#literally keep finding new relevance for this one line

[edge-oftheworld]

'shallow hearts for shallow minds that ache to be alive' the chokehold you have on me

[yeyinde]

dangle on the leash | Simon "Ghost" Riley x F!Reader

The flimsy sarcophagus housing all his wants, his desires, cracks open when Price announces that his missus is pregnant. Ghost cocks his head in consideration. Intentionally knocking you up is amoral. Probably illegal. Somehow, even more dastardly when the reason for it is simply selfishness. Want. Greed. Hunger. But he's a rabid dog burning with the urge to bite. No one should really be surprised when he finally decides to sink his teeth into you. Unfortunately, that hail mary Price sent into the aether never reached you.

(your bird is too big for a cage— —but maybe a collar would do.)

this is a babytrapping fic lmao but please read the tags carefully. a companion piece to this (Price + babytrapping).

DEAD DOVE. SMUT. 18+

HARD WARNINGS—coercion. dependency. intentional alienation. unsafe, unprotected sex. this very much toes the line of noncon (that is still very dubcon even when consent is given) in many ways, notably: somnophilia, and condom/contraceptive tampering. intrusive, violent thoughts. mentions of violence. manipulation; slight gaslighting. implied kidnapping. references to past abuse (Ghost), brief mention of drugging/threats of drugging (ambiguous as to if it was ever followed through on or not, mostly just Ghost's internal monologue unfiltered). ADDITIONAL TAGS—smut. rough sex. unsafe sex. dom!Ghost. mean, obsessive, unhinged!Ghost. spit kink. dacryphilia.

he's feral, but he's yours. too bad for you, no one is really sure if that's a good thing or not.

One of the things Price often tells new recruits is to shove their old life into a box. 

“There's home,” he huffs, fingers twitching as if he's subconsciously flexing around the hilt of a lit cigar. “And then there's work. Whatever box you decide to put this, or your family, your personal life, into is your choice. But for fuck’s sake. Keep them separate.” 

Most of the new recruits are fresh off selection, shaded sickly chartreuse, and take his words as a literal gospel. Work, this; home, them. They don't start to unravel the second part of his gruff speech until much later. Until they can't wash the blood from their hands, and the scent of their mum’s eucalyptus hand soap is nauseating. Unfamiliar. When being in civvies feels like wearing skin that doesn't fit, and everyone around you is alien, foreign. They don't know. They'll never know. 

It's only when they find themselves gazing at the clock on the wall of their family home, counting down the minutes until their mandatory leave is over do they realise that home is the barracks. 

That's something Ghost has always understood. Maybe it was because his home life was already in ruins, tatters. Beer soaking into the knock-off Persian rug a cousin nicked from a flea market when he was nine. No fine china in the cupboards because it'll end up in shards on the floor. Plastic plates and forks and cups. Always. Howling in his head. Screaming from down the hall in his mum's room. His bedroom door creaking open at night. The anger, the curdling fear (shameful—be a man; punch him back, hit him before he hits you, you useless prick—), of not knowing whether or not it was his dad, high as hell and itching for a fight after busting their mum’s lip wide open, or Tommy sneaking into his bed at night because his is soaked in piss and he can’t sleep when they scream at each other like this.  

(Funny that, he always found; neither of them could ever sleep when it was silent, either.)

Blood on the linoleum. Trying to eat burnt toast and overcooked beans with a busted lip and a twinge in his jaw—

(Fractured, they'll say later, years later, during his mandatory medical checkup when he's first recruited. Healed all wrong. Son, didn't anyone take you to hospital?) 

He understands the separation between home and work—even if the former lost all relevancy nearly a decade ago. Back when he buried them all. Was buried himself—

What Ghost never really understood was the box. 

Shove it into a box. 

When he asks over cheap whisky somewhere in Siberia, Price tightens his fingers around his glass before bringing it up to his head. His index finger juts out. He knocks the tip of that bruised, scabbed knuckle against his temple. Once, thrice. Levels Simon with a pointed look he both can’t understand and somehow knows all too well. 

“Up here."

“Paid nearly fifty quid for that,” he grouses, shaking his head. “Think I've been ripped-off, Price.” 

Price scoffs, places the glass down with a hollow thud. “Don't be a fuckin’ muppet, Simon—” his real name makes his shoulders tense. Around the barracks, they know him only as the Ghost. “You put it away somewhere. Hide it. I don't fuckin’ know. But if it keeps you goin’, keeps you sane, and doesn't become a mess I gotta clean up, well—”

The implication is stark. Heavy. 

Price was always good at chiselling through layers of accumulated indifference to get to the madness within, but considering Ghost’s past and his mile-long rap sheet, the warning digging into his words like a dull blade isn't unwarranted. 

Old dogs, he'd called the pair of them when they first met. There was a sharp keenness in his eye when he lifted his hand, waved his cigar toward the tangled mess of scar tissue crisscrossing his face (made with a dull, rusted knife, one that gouged out deep pocks of skin, ugly fuck, looks like the badlands, don't he? like a postcard from the Grand Canyon, sweetheart. not so cute anymore, are ya, pretty boy—), and said, “well, you're fuckin’ rabid, ain't you? Better put a muzzle on that before it becomes a problem, mm.”

His problem, specifically. 

And Ghost gets it. Thinks Price might understand that particular brand of madness—despite growing up on literal opposite sides of the track, his Manchester to the others Liverpool; poverty and prestige—if only just. Because Price seems to be able to curb those baser impulses in a way Ghost hadn't yet mastered (and won't for quite some time yet). He's put together. Sort of. Respected. Normal.

The men in the barracks don't look at him and flinch. 

But he sees the way the man's eyes linger in the crowd, shrewd and careless, before falling on the pretty bartender in the back. The one with roses in her eyes and a smile full of dandelions. Soft, like butterscotch. It's here when they darken. When he reaches, almost angrily, for his whisky. Pats his chest with a heavy fist searching for his cigar. 

She's a sweet thing, he reckons. All pretty and trusting. Birds like her make his head itch—

“Don't even think about it, Simon,” Price grumbles, and it feels like territorial posturing, a challenge he almost raises to meet with his chin, if only to make Price fluster, but it's hollow. Empty. He denies himself, too. The prick. 

“How'd you do it?” He asks, and doesn't specify. Doesn't think he needs to. 

When Price swallows, it looks like a grimace. “Years of practice.” 

He considers the weight of it, his eyes straying back to the woman behind the bar. She's tucking a strand of hair behind her ear, wrist delicate like bone china, the kind they could never afford, and for a moment, the intrusive thoughts, the ones he gets sometimes about wanting to tear things to bloody pieces, rears—

It's stamped down in a swig of flat lager You stupid fuckin’ mutt, Price would say tomorrow morning, shaking his head. You always think with your prick? 

Simon cranks his head sharply to the side instead. The resounding crack seems to echo through the empty pub. 

Price just shakes his head. “Christ. No one ever house break you, yet?” 

“Yeah, they did,” he rasps, staring at the bartender who gazes back at him now. Skittish, unsure. Not so sweet after all. She looks away, cowed. Her hands tremble. He leans back, and hums. “And now I piss outside, like a good ‘ol boy.” “Ain't nothin’ good about you, Simon. Fuckin' Christ—”

And he's not wrong. 

The Ghost has a reputation of being a cold-hearted bastard. A Frankensteinian beast cobbled together with spare parts robbed from a jailhouse graveyard. Worst of the worst. An arm from a mass murder. The leg from a spree killer. Heart a patchwork mess of ichor and sulphur. Sutured together with barbed wire. 

It's all sort of macabre. Rather trite, too. 

The rumour mill in the barracks is insatiable.

But sometimes, he wakes up and he's still buried. Still dead. Dirt in his throat, lodged in his nose. He breathes in and feels pebbles scraping his lungs. Feels worms in his ears. Maggots in his head. 

They crawl through his grey matter. Leeches burrowing into his thoughts, sucking the good in him dry. 

Or, whatever's left of it, anyway. 

He thinks with his teeth because it's easier that way. Cold, calculative instinct. Just barely boxed into a neat package slapped on the desk of Price's higher-ups. 

A good man, they say, and turn him loose on the streets. One of the best we have, as he breaks jaws, and tears through jugulars. A force to be reckoned with. 

They hand him a gun, a rifle, when the bloodied footprints leading back to camp become too much of a hassle to clean. Shoot from a distance. He takes to it like the bulk of metal was made for his scarred hands. Scythe to a Reaper. 

It feels like bloodletting. Draining him of his anger, his fury, until a cold, gnarled indifference curls in the basin left behind. Icy, frigid. Down to the bone. 

Sometimes, he doesn't remember what it felt like to be warm, even buried under a thick balaclava and layers of military fatigues. 

Frankenstein’s monster. Patched together from the rotten remains of horrible men. 

And as he stares in the mirror at the patchwork ruins of his face, his body, he wonders if there's some truth to it, after all. He's pretty sure if someone cracked his skull open—again—they’d find rot. Tumulus. Infested with maggots and worms. Cobwebs behind his eyes. In his nose. His brain perfectly preserved: a zombified tombstone. And oh, how it hungers. 

Wants. 

But in a box it goes. One shaped like a coffin. Placed pretty in the back of his broken head. 

He stares in the mirror and thinks he sees something moving under his eye. Wriggling around. The temptation to claw it out rears, but the shredded tissue on his thighs reminds him of what happens when he listens to that insidious hiss in the back of his head (some amalgamation of his old man, and that bastard—) and goes searching for gold in bone marrow. 

He huffs. Fingers curling around the porcelain. His head is rotten. Putrefied. He can feel the decomposing sludge press against his temples. It grows teeth sharp like a razor blade and hacks away at jaundiced bone. Ghost lifts his hand, digs his fingers into his temple. Down boy—

(Simon doesn't even want to consider what his heart must look like, then.)

Cold-hearted, sure—

But he likes sweet things. 

The kind that will undoubtedly give him cavities. A spillover, perhaps, when candy bars were too expensive, and the only dessert he was given was a toffee by the neighbour when she wasn't moaning to his old man about all the shit he and Tommy got up to. 

(Bruises came afterwards, the colour of liquorice. Sour cherries.)

Unfortunately for him, sweet things don't like him much—a shame, really. Simon has always had a sweet tooth. 

His rough edges are too sharp for their liking, and Simon's—

Intense. Like a dog with a bone, he doesn't know when to let go. When to unhinge his jaw from the morsel between his teeth. He bites hard. Shakes his head. Tears into the things he wants until it's bloodied meat pinched in his incisors. 

And so, they keep their distance. Like they can smell the rot on him. The funeral dirt. The stench of an unearthed sarcophagi. 

Sometimes, though, the wiley ones will inch closer, looking to get messed up badly by a bad man, and it makes something inside his head howl when he turns them down. Following Price’s creed. Can't give in to the pretty ones, he'd said. Nothin’ but trouble. 

Trouble, like a pair of shackles. A noose. Trouble, like gentle, clean hands and fragile bones. Fine china. Fine powder. The marshmallow soft kind of trouble that will melt in the acid that leaks from his pores. Aqua regia. Attacking anything that gets close. 

(Breakable, is what Price means. Pretty chew toys that are beyond repair once he's finished with them.

He must think Ghost is some sort of psychopath—)

But still. He stays away. It's easier on base, in safe houses, too far out from the general public to have to worry about doe eyes and soft touches. He doesn't need it, anyway—

Then comes you. 

And the forfeiture of his self-control. 

You're trouble of a different kind. 

Trouble, like the end of a sledgehammer. Trouble, like the grill of a car. The barrel of a gun. 

In the shape of a battering ram, one strong enough to dislodge the madness in the back of his head. Where the corrosive acid should ruin you, eat you alive, it doesn't. Not with your tantalum skin. 

But oh, do you pack a punch—

At first, you think he's homeless. 

Some scruffed-up man sleeping on a park bench outside of your apartment. 

In another life, he might have been. He isn't a stranger to bad habits, and had the military not been his only choice in life for some semblance of good (laughable, considering what he does for a living), he could see the threads of his life leading him here. Drugs. Manchester is good for it, this he knows all too well. Especially the shithole neighbourhood he's from. 

He doesn't clue into this, though, until you glance at him, warily, and then shuffle into the cafè he’s holed outside of, the place where his current target gorges himself on steeped tea and crumpets. 

(Price's dry text sits, open, on his burner phone: and don't fuck this up—)

It feels a bit like an omen. Made worse when you meet his gaze through the glass, and—

Well. Shit. 

The impact is a collision. Hitting a pole at top speed. Metal bent around concrete. 

His teeth ache (so, so bad—).

You emerge from the small building a few minutes later—the faded eggshell with chocolate trim is nauseatingly sweet against your pastel yellow raincoat—holding a takeaway bag, and balancing a tray of coffees in your hand. 

He tenses. It's instinctual. There's nothing about you that's an immediate threat to his person—unless you plan on adding to his scars with the tip of your umbrella, the scalding coffee in your hand—but it's odd, isn’t it? No one approaches him. Not unless they have a reason to. 

And no one, in his experience, ever has a good one. 

“Hi,” you chirp, disarmingly sweet, as you come to stand in front of him. His jaw aches. Even sprawled across a bench, you're barely looking down at him. Sticky, cold fingers tap a strange rhythm down his spine. “I, um, hope this isn't weird, but I saw you sitting here, and—well. I got this—”

You wiggle the bag. He smells something greasy. A breakfast sandwich, he's sure.

It's an unusual assassination attempt. Price will be livid. 

“What for?” He rumbles, sitting up in the seat. The shift of his bulk seems to make you nervous. You take a step back, and he fights the urge to follow. To back you into a corner. No escape. 

You regain your footing, even if the smile on your face wobbles. Weakens under his flat stare. Some people can smell the rot on him. 

He wonders if you can, too. 

(Pity that. You're a pretty bird, ain't you?)

And the way you take him in lacks a distinct thrum of hesitation, fear that’s normally there. It occurs to him, then, that you see him as just another man. Just another person. 

(“deader than a doorknob, this one. such a goddamn waste, boss. he was a fun one, wasn’t he? should we burn ‘em?” 

nah. bury him out back—)

It's laughable, really. A joke. He has the urge to crack one—sick and awful enough to make that little smile on your face wilt. Wither away. Almost does, too, but it get tangled in his throat when he feels the weight of your stare on him. 

The easy sweep of your eyes is barely discrete, but it's clinical. Pitying. But the softened edges of that empathy dissolve as your pretty head adds up all the numbers on him, coming to a standstill. Your eyes linger on his wrist. The gold of his wristwatch peeks out beneath the black sleeve of his hoodie. An intricate web of complex timekeeping that only he's privy to. A little luxury he picked up in Italy when the cash he'd been given was getting too tiresome to carry around. 

Dead men, after all, don't need bank accounts. 

And then—

You fluster. “Sorry, I just thought—”

It clicks, then. The pity. The soft words. The goddamn coffee— 

His gums itch. He has the sudden urge to be mean about it. Pick you apart in this street until nothing but embarrassment and humiliation remains. 

“That I was homeless? ‘nd you brought me, what? A coffee? ‘ow sweet of you. Some breakfast, too. Well, aren't you a lovely girl?” 

You are embarrassed. It blisters across your expression. Has your hands trembling around the cardboard tray, spilling droplets of coffee down the side. Your head is bowed, cowed in shame. It reminds him of that bartender some years prior. Pulling away when the bad dog growls—

But there's a thin sheen of intrigue in your eyes, burrowing holes into the shoes in front of you; a tangled knot of want coiling in the heat of your embarrassment over this blunder. Over offending him. 

Well—

That's new. 

Some get off on it. On humiliation. Specifically, of the public variety. He didn't take you as the type. The way you twist, squirming in place, is odd, though. It doesn't fit as well as he originally thought. No. It's not the public shame, but—

Him. 

Ah. 

Sweet, sweet girl. 

(So naïve.)

He reckons he could get you to do just about anything to make it up to him. You would, too. You're soft enough to be submissive, to bow your head in contrition, but there's a flicker of defiance in the jut of your chin when you lift your head. 

This is a blunder and you're sweetly embarrassed, sure, but it isn't enough to break you. 

And now Simon just wants to ruin you. Teach you a lesson about bad, vile men—

(Something you'd welcome with open arms, wouldn't you?)

“Didn’t know Manchester was so charitable,” he rasps. His throat is dry. Parched. He reaches for the coffee—black, with extra creamer and sugar on the side, tucked neatly in a little bag; fuckin’ hell. Ain't you just adorable—and places it on the spot beside him. “I’ll be takin’ this. Will need it for later.” 

You look like you want to protest. Fight back. His hackles rise, ready for it—eager. Something anticipatory, dark, bleeds through the moulted mess of his head. Sickly. Terrible. He thinks about what you'd look like sprawled under him, shaking and begging for more, for him to stop—

Fuck. Birds usually make his head itch, but you make his fucking skin crawl. 

In the end, you just huff. Roll your eyes. He wants to chew them out of your head. Pop them between his teeth. He bet you'd taste divine. 

You walk away from him before he can. You don't look back once. 

Pity, he thinks. Someone's gonna snatch you clean off the streets like that—

Hours later, he sends Price a text message with the coordinates for where to pick up the package Ghost left. 

He considers it a blessing when the man sends him back, good job, now get a pint from me as a little reward. Can't say I don't treat my team well. 

A reward, huh? 

Well. With your stature in comparison to his own, Ghost easily can see you being considered a pint. 

So, he follows you home, and tallies this one as being on Price. 

It's easy. Too easy. He slips deftly behind you, tucked away from view, and masks his footsteps under the echo of yours until he's standing in the shadows outside of your house. This, too, feels like a blessing. It's a duplex. He waits for one of the lights to flicker on, and—

The window brightens. Room number two. 

He hums, and palms his pockets for the pack of smokes he nicked off the man. Needing something to take the edge off. To quell the urge to bite. 

It's even easier to engineer meetings. Random run-ins. All blamed on happenstance, chance. Of course. This towering mountain of a man with his thick manc twang—the sort of gallows humour that can only be found in the blue-collar streets of Salford from the nasty old men squatting on the corners—must have better things to do than stalk you. Surely. You're not special enough to be hunted, right? 

Still. You're a touch wary of him. Distrustful. You keep your distance—six inches for Jesus Christ, aren’t you a peach?—and try to skirt the line between neutrally polite to the strange man loitering outside of the shops you frequent (your schedule burned to his memory, naturally) and that fascinating skittish intrigue from before. All simmering heat. Blunt want. The kind wrapped up in silk threads. 

It's interesting to watch it play out when he steps closer and all those long-forgotten instincts in the back of your head flare up. The shaky step you take back. The inward frown of confusion when you're not sure why your body craves space, acting almost on its own. And then the sweet defiance that breaks over you. The intentional step closer. The feigned warmth in your tone as you talk to him.

It's easy to pocket the uglier aspects of his personality. The coldness. The indifference. The flat, droll insincerity that leaks into his tone. All of it shelved, locked away, and he's not sure if Price would be happy that he listened to what he said, followed his example, or furious that he's bastardising it to lure this pretty fish in.

)The latter, undoubtedly. But Simon gets a sick kick from it all.)

Especially when it brings you closer to him. Thaws you as you rationalise his reaction during the first meeting, gears spinning. Kicking up excuses. 

Anyone would be angry, offended. It's natural. He's alright now—

It makes you look at him differently as you forcefully fight the urge to flee. 

Silly bird. 

Wary eyes rake over his massive bulk. Brows furrow at the series of black medical masks he wears in public. Always. That, in addition to the heavy black of his wardrobe—black jacket, black hoodie, black leather gloves—sometimes makes you glance at him with a touch of worry. Fear. Probably wondering if you brought home a delinquent. 

But it changes when he rolls up his sleeves one day after you've been moaning about your broken beach cruiser (the, I don't know, chain—or something—keeps catching—), and crouches down to fix it. 

There's a hitch in your breath. A distinct swallow. A guilty tinge of something shy, deliciously so, shading your eyes ruby-red when you look down at him. 

And ah—

Sweet little treat snagged on the line. Ain't he a lucky lad? 

It's all the better when you do the work for him. Reeling yourself in, practically throwing yourself in his cooler when you ask about his tattoos, carefully—considerately—nudging the topic away from his ugly scars. 

He guts you clean as he tells you he's in the military. Top secret, pet. Don't ask because I'd hate to ���ave to hurt a pretty face like yours—

You preen under it. Pet. Pretty. You don't even notice when he slides his knife over your scales, dices you up on his chopping board. 

You're the picture of sweetness when he unkinks the chain in your bike, and sets it straight. All happiness. Smiles. Appreciative glances. You flutter your pretty eyes at him as you say—

“Thank you—”

You're waiting for a name. His belly rumbles. He could eat, he thinks, and licks his teeth. 

“Simon. Simon Riley.” 

The risk-reward ratio is balanced when you breathe it out between plump lips, chasing the end of it with your tongue. He wants to eat it out of your mouth. Swallow it down. 

You touch his arm, hand warm, soft. “If there's anything I can do to pay you back—”

He takes you out for a kebab later on. Nudges you out of the way when you open your wallet to pay. Draft girl. Naïve, too, because he can feel the heat in your cheeks from where he stands, reaching over to snatch the bag from the man with a grunt. 

You must think him quite the gentleman. So trusting. 

Doesn't matter. He lets it take root. Especially when you shyly invite him back to yours to eat. 

He makes a feast of it, and fucks you on your mint green chaisse after he's finished. 

(Not on birth control, you say, and hand him a box of condoms, suddenly shy. It's unopened. He hums, and burns that to memory.) 

He keeps his distance—an easy feat when he's halfway around the world, and you're stuck in the gloom of Manchester. 

It's purposeful, of course. He made a promise to Price not to give him a reason to worry, but fuck—

You're proving hard to quit. He's never had anyone cuff him upside the head on his bullshit. Not anymore, anyway. Not as the Ghost. He likes the thrill of it, of this chase. 

You don't let him steamroll you when he's in a mood to fight. You punch back, hitting him right in the mess of his guts, and fuck. Fuck. He's a little bit obsessed with it. With you. This wily little fish that acts so shy when he's got three fingers buried in your cunt, but rides him after like you're starving for it. Clawing at his chest. Scratching his arms. It's raw. Primal. He wants to break you—this fiery little kitten that bites his fingers until they bleed, and then purrs in his lap as he drives a pickaxe through your head, shredding logic into pieces. Rummaging around until he nicks the optic nerve that lets you see red. 

You’re everywhere. In everything. In the back of his head, under the howling that hadn't stopped since you trailed your finger down the jagged topography of his bare chest, digging your nail into the crude x across his heart, and whispered, soft and sweet: you're all kinds of fucked up, aren't you? 

A bludgeon to his self-control—

He resists. Has to. Is mean about it, too. Doesn't tell you where he's going (it's need to know), or what he's doing (would ‘ave to bash your pretty ‘ead in if I told you), but keeps you strung on the line (keep thinkin’ about that pretty cunt of yours; can't wait to come ‘ome and ‘ave you sit on my ugly mug—). 

It's dangerous, this game of his. Thrilling for all the wrong reasons. 

But he’s a good mutt. Good—

Until the text. 

The one you send to him when you're out with friends. A picture. You're in a pub somewhere in Moss Side, a drink in hand. A gaggle of nobodies crowded around you. It makes sense, he supposes. There's that old idiom—you’ll trap more flies with honey—and he doesn't know anyone nearly as sweet as you. 

His sweet girl.

(you fuckin’ mutt—)

Ghost stares at you for a moment, teeth aching. The little ensemble—a crop top and jeans—is a vision, he reckons. But it's spoiled when he catches more eyes on you than pointed at the camera. Practically spilling out of your top, aren't you? 

He breathes heavily through his nose. Tastes guncotton in his throat. 

Ghost commits every face to memory, and then calls you. 

You're drunk. Too drunk to remember it tomorrow. Stuck in a pub on what's supposedly a bad part of town. Chatting away about going to your friend’s house. He gets the address, and something sour twits in his stomach. Shit council houses. 

“That safe?” He asks, leaning back in his chair. He's already chubbed up in his slacks at the slur in your voice. “And dressed like that? Didn't take you for a slag—”

It makes you sputter on the line. “I'm—I’m not—”

You're so quick to placate him. So hasty to make him happy. Please don't be angry with me, Simon. I'm just having some fun—

The claws and fangs are tucked away when you're drunk. He shoves the information in the cache, eyes burning. Head aching. He's feverish. Hot under the collar.

Odd considering he's dead—

“Sounds like you will be.”

“It's not like that—”

“‘ow would you know? Might meet a nice fellow. Might take him home.”

“I don’t—I wouldn't—”

The sniffle makes him throb. Fuck. “Yeah? Well, ain't none of my business, I reckon—”

“It is.”

“Oh? How's tha’?”

“I—I like you, Simon—” he can taste your embarrassment through the phone. He didn't even need to bring you flowers and you're already boxing him into monogamy, confessing to him. So sweet. So tender. If he were a better man, he might have told you to sober up. To talk about this tomorrow. 

Too bad for you, he isn't. And what’s worse is that he’s a loyal bastard, too. 

But that's later, and right now—

He's halfway across the world, and you're vulnerable. In the den of hungry mutts. 

It’s charr in his throat. Anger in his veins. “You like me? An’ you go out dressed like that?”

“There's nothing wrong with how I'm dressed—”

He sucks his teeth. “Dunno ‘bout tha’, pet. You look like you're achin’ to get fucked.”

You take a shuddering breath. “I just want you—”

“Yeah?” It's a growl. His cock spits prespend in his trousers. “Then be my good girl. Go home and wait for me.”

It's quiet on the line. He catches the hitch in your throat, the sharp exhale, like you can't really be sure if he's serious or not. He says nothing. Waits. 

Where there would have been a fight—fists and teeth and snarling words—you quieten in the silence. Docile. Submissive. It's in you, he knows. He saw the glimpses back when you first met, when he'd bent down and fixed the bike he broke. All it needs is a little—

“Jus’ worried about my sweet girl, is all.” 

And you relent. 

Corrosive oil spills out of the necrosed holes in his head. It curls over his thoughts, liquid sin. He takes himself in his hand, blood pulsing in his veins, white-hot, damning, and bares his teeth at the urge to come to you, to push you down on the floor, and mount you like a snarling beast—

“Good girl,” he growls when you tell him you'll call a taxi, that you'll go home and have some wine with your friend instead.

Friend. Friends. 

He'll have to do something about that. 

(The thing about deprivation is that it bleeds into a vicious sense of possession when it's finally obtained. Greed. His wants have wants, have wants—

A perfect ouroboros. One you feed into almost destructively.)

Because the thing is—

Simon wants to tie you to his bed. Keep you locked up in the safe house he has in Manchester. Chained, shackled. A prisoner with him as your iron guard. 

It isn't just fantasy, either. 

The flies that congregate around you are an annoying, incessant buzzing in his ears. Remora clinging to the biggest fish. 

But they're easy to scatter when he waves his hand. 

(Waves off. Threatens with bodily harm, with physical aggression—

Same thing.)

The sting in his knuckles and the blood on his shoes are worth it in the end when your tantalum skin cracks. An aggregate of beautiful lines, pretty in their fragility, their brokenness. He wedges his fingers between the splints, widening the chasm to pet at the sticky-soft centre hiding beneath all that rough rock. Sweet girl. Hard candy enclosing taffy-softness. 

His coos melt you to the consistency of mercury. Liquid silver pebbles along your lash line, spilling over in a dizzying display of raw vulnerability. 

It makes every predatory instinct inside of him bristle. Locking onto the sweet lines of crystalline sadness that run down your cheeks. It has his heart racing. Eager, anticipatory. The thrill of the chase, of running you down into the ground until you're fine powder under him. 

And it’s there, it's in his arms—the maw of a beast—where you seek comfort, lamenting the loss of your friends, your coworkers. No one wants to hang out with you anymore. They don't return your calls or answer your texts. 

What did I do? You sniffle, throat bared. Belly turned up. 

Flooded with tears. The lachrymal face that peers up at him makes his teeth ache. He rolls his head back, feels himself thicken in his pants. 

Simon loves it when you cry.

“Fuck ‘em,” he rasps, words sticking to his dry throat. “If they can't see what a catch you are, then they don't even deserve to breathe the same air as you.”

It makes you cry harder, makes you mumble into his chest about how lucky you are to have someone like him. Someone who cares. 

His breath hitches. Warm floods his veins, fever-hot. 

“Thank you, Simon—”

And then you, smooth silver and wickedly sweet, cradle him in your palms as if you could hold all the broken pieces of him together. 

He thinks it's cute. 

Doesn't really have the heart to tell you it's a lost cause.

“Anytime, pet.”

And you're perfect, too.

You take this mangy mutt into your house, and let it eat your food, sleep in your bed. You let him fuck you stupid, and listen so prettily when he convinces you to let him spoil you. Let him pay your rent, your bills. Let Simon dote on you the only way he knows how—mercilessly possessive, and a touch cruel, mean—but you roll over, showing your belly. Submissive and sweet. 

It's even better when you try to lash out at him with a collar in the shape of his teeth branding your neck, spitting and hissing like a feral cat who doesn't know yet that's claws have been clipped. Only to then curl up in his lap, purring as he strokes your fur, and carves out a place for himself in your life. 

He wants to sink his teeth into you, and you think he's a big dog. Undomesticated. One who comes and goes as he pleases. A stray. A mutt. 

It's said fondly. Full of love—

His mouth is full of cavities. His teeth ache. His gums bleed. 

(do you know he's rabid? that the faded name on his dog tags once read cujo—)

Everything about you makes that sludge flood behind his eyes, pounding rotten fists against his temple. take, take, take; mine, mine—

The howling doesn't stop. It tells him to press you into the mattress and fuck you stupid. Tie you to the bedposts and never let you go—

He throws fists in the dark, trying to hit the madness in his head. Ends up with bloody knuckles and laughter in his ears. 

(a voice of reason says, your bird is too big for a cage—)

He clings to it. 

You're warm beside him. Burning hot. He syphons it from your veins when you're asleep, pulling you close just to feel something on his skin other than dirt. Other than blood. 

It's easy to pretend he's fine with these little nips. Leaving teeth marks in your neck. Bloody rings snaking up your thighs. 

He wraps one hand around both of your wrists, holds them high above your head, and tells himself it's enough. Shackled by him, under him, as he takes you apart, pulling at your sense of independence like the gnarled fingers of winter bringing defoliation to summer's bloom, but even with this, all of it, he still aches. Still wants. Needs—

Stupid fuckin’ mutt. 

Then you bring his hands up to your throat, letting him wrap his bearish paws around your delicate neck, and he knows these little bites will never satiate the hunger in his guts. 

He wakes up the next morning feeling warm. Full. Edges softened, if only just, by the sticky sweetness of your breath ghosting over his chest. 

Simon curls his arm around you, holding tight.  He won't let go. Won't—

Hide it. Put it away. 

Ghost does neither of those things. He buries it, instead.  

But in doing so, you find cracks in the foundation. Ones that are just big enough for your willfulness to slip through. To hand him back the cash he gave with a scoff, and a, i work, too, you know? i don't need your money, Simon. that's not why i’m with you—

(All he hears is, I don't need you.)

And then you send him a text. I'm going out with friends from work tonight. We're going drinking. I'll talk to you tomorrow! 

In the zombified remains of his head, a new howling starts. The hisses tell him you're pulling away, running from him—

It's a big world out there. It'll eat you whole—

Like Tommy.

The thing about want is that sometimes it grows teeth, hands. Claws. Without a body of its own, it tends to mould itself after its maker because that's all it knows how to do: devour, consume. Yearn. 

He shouldn't be too surprised to find that this need of his has dug itself out of the grave he buried it in. 

(he did, too—)

The flimsy sarcophagus cracks open when Price announces that his missus is pregnant.

The howling in the back of his head stops abruptly. The pulsing ache in his temple abates. It's heavy, this weight. This absolute, utter emptiness—

No. It's not hollow. The chasm isn't drained, it's—

(In the silence, something growls. Feral. Possessed.)

—full. Perfect equilibrium. All of the patchwork parts of himself, the ones that don't quite fit, suddenly find synergy. 

Communion. 

Ghost cocks his head in consideration.

(your bird is too big for a cage—

—but maybe a collar would do.)

—after all, could you ever leave him with his name etched into your womb—

In leaving the key under the mat for him to come and go as he pleases, you've left yourself vulnerable. But—

Not anymore. 

He has a safehouse he'll take you to. You'll let him, too, because it'll be the best choice for you. The three of you.

He's never entertained any ideas of family, not when the closest approximation he has is drenched in gun oil and smells of smoke from artillery fire, but the howling in his head quietens at the idea of it. He can't shackle you to the bed—stupid fucking mutt—but he can tie you down all the same. Make you his. Wholly. Always. 

And the thing is—despite a pickaxe making figure-eights out of his grey matter; lead poisoning and rust giving him these sour, awful thoughts about locking you up in his house, leaving you a needy mess, dependent only on him—Simon supposes he knows right from wrong. 

Intentionally knocking you up is amoral. Probably illegal. Somehow, even more dastardly when the reason for it is simply selfishness. Want. Greed. Hunger. 

But in carving himself a place in your life, he failed to realise that the walls behind him closed in. No way out. And so, his only option is to go forward. To keep moving.

He'll be crucified for this, but that's fine. 

He doesn't intend for you to find out, anyway. It'll be an accident. He came home early, and found you drunk. Drank with you. Your drunken idiocy merged, creating a terrible, noxious cocktail of awful, bad choices. Permanent ones. Irreversible. 

(You're so sweet, so docile when you're drunk—)

It'll be easy to convince you. To play the part of a stoic man suddenly in turmoil. You'll offer to get rid of it, a suggestion that he'll flinch at—a cornered dog, a hand raising in the air. You'll whimper. Shake in his arms as you tentatively smooth over the wrinkles in his brow, murmuring out your options in a stilted breath.

You'll be a Riley before the end of your term. It's only proper, he'll mutter, stiff and uncomfortable, and you'll melt. Liquid tantalum in his palm. The fruits of his labour laid bare, seeping from the corners of his mouth. Tucked tight between his teeth. Mercury he can swallow down, keep in the bracket of his rotten ribs. Safekeeping from this world that just takes. Devours. 

But not if he eats you first. 

The mere notion alone serves as an anchor, locking him to the seafloor. The tumult in his head calmed at the promise of owning. Biting to claim. To have. Greedy for it. For you, and the strange sense of quiet your proximity brings him. The warmth, too. 

He's a rabid dog. This he knows—has known—for quite some time. Indisputable. It pools in his mouth. Liquid sin. Makes him ache for just a sip. Unquenchable, though, because he's wary of water. Hydrophobia, but only for how it washes his efforts away. Cleanses. 

The urge inside of him to bite, to infect, quietens when he gets closer to you. 

(a rabid mutt licking at the window you're on the opposite side of, dreaming of just a taste—)

A byproduct of that maddening virus in his veins, the one he must have picked up six feet in the ground. Bite, bitebite—

—and give you a collar in the shape of his teeth.

He finds you in bed. A bottle of wine on the end table beside you, courtesy of your friend. The one lingering remora he couldn't snap at—one who sends you messages about how you are being manipulated. Taken advantage of. Fuck that loser, the latest one says when he picks up your phone, scrolling through the dwindling conversations housed within. Just him now, and them. 

It preaches about empowerment. About how you shouldn't let a man pay your bills (textbook manipulation. he's putting you in a position of dependency. making you feel obligated to stay. it's all on Google, babes. like, fucking get a clue!!!!), or how it's moving so quickly (maybe you should come stay with me in Durham for a bit, hun. get away for a weekend. i worry about ya, is all). He hums, thumbing through the old chats. 

You told her to fuck off about the manipulation, but it came after a lot of, oh, yeah. well, he's just. you know. he's different, and you haven't declined the invitation. i’ll think about it, is what you write. 

It simmers under his skin. That independence he plans on stomping out under his heel. With his kin. 

(sick, sick sick, wrong—)

It's desperation, this. Clawing at the walls—the dirt—until his nails are torn off his fingers. Until his skin splits, peels. Broken under rock and rubble. That animalistic need for air. To breathe. Basic training tells him not to save the person drowning unless he's sure they won't kill him in their struggle to live. But what's he supposed to do when that person is his rotting body, sinking down to unfathomable depths? When all he has is you to cling to—

Damnation built by his own hands. 

You'll die together, he reckons, and tosses your phone on the hamper in the corner of the room. 

Ghost can't remember the last time someone made him feel anything at all other than impartiality. Indifference. Casual apathy. 

Price is the exception to this on the grounds of being consanguineous to him.

And you—

An outlier. 

One he intends on sinking as deep as he can with. Anchored, maybe, by this little plan that beats and pulses in the back of his head. That clogs his throat with a want so thick, he can already taste the brine from the ocean. Water in his nose. Down his esophagus—

Better than dirt, he supposes. And it spurns him forward.

You're malleable like this. Tensile. He bends you easily with just a touch until you're flat on your back, a pillow shoved beneath your tailbone, and stripped. The loose shirt you wear to sleep is hiked up under your neck. Panties are pulled off until your sweet, bare cunt is revealed to him. All pretty and soft, and his. Untouched, he notes, and gives an appreciative stroke over your clit with his thumb. 

It was something you were whining about the other day, panting in his ear as if he wasn't a continent away. Pleading with him on the phone to please, please let you come. 

Simon likes the way you cling to him when it's been a while since something has wrecked you as thoroughly as his cock. When your spoiled pussy was neglected for a few days, weeks, and starved for attention. You were so sweet to him then, cooing in his ear how good you've been, how much you want him and only him, need him. Begging so prettily for it. 

He's almost sad to spoil himself in your cunt when you can't weep for it. Can't bully him closer. Try to claw his eyes out. That delicious push-pull where you hiss at him for pulling away, but whine when he gets too close. 

Sad, but—

Not enough to stop himself. 

You're not wet enough for him to slide inside unprepared—his cock too big, something that makes his bones tremble—and he rectifies it by leaning down, letting saliva pool between his teeth and lips. He holds it there for a moment as he spreads your folds apart with his thumb and forefinger. 

And then he spits on your bare cunt. 

It hits your clit, the thick glob siding down your slit. He reaches between your thighs, pawing at you. Slides his fingers through the slick mess he made, teases around your tight rim. 

Simon usually likes to take his time with you. Lapping at your pussy for hours until you're a weeping, snot-nosed mess whining in the sheets. Spoiled rotten. Begging him to fuck you already, Simon, you can't take it anymore—

He's mean. Cruel. Edges you for hours until your legs shake, trembling around his ears. He never lets you reach that peak—doesn’t let you come until he's buried inside of you. 

Coming on his tongue, his fingers, is rarely a privilege you ever earn. Too much of a spitfire, a spiteful little kitten, to give in and do what he demands. So he keeps you on the precipice until he's ready to fuck you, ignoring your bribes, your bargains. Simon doesn't give in even when you beg, when you relent and tell him you'll finally be good. 

You never are. 

Spoiled, he always huffs. Down to the fuckin’ bone. 

Like now. Pulling away from him. Him, the only person in your life who stuck around. A little bullying (bones breaking, splintering under his fists; the wet, hot smear of blood on his hands, skulls smacking against the pavement—an’ if you tell anyone, he cracks his battered fists and it sounds like a snarl, a gunshot, your parents will be cryin’ over an empty grave—) shooed the gnats away. He took a more clandestine approach to others. Birds that kept circling you tight. Protective, shrill. They made his head ache, but—

(don't want to start nothin’, but i don't want to be alone wit’ ‘er. tried to kiss me, is all. ain't like that, pet—)

It was a test. And they all failed. All but him. 

Yet—

come to Durham. 

i’ll think about it. 

Ungrateful. It's his fault, though. Simon doted on you too much, cosseted by his affection, when he should have clipped your wings from the beginning. 

Ah, well—

Lesson learned. 

You're wet enough now. He pushes in two fingers, scissoring them apart. You'd be yowling at him, kicking up a fuss if you'd been awake. But you're not. It thrums through him. Thick, heady. He likes you like this—probably more than he should. The heat simmering in his veins bubbles. Pops. Sap on charring wood. It clogs his throat with his smoke until it burns, a dry forest fire. 

He needs you. Needs to be in you. He's tired of waiting. Impatience burrows into him like a maelstrom. 

Simon adjusts his hold on your leg, fingers curling behind your kneecap. Steadying himself. His fingers slip out of your cunt with a sloppy squelch that ghosts across his spine. Anticipatory. A touch anxious. He wants you. Wants you bad—

He takes himself in his hand, and slides the weeping tip over your slit. Taps it once, thrice on your clit. And then guides it to your centre. Your warmth bleeds into him. Eager, he shuffles forward. Feeds you his cock. Eyes drilling into the place where his head slips in, swallowed by your sloppy, wet hole. The glands make you stretch around him. Rim pulled taut. 

The sight alone must have been crafted by some Luciferian dream, dangled before him in the shade of nirvana. 

take a bite, it urges. and then take more—

Like this, passed out with your legs hitched over his shoulders, drooling into the pillow unawares, you're just a doll. 

Made for him, and—

“Fuckin’ hell—” He presses into you—cock splitting tight, warm heat—and tries not to lose himself to the sensation of being bare, raw, inside of you. 

—“A perfect fit.”

It's always been condoms. You're not on birth control. Ink blots in his eyes. He goes a little feral with it. Instincts unleashed. Unfettered. 

Simon bullies his fat cock into you until his hips tap the back of your thighs, buried as deep as he can go. It's molten heat cocooning him—a warm embrace. For the first time, ever, he thinks he understands the meaning of home. Sliding home, in particular. 

(Welcome home. Home. Home. He'll make a house out of your body. Sleep inside the brackets of your thighs, head pillowed on your chest—)

As good as you feel around him—slick, wet, and tight—and as much as he wants to saviour the sight of you, passed out on the pillow, cunt split by his cock, he has a goal, a mission, to see through. 

His hand falls, slick and tacky, to your lower belly. Palm pressing against the subtle bulge in your abdomen, the outline of his cock. You always whine and hiss that he's too big for you. That you can't take him to the root. 

Hurts, you complain, hand against your naval. Fingers knotting over the place that aches. 

He presses his fingers there instead, feeling himself under your skin. Changing your anatomy to make room for him to fit—

It lights him in fire. Spurns him on. He bucks into you, pace sloppy, clumsy. Selfish. He's unrelenting as he splits you apart, drilling the full length of himself into your supine body, supple flesh relaxed under him, practically melting into the sheets. 

The thread keeping his resolve, his self-control, sprung up tight begins to quiver. Each piston into you has delicate fingers drumming across the strings of a harpsichord. It reverberates through him, echoing in the stifling, suffocating, silence of the bedroom, overtaking it. Clouding it with the musk of his desire, his devotion to you, to this dream blooming in the prison of his mind. 

Everything narrows into a needlepoint. 

There's just your burning flesh beneath him, softer than it's ever been; pillowy. Welcoming. And the sounds of him fucking into you—lewd squelches, slick and wet; the sound of his cock finding home in the basin of your spread thighs; his heavy breaths, his groans and growls that seem to rattle the bed. The noise breaks, an incomplete requiem of sin in his head, and he loses himself in the lulling notes, dragged under in the bestial beat of taking what his—

A sudden noise shatters through the room. Beneath him, you stir, gasping wetly. The sound mangled in your throat. 

There's confusion in your sleepy, hazy gaze when you peer up at him, lashes clumping together. You moan, whimpering, as you struggle to latch on to the threads of cognisance that he's content to fuck out of you. Your hand lifts, falls to his wrist still pressed against your lower belly. The grip is lax, loose. You’re not pushing him away, but clinging to him. Centring yourself. 

It makes his blood thicken. Has him burning red-hot. 

“Wha’s a’matter, pet?” He taunts, grinding his cock into you hard enough to make your dazed eyes water. Your hand tightens around him, holding steady. “Don't like it? Not fuckin’ you hard enough?”

“Simon—”

His name tapers off into a keen when he angles hips, and starts pistoning into you with a mean, merciless fury. The desperate noises that spill, unhindered, from your slack mouth is the perfect accompaniment to the lewd sound of him fucking your sopping cunt; the piece he was missing when this started. His requiem, complete. 

It's a serrated blade to his self-control, already frayed and threadbare as it is. The pressure makes it snap.

“C'mon, sweet thing. Thought you wanted this?” 

There's a place in hell just for him. It's sealed when you blink your tired, sleepy eyes up at him, mind a slurry of lingering somnolence and the heady alcohol on your breath, and offer a shuddering whimper. Always so soft for him, so agreeable when you’re drunk. 

“So’ry, Simon—”

You can barely string words together. Poor, pitiful you—vulnerable under him. Breakable. Malleable. Anyone else could have tricked you into this same position when he was away. Got you beneath them like this, compliant and unawares, and took what belongs to him. 

(The only thing in this destitute existence he claims for himself—)

Not anymore. Not ever again. 

It's almost callous when he grinds into you. Hateful. Brutish. Furious. And dazed as you are, you barely even flinch at the snarls that spill, unfettered, from the back of his throat. The low groans of him making promises with devils unknown; constructing shackles from brass, iron. 

Entrenching his future in motion, cupped protectively between the parentheses your thighs make around his hips. It's almost a vicious sort of poetry, one laid bare in the odious ruins of that broken thing he calls a heart. Etched into his rotten pericardium. Necrosed devotion. He'll see it through—however noxious, and putrid, you might find the miasmal stench of it spun tight in his web. 

It's for your own good.

And as if you agree, you answer him in perfect euphony, moaning sweetly as you tilt your hips up for more. 

Ghost groans low in his throat, bestial and spinning rapidly out of his control. He feels everything spinning, slipping; the trudge to the finish line narrows into a pinprink. He needs something to cling to, to hold on to with broken hands—

The only purchase he finds is in your demise. 

His hand lifts, shaking yours loose. He reaches up, fingers dig into your chin, forcing your pouty mouth open. You blink at him, sluggish, but he catches the thin gossamer of awareness spooling thin cobwebs over darkened crevasses, covering the canyons in your eyes with cognisance. It makes him leer. 

“Stick your tongue out, pretty girl,” he rasps, words sticking together, muffled under the mask. Crushed aggregate stone under the weight of his own desire. “Tha’s it. Open up nice and wide—”

He lets spit gather again, pooling on his tongue. It's degrading, you always say. Gross. But you swallow it down like a good girl, anyway. Always. You come at him with fangs and claws, but somehow, you always merge in a perfectly dizzying polyphony. 

Ghost spits on your tongue. Lets it land right in the middle of fleshy pink. A sick, twisted pleasure thrums in his veins at the sight. 

There's checking the boxes of an established kink, and this. Horrifically proprietary. Ownership that ignites a fire in his marrow, setting him alight from the inside out. Turns bone into blackened char, cinder. He can almost taste it on his tongue. 

It's made worse, turned frenzied, when you—sweet, perfect, you—bracket it protectively in the curve of your tongue. Completely dazed, head filled with a heady slurry of somnolence and alcohol, but still aware enough to know, even if only through muscle memory, what you're meant to do when he spits in your mouth. 

If anything, you're more obedient like this. Little doll. Coddling it lovingly, this little piece of him that he gives you. 

And it might be the madness speaking—these fraying thoughts take on a vitriolic edge, corrosive aqua regia pooling in his throat—but Christ. He's been stabbed in the guts, repeatedly, and it somehow packed less of a punch than this. 

He wants, wants—

Family never crossed his mind, was never even on the table or something to be considered, but with you it brims. Blooms in rot. Roots in tenebrous. 

He has this insatiable urge to devour you whole so you'll always be with him. The waves of his desire are monstrous. The waters below are rapacious. A gaping maw eager to eat you up—

Pity it’s not an option. 

But he’ll make do. Buy a ring tomorrow. Something pretty that matches your eyes. The curve of your smile. Sanctioned ownership. A collar in gemstones and gold, glimmering and shining bright enough that should any light fade from your gaze, it’ll illuminate in the gloom; twilight made in sorrow. The prettiest blues—

Said eyes water. Ghost’s hold on your face relaxes when you give a muffled keen, cheeks bubbling up against the pressure. Tongue still stuck out even as he takes his pleasure from your supine flesh. Suspended in motion, stasis. Such a good girl for him—

He swallows. Tastes poison, rot, on his tongue. “Swallow.” 

You're a little sluggish, a little slow, but you follow his command all the same. He knows, then, that it could only ever be you. 

No one gets under his skin like this. No one makes him itch, want, crave, as much as you do—

You make a face, twisted up in some amalgamation of pleasure and confusion. It nudges the ruins of his chest and feels almost like a heartbeat when it pulses in his flesh. 

“Simon, Simon—”

His name is all you can say, and he's not sure if you're begging for mercy, or muttering it out into the scant air between your heaving breaths like an obsecration, an orison, but he eats it all the same. Bites down on your pleas, your cries, your prayers, and chews them up between fangled teeth. Takes them down into the swirling pits of his belly where they're eaten alive by what grows in the decay.

(belly full of dirt:

he heaves, and heaves, but nothing comes out even though he can taste humus in his throat, feel worms using his organs like a playground—)

“Somethin’ you want, pet?” He taunts, and shifts his hips back just enough to drag a few inches of his cock out of your drenched cunt. A tease—cruel and mean. He’d get lobbed upside the head for this had you been in your right mind. A tap to his temple, shaking the cobwebs loose. He would have bent down, and sunk broken teeth into your jugular. Merging violence with love until bloody knuckles feel like a kiss. “All you ‘ave to do is ask. Use your words, pretty thing—”

You whine, low and drawn out. A lazy whimper in the back of your throat. “Pl’se—”

You can barely speak. Tongue too thick. Sleep too heavy in your veins. Alcohol, too. A lesson, perhaps, for his willful little pet come the morning when you struggle to measure just how deep into his gullet you’ve let yourself fall. 

He can’t help rubbing salt into the shallow cuts, if only because he likes the way you pout. 

“C’mon, sweetheart. You can do better’n that.”

And damn him—damn you—you do. Your hand curls over his wrist, pulling it close to your mouth where you place a kiss against his palm. Tender. Chaste. Midnight blooms in your eyes, casts shadows under pale moonlight. His breath stutters in his chest when you lean your head back, letting his hand fall to your bared neck. 

Your heavy, lidded eyes gaze back at him, cutting through the shade of night that sews the air like satin. Etched in the file silk is threads of trust in stark white. The kind that bleeds for him; hungers. One that aches, always tender like a bruise. The throb of it echoes between mouldering ribs. Booms between his ears. 

Ghost doesn’t fall into pieces. Doesn’t shatter. No. Something in the splintered remains shifts. Settles. He wraps his fingers around the thick of your throat, thumb notched tight against your pulse, and he feels complete. Whole. Remade from the ruins. 

Your breath hitches. The sound is a gunshot in his ears. He squeezes down, a gentle press. Just enough to make the air spill out of your lungs, to let your eyes water. Lachrymose, eager. It does something to him when you cry. He feels tipped upside down, torn inside out. Left all askew, asunder. He wants to drown in the pebbling river growing against your lashline. Wants to drink it down until it quenches his neverending thirst. Wants, wants—

He feels his name spill from your lips. Brassy and broken, trembling against his palm. A plea—

More.

And he gives it to you. 

Simon hitches your ankle on his shoulder. Adjusts the grip he has on your throat. He settles over your body, blanketing you under his bulk. Stygian beast devouring the maiden whole. The thought amuses him even as it knocks the air from his lungs. 

He anchors himself into the mattress with his knees, steadying himself, curls his other hand around the iron ring of the headboard. All the while, you look up at him—glossy eyes burning coals in the dark, in the gloom. Wanting, hungry. Mouth held open as if you’re waiting for his scraps—

And then he bucks into you, the leverage giving his thrust a savage edge. 

The whines are snuffed out under his palm. Your eyes widen, tears now spilling down your temple, soaking the pillow below your head. 

He groans, head rolling back. “Fuckin’ hell—ain’t you a pretty sight?”

Tucked under him, throat swallowed by his palm. Split on his cock, slick and wet. The tears streaming down your face makes him feel wicked, foul; but the spit running down your slackened jaw quells any doubt. The hand on his wrist holds him tight, tighter still, to your flesh. 

You want this. His spoiled rotten bird.

So, he gives it to you.

Simon’s almost ruthless when he snaps his hips into yours, cooing viciously into your ear about how you feel, how you look, how you sound—so pretty wrapped around him, under him; his little doll—

“S’where you belong, pet—” guttural words spill, flintlike and savage, from his mangled throat. Reinforced with the hateful way he blugeons his cock into you. Times it perfectly with the firm squeezes against your jugular, never letting you catch your breath. Your eyes roll back, legs trembling. Shaking. But you don’t move, don’t struggle. The hand on his wrist is a shackle, and it makes him smirk, scars pulling up in a gnarled mess of mirth; ugly and mean. “Right where you belong. Ain’t tha’ right?”

He leans down, babbles nonsense into your temple. Promises you the heads of gods, the ichor they bleed. Swears he’ll build a shrine for you in Durham.

But for as mocking as these words he murmurs into your ear are, they’re tremulous. Raw. A current roars beneath; a steady stream, a plea, all full of need: stay, stay staystay—

(please)

He buries his nose into your hairline to stem the ravening ache in his guts, breathes in the heady scent of you—of sex, and wine, and sweat. Drags it into his lungs in harsh, angry gasps to stain his skin with the smell of you. Of him. 

It goes right to his head in a heavy rush until he’s dizzy, almost sick, with the swell of it flooding in. An animal, he thinks, drunk on merging pheromones that make him mindless. Unfettered. 

It’s as if he’s driven on instinct alone; his frenzied pace ebbs, grows sloppy. The air around him feels thick. Syrupy. Stifling. The balmy breath in his chest is nearly as unbearable as it is addicting. Sickeningly sweet. Still—

His chest expands, taking as much of the potent miasma into his lungs as he can, filling them up, up, until he feels the edges threaten to brust. It’s only then, when ink moults across his vision, that he lifts his head just enough to shove his mouth against yours, a broken snarl ripping free from his throat as he forces the infectious air into your mouth, down to your lungs. Polluting you with the same sickness. The same rot. 

Little hiccups tumble past your lips as you swallow it down, taking everything he gives you, and he catches them on his tongue. Plays with them between his teeth, basking in the salty tang of you—brine, loam; peatsalt. Ashes, guncotton. Molasses. He’s not sure if he wants to drown you in him, or crawl into the warm, wet cavern of your mouth that pulses around his tongue like a heartbeat. 

Both, maybe. Everything. All of it. 

Always—

But he’s chasing pleasure on fumes. Trying to run with broken legs. There’s nothing refined about this. About the way he cudgels the head of his cock into the places that make your mouth twist away from his greedy lips in a silent scream. His weight is crushing you, he’s sure, but you cling to him harder, holding him tighter. Almost afraid to let go. And fuck—the notion alone is a kick to the chest, harsh and heavy. He nearly gags on the litany of broken moans spiling out of his mouth, landing on your tongue. 

Driven mad, maybe (or pussy-drunk, and high off of his own poison); but in that madness, he discovers this:

Nirvana exists between your thighs. 

Home, too. 

(well—

not yet.)

Pleasure fissions down his spine. The paroxysm taking him deeper into the battle-worn depths of his demise until the walls narrow, closing in. Crushing. No escape. But—

He won’t climb out of his hole he dug. Not until he makes a bed from your flesh; shelter out of your bones. He wants to ingrain himself as deep within you as he can, arsenic subsumed down to your marrow. Poisoned with the fill of him, too sick to let go. 

(Bone nausea. 

A death sentence.)

It metastasises inside of him, filling the barren spaces up until it leaks from his pores. 

He wants it: this dream so tantalisingly close. 

Simon lifts his hand from your throat, and reaches out, grasps at it with a shaking paw—

All it takes is a few crass, careless swipes of his calloused thumb across your clit, cock angled toward that spot that makes you rake your broken nails down his back, yowling in his ear for more, there, please, Simon, please—

You clench like a vice around him. A pretty bow tied up at the base of his cock. He bows over you, grunts spilling from his chest as he sinks his teeth into your nape, splitting skin btween his teeth. The warm, ozonous tang of your blood flooding his tongue is euphoric, eclipsing his mind in a haze of pleasure that crackles and burns at the base of his spine, spitting smoke up his body and into his skull. 

The harsh whine you let out—all prey, all animal; wounded, stuck under his muzzle—has some part of him, basal and inborn, rearing up. Roaring in his ears, ripping talons across the jagged remains of his head. 

(mine, mine, mine—)

He answers your scream with a growl, one caught in the smoke clogging his throat. It sounds inhuman when its wrenched out of his mouth—more animal than man: the devastating howl of a forest on fire—but the feel of it vibrating between his teeth is connatural. Innate. It belongs between his incisors; fits like a puzzle piece in his broken muzzle. Unleashed now. Finally free from this ill-fitting cage he housed it, this goddamn box—

Cobbled together from palm ash and brimstone, ichor and salt. Sewed up with copper sutures in the shape of a man for a perfect fit. 

Every cell in his body screams that he was made for this. To be over you, in you. Maw filled with your blood. Pussy stuffed full of his cock. 

He might not have clawed out of the dirt for you, but this mossy, gnarled lump in his chest beats now only for you. Apodictic. Ironclad. His teeth in your jugular, your life pulsing wetly on his tongue. 

It’s his apotheosis. His end. 

His hips stutter. White noise in his head. It drowns out the shrill screams, the hisses. Everything is just—static. Pleasure of a silent kind, humming, buzzing, and molten. Ghost buries himself inside of you as deep as he can, until his cock is fit snug against the plug of your womb, and lays his claim by branding it with the potency of his name. 

Tidally locked, you’re dragged down the summit with him, tumbling to your demise. Too dazed, too wound tight in his arms, his embrace, to see the jagged rock at the bottom of the hungry chasm thirsting for your blood, you just cling to him. Refusing to let go. 

(silly girl—

His pretty little perigee.)

His body aches in ways that cruelly remind him of his age. Joints stiff, stomach quivering. His knuckles sting when he unfurls it from the headboard, skin pink and raw from the tight hold he had around the metal. 

It’s made worse when he heaves a harsh breath, and pulls away from you with a long, drawn out groan. He settles back on his haunches, eyes searing into the space between your thighs. Messy with his spend. It dribbles down your slit, your ass, pools on the sheets below. 

Your chest shudders, legs splayed out how he left you. He thinks, viciously, of gazelles, and wonders if the blood he feels drying on his mouth looks anything like the muddied mane of a lion after eating its fill. 

“Fuckin’ hell—”

He should clean you up, hide his crime, but he burns the image of you into his head (another tattoo over scar tissue), and drops to a heap beside you. The moment his back hits the mattress and all thoughts of moving are erased in silk, in smoke and clover. 

Chest heaving, slick with sweat, he feels the thrum of his victory in his veins. The high of the chase abates, and he nearly purrs with contentment. Hangs his pride on a pedestal, and doesn’t think about the absence of any guilt. Doesn’t even entertain the thought, not when victory dries between your thighs. When you roll over with a huff, reaching out for him. 

It's as if you're trying to bury yourself inside of him, crawl into the safety of his ribs. 

Ghost grunts, feels his sensitive, spent cock give a feeble twitch on his sticky thigh. The idea of you, blissfully unaware, seeking comfort from the man who writ your body with his virile spend, irrevocably changing your life and entwining it so deeply and so messily with his own that to severe either of you from each other is nearly impossible, floods him with satisfaction so deep, euphorically heady, that his chest seems to shudder. Resounding with some amalgamation of a purr, a grow, so utterly primal, that he sounds more beast than man. 

His roots run deep within you, now, and every misaligned piece of his patchwork body seems to sag and shiver in an almost perfect parallelism. Congruence ascertained with the cupping of you between its mismatched maw. Shackled in a baleen prison. Nestled, safe and sound, between white teeth. 

Ghost pulls you close, holding tight, and hums. As you drool on his shoulder, dripping with his spend, he knows he'll keep you there forever, until you're nothing but bones. 

There's a cloud of confusion hanging over you the next morning, a twinge of uncertainty gnarling across the gaps in your memory. The pieces of a puzzle that belong to a different set. He watches you scramble through them, filling in blanks. Oscillating so deliciously between wariness and discontent. 

“‘morning,” he greets, as if his spend hasn’t dried on your thigh last night. Tucked up nice and tight against your fertile, unprotected womb. As if he couldn't taste brimstone in the back of his throat when you wince as you walk, achy and battle-worn from the weight of his desire crushing you all night. 

“Morning,” it's a sticky rasp in your throat. He wonders if you taste him on your tongue. “When did you get in?”

“Las’ night.”

You nod, but it's absent. Flickering through the timeline of events that aren’t drenched in black, shaded over like a heavy bruise. Your expression is fractured. Raw. Pensive. Something untouchable, unchartable, and yet he reads you as plainly as the tea leaves at the bottom of his cup. 

You don’t remember. Don’t know what to make of this chasm, this fissure, that looms, icy and deep, before you. There’s no anger, though. You don’t demand recompense for what he stole, what he took. The lashings he deserves are tucked quietly between your teeth. Hidden under layers of normalcy to prevent yourself from seeing him as is: a beast. 

“Well, um. Some homecoming, huh?” You joke, but it's hollow. Flat. Fragile like fine glass. You're digging for more. Rooting around to connect these vague, absent dots that linger, lost in the vacancy of your memory. 

He almost purrs. 

He wants to chew you up. Spit you in the palm of his hand. Maybe tuck you in his breast pocket, nestled against the lump in his chest—the one those silly enough to dream might call a heart. Keep you there forever. Hidden in the barrel of his loaded gun. 

“Bit rowdy.” 

It’s horrifically vague, but you cling to the prevacation he proffers to you; a lifeline in the turbulent sea, letting it overwrite the absence, the itching in your skull that must be clanging on the walls, begging for you to run. 

“Sorry,” it's sheepish. He knows the ferality in which you sometimes come at him when he's buried deep inside you is something that makes you twinge with embarrassment. Little kitten clawing at the old dog trying to get it to play. Rolling over immediately when it growls. Docile, sickeningly sweet.

But even naive kittens know to watch out for the frothing, foaming maw. 

“Did you use a—?”

He dips his chin. “I might ‘ave.”

And you take it as gospel. As truth. Why would Simon have any reason to lie to you about this? 

Relief shudders over your shoulders. You relax, inching toward the seat across from him. Gazelle making a home for itself in the lion’s den. 

The spell of unease is broken, now, and you quickly fill the chasm with chatter about your day. Your plans. Asking him how he’s been. 

You shove at the warning signs until they’re hidden away, and ignore the bones of your brethren scattered around you. All because you trust him. 

He aches with the urge to crush it between his teeth. 

And he will one day soon, he’s sure, because it’s just as easy to enact his plan as it was to get you to open the door. 

It starts with him convincing you to drink with him after dinner. Jus’ a glass. Got this fancy bottle. Reckon we should ‘ave some. 

But—

Can’t drink forever—no matter what his dogshit dad thought. 

So, he pokes holes in the condoms you hide in the bedside table, a little wary now. A touch fretful about your contraceptives in a way that makes him preen. You have good instincts, but rarely do you listen to them. Your head must be filled with sirens, but it's futile, he supposes. He's already stuffed cotton into your ears. 

It only feeds into that gaping chasm that bellows up from the depths that this world is not good for you. That it will tear you into pieces, into shreds. You need him. Need the Ghost to protect you. 

Case in point:

You’re needy beneath him, panting and mewling into the sheets as he teases your clit with his thumb. So wet, it almost feels like hot oil on his skin. Syrupy thick. 

In your desperation, you cling to him, throat bared. Fragile fine china. Belly up. Vulnerable. 

You barely notice when he pulls off the condom, crumpling it up into a ball and shoving it in the pocket of his slacks.. Don’t even react when he shoves his bare, raw cock into you. 

You don't even notice. 

(or when he slurs in your ear about how badly he wants to knock you up—breed his pretty girl until she’s stuffed full of him, making life with what he offers. salvation in the form of creation. ain’ tha’ a thought? he huffs into your ear, humid mirth curling over your skin. a stain. and the way it unfetters you—tightening around him, gushing slick—he finds his answer, one reinforced in the rolling of your eyes as your common sense, independence, trickle out of your ears and down your slackened jaw—)

And when that fails, he just slips you a sleeping pill. There's always an easier way to the finish line, he finds. 

(stupid fuckin’ mutt—)

Nothing bleeds from the cracks he wrought, or slinks from the shadows cast by his machinations until weeks later. 

Life just goes back to what it once was—Simon coming and going, letting himself into your home with the door you leave unlocked. You go to work, and chatter aimlessly about this vision you have about a home in the countryside, near the ocean. Saving up—uselessly—for sheep and goats, and the sought-after Highland cows. Chickens and ducks first, you say, and barely notice when his gaze drops, drilling holes into your stomach. Watchful. Leering. 

He can almost scent the change on you. Nose pressed to your skin; bloodhound sniffing the ground. 

Ghost keeps time in the slow, susurrus drawl of your voice sifting through the cotton in his ears, waiting for those precious decibels to catch on, to tilt up at the end as your eyes skim the calendar he keeps scratching x’s across in red, almost delicate, innocent even though it's from his sanguinary hand. A countdown to something you haven’t yet caught on to. 

And it’s all so sweet. 

—the waiting game, the subtle changes, the desperate way you cling to normalcy—

Sweet, like the way you carve this life out for yourself, filled with stuffed animals full of idealism. So much so, that it's almost bitter. Acrid. He watches the light glow in your eyes as your plans take shape, moulding putty between your hands, and like a pit viper, he coils in on himself. Frenzied. Fearful—

But only just. 

The excitation has run its course. He’s drifting, languid, into his scheme. Content. The notion of you slipping from his fingers is a thought that rarely crosses his mind these days, especially when that house on the prairie grows from an occupant of one to two—

“And, you know… when you're not out saving the world—” your eye roll and air quotes make his lips twitch, tugging at the scar tissue, the acid burns, splashed across his mouth. An ugly fucking Pollock. “—maybe you can come visit.”

“Never fancied myself a rancher,” he drawls, just to watch you squirm. Brow furrowing into a deep ravine as you struggle to make your intentions known without actually giving them sound. Skirting around the issue of wanting him there, of planning a home with him. 

(Too much, maybe? Or too soon—? 

if only you knew—)

He finds it charming, really. 

Still—

“It's just a thought,” you mutter, downcast. He wants to choke on your misery. Your sadness. Drown himself in your anger. Float in your happiness. 

Fuckin' Christ—

All this playing daddy in his head has thrown him off his rocker. Made him soft. Sentimental. It's probably why he yields to you. Offers a lazy shrug and another smarmy twitch of his lips. 

“Sounds like a plan,” and the way you brighten is a dagger to his chest. 

And the thing is. It does. It sounds like a dream, a perfect vision. Just—

Maybe not in the way you'd want. 

He's been looking into places unmarred by human hands. Ghost towns, uncharted territories. His home here isn't perfect for it, not like the vast geography of Mexico. The uninhabited wilderness of Canada, places so remote that it's almost untethered to modern civilisation. Islands of forest, mountains, all on their own. 

Vast corners and crevasses where someone can disappear and never be found. 

But those won't work in tandem with his flighty lifestyle. While he plans on keeping you barefoot and pregnant (common sense in the back of his head screams that he's foul, vile, monstrous—), he will continue to work. Has to, really, to avoid suspicion. 

So—

Home it is. 

But he gets inspiration from the Highland cows you coo on about and purchases a plot of land in the Western Isles. Gives this whim of his—yours, really—a concrete foundation made of the abstract. The filament provided by his newly christened Sergeant—an overeager mutt that bleeds warning signs from his pores. 

(don’t get close, reactive dog. will bite—

the little mutt is a great pyrenees, ain’t he?)

But bless Johnny’s bleedin’ heart, he thought as the man prattled on about this cabin he owns. A place of solitude. Could fire a gun and no one would even peek out the curtains. Beautiful, the way all of Scotland is. The highlands, he breathes in that shade of catholic madness only the dutiful soldiers of god's right-handed wrath can be, is where he keeps his home. A place chiselled from stone, surrounded by wilderness that eats tourists alive. 

(he didn’t ask at the time why Johnny was so keen on finding these places scattered around Scotland, ones with little traffic and a nearly negligible amount of souls within the vicinity, but he finds its best not to get too close to mutts crossbred with wolves.)

But Simon is nothing if not devoted, and so. 

You’ll get your fantasy ranch in the middle of nowhere. Your highland cows, your billy goats, your chicken, sheep, and ducks. A baby in your arms, too. One that shows its hand the next morning, dashing all your carefully laid plans. These paths of independence of yours run parallel to his whims but never converge. There’s the potential in this for these fraying threads to split, and diverge. Separate. 

(But it’s all put to rest at the sound of you heaving in the adjoining washroom. His path eats yours until it’s overtaken. Consumed. 

The evasive, unfettered little bird trammelled, caught. Wing-clipped, and all his.) 

Any misgivings the part of his gyri not buried under the frothing mess of his polluted grey matter might have is vitiated by the unwavering certitude that, despite his own gains in this, it really is in your best interest. 

And maybe it's something that should have come earlier in your relationship—however threadbare that word is in conjunction with the unhinged desire blooming in the pit of his chest; madness masquerading as love or some obsessive, desperate facsimile of it. Maybe a proper man, a better one, might have dug down and fully laid out the reality of intertwining your life with the living dead. That the idea of danger, death, and revenge are all everpresent threats scratching at the walls of this sickeningly sweet fantasy you wrap around yourself. 

He’s a dangerous man. A creature of devastation—manmade, bent into, or congenital is yet to be unearthed—which, in itself, brings about a certain lifestyle. One with fewer people around, and always shrouded in secrecy. Friends, family—none of that matters when death curdles gnarled fingers around his jugular. 

You’ll get used to it. Eventually. The only other choice is to let you, his now flightless bird, go. Released back into the wild vulnerable and reeking of his stench. 

You’ll be devoured before daylight, ripped into pieces—only if they’re feeling generous, that is. 

Simon has his own twisted remora. Ones with claws and fangs and a hunger that runs deep. Insatiable. Any scraps that fall from his mouth are devoured before they can touch the sea floor. They’ll crush you in their maw and dangle your mangled body from the gaps between their teeth. 

You’re not made for the wild. Not anymore. You’re meant to be protected. You—this fragile, delicate thing. He’ll hold you close, keep you secure and safe in a mausoleum of your own making. 

This little glass jar domicile. 

A billet in the mountains. 

He’ll fill it with the finest things—silk linens, fine china; mahogany and teak, pink ivory; a bed of soft, downy feathers, sherpa, Egyptian cotton; (sticks and stones and grass and moss). Buy you whatever you need. Chickens and ducks. Sheep and goats. 

They’ll keep you company when he’s away. 

(and if that fails, he can always plan playdates for you with whatever dirty secret Johnny’s been keeping tucked away in the woods.)

He draws an x in the empty, white box of the calendar, the tip of his red marker gliding silkily across the glossy surface. Something unfurls in his guts. Blossoms in his bones. There’s an almost indescribable sense of satisfaction—primal and animalistic—that grows from the upturned dirt in his head. Life composted from rot. 

Ghost hums to himself when he turns, the sound nearly a purr—bestial as it is, suffocated under sulphur. It reverberates through his chest, trembling across the brackets of his ribs that expand with his deep, heavy inhale—breathing in the sight that greets him like a lover’s kiss

The kebab he ordered lays untouched on the table across from the television—some trashy reality show playing in the background while you tried to eat; a dating show, you’d said when he merely shrugged, having other things on his mind over what to watch while you ate. It all seems to be preserved in time. Frozen in on the exact moment when you’d sniffed the döner kebab he got for you—the same thing you order each time—and then promptly wrenched yourself back, gagging. The sandwich was flung back in the takeaway box before you slapped your hand over your mouth, rushing into the washroom. 

If his phone wasn’t in the other room, he might have taken a picture. A little memento to remember this moment. Framed it in iron and perched it on the desk they gave him back in Hereford, the one just down the hall from Price. 

(ah, speaking of—he’ll have to send that caustic bastard a fruit basket, or something, won’t he? maybe some pretty flowers for his lady.)

His reverie is shaken when the door to the washroom creaks open slowly, and you emerge through the gap with sweat on your brow, knots across your forehead, and a shaking hand resting over your churning stomach. 

Shame, he thinks. He really should have brought his phone—

You lean against the wall, taking in deep, shuddering breaths to steady yourself, confusion and worry knitting over you like a thundercloud. It tastes of ozone when he inhales. An approaching storm. In the blue gloom of the living room, illuminated only by the light flooding out from the washroom behind you and the static glow of the television, you look etiolated. A wilting flower. 

His budding rose. 

He coos. “You alright?”

You glance sideways at the kebab on the table, mouth pinching into a grimace as if to stem the nausea still rippling through you. You stare at it for a long moment, seemingly trying to make sense of the reality sitting in front of you on scratched, old pine; confusion runs laps over the dawn cresting in your eyes. This puzzle is too unfathomable for you to piece together; the keys and slots all askew. 

The air around him grows still. Silent. Anticipatory. A tiger crouched low in the tussock. A little fawn roaming too close. 

There’s a heaviness in your eyes when they flicker back to the wall where he stands, drilling holes into the x. Something implacable frissons over your threadbare expression, fracturing across sallow cheeks. 

The air is electric. It pulses across his bare flesh, irritating scar tissue, acid burns, and scorch marks. His skin prickles at its whisper. 

“Feelin’ sick, pet?” He ponders, playing pretend. He’s viciously, deeply amused at the desperate denial splashing across your cheeks. The thin shade of askance that unfurls like the leaves of a flytrap when you look at him. “Mus’t’a been the kebab. Bad meat, I reckon?”

You offer a weak nod in response, pinching your lips tight together. The matter seemingly concluded, brushed aside. Pocketed for later. 

And you say nothing else for the rest of the night—gaze unseeing, turned inward; pensive—but he purrs in contentment as if everything was alright, sprawled across the couch with his head pillowed against your churning stomach as if he could hear the whisper of another heartbeat from within. 

In the saturated blue light, he catches your eyes listing toward the calendar every so often. Wary. Nervous. He thinks you might say something, might ask, but you don’t. It’s caught on a stilted breath. A harsh swallow. 

All you do is bring your hand to his shorn head, and raze the stumps of your clipped claws against his scalp. It’s almost as if you’re trying to soothe the madness from within. Scratching that itch deep inside until it goes away. Gentle hands play pretend and dress up as a panacea. Affection to scrape the illness away. 

He thinks you should know better than that, even as he leans into it with a soft exhale, more relaxed than he'd ever been his entire life. Content. Unassailable in his conquest. 

Simon has always been more scar tissue than man, and no place is damaged more than the upturned tumulus inside his head. 

But oh. How you try—

His sweet, sweet girl. 

The look you give him the next evening is, in parts, brumous. 

A polynya of dread, worry, guilt, fear that frissons across the deep valleys in your eyes, shaded in plumes of darkness, filled in deliciously with the weight of your beleaguered uncertainty. It yawns out before him, this heavy gloom. 

So close he catch the embers in his hand. 

“Simon… We should—talk. I, uh—”

You hold up a little rectangle, dismay, misery, etched in the blue tinge spreading across your face. It seems to steal the words from your throat, turn them into ash. What else are you meant to say, he supposes, when you look out at the world now from the gape in his maw? 

But there’s a veil of wonderment that hides below the tidal wave; this precious, deadly, undercurrent that rents the air, splits his chest in two.

The happiness, however meagre, thin, it is right now (just a sunken boat on the seafloor), is there. Ripe for salvage, and he sees that it’s handled with care. Cupped between his palms, nurtured by his own conviction to do what’s right, an’—fuck, pet—know this ain’t what we planned, but—

but:

The howling quiets, turns to a low growl, and then a susurrus hum, when you shakily utter the words he was waiting for. 

“Yes, Simon—”

You shudder when his fist closes over your wrist, pulling you into his purring chest. Shaking like a prey animal in the jowls of a beast, bested and ensnared. It has a profound, almost predatory, sense of satisfaction curling over his bones. He knows this was the right choice, and is sure, in time, you'll come to realise that, too. You’re in the early stages, he knows. Prodromal. You need to be handled with care to curb the lacrimation, the hyperesthesia. 

And there’s no one better than him to guide you through the throes of it. To lead you to the unequivocal end. 

He leans down, and whispers in your crown—

“Good girl—”

—and the sound of his voice is gravel encased in sticky, sweet honey. Dark, smokey molasses. The very same cadence as a key sliding inside of a lock; metal grazing metal. Turning—

“If it’s a boy, we’ll name him Tommy.”

Click. 

(he gives you that ring he promised when he takes you to the mountains. you smile wide, and tell him it fits like a gyve.)

Simon stops shovelling his want under the cold dirt and starts burying it inside you instead. Makes a domicile from your flesh; a place where he can rest his aching head every night until the howling scraping down fractured bone stops— (paralytic)

[wynsummers]

i've been thinking about the whole "friction in his jeans" thing a lot lately, and while it is certainly one of the more iconic instances of the lyric in the CD booklet being different from the actual song, it is far from the only one. on top of that, there are quite a few lyrics that play with double meanings that only become clear when they're written out.

so, i present a collection of every lyric in the fob CD booklets that differ from the final version, punctuation and double meanings that aren't noticeable unless the song is written out, and any other interesting details i find in the process, or a really long post of me cornplating about fob:

disclaimer that if the difference is small enough/doesn't change the meaning of the line i won't include it because that would take me years (for example, the book says "light that smoke for giving up on me" and patrick says "yeah, one for giving up on me" but literally who cares that changes nothing. everything i include here is relevant, i think)

follow-up disclaimer that there are a bunch of fucking typos in every single one of these books because these boys never proofread anything but unless i think it's significant in some way i probably will skip it

TAKE THIS TO YOUR GRAVE:

tell that mick:

"I hope you choke on those words, that kiss, that bottle - I confess / now ash yourself out on the insides, when I said I loved you I swear I lied"

grand theft autumn:

"someday i'll appreciate in value, get off my ass and call you... but for the meantime i'll sport my brand new fashion of waking up with my clothes on at 4:00 in the afternoon"

saturday:

"pete and i said goodbye to astoria with promise and precision and mess of youthful innocence"

(most of these are just silly but this one fucking hurts)

sending postcards:

"fake it like you matter - cause that's the biggest secret you have to keep"

chicago is so two years ago:

"that means that I believed every single lie you said (and learned from the best)"

"cause every pain of glass that your pebbles tap negates the pains i went through to avoid you / and every little pat on the shoulder for attention fails to mention i still hate you" (pain of glass instead of pane of glass - i think this is supposed to be a parallel. that or pete just misspelled pane)

patron saint:

"I'm holding out and I'm holding on to every letter and every grudge"

*flashes forward 20 years to hmlag*

anyway

FROM UNDER THE CORK TREE:

our lawyer made us change the name of this song so we wouldn't get sued:

"we're good friends only when you're on your knees"

sugar:

the icon, the legend

"don't mind me, i'm watching you two from the closet wishing to be the friction in his jeans" 🎉🏳️‍🌈

dark alley:

"joke me something awful just like kisses on the necks of 'just friends'"

"I'm hopelessly hopeful that you're just hopeless enough"

champagne for my real friends, real pain for my shrimp friends:

"you steer away in a rearview mirror, make my head swim"

i slept with someone in fob:

"someone old, no one new / always borrowed, always you"

THIS ONE!! THIS FUCKING ONE [CAR CRASH] [SIRENS]

ahem. anyway

sixteen candles:

"i confess, i'm just messed up / dropping 'i'm sorrys' like you're still around"

XO:

"to hands"

(that's it. no "between legs, and whatever it takes" just hands. just fuckin. to hands)

"to hotel stares/stairs" (wordplay!! to clarify it literally says "stares/stairs" in the book)

"choose awe or sympathy"

also in the last verse it says 'to the "love"' with the quotes which is just kinda funny

INFINITY ON HIGH:

this ain't a scene:

"crashing not like hips or hearts"

i'm like a lawyer:

"i only keep myself this sick in the head cause i know how the words get you (off)"

"collect the bad habits that you couldn't bare to keep" (idk this one might just be a typo)

hum hallelujah:

similarly, this might also be a typo, but "versus" is spelled "verses"

(after) life:

ok. ok. hear me out. this is the cornplatiest i have ever been. but on genius it says "death's in a double bed"

and on the lyric book it says "deaths in a double bed"

that changes everything!!! (not really, i know) it's not death as a concept or figure or whatever it's deaths. as in multiple people dying. aaaaaaaaaaaaaauuuuuuuuuuaaaaaaaughhhhhhhhhhh

moving on

carpal tunnel:

"we take the sip from life's lush lips"

the line "we might've started singing just a little soon" isn't listed, it's just the goodbye line twice

"but i'm just tired yawns for fawns"

you're crashing:

"the cause, the kid, the charm, and the curse"

ginasfs:

"lips pressed this close to mine"

"but the prince of this failing empire knows" (hhhnnnggggggghhh)

"i've already given up on myself once but the third time is the charm" that's not how numbers work pete <3

"just kind of figured on not figuring myself out"

FOLIE A DEUX:

folie a deux doesn't have a lyric book. just portraits of the boys with empty white pages that have their names written on them. my poor beautiful masterpiece

BELIEVERS NEVER DIE VOL. 1:

fnowae:

not a lyric but for some reason the whole fuckin song is in quotes

SAVE ROCK AND ROLL:

the phoenix:

another punctuation thing but instead of "hope to die" it's "hope-to-dies"

"you're wearing our vintage misery"

alone together:

"my heart is like a stallion, they love it more when it's broke in" instead of "broken" (i love double meanings!! i love wordplay!! i love pete wentz!!)

where did the party go:

"i will appear to you if you make yourself shake fast enough"

the mighty fall:

the lyric book straight up doesn't have big sean's part 💔

rat a tat:

at the end there's this "talk less / mean more / let's be electric / like we were before" that i have literally never heard so i'm assuming it's a neat little cut lyric

save rock and roll:

"i will save the songs / the songs we're singing"

AMERICAN BEAUTY / AMERICAN PSYCHO:

irresistible:

"coming in announced" this one. this one's just a typo. come on boys it's been 12 years at this point read the books more than once

"i just dragged my nails on the tile / i just follow your scent" ?? idk

"this will not be a battle"

ab/ap:

for some fucking reason it just says "she's an american beauty" three times at the start of the song 😭

"and as we're drifting off to sleep" isn't in there, it just says "and all those dirty thoughts of me, they were never yours to keep"

the kids aren't alright:

indulge me once more, reader. i am cornplating again

instead of "former heroes who quit too late and just wanna fill up their trophy case again" it's "wanted to" do you understand why that makes me insane

also they have it as "will put your curse in reverse" instead of "we" which could be a typo but could also be a neat little change

uma thurman:

"you cut me deep like uma thurman"

jet pack blues:

"i'm the kind that can turn june to september / the last one that you'll ever remember"

"between these two white highway signs"

immortals:

"i try to picture you without me but i can't"

M A N I A:

hold me tight or don't:

the line "i'm pretty sure that this isn't how our story ends" isn't included

wilson:

"i know it's just a number but to me you're the 8th wonder"

sunshine riptide:

they didn't include any of burna boy's lines 😒

SO MUCH (FOR) STARDUST:

smfs doesn't have any lyric changes that i noticed, just the usual typos.

update: future emma here, upon further contemplation I have decided to add the line "I'd never go, I just want to be invited" since the first verse definitely says "I'll" (thank you sugarweregoinin and foliejpg for inspiring this revelation)

and there we have it! if you're insane patient enough to have made it until the end, thank you for reading and i hope you enjoyed! if there are any i missed/any in CDs that i don't have please let me know i find these so fascinating (if you couldn't tell). i just love getting glimpses into their writing process and seeing how the songs we know and love evolve before they get to us. i might also do a post about how spotify/genius gets a bunch of their lyrics wrong because it pisses me off but this is all for now, good day/night!

[cuubism]

I keep thinking abt the Threshold vs the Dreaming, since we don’t see much of the Threshold besides the gallery (did u notice Desire’s sigil in their gallery is a mirror?) but there’s no way the entire Threshold is glossy latex hallways, right? There’s gotta be … furniture? Rooms? At least a bed somewhere? A sitting room? What’s it like in there!!!!! Why doesn’t Desire have their own castle like Dream does???

I have some answers to this actually! Since I just read the relevant comics issue.

In Doll's House the Threshold is described thus:

There is only one thing to see in the twilight realm of Desire. It is called The Threshold. The fortress of Desire. Desire has always lived on the edge. The Threshold is larger than you can easily imagine. It is a statue of Desire, him- her- or it-self. (Desire has never been satisfied with just one sex. Or just one of anything--excepting only perhaps the Threshold itself.) The Threshold is a portrait of Desire, complete in all details, built from the fancy of Desire out of blood, and flesh, and bone, and skin. And, like every true citadel since time began, the Threshold is inhabited.

There is only one occupant, at this time. Desire of the Endless. The Threshold is far too large for just one person. It contains two eardrums larger than a dozen marble ballrooms. And empty, echoing veins, like tunnels. You will walk them until you grow old and die without once retracing your steps. Given Desire's temperament, however, there was only one place in the cathedral of its body to make its home. Desire lives in the heart.

So basically, the idea is that Desire lives within the body, and the rooms we see in the show are the inner chambers of a heart. While dreams are made of fantasy and hopes and stories, Desire is physical to the point of literally being represented by a body -- meanwhile we often interpret Dream as not even really having a body in the first place. And there's a self-consumed, self-referential sense to the Threshold, such that Desire literally lives within itself, and is consumed with and preoccupied by itself, solitary, hidden, shielded. The end of the edition contains the following lines -- Desire walks the chambers of its heart. It walks the Threshold, its citadel and its protection--

The solitude and hard edges of the structure are a shield so Desire does not have to admit outside influence, does not have to admit lack of control -- "Human beings are the creatures of Desire. They twist and bend as I require it -- if I thought otherwise, I would crack, like Delirium; or I would abandon my realm, like our lost brother" -- "Desire walks the endless pathways of its body, certain that it is in sole and only control of its destiny" -- the thought of being subject to outside forces or not being in control is frightening to Desire. Which is ironic, considering how out of our control the feeling of desire is, how it happens regardless of choice, and how hard it is to wrangle back. But the Threshold is also representative of desire as a concept, how one will wander through wanting for one's whole life, always finding new things to look for as each one is satisfied; how frightening it can be to reveal a deeply-held want or relinquish it to another person's control (by revealing feelings for example); how closely we hold our desires to ourselves and how they guide our actions; how desire is usually a very personal and solitary and internal experience.

(I don't know if the Threshold even has furniture, actually. I think it's possible Desire spends a lot of time wandering the many isolated empty halls. Interesting too, how the veins are described as empty and echoing, the heart, presumably, not actually beating at all.)

This comics edition also has that line love is in the realm of Desire and desire is always cruel -- which I'm not sure I agree with conceptually, I think that may be more of Dream's perspective, and that really love might be shared between Dream and Desire's domains, and that the Endless's domains overlap more than they might think -- but that's just my feeling. In the end, I think Dream and Desire's respective realms just reflect their sense of their own domain. They're both holding themselves apart from humanity in different ways - Desire thinks humanity should be subject to them, theirs to play with and manipulate. Dream just thinks that he himself isn't really a person, so he's overseeing and shepherding things, but locked away in his tower, not really connecting or admitting himself any humanity. The fact that their interaction with humanity is so different - Desire localized in the body, in the real, Dream in the mind and the abstract, isn't helping with their strained relationship either.

At least, that's how I like to read it :)

[kangals]

ok so here's what we found out from kepler's embark results! buckle up, it's a novel:

to start, i did what i've done for the past 2 embark tests i've sent in, in that when activating the kit i said that my dog was a mixed breed of unknown type, and i opted to not upload a photo beforehand. and like the last 2 times, embark correctly deduced that kep was a purebred collie. so while there's some dna tests out there that definitely suck, i can at least confirm that in my own blind trial, embark got it right 3/3 times. they're great. anyway:

also keeping very in line with being a purebred collie, kep's COI came back at 42% - very high for a typical dog, but dead-on average for a collie. he shares 60% DNA with stellina (despite being on paper second cousins, which should be around 1-2% shared. woe to the collie genepool). he's got a bunch of the same relatives that show up for stellina, which is, again, not surprising. dogs from windcrest, overland, and thistlebrae pop up a lot - if you're familiar with US collie lines, you probably know them.

color traits! kep is confirmed as white-factored, which i was almost certain of based on the pattern of his white markings - you can find more info on it here (referred to as "flashy irish" white) but essentially collies that are white-factored carry the gene for "extreme white" or color-headed white. white is an "incomplete dominant" gene, meaning that one copy affects the dog a little, and two copies affects the dog a lot (remember this term!) two copies of the gene makes the dog almost entirely white (an accepted color in the US, but not the UK/europe i believe), whereas one copy of the gene makes the regular "irish white" markings (the classic white neck ruff and white socks) extend a little further than usual - you'll notice that on kep, his white extends over his shoulders and up to his knees. whereas on stellina (who does not carry the white gene), her white is restricted to her neck, front stockings, and back paws. one of kep's brothers is white, so we knew he likely carried the gene too.

he is confirmed as not a secret merle, though he technically could have been a cryptic/phantom merle - didn't think so, but worth a check.

so all of this is very expected - the health testing is where things get interesting!

embark tests for 265 different genetic health conditions, 4 of which are considered "breed-relevant" for collies: collie eye anomaly (CEA), mdr1 drug sensitivity, degenerative myleopathy (DM), and some immune thing with a long name.

immune thing - clear

DM - clear (not particularly common in collies, but it does show up sometimes and it is a nasty disease)

MDR1 - double copies! this is a recessive gene and kep is mutant/mutant, aka he carries both copies which makes him clinically affected. this is common in collies, as about 60-70% of collies have at least one copy. the good news is this just means we have to avoid/take smaller doses of certain medications and he otherwise shouldn't be impacted by it at all. also his breeder already tested him for this so i already was aware.

CEA - single copy! this is also a recessive gene, which means that kep is not affected/normal-eyed, which is actually pretty uncommon! it's estimated that between 70-85% of collies are affected by CEA (yes, the gene literally called collie eye is common in collies. wow.). i also was already aware of this since he was already tested (worth mentioning that if you buy a collie puppy in the US, a screening by an ophthalmologist to check for CEA is required by the breed club).

and then the plot twist:

embark tells me "oh hey, btw, there's two other genes you should know about"

"your dog has one copy of the gene for accumulating copper toxicosis"

fucking what

so yeah, after a lot of reading into this: there's a gene called ATP7B that's almost exclusively found in labradors, goldens, and dobermans which affects a dog's ability to filter out copper. excessive amounts of copper start to build up in the liver, and if it gets to be too much it can cause liver disease, failure, and neurological problems. remember when we talked about white and white-factored dogs, several thousands words ago? ATP7B is also an incomplete dominant gene - one copy affects the dog a little, two copies affects a lot. kep has one copy, which in theory means he is at no risk, mild risk, or moderate risk of developing copper storage disease in his life. not devastating, but not ideal.

the plot thickens!

kep also tested positive for the gene called ATP7A, which as far as i can tell is like the exact opposite of ATP7B (i know, the names suck). see, ATP7B causes copper to accumulate. but ATP7A has been shown to cause a copper deficiency. it's also incompletely dominant, so one copy impacts a little, and two copies (should) impact a lot - and kep has both copies of ATP7A.

so: kep has one of the "too much copper" genes... but he has also two of the "too few copper" genes. and studies seem to suggest that the two genes have a neutralizing effect on each other if they're both present in one dog - basically, they cancel each other out.

there's a handful of studies looking at the effects of these genes on dogs, but they basically exclusively focus on labradors and dobermans - one UC davis study even suggested that these genes might not even have an effect on other breeds. i could find absolutely no literature about these genes in collies, or even in herding breeds in general. embark helpfully added that they don't have enough data on this gene in other breeds to claim if they had any effect. the genes also appear to be sex-linked, and affect females moreso than males. one study on labradors suggested that although many dogs tested were carriers of ATP7B, few dogs were clinically affected, which would say that perhaps its not uncommon for dogs with only one copy to not be impacted.

(i'm also wondering if perhaps this could be the case for kep - given that he has 2 copies of ATP7A, he had to inherit one from each parent. given that these genes aren't regularly tested for in collies, is it possible that some lines carry them and are just clinically unaffected? it may be entirely incidental.)

so essentially, he does have one gene that may be nothing, or may cause mild-moderate issues as an older adult/senior. he also has two copies of that gene's natural neutralizer, and is male, and comes from clinically unaffected dogs. so... i think in retrospect, it's something to note on his chart and keep an eye on, but the odds seem to be very stacked in the favor of him either not being affected, or having only mild affects later down the line. could be a nothingburger, might be a little-somethingburger, unlikely to be a seriousburger.

that being said: i am VERY glad i decided to do this test! obviously i knew what breed he was, and his breeder had already tested him for the most collie-relevant conditions, so this was done on more of a whim, but it turned up this potentially important result that i now know to investigate. you'll hear a lot about how breeders who just do embark, or pawprints, or etc aren't doing complete genetic testing, because so many of the diseases these tests screen for aren't breed-relevant and lots of other conditions aren't testable. which is true. 265 genes and only 4 are considered for collies! but once in a blue moon, one of those random other genes will indeed flag, as is the case here.

so yeah: very interesting results! breed, COI, relatives, color, and most of the health is exactly as expected. but boy that one little health bit really threw me for a loop.

[zhuoyichenpretty]

Ep 22-23 Commentary

Ha...I was inexplicably nervous for eps 22-23 and it looks like I was right to be (-: What a rollercoaster. Spoilers below!

I've just come out of ep 23 and uh????? holy shit????? ZYC????

Ok ok but to backtrack, let's do my comments semi-chronologically:

Ep 22:

A carry-over from ep 21 that I have to mention—heck yeah PSJ give WZY hell. She doesn't have all that many lines but she sure knows how to make them count. Also seeing PSJ and WX get screen time just the two of them makes my brain go "yay <3"

Back to ep 22, loved the fake-out sundial ayeee that was a nice Chekhov's gun that also brings the real sundial back into relevance for later. Also me eating up the PSJ and ZYC crumb of an interaction has brought to my attention how starved I am of their screen time together.

This whole ep was a great lament towards the feared inevitable. Every sad downcast look from ZYC, every complicated glance WX gives him. A wonderful, terrible crossroads for these characters. I love that for ZYC especially, it's such an incredible mess of emotion coming to a head. Bad enough that he's come to care about the demon who killed his family and ruined his life, bad enough that he's sworn a blood oath he regrets and tied himself to punishing someone he no longer finds culpable, bad enough that ZYZ's life or death depends solely on his choice and ZYZ is constantly practically begging for death when ZYC wants him to live. How much immensely worse it makes the whole situation that WX is literally ZYZ's soulmate. And obviously the whole team has only grown more and more attached to ZYZ, too. ZYC's personal turmoil aside, how heavy must that responsibility and guilt be? For the finishing blow that only he can deliver to also deeply threaten every other person he cares about? Everyone understands in the abstract what must happen and why, but just like seeing ZYZ lose control firsthand, the gulf between understanding and experiencing is so unimaginably wide. If he kills ZYZ, can there really be no resentment from his friends? From WX?

Also it seems ZYC only wears cloaks so that he can give them to other people lmao

Ah fuck, the farewell drinks. I didn't even factor in how ZYC might not survive the encounter (''': The drama truly was like hm can we possibly give ZYC a worse day than that night his whole fam died? Maybe give him a bunch of new family members and also the blade and the fate and the sole responsibility to potentially irrevocably scar said family members with? And he might die in the process too? (-: haha maybe? (((-:

Oh. Oh. Addendum. I forgot this til I saw it mentioned in another post—ZYC recounting his oath as he watched WX smile when they discussed reviving the tree...I could feel him weighing those words against his own life, against ZYZ's life, against WX's happiness. One way out of this impossible situation is indeed to doom himself. I'm in pieces.

Damn if WX isn't dedicated heart and soul, going into the sundial like that. I'm sad no one could keep her company for those 300 years but also I guess that's kind of an impossible ask (and maybe not survivable for the other non-goddess mortals? I'm admittedly very unclear on sundial time loophole logistics). It would have been nice to see someone offer though, even just to be turned down.

Ooh I like the soul needle fake-out, given this show's penchant for retroactive "actually we had a plan all along" moments. A good subversion of the narrative's own style.

Also I saved this for the end because it doesn't really fit the linearity of my comments but what the fuuuuuuuck oh my god I absolutely flipped out at this scene:

I am at once rabidly intrigued and at the same time not sure if I'll be satisfied with whatever payoff will come for this so I don't want to overindulge in theorizing and setting my own expectations too high. Maybe this is just a fevered hallucination, maybe it means nothing (I hope it means something). But damn!!! What a gorgeous man crazy scene.

In conclusion, ep 22 had some good stuff for me. Plot development and reflection and tension enough that I may have been satisfied with just that one episode. But they gave us two, so onward to ep 23 comments!

Ep 23:

I like how many solid reasons the team has to suspect ZYC being possessed. Even though I withheld judgment during my watch given how quickly the show usually confirms that kind of stuff with a possession mark, just simply casting that doubt made the whole build up that much more intense.

ZYC slowly walking down the corridor with the whole grounds lit a somber and haunting gold—*chef's kiss*

ZYC's monologue to a catatonic ZYZ is so important to me. The closest we'll get to his internal monologue about this whole situation. The kinds of things said when we think there's no conscious listener.

Okay so, having finished this episode and looking back, Li Lun's hands coming up from behind ZYC was not to denote possession (at least in this episode), potentially is a visual from ZYZ's POV, and seems related to the above screencap. I am so, so curious. Once again, I'm stopping myself from further speculation because I want to be surprised but ahhhhhhhhh

PSJ shooting at Ao Yin is so gorgeous. Her action scenes seriously never disappoint—the creativity of her fight choreos!! Also very cool that the whole team is getting to take part in the action, not just the two male leads.

Bai Jiu possession was not on my bingo card but I sure do love that we literally saw the possession take place and I still didn't connect the dots. Good shitttt. Also oh no ): ZYC was telling the truth about the soul needle, he was just tricked ):

Seriously from the Ao Yin case to getting PSJ released to reviving the Divine Wood to getting tricked by possessed!Bai Jiu to making pear soup to fighting ZYZ to fighting Li Lun—when will ZYC get a single goddamn vacation day holy shit.

Also when will WX tear up that contract so ZYZ can stop having a mild heart attack every time he wants to kiss her ): &I love that they saved the 300-year montage for this moment. While their ship doesn't give me brainrot personally, who could be unmoved by that incredible and undisclosed sacrifice? That's soulmatism.

Okay, I'd seen clips of them filming the ZYC and Li Lun fight but damn I did not expect it'd be happening right now!! Right after already taking damage from ZYZ? And my god is Li Lun brutal. The two actors did such an impressive job on this entire fight, what with Li Lun's ease and ZYC's suffering. I really appreciated the extensive hand-to-hand combat after Li Lun literally obliterated ZYC's sword. (Also though, given the origin of that sword, I kept hoping for a flashback to ZYC's brother once it broke, but alas, no dice.) Anyway, the show does not play around about ZYC whump it seems. I was very very shook by that throat punch; that shit legitimately looked like it hurt.

Honestly, I had a hard time with the extended ZYZ and Li Lun conversation at the very end because oh my god someone please heal ZYC lmao. But of course, that's the end of the episode~~

Y'all...check on your local ZYC stans because I was not okay after all that (': I need a heaping dose of comfort after all that hurt, but as always I'm cautious of hoping for much from canon itself. So yeah! Ep 23 was solid, but I would probably be in better shape if today's release just ended on ep 22 ((':

Time to go wait for the cast's Hi6 episode to drop so I can heal my battered heart ;-;

[twohappyboys]

i don’t think i’ve fully gone into depth on how hard Oldies station hits

as someone who didn’t plan to live past 13, hearing and seeing Oldies station live has been a roller coaster for me.

heres some examples of how to song pertains to me

tw: slight mention on SH and general struggle of mental health. Please be safe

Starting of on the first damn verse

“Only consistency in your periphery is fear and the bridge of your nose”

“and as you move about, you learn to tune them out but they say they continue to grow”

the way i’ve interpreted these first two lines is knowing the issues and fears you hold but learning to ignore the irrationality and live through life.

During middle school i was majorly depressed and filled with anxiety, but through out the years i have learned and found ways to control(not sure if that’s the word i want) my anxiety. I now know what makes me anxious and i know how to avoid those situations, and (vaguely)what to do during episodes. Finding Twenty One Pilots and hearing/seeing others were going through and feeling what i was feeling was so refreshing, and definitely helped me get here.

“Make and oath, and make mistakes start a streak you’re bound to break

when darkness rolls on you, push on through”

this feels very reminiscent of getting sober(in any way shape and form) making the decision to get clean, relapsing and starting again even when you know you’ll only relapse again but you should keep going.

I was a SHer, (nearly a year and a half clean) that’s something i cannot hide. it’s a big part of who i am now. and even though i’ve relapsed more times than i could count, i kept going. the longer i was able to keep myself clean the better i felt. there where many times that i’ve wanted to SH but i’ve pushed through.

“Then before you know, you lose some people close

Forcing you to manage you pace”

I think this could mean many things and can be applied to many situations but for me, it means there will be people who leave. there will be people who do not want to be there through your hardships, but you will find the people who do.

i’ve had many friends, many who have left during the hardest times in my life but the ones who truly love me unconditionally have stayed. i’m still friends with those friends today. and for them i am grateful, i wouldn’t be here without them.

“You don’t quite mind how long red lights are taking

your favorite song was on the oldies station”

in a metaphorical sense: you are taking the time to enjoy life, the things that used to occupy your mind are no longer a forefront. there’s something new to occupy you.

in a more literal sense: you’ve grown up, the things you used to love and hold dear are old. no longer relevant to the newer generation, but that doesn’t mean it’s any less valuable.

I’m young, don’t get me wrong. but i do still experience the things i once loved becoming “old”. most of those things are barely a decade old, but in the sense of pop culture they’re old. seeing the toys i used to love in a vintage shop or hearing the songs i used to listen to all the time on throwback stations only remind me that i am getting older.

“you have it down, that old fight for survival

you’re in the crowd at her first dance recital”

and yet again, you’ve grown up. you now know kinda how to handle life, maybe not perfectly but you know how to survive.

like stated before, i never planned to live past 13. i’m 19(soon to be 20) and i’ve experienced and seen so many things i never thought id be able to. I’ve graduated high school, soon ill be moving into my own apartment, i’ve seen my favorite band live, i’ve gone on road trips with my friends, i have a pet, i’m living life. everything may not be perfect and i do still struggle with things, but i know im not alone. i have support, in my friends, the music i love, and my family.

in conclusion, Oldies station has become the song that shows growth and strength. You are never alone, there is always someone or something that can help you keep going. and Twenty One Pilots may just be that thing.

[is-the-snake-video-cute]

Hey, I've tried searching your blog for this but I could only bring up posts advocating against rack systems (rightly so obviously)

I recently got an adult ex breeder BP, she's massive (5'7") and was kept in a 12 gallon bare bones rack tub for her whole life. I got her because a pet shop near me that bred snakes is shutting down, I did pay for her which I feel bad about but they aren't breeding anymore so I guess I'm not funding unethical breeding? Anyway that isn't really relevant I just am rambling

I've heard that taking a BP from a rack system and putting them in their forever enclosure can be really really stressful for them so right now she's still in her tub on my desk but I feel really bad keeping her there.

I have a 6x2x2 set up, I wanted to get a 6x2x3 or 6x3x3 even but couldn't afford it so I'm hoping that's good enough for her.

But how would you transition her to that enclosure? I recently gave my house snake a bioactive enclosure and I love it so the 6x2x2 for the BP has been cycling as bioactive for about 3 weeks (Ive had her 5 days) and seems stable but I'm worried that it's too much and she'll hate it and go off food and stuff (she's quite skinny too:()

But yeah I would really appreciate, if you have the time, any advice on this front. Thank you very much and keep up the good work 👍💟

I just went through this with my new Borneo python, Hobie. Just like your girl, he's spent his entire life in little tubs in racks.

You're right that transitioning a snake like them into their full enclosures is something that should be done delicately! I'll tell you my process and what I do to make it easier for them.

One challenge that you might have is with your enclosure already being set up as bioactive. That's probably going to be quite a bit more overwhelming, and my main concern there is with the lighting. If she doesn't respond well, it's going to be hard to tell if that's because she's just adjusting or because she just doesn't like the lighting (some ball pythons just don't, but unless she's albino or another melanin-reducing morph it's not a bad idea to give it a try).

If it's possible, my idea for you would be try to try transitioning her to a less overwhelming enclosure first. I set my Hobie up in a 40 gallon for now, even though he's going to be moving to a 6x2 later down the line. If you do that, you'd be able to slowly get her used to the lighting once she's adjusted to a larger enclosure itself. If you can't do that, consider adding as much shade as possible for her and even keep the lights off for as much as you can.

Alright, so my process for transitioning former breeder snakes to more appropriate enclosures prioritizes going at the snake's pace and ensuring their comfort.

The first thing I do is put their tub directly into their new enclosure. Just right on top of everything, don't even worry about it. Your goal is keep your snake in a familiar environment while also exposing them to new stuff. Check out Hobie's setup - literally just the tub, substrate, and a water bowl plopped inside the bigger enclosure. You're going to feel tempted to give them lots of new clutter and enrichment - don't. Keep it simple and easy for them, you don't want to overwhelm them!

Then, be patient and let them explore at their own pace. Some snakes will leave their take-home tub almost right away, some will take weeks. Hobie took three weeks before he started feeling comfortable and confident enough to explore outside of it. During this time, offer food and feel free to handle a bit, but keep it short and sweet.

Your snake will likely retreat back to the tub a couple times, but eventually they'll find their new hides and check them out! Wait until they're comfortable - calm, resting, and relaxed inside their new hiding places - and then you can take the tub out.

Once they're comfortable in their full enclosure, it's time to introduce them to enrichment! They'll probably need you to show them their climbing branches and other enrichment items - snakes like them just aren't used to being able to do natural behaviors. Hobie had a great time when he learned he had a swimming pool all to himself!

Take it very slow when you add new things, and don't be afraid to backtrack if your snake gets spooked. Hobie got a little stressed when we tried adding more tunnels for him to check out, but it's fine to take things out and re-add them if your snake isn't ready just yet.

Your snake probably won't know quite how to interact with their environment at first, so just be patient with them! Right now, Hobie's going through a phase where he just hasn't realized he needs to avoid burrowing in substrate that is wet, but short-tails love to soak anyway so it's not a big deal. There will be so many opportunities to find joy in watching them learn and explore!

All the best to you and your girl! It can be a little heartbreaking to get snakes like her adjusted to their new setups, but with time and lots of patience, it doesn't need to be stressful for either of you! Remember to go at her pace and lean into what makes her feel most comfortable.

[sparklypepper]

@hungarianmudkip69 recently asked @vaspider about the spread of HIV. The excellent discussion there focused largely on qualitative aspects, notably what was going on socially in the 1970s and 80s, HIV's subtlety and long incubation periods, and exponential growth (along with a great refutation of accidental needle sticks as a dominant vector).

I've got a math and physics background - I have some extremely relevant intuition, but I still prefer being able to find real-world numbers to confirm that I haven't misapplied it. I encourage checking out all the links in this post; there's a lot of great information!

We can't literally go back in time and test everyone for HIV, but it is possible to model and estimate, e.g. this 2021 report from the CDC (US-only).

The second graph of figure #2 is very close to what we discussed:

(MMSC is male-to-male sexual contact and IDU is injection drug use; see the article for other details.)

Again, these are estimates, so we can't take the exact numbers as fact, but let's look at the big picture. HIV likely first arrived in the US around 1970; it first gained public attention in 1981, when the CDC reported cases of what we now call AIDS. At that point, the estimate is an order of magnitude of tens of thousands of HIV infections.

The original asker was interested in the behavior of a "patient zero" (see also "Debunking the Myth of Patient Zero", an excellent video linked in that thread). These numbers help us see how little effect one hypothetical person's behavior could have had on the end result. As long as the virus was transmitted at all, it was going to reach the highest-risk populations eventually, and spread once there, whether it took one hop or ten. It was also essentially impossible to notice the pattern and infer the existence of HIV/AIDS in the US until multiple people in the same community developed AIDS and contracted unusual infections - which most likely means that it's reached that high-risk population, and ten years have passed.

Tens of thousands of infections is simply the result of exponential growth during those ten years; stopping it from becoming an epidemic would've required everyone's behavior to have changed. Different behavior, different transmission, different number of hops early on would more likely have changed how long it took to spread widely enough to become noticeable, not whether it did. (An unfortunately familiar concept, in the year 2023.)

The authors also mention that "trend data comparing subpopulations is likely to be robust for each period examined", so let's look back at those individual lines. Injection drug use (IDU) actually was a fairly significant means of transmission by the 1980s, and by the mid-80s, the spread among gay/bi men (MMSC) was beginning to decline. At the end of the decade, IDU may even have passed MMSC. Simultaneously, transmission was still rising among straight people. It shouldn't be too surprising that straight sex became significant; there are rather a lot of straight people!

The CDC also has us covered for a more current picture, as of 2017-2021 in the US:

This does vary greatly by country. Notably, as of 2022 in England, 49% of new diagnoses were among heterosexuals, compared to 45% among gay/bi men. (Do keep in mind that there are far more straight people, so still, a far higher fraction of gay/bi men were diagnosed.)

I personally find that I get the best understanding when I'm able to combine some direct evidence/data with an understanding of the history and social forces; hopefully this piece helps at least one person out in that way!

[Finally, as a footnote: trans women also exist (hi I'm one) and have historically been at high risk. I am unsure to what extent trans women are omitted versus misgendered in the above data. I wanted to focus on historical estimates over time here, and unfortunately wasn't able to find that for trans women, but this review article links to and summarizes some data from two meta-analyses.]

[total-drama-brainrot]

Hello! About the fake dating!au, I was wondering how the episode Niagara brawls would play out if Alenoaheather was happening. Would Alejandro and heather still be paired up or would one of them be paired up with Noah?

Well, to be entirely honest, I haven't really thought too much on it yet. Mostly because it's still kind of up-in-the-air as to when Noah's elimination would take place in this AU. I think we've sort of settled on post-merge, so he would be present in the Niagara Falls challenges, but the timeline's still really vague so I personally haven't really invested any time in figuring out the semantics of how each episode would play out.

But since you asked, I might as well toss my hat into the ring! I'll just type out my thoughts as they come, so please excuse this response if it's a little all-over-the-place or formatted weirdly.

Off the bat, it's been fairly well established that the canon final four remains unchanged, so at the very least both Sierra and Cody are still present in this challenge; this is important, since in canon the only reason Heather ends up partnered with Alejandro is because Sierra is the one who rejects him as a husband first. I don't really see a reason to change the canonical play of events here, unless a brainstorming session later on down the line necessitates Noah being paired with either Heather or Alejandro for whatever reason. Mostly just because keeping as many "pre-written" plot points as possible lessens the workload on our shoulders (us, of course, being me and @perpetualexistence, and occasionally @ur-local-brown-multifandomist).

But that does leave the question of who Noah would be paired with.

And again, this would be super dependant on who's left in the competition at this point; since Noah's made it to the merge, we know someone has to have taken his place in the London elimination- just that small change could have potential consequences on all of the subsequent eliminations afterwards, so the merge cast might look almost completely different to World Tour's "official" line-up.

And this is also super dependant on whether or not it's Blaineley who wins the Aftermayhem challenge- I'm not sure if any of the others intend to swap her out for a more interesting/plot relevant contestant (which, as much as I do love Blaineley, she's just find of there with no real relevance to the story) like perhaps Lindsay, Leshawna or maybe even Beth- I assume it'd have to be a girl, since the show itself works to even out it's gender ratios, but it could hypothetically be anyone.

So Noah's partner could be... literally anyone, save for the Final Four (Alejandro, Heather, Sierra and Cody).

...Unless?

Now, don't judge me here, but I do kind of like the idea of Noah ending up with Heather as his partner. Maybe it's the vast potential of how their (entirely self-constructed, and self-indulgent) character dynamic could play out in this scenario, or maybe I just want the opportunity to write Noah trying and failing to pick up Heather, eventually leading to her being the one to carry him across the Falls tightrope like a pathetic, soggy kitten. Or maybe I'm just getting my Noaheather on- who knows?

All I'm saying is, they'd be giving a lot of Connecticut Clark and Malfina vibes and I'm so here for it.

And maybe I just want to see something new; there's so many explorations of how an Alenoah Niagara Brawls challenge would play out (and they're all wonderful, don't get me wrong!) so it's time to give some other pairings the spotlight!

Plus, this particular scenario would not only allow the contestants to see Heather and Noah acting like the "fake" couple they're supposed to be, but Alejandro could also play it as either a double-breach of his trust (since he's also supposed to be "fake" dating Noah, at least, and he has his whole romantic rivalry with Heather) or take advantage of his position and try to charm whoever he's partnered up with and either secure a valuable ally for later on down the road, or beguile his next elimination target into a false sense of security- since a huge part of Alejandro's character is his conniving flirtatiousness, and I don't want to completely negate that.

Now that I'm thinking about it, Alejandro's flirty nature could be a conflict point between himself and his partners. That's a thought for another time, though.

But, again, it's still very up-in-the-air and I don't really think I can give a definitive answer until a proper elimination order has been established- or, at the very least, the elimination order pre-merge. So, uh, sorry for the lack of a definitive answer!

[thenameisgul]

The thing with Castiel is that he had a lot of storylines that had potential to develop, but were cut short for whatever reason I don't understand: like Godtiel, humancas. For example, with humancas, an entire season could be devoted to exploiting that, it could be a separate storyline unrelated to Sam or Dean, he could meet other angels and have to solve problems himself. etc. But no, they abandoned it after a few episodes, for what? to make Dean not look like an asshole for abandoning Cas when he was most vulnerable, so as not to divert the audience's attention away from two brothers? I have a feeling the writers kept Cas/Misha around because of his popularity with fans, but never gave him the status he deserved for a character with so much potential and importance to the story line. I'm only in ss10 and heard that Cas is treated even worse in the later seasons, I don't know if I should continue watching or not.

if there's one thing I realized pretty early on when I was finally watching season 7 after a decade long break, was that in the Supernatural universe, there was no other character that was as interesting and multifaceted as Castiel.

The second thing I realized was that it was not a very good thing for the showrunners to have a supporting character be like that when your entire show revolves around two brothers.

The reason they killed off Castiel in early season 7 was because they wanted the show to go back to being about Sam and Dean and with Apocalypse over, they didn't know what to do with Castiel. But clearly, he was too popular and they brought him back because the network itself told them to bring him back.

Now, a good writer would've been able to find a balance to keep Cas' story relevant and entangled with the Winchesters, as they did in season 6 but with Kripke leaving the show and new management in the writer's room, that didn't happen.

I almost, almost get it? Like, you have your story, you have your lead characters and people love them but suddenly you bring a supporting character who becomes an instant fan favorite, who's, debatably, a lot more interesting because of the history you gave him but never intended to explore and now he's sticking around so you just don't know what to do to make him not take over the narrative? You make him weak.

Cas couldn't have stayed the badass, powerful angel who's lived for a millennia because then that'll require the show to have villians even more powerful than that to be any competition and that leaves the Winchesters irrelevant.

So they tamed him down alot, which in itself wouldn't have been such a bad thing, especially if they went with the human!cas arc for longer like you said but to do that would've meant they couldn't use Cas as an easy way out of all winchester's problems and they needed that too so 🤷‍♀️

My main problem with all of that, mostly comes from the fact that, and I may be wrong here, but it seemed like the writers actively resented misha/castiel for being popular. Like he was, in misha's words "a foil to the boys" and while the writers couldn't let him go because the show would lose ratings, they actively diminished him. The random demeaning comments about Castiel from other characters, especially, from dean seemed a little too pointed. Not to mention how the producers actually publicly said 'misha wasnt a good actor' when he's literally one of the best actors on the show!

So yeah, if supernatural had better writers, or atleast if they kept hold of the good ones (because there were some good ones) they could've given Cas and the show a better story.

I hate to say it but they did it to Sam too. Sam was such an complex character but they just stopped trying after a while with his character. So I guess it was a theme with these writers.

And as a Castiel fan, its frustrating, I gotta say that. But you know what the best part is? that no matter what they did, how dumb the storyline they gave him he still came out as the most interesting character every time. So there you go.

So I'd say watch the show, its really good when it gets good or maybe just open Misha's page on Supernatural wiki and only watch his episodes if that's your thing because tbh, you wouldn't miss much if you left the rest. lol

[itsclydebitches]

Continuing my perhaps delusional argument/hope that Ted permanently returning to Kansas is just a red herring, I was thinking about our references and callbacks this episode. Specifically, how they don't paint Kansas in a positive or unique light.

The Wizard of Oz pinball game is definitely the most on-the-nose nod to his return, yet in the scene itself Ted is literally refusing to play.

When we get a closeup on the machine we're shown Dorothy's house spinning out of control. That is, a moment when she leaves Kansas for the bright world of Oz, not the ruby slippers of her return.

Similarly, Beard loses his game before Ted walks over. The ending of the Wicked Witch is one wherein Dorothy (Ted) does not go back home.

(I'm not entirely sure what to do with this one yet, but having Mae quote "This Be the Verse" is certainly A Choice. Though I think the overall message -- people, specifically parents, will inevitably hurt their kids -- is an uplifting and very relevant argument within Ted Lasso's heartfelt context -- ergo we should acknowledge that we'll never be perfect while still striving to improve -- but that last line? Oof. "Get out early as you can / And don't have kids yourself"? That's not the proposed solution I'd expect for an episode that was sending Ted back to his son for good. Obviously Ted already has Henry, but it may be significant that Mae eschews a generic 'You can do it!' argument for a far more nuanced and harder to swallow conclusion, perhaps one that heralds Ted's controversial decision to stay separated from Henry for at least part of the year.)

(Also let's toss in the fact that Dottie uses a football metaphor -- not American football -- to describe how Ted needs to parent: sometimes you lose, sometimes you win, mostly you just tie, and all you can do it keep playing.)

Finally, we've got references to both BBQ sauce and sunflowers via Ted's WiFi password and the bread Dottie bakes him, Ted's "favorite."

Half a season ago these would have been straightforward references to Kansas, positive ones at that. However, post-S3E6 (literally titled "Sunflowers") Ted has both of these beloved objects tied to the UK instead. He enjoys the beauty of Van Gogh's Sunflowers in the Amsterdam museum and finds a BBQ sauce so good that it inspires him to (hopefully!) win it all in his English sport.

It might just be me reading into things because I'm looking for my preferred ending to the series... but also I don't think I am because it's weird that Kansas is continually framed as a negative this season. Ted is still super awkward with Michelle. Her new boyfriend is kinda awful and likewise makes him incredibly uncomfortable (understandably). The Wizard of Oz references aren't targeting the happy aspects of the story, or even the parts about going home. The symbolic references to Ted's beloved state (sunflowers, BBQ sauce, the little green army men) have all been integrated into his life here. We get a whole episode about how once Ted learns to focus on Henry instead of Michelle, Henry has a fantastic time living in London. Hell, this episode opens with Ted enthusiastically greeting everyone he passes on his walk, a beloved member of the community, a staple of this town... and then his mood turns sour when he hits his Kansas-sprung mom.

Obviously Ted is undergoing some last-minute growth when it comes to being a father to Henry (and healing the rift with Dottie), but I think Ted's in-universe improvement is misleading, implying that because he may think he needs to return to Kansas, that's actually how the story is going to end. If that were the end-goal though, I would expect the subtext to have a more hopeful, optimistic feel to it; something that not just implies Ted's return, but argues why he would want to outside of Henry.

If none of that is relevant... that's going to be even worse for me than Ted just going back to Kansas. A Kansas ending framed as a positive is far from my preference, but it's (arguably) a strong conclusion to Ted's journey. A Kansas ending after all these implied negatives both isn't my preference and feels like more objectively bad writing.

[canonmisogynyvictimstournament]

PROPAGANDA

FLORA REINHOLD (PROFESSOR LAYTON)

1.) I MEAN WHERE DOES ONE START!

Okay so in the first game (curious village) she’s locked in a tower, cut off from civalisation because her dad died and he wants her to find a worthy suitor. Not a suitor her age, a suitor who’s nice just a suitor who can solve lots of puzzles. Flora is so ill equipped for the real world because of her father. AND her dad definately set up this marrage trap when she was under 10. I mean it’s a woman who’s left in a tower for a worthy suitor. She’s not even trusted to go into town alone! The town is full of clockwork people! No one is even real!

Then in the next game she’s left behind because mystery solving is just to much for her dainty self! So she sneaks on after them, claiming she doesnt, “want to be left all alone again”. In the same game she’s kidnapped, has her identity stolen and no one notices because her only characterisation is she likes pretty things and then when they finally do notice and find out she was abandoned in a barn no one cares! SHE’S IMMEDIATELY LEFT ALL ALONE AGAIN. :(

In the third game Professor Layton lies to her to give her the slip. He has never lied in the entire series but he lies to her because she couldnt take going on this latest adventure. She’s the only character to faint during time travel (which doesnt even make sense) and KEEPS GETTING LEFT ALONE. She’s even left in a cage with her kidnapper who’s apparently only helping them for Flora. I mean she’s deeply uncomfortable when she’s caged with him, no one gave her a heads up that she would be caged with him.

She’s the only female character with the professor in the main trillogy who isnt a housekeep or secutary and her only characterisation ever is she likes pretty things and cant cook.

Thw writers then go on to make Katrielle’s game. A game about the Professor’s daughter. Not Flora the person he took into his care this entirely new character. My argument on why she’s a victim of mysogony there is they wrote her in outdated form and upon reciving critisism decided to sweep her under the rug and replace her with other characters. >:(

2.) Shafted SO hard because the writer’s immediately didn’t have any more ideas about what to do with her. She was set up as a mysterious character in her first appearance, and actually had plot relevance and a lot of potential moving forward. (Light PL spoilers)

However! In the next game, the main character just immediately leaves her at home to ‘keep her safe’, despite bringing a boy younger than her with him. She follows them, gets to join their investigation for all of about maybe an hour of gameplay, and then is promptly kidnapped unceremoniously, and literally locked in a barn for the rest og the game. When the other characters realise she is missing, they do literally nothing and don’t go to collect her until the next day DURING THE GAME’S CREDITS.

In the next game, and the final one of the trilogy she appears in, the main character and his apprentice (once again, a boy younger than her) literally run away from her whilst she’s making them sandwiches. Just so they don’t have to bring her along. She’s also kidnapped AGAIN, and does absolutely nothing about it (doesn’t even attempt to struggle) so that the main character can come in and save her. :|

Additionally, she’s never put in any side material set in the right time frame for her to be there, including not even being MENTIONED in the spin-off sequel (although that game is weird about what references it makes anyway), except for the movie, where she’s in it to once again be told to stay behind, and she gets a single word long line.

A lot of people come out of these games complaining that Flora has no personality, because the writer’s were apparently so determined to keep her off-screen that it was easy for people to question what kind of a character she even is. (She has one, they just don’t show it often enough.)

3.) She is constantly left behind and treated like a little girl even though she’s older than Luke, while he is respected as Layton’s apprentice. They don’t even eat her sandwiches :( They also have a running joke of her being really bad at cooking, but that’s literally the only thing they let her do! She also gets kidnapped TWICE (that is, every game she’s in but the first one) and the first time she gets impersonated by the bad guy and NO ONE NOTICES for most of the game.

Also in the Japanese version she’s “of marriageable age” and apparently really wants to marry Layton when she’s older… and that’s one of her key character traits in that version. She has a really cool backstory but after the first game she’s reduced to “girl whining about how they leave her behind all the time”. It’s like they wanted to fridge her but realized they couldn’t do that to a little girl.

DEANNA TROI (STAR TREK: THE NEXT GENERATION)

1.) Apparently, Deanna was originally intended to be TNG’s Spock replacement, a highly intelligent and rational character. Unfortunately, because she was a pretty woman, the decision was made to put her in a skin tight jumpsuit, at which point all that went out the window. Her actress has complained about this and is the source for her being originally intended to be similar to Spock but being written differently after the costume decision. She’s constantly being put through godawful plots where she’s victimized in ways that male characters - and even the other women who aren’t treated as sexy props - are not, she’s constantly being badgered to get married, she’s constantly being given love interests who there’s no reason whatsoever for her to be interested in.There was one scene where she had to eat ice cream and she kept having to spit it out off screen because the outfit they put her in was so tight she couldn’t eat. She’s an interesting character who is frequently relegated to sexy lamp status even though when she IS written well she is very competent and has skills no one else on the crew has. She literally gets teleported out of her clothes in one episode. Justice for Deanna

2.) She is an underused and underdeveloped character compared to her male counterparts. She is the only character who wears a deep-cleavage suit instead of a standard Starfleet uniform (thankfuly she does wear an uniform in latest seasons). Whenever she gets more screentime it’s only to have her body or mind violated. She is a psychologist with empathy powers, but it feels like writers didn’t really know what a counselor is for in a futuristic spaceship full of men who don’t go to therapy, so she barely has anything to do except having her powers conveniently blocked, weakened or taken away by alien of the week.

I love her because she was such a sweet, caring and intelligent character, but the writers clearly wanted her to be a hot babe of the show.

Saving grace: she really does improve in the laters seasons.

3.) She is mostly relegated to being a potted plant or a sexy lamp. She is supposed to be an empath, but mostly she gets to go “captain, i think he might be lying” about characters who everyone can see are definitely lying. AND everyone else in the show gets to wear a uniform and she doesnt for NO REASON untill the second to last season of the show (and even then it isnt Her Choice, but a man makes her do it) (and the female uniform is a catsuit for no reason, the male uniform is. a shirt and pants at this point). OH and maybe 75% or her plotlines are either men assaulting her in some way or another

[rachthepoet]

Satellite Analysis

There's always one song from an artist's release that their following chooses to adopt as their own, and Satellite quickly became the said embraced, and it's not hard to puzzle together why that is. Musically, it's atmospheric and pleasing to the ears, and the shifts in intensity offer stompin' dance breaks. It's impossible to not shimmy your shoulders when listening — believe me, I've tried. Distinct from the danceability, though, is a tenderness so dear that it flies under the radar. And maybe not so separated, as the production and music even aid it when listened closely.

As a song, it delves into the complexities of a relationship where communication and connection seem to be drifting apart. Painting a picture of someone trying to reach out to another, for they're no longer in each others' lives. It's a longing for dialogue and reconnection as the emotional distance is ever highlighted through extended metaphor. It takes the simplistic human desire and nature for companionship and dips it into an intoxicating otherworldly basis.

Here's a deep dive into Harry Styles' Satellite, from a poet.

Satellite, A Metaphor 🛰️

Felt like Augustus Waters typing that just now. Anywho. The song orbits around an extended metaphor, with a symbol strong enough to stand alone at the heart. The Satellite. And understanding it all thoroughly is the key to understanding this piece in all its wonder.

First, let's talk about the symbol itself. A satellite is, by dictionary definition, an artificial body placed in orbit around the earth, moon, or another planet to collect information or for communication. In this scenario, the satellite is an extension of the speaker as the speaker has become much like the satellite itself. Got it? And I feel like it's relevant to mention how the relationship between a satellite and the object it is orbiting is often a give-and-take dynamic. The satellite will send signals to the object and the object keeps the satellite connected. And, when there's a disconnection — a break in the two's casual communication — there's a need for recalibration — seeking that connection with the other person again.

Now, time for the grandiose metaphor at play. The feeling being portrayed is one of being stuck in perpetual orbit — close yet distant, constantly revolving around the person they care about without being able to connect. A distinct emotional distance carries on through the whole song, and there's not a clear resolution — which is something I actually prefer, for that's not how things truly are. Sometimes one is just stuck in perpetual orbit. He utilizes the celestial to explore themes of longing, unrequited dynamics, and the struggle to maintain connection when life pulls people in different directions. But, even in this melancholia, there's a balance with an added sense of hopefulness, for he remains present and waiting.

Lyric Pull Apart

[VERSE 1] You got a new life Am I bothering you? Do you wanna talk? We share the last line Then we drink the wall 'til we wanna talk

In the very first line, You got a new life, which straight away addresses that a significant shift has taken place. The receiver's day-to-day schedule differs from what it used to be, and, as I find he likes to do within his writing, this can be taken literally and metaphorically. In the literal sense, they are busier, have more activities or responsibilities than previously, etcetera. Yet, metaphorically, the receiver's perspective on things has changed significantly since the last time the two were close (emotionally, physically, or both).

Then, from the second line onward, he's already tip-toeing around the desire to start a conversation, spark a connection, and initiate this recalibration. Yet, due to his insecurities, there's an underlying fear of being a bother to them — unsure if they share the same desire for rectification — but still asks if they can speak.

Issues in communication are present consistently in his catalog of pieces, whether in relationship to the self or within relationships. I find this essential to explore, the patterns in someone's work and the evolution. Each time it has been referenced in the past, the representation surfaced in two ways: (i) a general resistance to communicate/refusing to take the blame for issues sprawled in front of him; (ii) waiting for a conversation to begin without doing anything himself to initiate it. But, things are different now. And this is a common theme across the "Harry's House" album, where lots of his old themes are present but have evolved to something more reflective and mature. Now, he's initiating, inviting the person to connect with him after time estranged. Stepping over that fear and continuing to try. Do you wanna talk? Because I really want to! I do!

The last two lines, We share the last line / Then we drink the wall 'til we wanna talk, are where, admittedly, I got a bit muddled at first. I concluded that we're in the midst of another literal and metaphorical situation, where it can be taken both ways with upheld substance, much like the nature of the first line. Literally, also known as prominent drug/alcohol references, it would make sense. There's this pre-determined need to not be sober when reopening communication, perhaps to be more honest and open to the more difficult things that could come. They need to remove some of the tension built up. In this case, drinking the wall leads to a wine rack. The other option is spinning yourself into the more abstract, with Then we drink the wall 'til we wanna talk being another variation on breaking down the walls. Walls and tension have been built up, and they need to evaporate it sip by sip.

Also, an additional sentiment is that We share the last line could be referring to the line preceding inside this very song. The line that comes before that ending couplet is: Am I bothering you? Do you wanna talk? And I love the idea of referencing a song inside said song. Feels like a lite version of a matryoshka doll. Anyway. Since "we" is used here, there can be an assumed sense of mutuality where both wish to communicate (another difference and progression from themes in previous albums, interesting to note). So, they share the last line, Do you wanna talk?, as that's the initiation for said communication.

[PRE-CHORUS] I go 'round and 'round Satellite

This is where that grandiose metaphor comes in. The speaker compares himself to a satellite going around and around a planet, which in turn is someone he considers his world or a big center of gravity to his life, even after their connection has broken. The purpose of the artificial satellite is communication, but it's kept at a perfect distance from the body around which it orbits — the receiver needs their space, so he's quite literally giving them space. Even in the metaphors residing in space, you have to smile at wordplay.

Additionally, the phrasing I go 'round and 'round represents the satellite's orbit pattern, but I theorize there's a second connotation alluding to repetitiveness. He spins 'round and 'round over and over, letting himself be known, but the other person won't open the door. And it wouldn't be the first time in "Harry's House" that there was a cyclical ideation, soon to be seen in the song Boyfriends that follows directly after.

[CHORUS] Spinnin' out, waitin' for ya to pull me in I can see you're lonely down there Don't you know that I am right here? Spinnin' out, waitin' for ya to pull me in I can see you're lonely down there Don't you know that I am right here?

He's spinning out in orbit and waits, Waitin' for ya to pull me in, and that's all he can do. All that can be done is to circle around the person and quietly observe them. And one of these observations that he makes is that the person is lonely, I can see you're lonely down there. There are many conclusions one can come to to fathom the reasoning behind this, but, to remain within the context of the song -- he believes they're lonely in terms of them being left alone to think about their thoughts, thoughts they previously shared with him in moments of emotional intimacy. The said emotional intimacy he's orbiting around, trying to recalibrate and bring back connection. He desperately wants to be a part of these conversations again. Even deeper, the isolated down there phrasing could be a play on the common saying of someone feeling down, which can contribute to an emotional shutout, which then, further, contributes to the disconnection.

Don't you know that I am right here? is the core question of the piece. The speaker has made it clear that this orbiting is done with his own will, but there's also frustration, wondering how long he can go on in this cyclical desperation to reconnect. There's melancholy and desperation as he observes the other meticulously, and sees they're lonely. But he's always been there, and they either don't realize or refuse to. Therefore, it leads him to a moment of pondering, wondering: Don't you know that I'm here for you? To communicate and help you through? I can see you're lonely down there, but I'm here with open arms, so you don't have to be anymore. I'm waiting for your green light to eliminate this tense space between us.

And that leads perfectly to the double meaning of Spinnin' out: the more colloquial meaning is another way to express that someone is panicking, which could be an emotion surfaced because of this distance and space between. Then, if one wants to dive deeper, you bring in the following Waitin' for ya to pull me in, which can have an accompanying meaning of gravity to tie in with the celestial theme — he's waiting for them to take him by the hand, both metaphorically and literally, and show reciprocation in the desire for reconnection.

[VERSE 2] I'm in a L.A. mood I don't wanna talk to you She said, "Give me a day or two"

The second verse and the first are opposites, and that's interesting. And, in my guesses, there are two separate readings possible, and depends on perspective. Whether you read it from the speaker's mouth or the receiver's.

Starting with the latter, this second verse is a response. And it shouldn't be lost how the length is shorter and more brief. When considering this being from the receiver to the speaker, it comes off as dismissive. A shutdown of the hand of the speaker's reaching out, as the receiver quickly asks for more space and time, Give me a day or two, with a brief explanation, I'm in a L.A. mood, while sneaking in the real intention in this stalling, I don't wanna talk to you. Though he's constantly open to reconnection, the other is not.

Now, if there's no perspective change, the speaker's reverting back to old habits in reaction to frustration. A prime example of the reaction to the action, or in this case nonaction, is how he regresses back to his struggle with communication and says in the most obvious manner: I don't wanna talk to you. It's a bit jarring after the song thus far shows a desire, almost desperation, for communication. But there's some more reasoning, and it lies in the line before, I'm in a L.A. mood. He's using the phrase to embody the professional and work mood and mindset, and how one usually compartmentalizes work and private life. I'm shoving it into the back of my mind for now, which could also provoke a bad mood as well. Followed then with She said, "Give me a day or two", maybe either bringing in the other perspective briefly or just an encouragement to keep himself focused for another day or two. A bit of a sloppy interpretation, but one nonetheless, and I hope it all made sense as I tried to verbalize it.

[PRE-CHORUS AND CHORUS REPETITION]

[BRIDGE] Right here, right here Spinnin' out, waitin' for ya I'm here, right here Wishin' I could be there for ya Be there for ya Be there for ya, for ya For ya Be there for ya

The beloved bridge, and very much well-loved by myself, as well. What began as an easy, swaying, otherworldly melody has now built up to an explosion of emotions expressed. The frustration amplifies, as he keeps being turned away again and again. As the speaker waits for them to see him and listen, the receiver doesn't seem to be able to reciprocate. Though his care for them remains genuine and prominent, the impatience courses vigorously. All his frustration builds up from the first verse and progresses through the piece, leading up to right now, the bridge we all love, as he lets it all out. He yells. He cries louder. He's right there.

This is the visual I get in my hand. A ghostly figure of the speaker in front of the receiver, with his hand on their shoulders, but they're unable to feel his touch. But he's trying to shake them, and trying to make them see again and again that he's right here. I'm here, right here sounds comforting, like he's trying to give solace to his other. I'm here. You're not alone, you don't need to be lonely. Then, he continues on to say Wishin' I could be there for ya which illustrates the emotional distance and physical distance simultaneously, as he cries out that extra mile about how he just wishes so deeply he could be there for them.

Satellite is grounding your partner while floating in their gravity, waiting for them to pull you in and let you be there for them. It makes me think of long nights, at the end of summer, when you lay outside on a picnic blanket and finally bear your soul out to someone under the stars to the soundtracks of the season. The music makes you feel like you’re floating into another place and time. It’s like a cacophony, the musicality of the song reflecting Harry’s exasperation. Whirring guitars, sun-dappled synths, and even cymbals bloom all over the song, and it all sticks with you for a long time.

dedicated to this anon and this anon <3

Thank you for reading, you’re absolutely incredible! If there are any songs you’d like me to make an analysis of, please send your request to my inbox! along with any questions or insights you might have yourself!

[dailycharacteroption]

Malice Binder (Investigator Archetype)

(art by raynnerGIL on DeviantArt)

When one thinks of “witch hunter” in relation to Pathfinder, one typically thinks of some variant of the inquisitor class. I mean, it does have at least 3 anti-mage themed archetypes, among other things.

However, inquisitors, with all the baggage that comes with the concept, are not the only ones who may have beef with malicious practitioners of the arcane arts (or any, depending on their disposition). Indeed, some folk steeped in ancient traditions but with a keen mind, such as those living in rural communities, may learn enough of the old ways to fight back against those that would use them against them.

These so-called “Malice Binders” utilize old folk magic and the power of sympathetic magic as a weapon against magically-inclined foes, and if that sounds familiar, you’ve probably read about the 2E thaumaturge class, which sort of grew out of the inquisitor and occultist classes while managing to have magical folk power without ever casting a spell.

This archetype taps into two related concepts of the expert who deals with evil witches and mages, but also the “inquisition’s pet witch”, which can range in relationship from one of respect to one of abuse, these mage hunters (or perhaps a true mage in their company) being treated little better than a reviled but useful animal. Again, it really depends on the disposition of those involved.

Regardless, however, these hedge mages have what it takes to recognize the signs of magecraft and hitting mages where it hurts, so let’s take a look, shall we?

Rather than focus purely on knowledges, these investigators can apply their inspiration for free on skills associated with witch hunting, from recognizing magic and spells, tracking, and, most relevant to their skillset, the ability to steal from others with ease.

Indeed, the core ability of these hunters lies in their ability to acquire and recognize trinkets from their mark. Locks of hair, small baubles, scraps of cloth, and the like. Whether they steal it directly or find them in places where their prey has been, they can use these tokens in their own form of sympathetic magic.

Such effects include using an opposing holy symbol to instill dread, placing it between coins in the mouth to ward against the mage, soot to deafen or silence, rotten meat to repel them, literal salt in the wound to ward against further attacks, shackles to restrain, incense to fascinate, a compass to locate them, and an iron nail to inflict pain, all of which they must choose as they grow in skill.

Eventually, their skill at stealing such tokens from their marks becomes faster and easier, often leaving them shocked when they are missing even important items.

Alternatively, rather than learn a new fetter, these investigators can learn more traditional mundane or magical traps to help them literally ensnare their prey, not just ensorcell them.

This archetype is a clever idea for how to do a relatively nonmagical anti-mage, though the fact that these abilities don’t work on non-casters can be sometimes limiting, which is why the traps are a good alternate option. The fetters offer good defensive and offensive options for bringing down mages, and if you plan on taking traps too, I’d recommend those that deal continuous damage or inflict distracting conditions to help prevent spellcasting whenever possible. Beyond that, I recommend options to help disrupt in combat as well as better observe their environment.

I mentioned it earlier, but this archetype does remind me a bit of some things I’ve seen in fantasy fiction which toe the line between dark and even erotic, which might be inappropriate for some tables, so be careful where you draw inspiration from here. I imagine most characters will be simple witch hunters seeking to stop evil magic wherever they can, but even still, keep that in mind.

By inflaming anti-mage sentiment, the renegade chapter of the Sun God’s Faith known as the Unforgiving Eye has been gaining a lot of power and influence in recent years, and now they’re seeking to recruit malice binders from the hag-haunted lands of Ligos. However, there are plenty in Ligos that recognize the difference between good and evil practitioners, leading to something of a polarization among the populace.

Her family slain and her soul marked by a div cult, Vikari began learning all she could about the various weaknesses of magic and witchcraft so that she could destroy it wherever she found it. The young kasatha never expected, however, that she would find love among those she swore to destroy, however.

War is horror, and perhaps no war is more horrible than those where mages choose sides, leading to terrible destruction and survivors bearing curses worse than death. Seeking an edge, the party is sent to escort a malice binder seeking whatever scraps they can to cripple the enemy’s magical regiments… However, while scouring the battlefield, the party runs afoul a memitim psychopomp, who mistakes the occult arts of the binder as necromancy.

[mixelation]

there are many fics out there with the plot of "character finds written documentation of the Truth behind uchiha massacre," but i've never read one where it.... made sense why records were kept? or documentation was even made at all?? this is something you would never, ever want anyone to find. why have anything to find at all?

like i can see a scenario where detailed documentation on intel of the planned coup and subsequent moves by konoha to mitigate the situation exist. you'd want that to keep track of yourself, and to pass on in the case of change of command or looping in new people, and it might suddenly become relevant again years down the line even if you solve it. so i can see that sitting in a sealed box somewhere, or if it was destroyed, maybe something was missed somewhere

but i don't see why you'd have a piece of paper just like GUESS WHAT ITACHI WAS ACTING ON ORDERS sitting in the archives or in danzo's desk or something??? you don't write down secrets that bad

ways someone could solve the mystery via snooping in paperwork (non-exhaustive, obviously):

danzo DID keep documentation out of some weird arrogance about the matter, or because he personally wanted to make the coup public. i don't spend a lot of time thinking about danzo so i can't decide if this is IC or not, but at least it's a reason

hiruzen keeps documentation, either out of guilt/regret or because he knows he's getting replaced soon and he thinks his successor should know (or, fuck, he thinks future generations should know)

there's no documentation about the massacre itself, but someone gets their hands on that misplaced file about the coup and Makes Connections, or there's a little annotation about someone suggesting extreme force

there's FAKE documentation of itachi's mental health or something along those lines to help conceptualize the massacre with the cover story, and someone recognizes forgeries/why details don't add up

the complete lack of documentation is ITSELF the clue. like please give me a scene of a character finally breaking into the hokage's personal archives and all the files labeled for the uchiha massacre are literally filled with blank paper