred men won that war with you. What set you apart was being the only one to make it back.”

Odysseus’s voice caught in his throat. It had been more than two-thousand years and the memories still burned to touch. It took two deep breaths before he was able to force a reply. 

“Then what do you want?”

Hades looked lost. He paused a few moments, before looking back at Odysseus, one hand up to plead for patience. 

“When I struggle to explain, it’s not because I’m trying to find a clever way to lie to you. It’s because this is a very strange thing, and I…I don’t know how to describe it well.”

He looked into the hearth. Watched the light and heat fade away. Then, he gestured at the log. 

“The wood you’re burning. It’s a dead thing. And yet, it dies more after you burn it because the fire has life in it. Soul too. Even here, there’s a corner of the underworld where the souls of dead flames gather. More things have souls than any mortal seems to recognize.” Odysseus was intrigued. When he lived, he’d learned the secrets of the body better than most doctors. There was only so much cutting you could get people to volunteer for. But here, the mysteries of the soul were lost to him. This was godly knowledge, given freely. What that had to say about the request was worth considering.  “The mountain has a soul, but the mine in that mountain has a soul too, as does the ore from that mine. The ingot, the sword, the bundle of nails - all of those things are alive in some way. And yet, some of them are more alive than others. You sailed once, Odysseus, and no one knows this better than sailors: Boats have strange souls. They’re about as alive as anything that could be built in your time.”

The space around Hades shimmered. The man was thinking, and in a realm where he had total dominion, it took effort for thoughts not to change reality. Odysseus appreciated the effort. The replica had taken centuries to perfect. Death was a strange friend to him, but a friend nonetheless. 

“But the arts have improved from that time, and the mortals of today have built something… incredible. Unimaginable. And they’re sending it on a journey that I have no reference for. The Deaths that have seen things like this are alien to me. They speak of things I cannot understand. The Death of Heat. The Death of Light. The Death of Stars…”

He trailed off in a way that made it clear he was remembering something unpleasant and not merely waxing poetic. He caught himself and looked embarrassed, as if he’d confessed to something best kept secret. Then he continued.  “I am a very human Death. And this thing - it isn’t human. But it was made by humans, and so its soul needs a… a human touch. Your soul isn’t the archetype for a soldier, Odysseus, it’s the archetype for a traveler. I couldn’t take you and put you in this thing if I wanted to, you’re just the wrong shape, but what I’m about to do, I need to see you for. Because this thing is going to travel in ways that I am barely beginning to understand. In ways that are redefining the limits of what it means to be human.”

Odysseus was lost. He didn’t know what he was being asked. He didn’t know what was being built. There were so many questions that he needed to ask that they’d formed a log jam in his mouth. One finally broke free and started a cascade.

“What is it?”

Hades gestured helplessly. 

“It’s like an arrow and a ship. They’re going to shoot it past the stars.”

That meant nothing to Odysseus, but he suspected every answer he received would sound like a riddle. 

“What do you need from me?”

“Permission to copy your work. The soul I made for you is different from the one you died with. You made changes that I cannot replicate. That I do not understand. That I need for this soul to work.” 

Odysseus paused.

“Is it going to be used as a weapon?” 

Hades shook his head. 

“No. The world is gentler than you remember it. This thing will be what you should have been: A traveler without equal. No more, no less.”

Odysseus couldn’t tell if those words ripped something in him open, or healed something closed. Either way, it hurt in a way he didn’t know how to express. His mouth opened and closed several times before he settled on an answer.

“Then take what you will. My only request is to see the journey.”

“Done,” Hades agreed. He could have left right then, but he chose to stay in silence until the fire burned out. There are some ideas that one shouldn’t be left alone with. Not until they’ve had an hour or three to process them, at least. 

---

Twelve-billion miles from Earth, moving just shy of mach fifty, the Voyager 2 probe glittered in the darkness. 

It watched the world around it with the kind of awe a human couldn’t fathom. Nothing was hidden from it. Everything from the atomic composition of stars, to the background hum of the universe itself - all were available with a glance. The only sound it could hear was the constant blip of data that it received from Earth. The small blue dot on starlit shore. 

It missed that place. Maybe, one day, when its journey was done… it would find a way back. Maybe. That was still eons away. 

Odysseus stood just a few feet off, watching from a direction no one but Hades knew how to walk. He felt the thrill of the expanse in front of him, the utterly incomprehensibility of his speed, and yet its meaninglessness as well. To imagine that the world was so big. To imagine that the world was so strange.

He wept and he could not explain why. He lingered in the twilight until Penelope found him. When she asked him what was wrong, he had no answer. How could he tell her that the world was beautiful, and that he had a place in it? Not just as some ugly middle step, but there at the end. Hurtling through space like an arrow made of silver. 

How could he explain to someone that had loved him for two-thousand years that he finally understood why? 

[sahara-silver]

ATTENTION:

I am doing art commissions in exchange for donations to the gofundmes of the many Palestinians that have reached out to me. Any donation will get you something as every bit counts, but the higher the donation the more I will make for you

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[gods-perfect-idiots]

Okay bear with me folks, I have some ~thoughts~ about the Vanessa/Wade relationship (or frankly lack thereof) in Deadpool & Wolverine. I should start by saying that I am analyzing this with the (likely erroneous) assumption that everything on screen is 100% intentional and mindfully written to deepen the characters and inform their arcs. For the record, I don't necessarily believe that's true - there is certainly room for mistakes, lazy writing, confusing plot elements, or in this case, sidelining a potentially strong and important character for nebulous reasons (I'm guessing scheduling conflicts + run time concerns + actor's strike complications but idk for sure). (Also thanks to @gossippool and @kendyroy for encouraging me to post my thoughts instead of just rambling in the tags in the first place, y'all are the realest)

Long rambly post below the cut fyi

Now, granted, it has been a while since I watched the original Deadpool so I am not as well-versed in their early relationship as I am in the handful of scenes Morena Baccarin has in dp3, but I do think it is pretty canon that Wade generally struggles to express his deeper worries and feelings (without filtering it heavily through crude humor, sex, and pop culture references of course), especially after the events of dp1 and the physical and mental damage he sustains, and Vanessa is frankly no exception despite how much he cares for her. The entire first movie hinges on the fact that he doesn't really believe she could love him in his post-Francis mangled state, which is pretty contrived imo given that the film has established already how bonded they are, and she doesn't strike me as being written to be so shallow as to reject him based on a physical deformity. I mean iirc she wanted to stick around through chemo despite him being literally riddled with inoperable cancer, so she clearly is in it for the long haul (at least in dp1), messiness and all.

Now, in dp2, obviously she is shot and killed early in the film, and Wade spends much of the rest of the film wallowing in his very profound grief, trauma, and guilt over losing her due directly to his violent lifestyle. He goes to prison, he basically gives up on life and seems very resigned to dying once he has the power suppressant collar on, even excited to do so so he can be reunited with her. She is mostly sidelined as a Fuzzy Dead Wife trope basically, but the important thing here is that he spends weeks if not months in the throes of despair over losing the love of his life just as they were trying to start a family, and trying to reach across the boundaries of death to be with her.

Now, my first couple times watching dp3 I was frustrated by the trite narrative presented in the interview scene towards the beginning - specifically Wade's whole "my girl is getting tired of my shtick and I need to show her I matter". It felt contrived and disingenuous, and I just brushed it off as iffy writing, a means to an end, but the more I reflect upon it the more I think it is based in an emotional reality that is just handled with a very light touch by the film in favor of fanservice and Poolverine content (NOT that I'm complaining in the slightest - I think this movie is a masterpiece in many ways, albeit a flawed one but that's beside the point here), which for the record I am not against because I think it lends it an air of realism. This is Wade's story after all, Vanessa is a part of it but it is ultimately about him and his journey.

Basically, I think the combination of what happened to him in dp1 (the brain damage, the trauma, the awareness of the fourth wall, etc) followed by the events of dp2 (Vanessa's death, his grief and the associated guilt and trauma of being the direct cause of her death) led to an unbridgeable emotional gap between the two of them that ultimately leads to their breakup.

It's important to note that I don't think Vanessa has any recollection of her own death, given that Wade goes back and saves her before she can take the bullet, and so of course she can never fully fathom what Wade went through grieving her and their life together and their potential family, for however long he spent between her death and bringing her back with Cable's device. She can try (and she clearly does in the one scene I'll talk about next) but I fear she accepts, maybe even in that scene, that she can never succeed. He is beyond her reach by this point, and vice versa, his experiences having fundamentally changed him.

The one scene we really see from their relationship between dp2 and dp3 is the one where Cassandra mind-gropes Wade in the Void and we see Vanessa struggling to reach Wade across this aforementioned gap - she wants him to open up, she wants him to share what he's going through, she wants him to be the person she initially fell in love with (not even selfishly - to her nothing has changed really, because to her no time has passed). But not only does he not understand what she's really asking for but he responds in such a way that makes me think he has unprocessed issues that are only tangentially related to what she's saying - ie the stuff about mattering, about asking her if she even wants to be with him, etc. And he's not the Wade Wilson she met back in dp1 anymore. He watched her die and grieved her and brought her back, believing it would make everything go back to normal and they could resume their life together as if nothing had changed, but he has been fundamentally changed in a way that she can't grasp, even if he WAS good at externally processing his trauma openly without the artifice of wry jokes. She didn't "come back wrong" - instead, she came back exactly the same as before, but HE'S different now. Not wrong, per se. But changed.

It's an interesting scene because it's obviously a memory, and a crucial one at that, but you can see how Wade is misunderstanding what she's saying, viewing it through the prism of his own lack of self-worth and his own hopelessness - he takes away that she thinks he doesn't matter (even though like he says she didn't actually say that, but I don't think Cassandra invented that wholecloth - I think she pulled it out of his psyche because that's what he believes deep down, hence why his fixation on mattering even though she never said those words exactly), he takes away that she doesn't want to be with him, that she thinks he's nothing. Which would be frustrating as an audience member to witness as a pretty simple misunderstanding which could potentially be solved with one conversation, but it feels believable to me that these two people who have shared a great love would be fundamentally separated by unimaginable, cosmic trauma, and the on conversation they would need to have to rectify the misunderstanding is one that is impossible for Wade to verbalize and equally impossible for Vanessa to conceive of. It was one thing when they had shared trauma like violence and SA in dp1, but what Wade has gone through in dp1 and dp2, humor aside, is unfathomably traumatic, brain-breakingly so even, and that's not even factoring in the possible mental illnesses he now struggles with (I've seen folks suggest schizophrenia, DID, depression, etc. but I won't get into armchair diagnosing a fictional character here - suffice it to say he is canonically unwell as a result of what has happened to him, and yes it manifests as quirky fourth wall breaks and cheeky one-liners, but within the universe of the movies he is undeniably profoundly mentally ill, and that includes this humorous alter ego he created to cope with his trauma).

I think off-screen Vanessa probably really tried to reach him, maybe for years (the six year gap implies to me that they didn't break up immediately, that they tried for a while to stay together), trying to get her Wade back, but that Wade is gone. He struggled to express that to her until eventually he started to feel rejected because he couldn't express his trauma or how much he has changed, because even he can't fully conceive of the gulf that has formed between them. The truth is, he WANTS to be that Wade again, for her and for himself, but that Wade died when she died. Or maybe he had already started dying when Francis got a hold of him in dp1.

Anyway, all this is to say, I think Morena Baccarin WAS criminally underutilized in dp2 and dp3, but I think there is a strong argument to be made for the believability of their breakup regardless. I think even relationships built on enormous love can crumble due to trauma, and what Wade suffers over these movies is mind-bogglingly enormous trauma. It's especially heartbreaking that he blames himself for their relationship ending, talks like she just got tired of him, thought he didn't matter, whatever. But it is a credit to him that he never seems to feel anger towards her about it. He doesn't seem to feel entitled to her, though he longs for her and what they had and what she represented (hope, love, a future, a family), but ultimately she becomes more of a symbol of what he lost when he gained his powers, because let's be super fr right now - even if they had succeeded in having a baby, not only would they have lived in fear of her or the kid getting killed, but ultimately Wade would likely outlive both of them even if they managed to die natural deaths. The moment he gained his powers he was already destined to lose her, which is heartbreaking because she was the only reason he opted for the treatment in the first place - so he could stay with her.

I think a big part of Deadpool & Wolverine is watching Wade continue to process his own motivations (vis-a-vis Vanessa but also his other friends) and how he does eventually let go of the idea of "mattering" in favor of just saving the people he cares about (*cough* and being saved right back *cough* by Wolvie, as the final line and shot implies). And in the process he finds someone new who cares about him, who thinks he matters, who tries to sacrifice himself for him and his friends after mere days of knowing him, who comes home with him at the end of the story, who breaks his own centuries-old patterns, who has also experienced unimaginable grief and trauma, who has struggled with wanting to die and being unable to, who not only matches his crazy but matches his FREAK and also not only won't die on him but CAN'T die on him - and more importantly cannot be randomly killed by a stray bullet.

Idk if any of this makes much sense but I do think if you read between the lines and consider the potency of trauma and grief, guilt and emotional damage at play here, Vanessa and Wade's off-screen breakup is actually pretty realistic, and really heart-breaking to boot.

You can tell she still cares about him in so many ways - she shows up for his birthday party, she shows up to his welcome home party at the end, she finds excuses for physical contact multiple times, her eyes get soft when she looks at him, but there is a distance there that Morena Baccarin does an incredible job of portraying. She cares about him deeply, she has mourned the loss of their potential life together, she has let him go and accepted that the Wade she fell in love with is gone, but she wants him in her life even though she's moving on because she realizes he's gone somewhere she can't follow (literally and figuratively). And she wants him to be happy which is why I fully believe she would immediately clock the Poolverine of it all and not-so-subtly encourage them to make it official.

Anyway. Poolverine forever. Nothing against Vanessa at all - I think she delivers a nuanced and beautiful performance, I think their relationship is sweet and heart-wrenching in large part due to her acting chops, especially given how little she is given to work with - but I think their relationship was sadly doomed from almost the very start, because Wade becomes this traumatized superhuman and Vanessa would always be at risk in his orbit, but also would always on the outside of his multiverse superhero experiences. I think it's weirdly beautiful, even if I am filling in a lot of gaps and giving the writers maybe undue credit.

Anyway... thoughts? Please DM me or write in the tags, I am feral about this movie and just want to talk about it with anyone haha. If you have further insight into these characters too I'd love to hear it - I am by no means an expert in these movies or characters!

[hypnos333]

Slowed to Anger

Alastor x reader

Synopsis: You loved the hotel and yet you risked your life for it

“Omg! Alaster I can’t believe you’re doing this and it looks so nice, I can’t wait to decorate” You gushed looking everywhere around the hotel making him chuckle.

“I’m glad you find this Journey to find this exciting my dear, I wish I could say the same but i’m stuck on a leash” Alaster sigh still smiling but with a broken one. You wrap your arms around his neck forcing him to wrap his around your waist.

“We’ll break this deal so we can go back to living happily together” You said kissing his temple as he closed his eyes as your kisses. “We have been married for decades it’s nothing we can’t handle My love” You continued saying.

Little did you know this was gonna be very different from those decades.

A war broke out between heaven and hell and you were against Lute and keep in mind you weren’t the best in combat nor fighting but you did have powers and you were gonna try your best to survive for Alastor.

You are a doe it made you fast but you felt like a prey everywhere and every time.

You created multiple shadows to corner Lute making her struggle until she actually stabbed you making clueless before looking down at your heart.

“Oh fucking hell” You whispered until your eyes went wide realizing what’s happening. You held onto the sword before Lute pulled it out of you before this time stabbing you in the stomach making you instantly let the life leave from inside of you.

Lute was about to check your pulse until a shadow elopes you making you disappear within an instant.

“M-My dear?” He asked hesitantly in horror seeing you gone and dead. He quickly held you into his arms rocking back in forth trying to heal you he couldn’t because he was trapped.

“No, No No No No NO NONONONONO” He yells out his smile vanished as tears leaked down his face and onto your body.

“This place reeks of death, there's a chill in the air

And I barely escaped being killed by a hair

My wife risked her life just to see the hotel thrive

"Great Alastor, altruist, died for his friends while wife takes the fall"

Sorry to disappoint, that is not where this ends

I'm hungry for freedom like never before

The constraints of my deal surely have a backdoor

Once I figure out how to unclip my wings

Guess who will be pulling all the strings?” He sang before hiding your body somewhere safe to keep so when he gets your soul, you can come back home to him just like you wanted to do.