#matt is such a good and complex character

[astrals-and-pirates]

LOVEEEED Peachyville Ep 12

(messy spoilers under the cut)

i had high expectations for the reveals of the ep and while i got something different, i was pleasantly surprised!!

the cast was very funny and seemed in great spirits this ep!! its unfortunate anthony was sick but i really enjoyed hearing him laugh so much

major kudos to beth for being able to pull off distinct voices for og trudy and our trudy, and even june feels different

i really liked the insert of the Bluebeard's Wife system (i'll have to go check it out). i really enjoyed how each player was able to contribute to trudy's character in a more orderly way. while i found tony's past so funny, i do think it feels a bit too chaotic and i can see how some ppl would be turned off by it; i feel like this was a more systematic approach to the same concept and felt more appropriate for a tragic character like trudy. i kinda hope they do similar things for kelsey, francis and maybe even blake lmao

i particularly loved how will dmed the system, writing prompts pointed at each player/sister and and doing it in a sequence that felt like it progressed the story in a linear way, if that makes sense. it shows of how strong a writer he is and i love that for him

i appreciate how restrained but funny freddie was this ep, particularly as marilyn. both of his character's accents were very funny and while he did some classic "freddie pushes the limits" a lot of his choices felt reasonable and didnt drastically derail the episide

anthony made some really interesting roleplaying choices, like making trudy interested in sports/physical science (which makes trudy being part of their bowling team so much more interesting!!) and his use of the shield ability and his argument there (+ beths response) was vv juicy for me to think about

will was so good acting as the fifth sister, his manic whispers and screaming were really great

(i feel bad not mentioning matt, he was great and funny!! i just feel like everyone else shined more for me)

also, i really like the secret convo between the trudys, og trudy is so interesting and complex, and i loveeee the journey our trudy is going on right now

finally, PTERODACTYL????

[simplegenius042]

Music Monday

Tagging @inafieldofdaisies @icecutioner @derelictheretic @shallow-gravy @voidika @socially-awkward-skeleton @shellibisshe @direwombat @strangefable @rhettsabbott @josephseedismyfather @josephslittledeputy @imogenkol @cloudofbutterflies92 @skoll-sun-eater @cassietrn @carlosoliveiraa @adelaidedrubman @g0dspeeed @wrathfulrook @afarcryfrommymain @strafethesesinners @aceghosts @turbo-virgins @raresvtm @softtidesworld @starsandskies @ladyoriza @la-grosse-patate @florbelles @titiagls @minilev @yokobai @thewanderer-000 @omen-speaker @justasmolbard @alypink @thesingularityseries @nightwingshero and @noodlecupcakes + anyone else who'd like to join.

Songs for The Silver Chronicles, Life, Despair & Monsters and Wings And Horns respectively. You can find the songs below the cut:

Elsa Omar is Silva's younger sister, they both managed to escape to America together along with an infant Persephone, where Elsa would have quite the reputation in Hope County, but they'd have around two or three years of peace before Elsa perishes in an accident. Ezekiel is Thomas Rush's future Captain in Security in Old Dusk, and has a rebel attitude towards authority he does not respect. However, back on the Archipiélagos, Elsa was the damsel-in-relative-distress lying and manipulating her piece of shit father as she shared info with the local rebellion about the Congregation's patrols and whatnot, while Ezekiel was an orphaned Tumultite street kid who looked up to the likes of Alvarich and Paul, despite being very anti-authoritarian in general. When these two first met... they hated each other. But hate turned to grudging respect. Respect turned to horrified crushing. Crush turned into deflecting by flirting. And that annoyed everyone else. Even 26 years after he last saw her alive, Ezekiel still yearns for his star-crossed love. And I think this song definitely describes how much their connection may as well have been fated, even if it was for a short time.

"I don't mean to be so uptight But my heart's been hurt a couple times By a couple guys that didn't treat me right I ain't gonna lie, ain't gonna lie 'Cause I'm tired of the fake love, show me what you're made of Boy, make me believe." "Whoa, hold up, girl, don't you know you're beautiful? And it's easy to see."

"If it's meant to be, it'll be, it'll be Baby, just let it be If it's meant to be, it'll be, it'll be Baby, just let it be So won't you ride with me, ride with me? See where this thing goes If it's meant to be, it'll be, it'll be Baby if it's meant to be

So come on, ride with me, ride with me See where this thing goes So come on, ride with me, ride with me Baby if it's meant to be."

"Maybe we do." "Maybe we don't." "Maybe we will Maybe we won't.

But if it's meant to be, it'll be, it'll be Baby, just let it be ("Sing it baby")* If it's meant to be, it'll be, it'll be ("Come on") Baby, just let it be." ("Let's go!")

[*Changed the word to "baby" instead of leaving it as "Bebe"]

Cecil Royce is the daughter of Daemon Targaryen and Rhea Royce, conceived after a drunk night of hate sex. Cecil, unlike her cousins, does not hold any admiration towards her father. Throughout The Thorned Crown Of Iron Thrones, Cecil is particularly hostile towards Daemon, and pretty much rejects the Targaryen name and practices in favour of her mother's. Though after the "accidental" death of her mother, she is put underneath Daemon's care... and he honestly tries his best. Through many trials, and many errors, as well as very slow-paced bonding experiences and the apparent mutual agreement that Rhaenyra should be heir to the Iron Throne, they manage to get along, and find in themselves an actual father-daughter bond suited for two rogue Targaryens. Until of course Cecil learns from him that he murdered her mother... and unlike Daemon, Cecil actually loved and looked up to Rhea. A bond fractures and there's just this uneasiness between them that stays long after the first fic ends and the second fic begins. How does "Summertime Sadness" fit into all of this? While the song itself is a yearning for the loss of a lover, here the context is Cecil's conflicted grief and yearning after the loss of Daemon, when he buys her time to fight the Court King, where he is knowingly severely outmatched and slain in the encounter. Despite the fractures in their relationship, Cecil can't really get over the fact that, while Daemon was no where close to perfect, he was her father, and the bond they had combined with the sacrifice he made is something can't help but grieve over.

"Oh, my God, I feel it in the air Telephone wires above are sizzlin' like a snare Honey, I'm on fire, I feel it everywhere Nothin' scares me anymore (One, two, three, four)

Kiss me hard before you go Summertime sadness I just wanted you to know That, baby, you the best

I got that summertime, summertime sadness Su-su-summertime, summertime sadness Got that summertime, summertime sadness Oh, oh-oh, oh

Think I'll miss you forever Like the stars miss the sun in the mornin' sky Later's better than never Even if you're gone, I'm gonna drive, drive, drive

I got that summertime, summertime sadness Su-su-summertime, summertime sadness Got that summertime, summertime sadness Oh, oh-oh, oh."

Wouldn't It Be Nice if Metatron and Xiang could just sit down and get along for a few moments while looking past their species prejudices and work on agreeing that something needs to be done about the Soulmate System, because it's definitely malfunctioning? Said by Azriel and Jezebel as they "fight" while their caretakers are getting deep into that steel on steel, sword on bullet action.

"Wouldn't it be nice if we were older? Then we wouldn't have to wait so long And wouldn't it be nice to live together In the kind of world where we belong?

You know it's gonna make it that much better When we can say goodnight and stay together

Wouldn't it be nice if we could wake up In the morning when the day is new? After having spent the day together Hold each other close the whole night through

But happy times together we've been spending I wish that every kiss was never ending Oh, wouldn't it be nice

Maybe if we think and wish and hope and pray it might come true And, baby, then there wouldn't be a single thing we couldn't do Oh, we could be married (Oh, we could be married) And then we'd be happy (And then we'd be happy) Oh, wouldn't it be nice

You know it seems the more we talk about it It only makes it worse to live without it But let's talk about it Oh, wouldn't it be nice?

Goodnight, oh baby Sleep tight, oh baby Goodnight, oh baby Sleep tight, oh baby Goodnight, oh baby Sleep tight, oh baby!"

[colaghost]

I will NEVER forgive y’all for not hyping up ECHO like the other Disney+ shows

[starriva]

I’mma just going to say it Caname is a fun ship in three scenarios one classic high school sweet hearts and lovers , the next just two dudes who fuck, and the last one being where Alfred is not a good person and neither is Matt. Which is a lot of fun! I absolutely love complex takes on their relationship, of any variety because they just vibe so well together.

[willothewispwisteriadawn]

Josh and Sam’s Chemistry

I’m of the opinion that, even though they have less screen time together than UD’s established couples and aren’t explicitly romantic, Josh and Sam have better chemistry than most of the other Until Dawn couples. And I’m not playing here. I felt this in my bones, and I am now PREPARED to defend it with paragraphs upon paragraphs analyzing this game’s character writing.

Someone on Reddit tried to make fun of me for this opinion by saying Josh/Sam barely have any interaction. But what was not considered here is that I’m a petty bitch and am COUNTING THE LINES IN THE TRANSCRIPT NOW. Anyway, I’m more than half through the game, and currently Sam and Josh are both in each other’s TOP TWO for dialogue shared. Chris is there fighting for both their attention like mad though 😂. It’s very close so far. Like cooooome on, I’m not arguing that we have any canonical proof Josh and Sam are romantic. We don’t. But to say they don’t have very memorable interaction with each other….? Stuff and NONSENSE.

[kittenfangirl20]

With how Season 1 treated Daemon, I am worried about how Season 2 will treat him. But I also heard that George RR Martin got involved in rewriting Season 2, so he may have done this in order to have Daemon portrayed correctly. Because honestly with how Daemon was presented in the book Fire and Blood, I can’t see him strangling Rhaenyra like that. Also Daemon was nowhere near his first wife when she died, so he couldn’t have killed her.

[banefort]

Ok mid-season top character rankings

1. Aegon Targaryen

2. Rhaena Targaryen

3. Criston Cole

4. Larys Strong

5. Daemon Targaryen

6. Alicent Hightower

7. Rhaenyra Targaryen

8. Baela Targaryen

9. Aemond Targaryen

10. Jacaerys Velaryon

[yououghtaknow]

thinking about matthew lloyd bareapopopera........ AGH!!!!!!!!

[renthony]

A significant amount of my opinions about modern queer television are influenced by researching older queer media.

I see a lot of the same vitriol in modern queer fandom discourse that has been playing out in queer spaces since film and television were invented. Shows in the 70s started making steps toward sensitivity consulting in queer media, even as the networks fought them on it. Imperfect but earnest queer representation was met with aggressive protests by homophobes and queer people who thought it wasn't good enough. The argument over good representation vs no representation has been happening for decades and decades.

You spend enough time immersed in old queer media and you really start to vibe with Harvey Fierstein's words in The Celluloid Closet documentary. Or at least, I do.

Harvey Fierstein: "I liked the sissy. Is it used in negative ways? Yeah, but, my view has always been visibility at any cost."

The way I see it, the way to genuine, loving queer representation that showcases a vast array of experiences is to stop demanding perfection. The fewer queer stories that are allowed to exist, the more of the heavy lifting those stories have to do in the representation department.

When we have numerous queer stories, it's suddenly much less important to argue over whether the queer characters in question are "good" or "positive." They can just be queer characters who exist in the same infinite variety as straight characters. They can be messy, they can be flawed, they can be honest portrayals of the complexity of human existence.

Queer representation will never be perfect, and striving for perfection is how we shoot ourselves in the foot.

Some starter reading for those interested:

Alternate Channels: Queer Images on 20th-Century TV (revised edition) - Steven Capsuto

Hi Honey, I'm Homo!: Sitcoms, Specials, and the Queering of American Culture - Matt Baume

The Celluloid Closet: Homosexuality in the Movies - Vito Russo

[softgrungeprophet]

me writing stuff in my timeline like, are dr warren and norman a little too evil? is this too black and white? too cartoony?

me looking over my other villains/antagonists (ock, mac, etc.) who are generally complex in their morals while still being assholes or bad people: i think I'm good actually,

[felassan]

July 15th Game Informer article on BioWare's companion design philosophy in DA:TV - cliff notes:

DA:TV wasn't made with the intention of making a sequel or 'the same again as DA:I'. They wanted to do something different

The companions are key to everything in DA:TV; the special centerpiece, load-bearing pillars. The studio uses the phrase "DA is about characters, not causes"

These are the most fully realized, complex, fleshed out & complicated companions from BioWare yet (and DA's best). They have stories of their own, and roles both in and out of combat. They are authentic and relatable

For the first time in the series, BioWare feels that they have purposefully and intentionally created great companions. In previous entries, they sort of 'stumbled' onto great companions

Rook goes on a journey with the companions, rather than how it felt in previous games where the companions are more like going on an adventure with the PC

The companions have complicated problems. We will explore how they think and feel, and help them through their problems. They participate in the game's dark parts and optimistic parts

Corinne: "They feel like my dear friends, and I absolutely adore them"

Corinne quote: "We've really moved into a place where you can have the highest of highs, and it can be colorful, it can be optimistic, but also, you can have the lowest of lows where it gets gritty, it gets painful, it gets quite dark. But throughout it all, there is a sense of optimism. And it creates this delightful throughline throughout the game." 

When creating DA:TV one of BW's principles was that the world exists even when you/Rook isn't around, with ancient conflicts, grudges and more going on. Rook kind of comes in in the middle of some of these plots

John quote: "For example – the Grey Wardens are an interesting faction but by themselves, they don't tell a story, but there are characters within that faction that do. And the same thing with other characters in the story. They represent these factions, they show the face of the other parts of Thedas and of the storytelling we really want to do, which, again, shows Thedas as this large, diverse living world that has things going on when you're not there. [...] Where can Rook come into [the companions'] stories, and what interesting ways can those stories develop not just based on themselves but also based on Rook's presence within them?"

Companions are the faces of their factions. Some, like Bellara, are the faces for an entire area of the world

BW hopes that the companions' visual design challenges and excites cosplayers. Matt Rhodes: "The previous art director had the mindset we should make things easier for [cosplayers], which I think is a misunderstanding of cosplayers. We've seen the kind of challenges they're willing to take on, and so we've gone for, in some cases, a level of complexity and detail"

Tevinter is an oppressive, totalitarian regime that has slavery. "If you’re not a mage in Tevinter, you are lower than dirt for a lot of people". A damaging regime has taken over Minrathous

The Shadow Dragons are a rebel faction that fight back against this Tevinter mage-ocracy (so does Neve)

Neve believes that good exists in Tevinter. She's there for the common people, and believes in fighting oppression and tyranny. She represents the voice of the streets and the common people. BW "wanted to have a character that showed not just what is Tevinter at the top, but what is the average person who lives in Tevinter"

Detective Neve is also about finding clues and ways through problems that aren't as action-focused as some of the other companions

The writer Wesley of Game Informer thinks that DA:TV is sure to be "multiple dozens of hours long"

In combat, companions have their own autonomy and behaviors. They pick their own targets

As their plots progress, they learn how to use their abilities more competently in battle. "It feels like we're all in it together"

In battle, strategy, progression and a sense of teamwork comes into play as the party's leader, Rook. "It is a game about creating this organic sense of teamwork."

Vulnerabilities can be used synergistically

Bellara can slow time

Harding has devastating attacks with 'knock down' effects

Corinne quote: "Now, there are more explicit synergies as well. We very much have intentional combos where your companions can play off each other, you can queue up abilities between them, and each of those abilities will go off and have their effect. But it results in this massive detonation where you get enhanced effects, debuff the entire battlefield, all because of planning and teamwork. What makes it really cool is you can introduce Rook into that equation as well. One of my favorite things to do is upgrade some of Harding's abilities so she will automatically use some of these abilities that normally I'd have to instruct her to do. And she'll actually set my character up to execute that combo that, again, has that detonation effect." 

Outside combat, companions have their own concerns, fears and distractions

Companions have their own personal spaces. They each have their own room in the Lighthouse. These sanctuaries become reflections of who they are. "The more time you spend with them, as the game develops as you work through their arc, their room and their personalities will evolve and flourish and become more complete as they trust you more and you understand them better."

The companions also develop romantically, sometimes with each other. Corinne: "There are moments in the game where two of our companions fell in love with each other and I had to make some pretty challenging choices as it related to the quest we're on. And it broke my heart, it absolutely did"

Get to know and learn about the companions in the Lighthouse. "It endears them to you in a way that I honestly haven't experienced before."

There are joy-filled moments and heart-breaking moments in the game wrt the companions

[source]

[shorthaltsjester]

the thing is that the “laudna or delilah” debate i think actually misses the complexity of laudna as a character — which i think actually gets magnificently illustrated when marisha talks about and chooses her actions as laudna. like in the game, she tends to act comfortably as laudna even in those delilah filled moments once the initial indication has been made by matt that laudna feels that presence particularly in a given way. but the vehicle of a ttrpg as the medium in which laudna exists and interacts means that there is intractable ambiguity in the “did laudna do this or did delilah?” because the answer is always at the same time that both of them chose it as it is that laudna did, because matt always brings in delilah as a reaction to the choices made, either by laudna in the narrative or by marisha as the creator orienting laudna’s choices. like tonight, marisha certainly didn’t say I’m Looking At This Sword Appealing to Delilah, but she did have laudna who was traumatized by that sword engage with it while also engaged with an action she has pointedly and continuously accounted as a coping mechanism from years of solitude with nothing but the voice in her head. laudna didn’t choose to have delilah in her mind, but she did choose to ask for more power, she did choose to act without orym’s input, she did choose to use her form of dread, whether or not she chose the form which it took. especially with the the indicators that this is a storyline alluding to addiction (something i’ve long suspected but has now been affirmed by marisha in the cooldown), it is extremely compelling that laudna is both insistent of her own responsibility when it comes to intentions but is absolutely avoidant to the point of absolute denial when it comes to consequences. this was especially apparent when imogen asked if laudna’s choices and actions were all her own and laudna insisted they were, but then ended the episode with a form of dread the image of delilah briarwood fading from around her as she repeated “i didn’t mean it.”

it is particularly interesting when she is alongside imogen because i think the thing that is the most compelling to me about them right now si something that laura (iirc) alluded to in the cooldown about how imogen has chosen a significant turn away from predathos at the same time laudna has leaned in hard to delilah. in a lot of ways imogen has been very like laudna when it comes to the importance of intentions vs. consequences, at least insofar as her experience with her powers led to a different kind of isolation than laudna’s but still led imogen to experience situations in which she was confronted by the cruelty of thoughts much more expediently than she was with the cruelty of actions. and while laudna has experienced the cruelty of actions, she ties those intensely to bad intentions as well — cruel actions come from cruel thoughts. i mean, that’s what fun scary refers to — in that first interaction with those kids, we get a clear though undoubtedly unintentional insight into the perspectives that laudna and imogen both have on the cruelty that the world contains. laudna sees no harm in the fear she instills in those children because she loves kids, her intention was fun, her actions can’t be truly harmful if she never intended it. and interestingly, imogen disagrees that laudna is fun scary at all, she actually points out that laudna is scary scary, but in a good way.

and so we have this dynamic between two characters who have been the balms to one another’s solitude — which, as has been expressed in other posts, in both cases emerged from their commitments to their outlooks: laudna continued to appear as a witch on the outskirts of town, likely engaging in haunting behaviour if her actions throughout the campaign have been any indicator, and continued to run until, interestingly, someone who could read her mind was the first person to truly realize she meant no harm. imogen isolated because she was inundated with thoughts and turned misanthropic because of how often those thoughts were negative and cruel, until someone (who partakes in actions that can very easily be considered at least appearing to be negative or scary) had thoughts that were good. and they fell in love — with a confession scene where laudna raised concern that she might be a bad person, because she herself had ill intentions in reaction to bor’dor (absolutely mediated by deliliah, but her own emotional reaction that prompted that mediation). and imogen’s rebuttal isn’t a reference to laudna’s choices or her actions but to the thoughts she’s had that imogen has been witness to.

except. except it’s been months and imogen has a mother who had the best of intentions to start with . intentions that look a lot like imogen’s own, but now she stands at the side of a man willing to risk the entire world so that he can (ostensibly) no longer have to deal with divinity. imogen’s mother who allows the murder of countless people, of every member of the hells themselves except imogen, of oryms family, to get the answers and the solution that imogen herself is looking for. and as imogen has gotten further in the journey, the role of thoughts and intention has become apparent in its limits. because it’s true that they are important, it marks a difference between ludinus and liliana absolutely when it comes to likelihood that they might have a path for redemption, but it doesn’t mark much of a difference for the lives lost. and imogen has become much more concerned with this, i think maybe most clearly in her decisions around her last few predathos diving dreams because her hesitation hasn’t been that they need to consider the sides more, it’s been that, regardless of her intent to come back to the hells, to get information for their mission, her will might still lose the fight against the pull of predathos and if she’s forced to be this vessel which might allow it free, it might not matter as much what her intentions are when she dreams.

and at the same time. laudna has been confronted with the same evidence that her worldview might not paint a complete picture, but she’s still looking at that incomplete image as the whole. as is clear in her reaction to liliana, where she sets up her position to imogen by referring to her own love for her — for laudna, liliana must not actually love imogen, couldn’t possibly if the outcome of her actions is imogen growing up without her mother and liliana aiding and abetting (even if occasionally Maybe limiting) exandrias mage criminal of the decade. except, as imogen who has started to be checked on her flawed thoughts > actions perspective points out, that inconsistency isn’t one that laudna is immune to — laudna loves imogen and the hells and undoubtedly wants to see them live in a world they can thrive in, but she’ll also give up pieces of herself and make decisions without their input that have implications for those she chooses to exclude as evident in her choice with the sword,

and so tonight’s everything was delicious . when marisha’s interparty conflict beam hits it hits and it did tonight but the conversation between laudna and imogen was truly truly fantastic and so compelling because you get both laudna so locked into the familiar comforting behaviour that thinking that her intentions are all that matters is and being confronted by the fact that right now the consequences seem so enormous that the comfort is cold and imogen realizing that the thing that she’s been struggling through with her mother — and don’t get me started about imogen’s response to her mother saying she’s made her choices for imogen and the fact that laudna’s first explanation of why she chose this was a similar appeal to protecting imogen — is the same thing that has a hold of the woman she loves, though in different forms. and god, not to add another unnecessary sidebar, but laura is truly so good at coming up with heartwrenching prompts? dialogue? i dunno what to call it but the way that taliesin is insane with one liners, laura is like that with setting up conversations and then eventually spiking them into my heart because jesus the “i just watch. [as she plunges a dagger into her heart]” “i’ll always love you, i just don’t know what to do with it” “i didn’t mean it” “i know” because that’s the thing, that’s the struggle . ethel cain voice directed at laudna and liliana. imogen temult loves you but not enough to save you. because it doesn’t matter how much anyone loves laudna if she still believes in the necessity of delilah, it doesn’t matter how much anyone loves liliana if she still believes her presence at ludinus’ side is a requirement. and that’s not to reduce the degree to which they both have undoubtedly been trained to believe those things, but it is to say that both in the text and in the real world situations to which people love to refer when reducing agency to make characters more girlboss or whatever — it’s actually explicitly the role that laudna ascribes to her own emotions and choices and value that will lead her to a life where delilah does not have full reign.

the ambiguity and complexity is that as long as laudna wants (which translates to a need for her) her power, she wants delilah and whatever words that delilah will feed her to validate the need for and/or increase that power, which means that her actions are always her own, and the consequences are always hers to bear. the messiness is her continued insistence on separating intention from consequence — because laudna never means harm, for her it’s about protection, even power doesn’t seem to be power for its own sake. even with orym tonight it was about protecting orym from the sword, but also of course about finding power for delilah so that deliliah might also grant her more power so that she can help save imogen and the hells and the world. but that means when she explains to others she can make claims like i didn’t mean to, or that the choice was all her own because as incorrect to anyone else, laudna has completely committed to her founded belief that intentions matter more than anything else when it comes to the judgement of someone and their actions.

[farfromstrange]

Interview With The Vampire | Vampire!Matt Murdock x F!Reader

-> Main Masterlist

Pairing: Vampire!Matt Murdock x F!Reader (she/her)

Summary: You are the first journalist to interview Hell’s Kitchen’s resident vampire vigilante after he requested you personally to tell his story. He’s offering you a way out of your miserable job—to make your voice be heard. You’re desperate and curious, so you decide to take the risk. Most people only know him as Daredevil, but you are about to learn who’s really behind the mask. How hard can it possibly be? As it turns out, interviewing a vampire is a lot more complex than you expected it to be, and Matthew Michael Murdock has set his mind on ruining you for any other man to come.

Warnings: SMUT (18+ MINORS DNI), alternative universe, blood play, marking, scent kink, slight Dom!Matt, unprotected p in v, oral f!receiving, biting, vampirism, angst, religious imagery & symbolism, Catholic guilt, mentions of violence, allusions to suicidal thoughts, lots of plot, age gap

Word Count: 12.2k (this is a beast)

Other Characters: Vampire!Elektra (mentioned), Ben Urich (mentioned)

A/n: I finally got this one edited. This is a beast, y’all! I drew inspiration from Anne Rice’s Interview With The Vampire, but particularly the 2022 AMC series (I fell in love with it then and there), but it’s not based on it, so I just played around with the idea and this came out. It’s a lot, but it wasn’t enough for a full-blown series, so you’re getting a big ass One Shot instead. I used my usual Smut tag list, but since this is slightly Dead Dove Do Not Eat, heed the warnings and proceed with care! Don't read it if you don't want to. Anyway, I hope you like it!

Read Me On AO3!

The sun has long set over the Big Apple. Artificial neon, cars, and ceiling lights burning in the highrises along the riverfront cancel out the darkness that has befallen the country’s east. Noise melts into a flood that rolls over people’s senses, but most in New York City have grown numb to the city that never sleeps. 

Sirens follow cacophonies of screams. Teenagers get into clubs with their fake IDs, adults get drunk in bars or go to work the night shift at their underpaid jobs, and the other half cry themselves to sleep, knowing they will have to get up in the morning and go through the same hell all over again. 

Life has become a miserable existence, and it leaves human beings wondering, ‘How much longer do we have to endure this before we all finally drop dead?’

The system fails them. The law fails to protect them. All they can do is lie down and wait to die. And they will die sooner or later. That’s inevitable. 

In Hell’s Kitchen, in a penthouse with a view of the Hudson through colored windows that gloss over during the day and show the city throughout the night, resides someone who most of the city only knows by an alias—Daredevil. 

If anyone crosses him, he will suck them dry. It’s not a metaphor, I’m afraid; his reputation precedes him. Criminals fear the red eyes that come with fists and a sharp set of teeth that will surely run them into the ground. The rest of the city feels a little safer with him, but so far, no one has dared to question his nature. 

Fear is known to work as a paralytic. And this man living in the penthouse by the Hudson is the personification of what one might consider fear-inducing. Without the fear of others, he would not be thriving. 

An apex predator like him lives for the thrill of the kill. When the adrenaline spikes, it makes the prey start running and the blood taste so much sweeter. It is to a creature of his kind what a good glass of century-old red wine would be to a human being; he savors every last drop of it.

Two years out of your Master’s degree at Columbia University, you have become one of those hard-working adults who fall into bed later than they should, and you lie awake at night, wondering how much longer you have to exist before you can live.

You interned at the Bulletin; you ran the true crime and mystery column for over a year before the newspaper shut down. A billionaire from downtown Manhattan bought it to start his own magazine, and you were the only employee he didn’t fire. Instead of relying on your top-tier education and experience though, he has banned you to the lifestyle and beauty column. He’s a beast if you have ever seen one. 

On a Monday in June then, after the sun has risen and is now falling again, you find an envelope on your desk. You glide your fingers over the fancy paper. The letters are written in handwriting that resembles the old letters from the 18th century you had the pleasure of using as research material for your Bachelor’s thesis.

Your heart skips a beat. Could it be…

It is no secret that vampires exist.

Over two decades ago, scientists published papers on the existence of blood-sucking creatures after years of valuable research, and now governments around the world have set out to burn the inhuman species out before they can cause any more damage. Vampirism though is older than humanity itself and unless law enforcement has evidence of homicide, vampires have the right to exist amongst humans. 

They are excellent at hiding their true nature, that much is true. The lore that has been passed down since the beginning of time is only partly true. They know how to adapt and rise from the ashes like elegant phoenixes. The misconceptions surrounding their existence stem from fiction, horror, and fear, but they persist. 

And a rule has been established in society ever since the truth was revealed: don’t talk about vampires! 

Don’t talk about them unless it’s in a fictional context. Don’t put your research out there. Don’t fraternize with them. Don’t risk becoming prey. Don’t be fascinated by them, and God forbid, don’t you dare write articles about them for the public records. If you want to know about vampires, you have to dig, and you have to do so quietly or society will deem you crazy and a freak. 

The worst thing to be is not a flying android or a super soldier with a shield; the worst thing you can be, in this day and age, is a vampire. 

You were a curious child who turned into an even more curious adult. At times even a bitter one because she couldn’t get the answers she yearned for and had to do it herself. So, of course, the We Don’t Talk About Vampires rule came across as rather absurd, learning about it back when you were merely a teen. 

You started researching, and you found out more than you thought you would—more than you thought you could. You wanted to cover the issue in the Bulletin back when you still worked there, but since humans were raised to fear the very mention of vampires in the real world, no longer romanticizing the concept but rather running from it, the truth shall remain hidden. Again, that seemed absurd, but you had to accept it to get ahead. 

You kept researching to the point you convinced yourself you could be one of them if you tried. You felt like you understood them, but nothing could ever fully answer all of your questions to the point it felt truthful. Honest. Real. 

Growing up, everyone told you dead things aren’t supposed to walk. They aren’t supposed to breathe and exist among the living. They are cruel, and vampires are killers that leave trails of bodies the government is hiding from us. Greediness exceeds common sense. The human mind tends to get sick and twisted, and those who don’t fit in hardly ever stand a chance.

Hell’s Kitchen is particularly quiet on the issue. Rumor has it that the vigilante chasing criminals at night and leaving the worst of them dry at the shore of the Hudson while, at the same time, surrendering those he deems worthy of rehabilitation to the authorities, is one of those vampires. 

They call him Daredevil; the savior of innocents and the downfall of the vile. Only a handful of people know who he is. The truth is caught in a spider web of lies, unable to come out unless someone were to tell his story for the world to hear. 

That Monday in June when you open the mysterious envelope on your desk, everything changes. 

He addressed you personally. Your name resembles a masterpiece, the letters swirling at the edges. 

You don’t know me, but I know you.

It’s strange to read your name out of the mouth of a stranger.

I must admit, Miss, I’m a big fan of your writing. And I’m not talking about the lifestyle and beauty column Mr. Doherty of the ‘Silver Lining’ has confined you to.

No, I am a big fan of the work you used to do for the New York Bulletin. I remember your name headlining many articles on crime here in Hell’s Kitchen—a column my late friend Ben Urich used to call his home.  

It’s a shame that the paper was shut down. I tried to prevent it, but the disappearance of half of humanity and Wilson Fisk’s irreparable damage to the city’s foundation tied my hands. 

The token female journalist reporting on unsolicited beauty advice and lifestyle choices no one is going to follow in the days of social media and fake marketing. It must be frustrating, right? Not having a story to tell. Not getting recognized for your impeccable talent. The Bulletin gave you a platform, but Mr. Doherty and his goons took that away from you.

What I’m asking myself is, are you satisfied? You were probably imagining a different future for yourself. A woman of your caliber must want to be more than a mere object used to make a bottomless magazine look better on the market. 

Excuse my overstepping. I read one of your essays on the magical and the mythic—lore versus reality—the other day, and it inspired me. My life has been taking quite a few turns lately, so I required some new… let’s call it insight. 

You don’t know me, but I am one of those creatures you are fascinated by. I’m the kind of creature people have been telling you not to write about because the weak minds of the public would not receive it well. The Catholics, the church, the fragile and fearful human beings that can’t imagine anything in fiction being real and want to remain the superior species—trust me, I know what it feels like to be backed into a corner. To be abandoned. To be underestimated. Not quite like you, I admit, but I have a few years of experience in and with this world to show for myself. 

I imagine you’re tired of your position. I imagine you’re dissatisfied with human idiocy. You crave answers to your questions. Questions you have been asking yourself ever since college failed to answer them. My kind is being censored—partly for good reason—but that doesn’t sit right with you, does it? To live life in a monotone line with no clear way out of this boring rhythm you have had to fall into? 

I can offer you a different path. A story. Answers to your questions. And the unfiltered truth of a 242-year-old man. 

You are going to find a card with my address attached to this letter. I can assure you, sweetheart, we both want the same thing. I will wash your hands if you wash mine. Think about it, and come find me when you have made your decision. Preferably after the sun has set. 

Yours sincerely,

M.

The paper crumbles in your hands, but only at the corners. Your eyes are glued to the lost drops of ink, the blue blood of an old fountain pen caving under too much pressure. 

He chose his words carefully. Every paragraph circles around your head. You breathe in, and it suddenly feels as though the whiff of the unknown is an inhalable drug, twisting your brain inside out. 

The pull threatens to submerge you in a stormy ocean. You’re flailing your arms around helplessly, but there is nothing for you to hold onto. All buoys have drifted into oblivion, leaving a sea of utter emptiness behind, and in the midst of it, there you are, drowning.

In a moment of clarity, you fold the letter back down on the desk. It lands with a thud, and you look around frantically, checking if anyone is watching you. They aren’t. 

M. That’s all he’s giving you. And the fact he is over two hundred years old proves the rumors to be true. He’s standing by it, but only to you. He wants to reveal himself to you, show you his true face for a story, but he’s a vampire. 

You’re alone. You can wash his hands, but is just showing up enough for him? You don’t even know him. 

You’re in trouble. This time though, you didn’t even do anything. You did your job, and he caught an interest in you. How does that work? 

Your heart skips another beat. It should not, but it does. The danger is exciting. It shouldn't be exciting. You hate what your body is doing, but how can you make it stop? You can’t. You can’t do anything but take it.

This stranger has got you in a chokehold, but in his hands, you might as well surrender to your certain demise. You don’t consider vampires inherently evil, but there is a reason people warn you not to walk alone at night in Hell’s Kitchen. He’s dangerous, no matter his nature, and he is not supposed to lure you in the way he does.

But you’re a curious kitten, and he is offering you the holy grail of answers to questions you have been grappling with for years. He hit the nail right on the head. And it doesn’t even scare you how well he knows you. 

This is a gold mine. Realistically speaking, telling a vampire’s story could make or break your career as a journalist. If you do it for the magazine, you’re done before you can even bring your words to print, but if you do it individually and you do it well, people will certainly eat it up. The question is just, are you going to play your entire life safe, conforming to your boss’s view of you until you get the freedom you crave, or are you going to take the risk and fly? 

The answer is as clear as day, but it takes you a moment to process. It’s as though someone is in your head, steering you in the direction of whoever this M is. Daredevil. This vampire who wants you to interview him, and for what? That’s still an open question you don’t have the answer to. But you do know what to do.

You scramble for your laptop, your notepad, and the letter in the envelope. The clock strikes four. You have another two hours on the clock, but you can’t be bothered to stay. 

Upon hearing the sound of your shoes hurriedly scraping against the linoleum floors, one of your colleagues turns in her chair. “Where are you going?” she asks.

“I, uh, have somewhere to be,” you tell her as you brush past her.

“What, now?”

“Yeah. I forgot I had an appointment.”

“What about Mr. Doherty?”

You stop on your way out, looking back over your shoulder. “If everything works out,” you say, glancing through the window to his office at the other end of the hall, “He’ll have my letter of resignation by the end of the week.”

She gasps softly. “You’re quitting?” her voice is barely above a whisper.

Almost sinisterly, you chuckle. “That’s the plan, yeah.”

“But—”

“Tell your daughter Happy Birthday from me. I gotta go.”

Your steps echo for minutes still, but you are long gone with the wind.

Silver linings are considered an advantage that comes from an unpleasant situation. The name has proven to be entirely unfit for the magazine that replaced a big piece of Hell’s Kitchen’s history. The Bulletin had cultural value as much as it was laden with decades of the city’s stories told to the average person. 

Wilson Fisk was the dynamite that sent New York alight. The Bulletin’s destruction was mere collateral damage in the fight to get the city back on track. You have had so many reasons to leave presented to you, yet you never took them. If you had, maybe you wouldn’t be here, making bad decisions on what started as just another Monday in June. 

The fact is though, you didn’t leave, and you are here now. Facts are what matter. They count. Your hypothetical past, present, and future have no place in this reality because you can’t travel back or forward in time. Vampires may exist, and the Avengers time-traveled to save the world, but things aren’t quite as easy once you look at the bigger picture. You are not a superhero, you’re just a journalist chasing the kind of story that will finally make her voice be heard. 

You know that Ben Urich, at least, would be proud of you.

His address weighs heavy on the small card you pulled out of the envelope earlier that evening. You passed it on to the cab driver, and he began to navigate the dark streets of Hell’s Kitchen. The luxury condominiums in this part of the city can be counted on one hand. You know exactly when you’re there. 

The sun has once again set over New York City. You’re wide awake, not quite sure though if you’re ready to face what you are walking blindly into. Even your driver refuses to take you past a certain point, and that is how you know that you’re not dreaming. This is real, and it’s supposed to be terrifying. 

How come you’re not scared then?

You slip twenty dollars to the cab driver, then climb out of the backseat. The salty air from the Hudson River a few blocks down wafts around your sensitive nose. In the distance, you can hear waves crashing into the docks as the wind picks up in speed. The boats must be moving wildly by now, swaying from side to side and possibly even making the fish in the depths of the water seasick. You would be if you were them. 

With every step, you grow closer to your target. On second thought, maybe you should have brought more than just a pathetic bottle of pepper spray and your precious laptop. You could have brought your grandfather’s cassette recorder, at least that would leave a mark if you hit someone over the head with it. 

Do vampires get concussions? That is another question you can add to the seemingly endless list in your mind. It’s a confusing place as of late, and the weird sense that someone is playing with the controls won’t leave you alone. Either you are overthinking, or you are worse off than you originally thought. 

The apartment complex the card directs you to stretches high above you. You look up, seeing not a single light on. That’s odd, you think, but then again, you are meeting with the city’s most notorious man. If he is who everyone says he is, and if the rumors are even true, that is. 

As you are about to approach the entrance, your fingertips start to burn. A gasp escapes past your lips. Staring down, the cubical piece of paper goes up in flames. You are mere feet from the door, nowhere near close to an open source of fire, and the card starts to burn like a wildfire. 

You pull back, your heart hammering against your ribcage. The ashes fall to the ground, but before they can hit the asphalt, they vanish.

“What the–” before you can finish, the doors before you swing open toward the inside. The lights turn on. Someone even has called the elevator for you. 

Another step forward, and a voice stops you. “Fourth floor, down the hallway, first door to your right,” the voice says through the speaker. Only then do you notice the lack of a doorbell. 

Everything in you is screaming for you to run, but you are rooted in the spot. He dragged you here with a mere letter, and you were more than ready to jump. Desperation was the only thing that drove you here. Your brain seems incapable of rational thought.

What if that is what he wanted all along? To get you complicit by playing on what you so desperately need, which is a story and a way out of this boring everyday life that is threatening to slowly kill you.

He’s like a siren, luring you into his deadly trap, but even knowing all of this, you still can’t find it in yourself to run. 

The second you enter the building, the door shuts behind you, and your only way out is officially locked. You made the decision; you have dug your own grave, possibly quite literally, and now you have to lie in it. It’s better to die chasing a good story than dying at a desk in an office that doesn’t respect you.

You are a disgrace, you can hear your father’s voice in the back of your mind. He always warned you not to be too reckless or your bad decisions will eventually catch up with you. He always taught you not to trust strangers, and to stay the hell away from those who disgrace God, but you have never cared much about being a good girl. 

Your thoughts are as morbid as your obsession with the walking undead. It is time you embrace what people are already saying about you.

The elevator ride feels like an eternity. It goes up and up and up until it finally stops on the fourth floor. The walls smell like nothing but a faint hint of bleach. It’s clean, parquette not carpet, and the walls are kept in a shade resembling a mixture between crimson and maroon, and it is blending into a sort of marble.

The metal doors slide open. Again, you hesitate. A sweet whisper echoes in your ear, dragging you toward the edge. You breach the border between the elevator and the hallway that waits behind it. The voice is distant, and it doesn’t sound human—it reminds you of a siren’s song, calling for you. He is calling for you, and a fog settles over your mind. You’re not in control anymore, he is. 

You imagine him to be an old man, possibly middle-aged. Vampires stop aging when they’re turned. Their mind doesn’t. You’ve read the research plenty. They are wise beings, more intelligent than human beings could ever fathom. That makes them dangerous. 

Their venom rivals the intoxicating feeling of heroin, you’ve heard, and it heightens your senses to the point all you can feel is the one who bit you. Research suggests it’s a million times stronger than an orgasm, for both the vampire and the human being. 

Part of you has always wanted to try it. Part of you wants to know what it feels like to be sucked dry. You want to know what it feels like to be carried into a new dimension by someone who knows how to play the human body like a fucking piano, eliciting the sweetest melody through your very essence and the symphony of your moans.  

This M—Daredevil—is inherently dangerous. He’s as mysterious as they come; a man in a mask lurking in the dark corners of Hell’s Kitchen every night, turning the fight for justice into his hunting ground. 

It’s as though he curled his fingers, and you followed. 

You walk the dark hallway down to the door on the right. Paintings litter the walls. Masterpieces, blotches of white, red, and color. You recognize the red marble as a decorative theme on the wallpaper. Tracing your fingers over it, the rough drywall scratches at your skin. 

You reach out a shaky hand toward the golden knob. Before you can turn it though, the door already flings open. It must be witchcraft. 

Red appears to be his favorite color. At least judging from the hallway, that is true. When you step into the room with a pounding heart and blood pooling in your cheeks though, the inside of the room is a lot more… human. You wouldn’t have guessed it from the gloominess surrounding you on your way there.

A leather couch and armchairs stand in the middle, facing toward the window front. Colored windows, as you have gathered from the rumors. They are see-through now though, showing the city skyline and the moon up high. The chandelier on the ceiling is the only piece of furniture you would consider old. Browns meet hues of blue and dark green, a forest at midnight, and you suck in a sharp breath. The apartment is beautiful. 

You look to your left and see a bookshelf stretching the length of the wall. You can’t help but run your hand over the backs. You would have expected original editions from the 18th or 19th century, but when your fingers trace over the bindings, you are met with the bulging of Braille underneath the elegant golden writing of the titles. None of them seem to have collected dust. It surprises you to only find a mere handful of classics that haven’t been transcribed in Braille and a realization you did not expect starts to crawl its way forward.

“I stole that one from a library in Paris.”

Your racing heart stops beating. The book you’ve been holding falls to the ground, its worn-out leather cracking further around the spine. The thud is deafening. You gasp, turning around. Your shoulders fly up as the tension ripples through every last muscle in your bone. Your bones ache just from how stiff you’re standing, but you can’t move.

The man before you moves as quietly as a mouse. You didn’t hear him coming. The moonlight reflects off his dark brown hair, making it appear almost ginger. He’s wearing a simple suit without a tie, and the white of his shirt is as pristine and clean as the cut of his beard. You can see chest hair poking out from underneath the two open buttons, as dark as the locks on his head. His jawline is irresistibly sharp, leading up to a pair of plump lips he is wrapping around the brim of a crystal glass filled with rum.

Your heart remains frozen. Not a single drop of blood pumps through your veins, yet your cheeks burn brighter than a bonfire on a pitch-black night. 

But his flawless appearance is not what catches your attention the most. Looking up into his eyes, wanting to know whether they are as red as those set into the devil’s mask, you find nothing but your terrified reflection staring back at you. It’s as blurry as the picture of your face in a still ocean’s water, your wide eyes staring back at yourself. 

The red glasses are all you can see. Round with a black rim. Silver would have looked better on him, or maybe even gold. The black reminds you of an endless pit, a sinister embrace of vampire stereotypes, but you can’t look away from the maroon that won’t allow you even a glimpse into his eyes. They are shielding him from the world, and his eyes from curious, stupid humans like you.

He nods toward the ground. “You gonna pick that up?” he asks. His voice reminds you of rumbling gravel. 

He looks like a man. He talks like a man. If you didn’t know better, you would say he is human. There seems to be blood in his cheeks and air in his lungs. 

You have to pull yourself together. Clearing your throat, you bend down and pick the book back up.

“Thank you,” he utters your name. “It’s been a while since I’ve received visitors that don’t work for me.”

You put the book back on the shelf. Your lips are sewn shut; you can’t find the words. Every time you open your mouth like a fish on dry land, you close it again, and it is embarrassing to be standing in front of him with your guard down. 

“Welcome to my home,” he says. You wish you could see his eyes to know if he’s mocking you. “Do you want a drink, or do you need another minute to process?”

He is mocking you. His tone is gentle, as is his voice, but he smirks like a smug motherfucker, and your anger boils to a tipping point. The candle is about to burn out. 

“I–” you stammer. Internally, you curse yourself for being such a fool. 

“Another minute it is then.”

You don’t need a minute though. “You’re blind,” you blurt out. 

The beautiful—deadly—stranger nods. “Yeah.“

“How?”

“Accident when I was a kid.”

“But you’re…” you leave the missing part of that sentence hanging in the air like a noose. 

“Say it,” he murmurs. You want to say it sounds like a growl, but you’re not sure. He isn’t asserting dominance or trying to force you into submission by scaring you away, but he is toying with you regardless. 

You take a deep breath. The word, the truth, numbers your tongue and your lips with its weight. “A vampire,” you say, your voice barely above a whisper, matching his. 

His smirk broadens. He pushes his tongue against the inside of his cheek for a moment, then releases it as it darts out to wet his bottom lip. “I’m a blind vampire, yes,” he answers. “We’re rare, but we do exist.”

Blind vampires. In all of your years of fascination, that has never crossed your mind. You used to believe that they had healing abilities that far exceeded your own. You were wrong. He lost his eyesight before he got turned into a vampire. He lived as a blind human being and didn’t regain his most crucial sense when he died. 

He came back to life, but he died. It is surreal to stand across from him. He’s not just letters on a piece of paper, he is very much real. And he’s blind. 

“Oh, my God,” you curse.

That elicits a soft chuckle from him. “I was starting to think you wouldn’t come,” he says. 

“I was considering not to.” 

He sees right through you with those empty glasses. “That’s a lie.”

“How would you know?” you counter. 

“I can hear your heartbeat. The blood pumping in your veins…” His head tilts ever so slightly in your direction. You take a step back. It’s an instinct. “Your pulse picks up when you lie, or when you’re nervous, or both,” he states. “When you first saw me, your heart skipped a beat. It did again when you lied to me.”

Your eyes trail down to his thick thighs perfectly fitted in his tailored trousers. His thick digits pat the rhythm with his fingers on the fabric. Thud-thudthudthud-thud. You place a hand on your chest. He wasn’t wrong; your heart is racing. 

His smirk turns into a smile, but only briefly again. It’s a glimpse of humanity he doesn’t want you to see. “I like that sound,” he says. “Has anyone ever told you that you smell good? Sweet, sour, and a little salty. Natural. You don’t use a lot of artificial perfume, but you like cherry chapstick.”

You swallow, taking a whiff of your arm. Besides your deodorant masking the scent of your nervous sweat, you smell nothing. How good must his nose be? His hearing? His sense of taste? 

“Right now, sweat is dripping down your back, and your muscles are tense enough to strain against your bones every time you breathe. Your heart just skipped a beat again. You find it weird,” he muses. “I can’t turn it off, but I get it must be strange for you.” 

“You–” The blood has collected in your head, pushing the temperature in the room to an all-time high. “Get out of my body!” you snap. 

He laughs. “That’s a sentence I never thought I’d hear.”

“And I never thought you would ask for an audience with me, but here we are.”

“Here you are.” 

You want nothing more than to wipe that smirk off his face. He looks so smug, standing there with his drink, wearing a suit too fancy for his own home. He’s fully in his element. It’s scary how alluring he is, too. You don’t want to think that way, but as soon as your eyes gaze upon him again, your chest contracts, and you forget how to breathe. 

He’s a wolf, and you’re a lonely little sheep that doesn’t know any better. That lonely little sheep just wants to be a part of something bigger, even if that means surrendering herself to the big bad wolf. He wants a taste of her, and the sheep would give him that in a heartbeat if he just asked. 

You blink. There is a voice in your head, and it isn’t your own. Far from it. You don’t want to be associated with this stranger. She thinks she knows you. She thinks she knows what you want—the sheep in the eyes of her natural enemy. This voice is the most irrational you could be, and you need to stop letting her win.

And yet you—not just the voice of the lonely sheep you appear to be—would follow this man anywhere, even to hell if he asked you to. 

Your eyes drill knives into his skull, but they are also full of curiosity. Can he hear your thoughts? Your heart beats in your throat. You can taste it on your tongue. If you bit your lip, you would bleed, and he would probably fall into a frenzy. Still, your teeth dig into your bottom lip. What if he can hear your thoughts—hear how fucking needy you are? You’re pathetic. What he must think of you, standing across from him, smaller than human life itself. 

You want to read him, but he is far from an open book. He’s not Braille you can run your fingers over, and even if he was, you don’t know how to read it. He’s an enigma. His face is set in stone; an iron mask you can’t penetrate. 

His chest heaves with another chuckle. He sets the crystal glass down on the coffee table, taking a step forward. “No, I can’t read your mind,” he says. 

You flinch. “What?”

“Your breathing pattern. The way you look at me. I can sense that you’re thinking about something.” He adjusts his glasses. “It’s just… Most humans ask me if I can read their minds, you know. I can’t. Some vampires can, but my senses are the only heightened ability I have.” This time, when he chuckles, a hint of bitterness dances in his voice. 

“At least you’re not in my head then,” you say. 

“No.”

“Good.”

A pregnant pause follows. You clutch your bag to your chest, your fingers digging into the frame of your hidden laptop. 

“Can I offer you a drink?” he asks, pointing to his empty glass.

You wave him off. That’s the last thing on your mind. “No, thank you.”

Sometimes at night, you fantasize about diving into the abyss of darkness. It looks and sounds a terrifying lot like him. You want to know him. You need to know him. When it comes to him and this—whatever this is—the lines between want and need are blurring into an unidentifiable mess. It’s an ocean of emotions with no land in sight. A total eclipse of the heart, if you will. You’re losing your mind.

“What you can do–” You straighten your shoulder, hoping it will add height to your beaten confidence. “You can tell me your name. Sir,” you say. 

He nods. “I suppose it would only be fair, wouldn’t it?”

“Yes, it would.”

“Matthew. My name’s Matthew.” The softness of his features as his lips move to the rhythm of his words takes you back anew. His eyebrows raise slightly, and you catch a glimpse of a pair of beautiful, unfocused hazel eyes that steal your breath away. 

Matthew. It is a name that easily rolls off the tongue. It suits him.

You repeat his name aloud. “That’s an odd name for a 200-something-year-old man,” you point out. 

Matthew scoffs. “My parents were both Catholic.”

“I suppose you’re not?”

You hit a sore spot. His head dips, fingers running over his nails and tongue tracing his teeth. “Not anymore,” he says.

God died for him a long time ago, and all churches burned down.

Your grip on your bag loosens. “Then why Daredevil?” you ask. 

His lips part. “I, uh, have the Bulletin to thank for that one. After centuries of existing in this world, and being despised for no matter what I do, I’ve decided to embrace it. I am Daredevil, not even God can stop that now.”

Matt grabs his glass, turning away from you. He doesn’t use a cane to navigate from the couch to the mini bar on the other end of the room. You carefully follow his movements. One of his hands remains at his side, snapping his fingers as he navigates the familiar terrain of his home. 

He uncaps a half-empty bottle of Whiskey to pour himself another glass. 

“You know, Matthew,” you prompt, daring to step forward an inch, “as big as your reputation is in this part of the city, Silver Lining is not the kind of magazine that would cover your story.”

“You still came,” he says. 

“I could lose my job if anyone knew I came here.”

“And yet you’re here and not where you should be.” He turns his head over his shoulder. “You wouldn’t risk losing your job if it wasn’t important to you, would you?”

You stammer, “I–” He’s got you. You’re a fish with a hook in her mouth. 

“If Silver Lining Magazine won’t cover my story, why are you here?” Matt turns back to you, leaning back against the shiny Mahagoni of his minibar. It offers a beautiful contrast to his strong physique and the slight paleness of his skin. “Could it be because you’re fascinated by the mythic?” he asks, teasing. “By werewolves and witches and vampires?”

It’s your turn to scoff. “I won’t confirm or deny. My boss wouldn’t let me write a vampire vigilante exposé even if I begged him to.”

“And that’s why Mr. Doherty doesn’t deserve you.” Your body visibly recoils when he pushes forward, moving just an inch toward you. “Your curiosity is a virtue,” he purrs. The moonlight sets your reflection in his glasses alight. 

“Is that why you lured me here?” you ask him. “Because my curiosity is a virtue and you consider yourself better than the people in my life?”

“I didn’t lure you here, and I think you know that. That’s not what this is.” The distance between you starts to shrink, backing you into a corner. “I believe you came here because the thought of interviewing a vampire and sharing your findings with the world on your account excites you,” he says. “You want to be heard. You want to be taken seriously as a journalist, and you want to make people happy.”

The only way for you to come out of this with your pride and dignity still intact is to put up walls before the already existent labyrinth of walls keeping your heart guarded and your soul safe. “Again,” you ask, “why me?”

“Why not you? As I stated in my letter, I’m a fan of your work.”

You roll your eyes. “Yeah, about that. How did you write that if you’re blind?”

“I didn’t, my secretary did.”

“Of course.” Of course, he has a secretary. “I… I just don’t get it,” you say. “You’ve been hiding for so long–” 

Matt cuts you off with an urgency you didn’t expect, “Things have changed. Circumstances…” he trails off. 

“Wouldn’t it be a suicide mission?” 

His answer is silence. You let out an exasperated sigh. “If you want me to interview you, you have to be honest with me.”

“I’m not on the record yet.”

“Right. Maybe you can answer this though—off the record, of course—how can you be certain I didn’t call the cops or the FBI before I came here?”

His eyes crinkle. “I’m not stupid, sweetheart,” he says. 

He’s amused. You’re amusing him. 

“Don’t call me that,” you growl. 

He’s spreading you open, holding up a mirror for you to look into. It’s your miserable self in all its glory, and he knows you better than you know yourself. 

You ignore the sharp pain in your left ribcage as you pull the arrow out of your heart. “Unless someone holds up a sign that they are pro-vampirism, how would you even know I’d listen to you and not just refer you to the Journal of Psychiatry?” 

“Are you telling me you don’t believe in vampires?” Matt quips.

“That’s not… Answer my question!”

The sound of your heartbeat must sound almost like the rapid firing of a machine gun, that’s how fast your pulse is racing. Your veins threaten to burst with the excess blood. It’s a heat like no other. You’re a witch at the stake, and Matt is holding the torch to your gasoline-doused body. 

He clears his throat. Your face falls at the words that tumble out of his parted lips, and the rapid firing turns into a deafening silence and a monotone line on a heart monitor. 

“After what I’ve learned from reading Dr. Rice’s research on the phenomena of vampirism, I can confidently say this species is no different than an animal like the great white shark or the Homo sapiens sapiens—our kind,” he recites. “Vampires are a medium of fiction and propaganda to induce fear, but they are also a widely misunderstood species that is being silenced rather than heard. Our species, the human species, likes to consider themselves superior, even when we’re in a position of being someone’s natural food source. Dr. Rice’s research is based on a comprehensible set of facts, and isn’t that what we have been relying on ever since the beginning? Our psychology makes it possible for us to change the narrative in our favor, and more often than not, we ignore the very facts deemed by humans as an intellectual importance to spread the message of an entirely different agenda. Dr. Rice’s research only proves that egotism and humans themselves will be humankind's certain downfall.”

“My investigative journalism essay,” you breathe out. 

“Published by Columbia University.” 

Your heart restarts with a rush of adrenaline. “How… how do you know all of this?”

“I may be blind,” Matt says, “but I know how to read between the lines.”

“That doesn’t answer my question.”

The alcohol in his drink seems to have little effect on him. “I know you have questions, and I’m willing to answer them if you promise to publish a detailed report somewhere other than Silver Lining Magazine.”

You look down at your bag, then back at him. “Ben Urich could have told your story in a way that would’ve made people listen,” you murmur. “I don’t have an impressive career like him.”

“Yeah,” he smiles, “but you could have easily written ‘Attack on NYC’. Ben was a good man, an even better journalist, but he could not have written your college essay. And he could never have been you.” 

Your name rolls off his tongue—not a pretentious nickname that makes you want to vomit but your name, and it flicks a switch within you. 

You glance around the spacious living, pulling your laptop out of its confines, and you bridge the distance between you, finally. You notice he smells of sandalwood cologne and scentless soap. “Okay,” you cave. “Where do you want me to set up?”

Session 1.

The spacebar clicks underneath the tip of your index finger. The white of your screen fills with a series of red sequences as the microphone takes in every little sound around you. Except for the two of you and the fading footsteps of one of Matthew’s assistants though, the world has fallen silent in the dead of the night. He’s sitting across from you, legs crossed, head tilted; your life is about to change.

“So, Mister Murdock,” you begin, “tell me. How long have you been dead?” 

His mouth opens in a wide grin. “242 years,” he answers. 

“And what happened the year you died?”

“Well, it was 1782. I was a good few years out of law school. I was a good lawyer, but I wasn’t successful. That year, I met a beautiful woman at a banquet. I wasn’t rich—trust me, I was beyond penniless—but she had been adopted into a wealthy family, and that made her one of the richest women in the room. Everyone wanted her, but when I sensed her across the hall, she only had eyes for me. And she was the first woman to not see me just because I was blind.” He chuckles sadly. “I thought she was the woman of my dreams, the love of my life, but a few weeks later, after letting her into my life, I realized that she didn’t look at me that night because she was interested. She was hunting me. El— Miss Elektra Natchios…”

The year 1782 becomes apparent before your inner eye. As he tells you about the night he met her, you can see the dark-haired beauty making her way across the ballroom. Red lips and a gown to die for. Her dark eyes were full of mischief, but the passion in them could have knocked a grown man off of his feet. And that is just what she did to poor Matthew. 

“I was going to marry her,” he tells you.

He went to church regularly. His knees were bloody from praying, his senses already heightened before he died. God’s soldier, that is how he puts it. He was told that the accident that left him blind happened for a reason, and he had to fight a war that went beyond the country’s fight for independence. 

That summer, Elektra drained him. He didn’t know what she was. She fooled him. He was obsessed with her. Her dark eyes he couldn’t see lured her in, and it was the venom in her blood that became his downfall after she dug her teeth into him.

Matt tried to beg his priest for forgiveness, but he didn’t even make it past the marble stairs before the doors locked. He knelt in a pool of blood—both his and that of the first human he ever sucked dry to survive as a newborn vampire—offering an eternal sacrifice to Catholicism, but God abandoned him on his doorstep. 

The church walls would have been set on fire if he had touched them from the inside. 

You look up from your notepad to find him now standing at the window. He’s not looking out, of course, but he seems so deep in thought, the memories that aren’t your own but his start to dissipate, and you’re brought back to the here and now.

Matt poured his heart out to you. You expected answers, but not this kind, and certainly not of this magnitude. You see him in an entirely different light. He’s vulnerable, fragile, and human. He has endured trauma that killed him, but he couldn’t die because the woman he loved made him immortal. It’s a bigger curse than growing up with the belief that an accident made you God’s soldier. 

He lost everything. For centuries, he has had to live with that. It’s killing you, feeling his pain, the pure agony that radiates off him. 

Your voice is quiet when you ask him, ���What was it like?” You don’t have to say it out loud for him to know what you are referencing.

Matt chuckles, the sound a mere breath in the atmosphere. “Like she took my soul from my body, setting fire to my belief system and already heightened senses,” he says. 

You swallow. “That sounds… overstimulating.”

“It was. Is. My heart stopped, but when that happened, something else awoke inside me. The hunger… the hunger was the worst part. It’s insatiable. One hour passes, and you feel like you’ve been starving for weeks.”

“Like you’ve been possessed by a demon?”

“Like I am the demon.”

“But you’re not.” You should stop the recording. You’re not on track; you’re incorporating your feelings into Matt’s story, but you can’t help it. The words tumble out of your mouth without a second thought, a train that cannot be stopped. 

He raises his eyebrows, you can see it in his reflection in the windows. “Are you religious?” he asks.

You shake your head. “This isn’t about me.”

“Are you?”

The veins on the back of his hands bulge as he balls them to fists at his sides. Your throat is a desert, and your heartbeat resembles a storm that burns right through it, sending the sand flying in all directions of the horizon.

You adjust in your seat, crossing one leg over the other. He takes a whiff. He’s smelling you, and that doesn’t help the speed of your pulse to calm down. 

Tapping your pen on your notepad, you watch the red sequences fill the white space of the recording program. It moves with the sound of your voice when you finally dare to answer. “It’s a complicated question because there is a difference between believing in God and believing in the church,” you say.

“Do you believe in God then?” Matt asks. It’s as though he’s trying not to seethe at the mere mention of someone he used to worship. You make a note of that.

“There is so much bad in this world. So much cruelty. I can’t…” You take a deep breath. “I don’t know how to believe in a God that would let the things humans do to each other happen. If God existed—if he was as merciful as Christians like to claim, he wouldn’t let this happen. And I’m so sick and tired of people using their faith, and their beliefs in God and the church as justification to be disrespectful. I don’t understand it. How can anyone? Why is someone who has to drink blood to stay alive—someone who didn’t even choose this life—worth less and the devil’s breed when humans do worse things to each other? Why would God allow us to start wars that kill innocent people? Children? It’s just not fair that we treat ourselves and others as though we are already in hell, and we’re just supposed to accept that God doesn’t care—” You stop yourself, the tears burning behind your eyes. 

Matt turns back around. You can’t look away. “When I was still human,” he murmurs, “I used to believe everything that happened to me was God’s will. The accident, God’s will. Me going blind, God’s will. I went to confession, prayed until my knees were bloody and bruised. I tried convincing myself that every scream I heard from down the block, every person who lost their life or their innocence was my responsibility. God made me this way for a reason, right?” The scoff is as bitter as the liquor in his glass. “I fell apart, you know. I was a kid, so I didn’t understand. I didn’t understand what was happening to me,” he tells you. 

You hold your breath. The glasses slip from his eyes as he takes them off with shaky fingers. You are met with the most beautiful pair of hazel eyes. Emotions dance a heated tango in a tornado. If you look closer, the green specks bring life to his eyes. It’s human nature in the purest sense of the word. 

Your reflection stands in his irises, his unmoving pupils, and the tears glisten in his eyes. They’re as red as blood, watered-down crimson essence. You want to reach out and stroke his cheek, but that would be crossing a very big line that you can’t bring yourself up to touch. 

“I studied law because I thought it would change something,” he continues. You listen. It’s the only thing you can do—listen. “It wasn’t enough. Nothing I ever did felt like it was enough. I lost my father. Jack. I didn’t know my mother until it was too late. Maggie. I had no one. No money, no prospects, just me and those voices in my head, telling me I was supposed to be God’s soldier.”

“You’re not,” you cut in. 

He shakes his head. “I prayed; I crawled up the stairs of the church, and I spent hours repenting for my sins. I bled myself dry for Him. I sacrificed myself. I sacrificed my youth, my heart, and my soul, and I got nothing back. I begged for help until my voice was sore, but nothing… God, nothing was ever good enough. Until Elektra came around,” he says. 

“She changed everything for you. It makes sense. She turned you into a vampire, but she also loved you.”

“She did love me, in her own twisted way.”

“It’s what you deserved,” you say.

He isn’t yours, but the pang you feel in your chest is treacherous. Your heart cracks like a porcelain vase, jealousy creeping in like a parasite of toxic waste.

In response, Matt only chuckles bitterly. “She made me believe again, then took my soul and crushed it in her hand.” The correction makes your shoulders slump. “Instead of feeling like my world ended though, I felt at peace when she sucked the blood out of my veins and fed me her venom,” he says. “It’s sick, I know. I was aware I died that night, that she turned me into a devil who could only survive if he drank the blood of others. The Catholic in me struggled to accept it, but I had no choice but to embrace what she made me.”

“And where is she now?” you ask.

“Gone.” The light in his eyes has fully disappeared now. “I stayed with her for a while until she died in my arms. She showed me what love is, and she showed me heartbreak. She made me hungry for blood, awakening the devil I’ve been trying to tame. She taught me how to feed, how to hunt, and how to chase. But she also cursed me,” he says. “I only exist for myself now. I only bleed for myself. No God, no church, and no more religion. I’m not Jesus, I’m Judas, and I retired the cross the day I was crucified.”

You have run out of questions to ask. Too overwhelming is the sight of his walls crumbling down, this stranger you now know better than any living being seems to. You no longer see money in this, or a story to chase, you only see Matthew, and the halo above his head he still believes is a pair of horns. The world broke him. His faith in God broke him. It crushed him, and he lost everything. How broken he must be. 

“Not such a pretty story when I say it out loud, huh?” He scoffs.

The spacebar clicks again. The recording comes to a sudden halt. One hour and fifty-eight minutes, the first session of your interview with the vampire. You need to put a halt to it now because what you are about to say or do as you reach your hand out to brush his cold, dead skin is not something that should be found on a record. And you won’t ever tell.

Matt pulls away when your warm fingertips brush his. You’re standing across from him now, so close he can smell, hear, and feel all of you at once.

Your touch is the holy water that burns his skin, but the fire sustains him and shoots straight to his core the same way the blood rushes to yours.

“It’s not a pretty story, no,” you say, your voice barely above a whisper, “but it did tell me what I already knew.”

“And what’s that?” he asks.

“That you’re not evil. You’re not the Devil. You’re misunderstood. You’ve been beaten; you’ve been abandoned, hurt, and broken. That doesn’t make you a monster. Trying to make this city a better place does not make you a monster.”

“If you only knew the things I’ve done…”

“I know the rumors suggest that you were the one who fought Wilson Fisk and got this city back where it needed to be. You’ve saved countless women from the worst of fates. You are the reason the innocent people of Hell’s Kitchen feel safe. By picking up that mask, you became a hero, not a villain, and that is the story I want to tell.”

In lightspeed, he has moved you from the window to the other end of the room. Your back hits the wall. 

Matt towers over you in all of his intimidating glory. His eyes spark red, but you hold his unfocused gaze. He has such beautiful eyes. This pull between you is far from human; it’s unhealthy, and it is exactly where he wanted to get you. You’re trapped, pinned underneath him like a deer caught in headlights. 

Exhaling, your breath strokes his cheeks. He closes his eyes, savoring the taste of you. Every particle in the air, he inhales. His tongue darts out to lick his lips. Oh, what you wouldn’t do to suck that tongue into your mouth. 

Your pheromones play his head like a puppeteer pulling the strings of his marionette. He growls. “Do you have any idea how dangerous I am?” 

The moonlight catches his sparkling white teeth. This time though, you come face to face with the sharp edges of his previously concealed fangs. Your jaw drops open. He’s ethereal. 

“I could snap your neck—” Matt places his hand on your neck, “I could make that heart stop beating, take the air from your lungs. I could eat you…” He traces the vein in your throat from your jaw to your collarbone. “I could bite you and suck your blood until you’re empty. I could kill you, sweetheart. My kind is your natural enemy. You shouldn’t be here.”

You shudder. His nose brushes the sensitive skin below your ear. He’s so close you can smell him. On inhale, and his scent consumes your senses. He is all you can feel now. You reach out to hold onto his arms, his muscles tensing under your teeth. He’s big and strong, and those hands have a mind of their own as they begin to wander but never where you need him most. 

You shouldn’t be here, yet you came. He asked you to him, and you complied. Is this your fate now? Chasing after your big bad wolf like the helpless sheep that you are?

Your walls clench around an agonizing emptiness, your swollen clit brushing against your soaked underwear. Whatever he is doing to you, it’s the cruelest form of torture. 

A strangled noise breaks out of the back of his throat, rumbling in his chest. “You have no idea how badly I want to taste you,” he breathes. 

“Do it,” you beg. “Taste me.”

He utters your name again. “Stop.”

“Please.”

Your tone shatters him. When he kisses you, finally, fireworks explode in the universe around you. All the stars seem to finally align. Your heart opens, and it sucks him right into you. Your soul yearns for him. He’s so close yet so far away. 

The moon stands between you, but you cross even that ocean as you push against him, forcing your tongue into his mouth. He takes like heaven and hell; he’s the apple Eve bit into and cursed her for all eternity. But he’s also the snake, the one who compelled you to take this journey of bad decisions and jump right off the cliff’s edge. You melt into him like a broken candle. 

He pulls away. Those fangs are alluring, as sharp as a knife’s tip. You want to know what it would feel like gracing your skin, digging into your as he thrusts his cock into your tight cunt. The thought alone sends your mind into a spiral.

Your lips are swollen, but he has yet to draw blood. Matt looks as though he wouldn’t dare, his eyes darting around in a darkened conflict he feels might cost him more than your dignity. You are begging for it, as is your body, but he’s holding himself back. He’s the one who tied himself to an invisible pillar, keeping his hands locked behind his back. But that is not the Matt you want. 

You lean your head to the side, exposing the length of his neck. All control has slipped from your fingers. It’s in his hands now—you are. He cups your head gently. A mere few inches lie between your fountain and his lips.

You press a kiss to his calloused palm—a desperate and needy kiss, tracing your tongue over the lines that tell his life’s story in a way no interview can retell—and it is then he is forever done for. He’s doomed, and you are the second woman to pull him under the pits of hell. 

Saliva drips from his fangs. You hold your breath. He hisses, a weak admission of surrender; the words die miserably on your tongue when his lips close around your pulse point with all his might, and his teeth drive home. 

You moan aloud. Your fingers tangle in his hair, forcing him deeper as he sucks the dark red essence out of your vein. The sensation is more than you bargained for. It’s a drug that wrecks your system. The synapses in your brain backfire with all their might, and what follows the initial explosion of pleasure shooting white hot through your being is complete and utter silence as this God of a man feeds on you. 

The invisible string between you glows a bright crimson. It slings around you, tying you together like the roots of a tree. It’s an eternal sacrifice. You are giving your all to him, the very core of your existence that is now flowing into his mouth. You swear you can hear his thoughts mingle with yours. Yes, more, please. You taste so good. Your knees buckle, but you remain standing strong. He makes sure you don’t fall. Don’t slip away from me. I need you. 

A tear rolls down your cheek. You could sob. It feels so good—too good to be true. In that moment, you become one. There is no telling where one begins and the other ends. The coil in your stomach tightens, and the only pain you feel is the pleasure threatening to overwhelm you. He’s taking everything as you give him everything, but it is not enough. It has never been enough. 

When your body struggles to catch up with the lack of blood, he pulls away. His fangs drag out of your neck agonizingly slowly. You whimper at the sudden loss.

Matt catches you as you stumble into his arms. “You okay?” He cradles your face, brushing the hair out of your face. Your blood stains his lips. Blinking up at him, the force of your metaphysical connection slaps you awake. 

You cease to exist in all solar systems but his. 

He pokes the tip of his index finger with the sharp edge of one tooth, sliding it over the two holes that are pulsating with the work of your heartbeat.

“I shouldn’t have—” he begins. 

“No,” you say. “You did exactly what you should have.”

“I couldn’t stop.”

“But you did.” You wipe the blood from his mouth. “And I felt you. I only felt you.”

The living room passes by you. Before you know it, your back lands on something much softer than a concrete wall. He’s not a monster, that one, but he surely is an animal. 

You taste your blood on Matt’s luscious lips as he devours your tongue. It tastes of copper and a little bitter, but that is what makes him moan. That sound is the last thing you could ever grow tired of. 

His palm rests on your chest. Your heart pounds against his palm. “You’re so alive,” he says.

You cradle his face in your hands. “And you’re more human than you think.”

If he wanted to pull your heart out and hold it, you would let him in a heartbeat. 

He leans you back. He strips you bare. He kisses down your body like you are a fucking masterpiece for him to explore. That is how he sees you. 

Your head falls back. The kisses wander from your hips to the inside of your thighs. Every kiss brings his breath closer to your center. Matt pulls them apart. He opens you up to him. Your scent clouds his senses, and he groans, but he doesn’t touch. 

His fangs graze your skin. “Mine,” he growls. 

You gasp. He bites into the sensitive flesh. Hard, passionately. Your legs wrap around his head, trapping him there. He sucks, and he sucks, and he drinks, and the wetness pools out of your cunt in an obscene amount. This is foreplay to him. It drives you toward the edge leading to an abyss you are afraid you might never be able to crawl back out of. There is no bottom, it is just a pit, and he’s pushing you closer and closer, and—

Your back arches, but he pulls away before the coil can snap into a million butterflies. He pries your legs away from his head, spreading them further on the mattress, as far apart as they will go. 

Breakfast, lunch, and dinner have been served on a silver platter. He breathes in. The scent of your soaked pussy sticks to the hairs in his nose. It isn’t enough. He breathes in again, your arousal sweeter than fiction. You’re everything and more. He wants to taste that part of you more than anything, suck up the slick that is soaking the sheets—and you didn’t even think that was possible—but he waits because he needs to savor it. He doesn’t want it to be over too soon. neither for him nor for you. 

The blood is still dripping from his tongue and his fangs, and the raw inside of your thigh. He runs his finger through it. The sting runs from the wound to your folds, then back down. Still, he doesn’t touch. He plays with the blood, sucking on his fingers until they’re clean, and then he dives back in for a taste. He doesn’t bite, he kisses and sucks, but he doesn’t push it further. He doesn’t hurt you. 

You’re his saving grace; he has to worship you. Pain only has a place in pleasure. 

“Matthew,” you moan. 

He chuckles, kissing where his fangs left deep indentations. “No one will ever touch you again,” he purrs. “I’ll make sure of that.” 

You try to protest, but the words die on your tongue when he leans in, capturing your clit with his hungry mouth. The wound on your thigh closes. The blood from his lips mixes with your juices, and you cry out at the intensity of it all. 

He eats you with the ferocity of a man starved for weeks. He eats your pussy like he ate your blood, savoring every drop but still feasting for the taste to spread out in his mouth like wildfire. Sour, sweet, and copper. He sucks your sensitive clit into his mouth. His tongue drags through your folds, up and down, and then the tip slides inside, tasting your walls. He grows bolder as your moans accelerate. 

Matt cradles your thighs. He forces your hips back down to the mattress, stronger than the average human man. You have to endure his beard scratching and burning, and the pace he has set.

The orgasm creeps up on you. Before you know it, he has plunged his tongue into you, and your body convulses around him. You scream into a pillow as you come. 

You are each other’s forbidden fruit. No prayer in the world could keep you apart. 

Faintly, you can hear him say, “Good girl.” Your legs quiver. He pulls away, then comes right back like a boomerang. 

He’s warm now. He was cold before, but when he kisses you this time, he’s warm. He’s hot. You run your hands over his bare chest, the scars that lie under the dark strands of hair. You tug at it, and he moans. You can tell he is a little insecure, but by pressing your lips to one of the cuts on his shoulder, he relaxes. 

What he must have endured, what he must have lived through before he died and was resurrected in the same breath, just without a beating heart—you don’t want to think about it or you will break, but you can still feel him through the crimson tie that holds you together, and you know that he has suffered enough for more than two lifetimes. You wish you could take it all away from him. You wish you could have saved him before it was too late, loved him more than the woman who turned him, but turning back time is an impossibility. You are both acutely aware of that. 

“Hey.” Matt tilts your head toward him. “Where did you just go?” he asks. 

“Thinking about you,” you murmur. 

“Me?”

“You.”

“Why?”

“Because I want to be your salvation.”

You. His salvation. He kisses you, softly this time. He pours gratitude into his lips and bleeds them out in poetry as they slide into your mouth, and you swallow every last drop. 

If someone had told you a week ago where you would see yourself on that particular Monday, you would have laughed at them. And if someone had told you a week ago that you would be making love to the devil, you would have called them crazy. But it’s happening. 

He thrusts into you without a warning. His thick cock fills you like nothing and no one ever has before. Your cunt has been molded to fit him, you’re sure. You take him in, and you moan at the stretch. It’s a pain so delicious you could fall apart right then and there just from the feel of him inside you. 

Every thrust drags the tip of his cock along your sweet spot. Every added sensation drives you closer to your death. 

Your body tingles. He explores your face with his lips rather than his fingers, moving to your neck again. You cling to him, oh-so-desperate for him. He likes you like that, and you like him like that. 

“You’re fucking with my head,” he tells you. “Offering your pussy to a vampire. Letting me drink your blood. Begging me to fuck you. You’re in my head, baby. Can’t get you out of my system. Fuck.”

You are his downfall, his salvation, but he is all of those things to you as well—all of those things and more. If he could read your mind, you would tell him that. Words can’t do justice to how you feel. Not right now, maybe not ever. 

“Bite me again,” you beg.

His thrusts falter. He searches your body for any sign of regret. His fangs come out, and he buries them deep in your jugular vein. The floodgates open wide. Your walls clench around his cock, your clit pulsates, and the wave crashes into you. 

You come as he devours your neck and your blood. You transcend into another dimension, far away from everything and everyone but never him. Never Matthew.

The sensation of you wraps around him like a weighted blanket. His balls tighten, your blood unfolding its taste on his tongue. You are all over him, inside of him, everywhere at once. He falls head-first, dragging you down with him. 

He comes with a shout that is only muffled through his teeth buried in your flesh, his cum spurting into you and filling your cunt to the brim. Your eyes roll back. You’re flying and falling all at once. 

Oh, how good it feels to be consumed by him. To be fucked and sucked dry. You would have never expected this to come out of your week, let alone your life, but now that it has happened, you are floating on cloud nine. 

Dizziness threatens to take over, but before you can pass out, he forces himself away, allowing your heart to catch up with the lack of blood in your system. He collapses on top of you. His cock softens, but he stays inside. You need him there. You want him there. And that is the only place he wants to rest tonight. 

He heals the wounds on your neck. “You have a mark,” Matt rasps, tracing your skin with his finger. 

You choke out, “Yours.”

“Yes, you are.” He kisses you there. Once, twice, even a third time. “Mine,” he says.

You’re his. He’s yours. It doesn’t get any better than this. 

The minutes tick away on the obnoxious clock on the wall. Matt pulls out eventually, wrapping you up in a blanket. He coaxes you to drink, but you’re barely lucid. Only when he begins to stroke your hair you start coming back to yourself. You thought you might regret it, but as you look at him, his almost guilty eyes staring back at you, all you can do is reach out for him. 

“Session two tomorrow?” you ask.

He chuckles and retorts, “Have I not scared you away?” There is some truth to it though.

He’s covered in your blood. It sticks to his lips, his hands, and his chest. It’s sickeningly intimate, in a way.

You shake your head in response. “You could not possibly.”

He listens to your heartbeat. You’re as honest as they come. 

“Okay,” Matt says. “Session two tomorrow then.”

That night, you fell in love with the Devil, but he also fell in love with you, his angel in the form of a reckless journalist, and the only blood he ever wants to taste again until the end of his miserable, cursed days. 

Matt Murdock (Smut) Tag List: @shouldbestudying41 @theradioactivespidergwen @cheshirecat484 @1988-fiend @acharliecoxedfan @gpenguin666 @linamarr @mcugeekposts @itwasthereaminuteago @norestfortheshelbywicked @yarrystyleeza @littlenerdyravenclaw @etanordoesbullsh1t @thychuvaluswife @harleycao @schneeflocky @imjustcal @pipsqueakkitten @merlinbtch @sya-skies @amberritonicole @ravenclaw617 @pigeonmama @bohemianrhapsody86 @a-girl-has-n0-name @winkev1 @callsign-ember @chittaphonstar @buckyyyismahhlife

[nitewrighter]

When writers say the riddler is too silly for modern Batman stories, I wonder how much of that is code for “I can’t write good riddles”. I mean, even btas only had a few episodes with Eddie because Dini admitted they had a hard time coming up with them.

I suppose it brings up a problem with writing a character who’s supposed to be smarter than you.

It’s easy to have joker blow up a bunch of buildings.

You want to show a villain is tough, have them smack the heroes around a little.

You want to show a character is a genius, just have the build robots or time machines or whatever.

But very few can hit that intellectual sweet spot between “overly complex word puzzles so difficult Bruce has to pull the answers out of his butt” and “dopey puns that wouldn’t make popsicle stick standards”

I mean obviously the puns and silly little puzzles are a vital part of the Riddler, but you know, even if you can't write that, there are aspects of the Riddler that you can focus on that still feel true to the core of the character. I think the pathological need for attention can be a great focus for his character, and I think the Arkham Games did a fun job with that even if the majority of the 'riddles' were just in-game puzzles and him taunting you. There's also something to be said about like... certain facets of the Rogues basically getting offloaded onto the Joker because DC feels the need to jam Joker into everything to make it sell. Like, you have variations on Harvey's Two-Face origin story getting offloaded onto the Joker because of the Joker's (might not even be real because one of the Joker's whole THINGS is that he's an unreliable narrator) "Red Hood" origin story in The Killing Joke. So like, Bruce and Harvey are childhood friends, but then DC will bring in the Joker and kind of co-opt (one of) Harvey's origin stories to say, "Batman was, while unintentionally, intimately involved with the creation of the Joker." But like... the whole thing about the Joker is that we, as the audience, aren't ever really supposed to know why the Joker's Like That. That's the whole point of him having multiple "You wanna know how I got these scars?" stories in Nolan's The Dark Knight.

But like... take the Joker's obsession with being Batman's Ultimate Nemesis in The Lego Batman, for example--you actually have a lot of Batman's relationship with the Riddler in that particular interpretation of the Joker, because for the Riddler, it's all about proving himself as Batman's intellectual superior, and actually a major factor of their chemistry is that this obsession is significantly one-sided on the Riddler's end. And I think the Matt Reeves Batman also handled that "one-sided obsession" aspect of the Riddler really well, as well. Like, for Batman, it's all just mystery to solve and then you finally get to the Riddler and Paul Dano's Riddler is like "Wrow. I knew you'd find me because we're so alike and we're besties! It's allll for youuuu!" and then you have Batman fire back with "We're nothing alike--! Wait, I just remembered I'm also an off-putting loner freak. Uh oh." So like... there are ways to feel true to the Riddler even if you can't go full camp.

The Riddler WANTS Batman to find him. He WANTS Batman to solve his riddles because not only is that the only way he is 'seen' but he believes it also gives him control in how he is seen and who he is seen by--although it really doesn't because Batman has already made his assessment of "This is an egotistical loner freak who is desperate for attention and obsessed with me."

[nextstop-fixationstation]

OK analysis time! Matt said that Marcy's affection towards Sasha was more surface level than Anne's, which was described as "complicated." People might assume that this means that Marcy's affection for Sasha wasn't deep, or that their relationship wasn't.

If we're being honest here they weren't presented as having depth to their relationship so much as having acts and services. They're on the level with each other and can interpret each other's needs for a plan but they are lacking somehow when it comes to each other's emotional needs. This is something Darcy touches upon when they say they might not have ever been friends at all, and might be a core conflict between Sasha and Marcy. It's also a good example of why Anne is the actual Heart of their friendship. She connects and makes their dynamic deeper. While Marcy is desperate to keep people together and hates being alone, she admits she lacks a core understanding of emotional intelligence and this is something she admires in Anne. Marcy treats herself as a tool and mostly makes friends by doing things for them and complimenting them. She's kind of the perfect POV character for a journal that gives lore specifically because she's very attentive to things like strengths and weaknesses and team synergy, but isn't necessarily attuned to emotional intelligence. She kind of blocks herself off from feeling certain things too keenly or doubting herself, and masks it using this peppy overachiever persona.

Maybe if Marcy were more emotionally self aware, she would have been even more openly hurt by how dismissive Sasha is of her interests (even though Sasha clearly does like nerdy things), or she would have noticed that her friends don't really care for RP (etc). But in the series what we see is a Marcy so afraid of being left alone that she'll hide every emotion and every hurt aside from what she thinks will make people stay - she delivers compliments, improves infrastructure, says all the right things to earn trust. She's a great twist antagonist! Admitting that her friends don't or can't reciprocate her interests or desires is important to her arc, because it serves as a lesson to her that friendship is more than just doing things together or doing things for each other. Marcy and the others aren't just tools in schemes and plans.

We hear from Anna that Sasha has difficulty knowing when to bring other people to the table, so for someone like Marcy who thinks that she needs to earn everything through acts/upgrades, it makes sense that their relationship remained very surface level. Neither of them pushes the other to see things differently, while Anne does. Anne can acknowledge where people hurt and hurt her, and can acknowledge that this doesn't mean they aren't friends or significant to each other. Anne notes the complexity! It's why she's so compelling.

So, Marcy acknowledging how hurt she is that her friends don't want to do what she wants is significant because she also says, "I believe in you." Love goes beyond the stuff we do for each other. There's a bit of faith, too. What she did isn't right either. Being hurt isn't an excuse.

Darcy isn't just "evil Marcy," the Core is also every temptation for Marcy. Escapism, distraction, perfect friends who go on quests with her whenever she wants. There's a darkness to this kind of insecure attachment that Darcy reveals. Fear of inadequacy and irrelevance. Fear of loss. Fear of change. Fear of what is deeper than skin deep. Maybe my friends will forget me if I move. Maybe I'm just their nerd, just like Sasha's just cool. So their relationship isn't surface level to us, because this nuance is communicated to us through the subtleties of the show's execution. It's a really well acted, well boarded, well written show with fantastic music! It's really amazing!

Sasharcy IS very complicated! But it's complicated because they never dig deeper with each other until it's too late. It's also why it's significant that Sasha is the one to ask, "Can we save this friendship?"

Why is friendship with Marcy so easy? Is it because they got along and there's mutuality here, or is it because they didn't let themselves get any deeper than what was easy? It's so easy for them to just be the controller and the executor.

Forgiveness is hard. Forgiveness takes time. It takes a lot of thought, discussion, and work. Friendship in the long term, deep enough to mean something and hurt when it's gone, is similar. It's not just sentimentality and acts of appeasement.

aaaaand that's what i think matt meant when he was like "marcy's affection for sasha was kind of surface level"! I will admit I was like noooo Matt noooo don't say it was surface level whyyyy but like i had time to think abt it so i'm fine now lol lmk ur thoughts💙

smth i didn't add to my original tweet thread is that i DO find it interesting that marcy appears to specifically empathize with the experience of lonely people who grow up a certain way or doing things a certain way to protect themselves from loneliness. she seems to have an intuitive understanding of people fitting into groups via niches, but is drawn to people who already seem like outcasts as opposed to being able to identify it when someone is surrounded by people they seem to easily connect with. Marcy has this fundamentally insecure and lonely viewpoint that makes her very interesting to read and analyze, and I suspect it also contributes to her popularity. I mean, clearly *I* love her

[samirant]

Dungeon Crawler Carl & You

*taps microphone*

Okay, so I've been going off about Dungeon Crawler Carl for months now and I do not see it stopping at any point, so let's see if I can entice one or two of you to join in my madness.

DCC is Lit RPG and written like a video game come to life, from the point of view of the contestants trapped within the game. There are levels to conquer and loot boxes and quests and an AI running things that has a very tenuous hold on stability to begin with and doesn't keep it for very long.

Carl is just... a guy. He's just a guy with a traumatic backstory that he's squished deep down inside himself because he doesn't like drama and he thinks he's doing just fine because it's done, you know? It's in the past, can't change it, can't hurt him anymore.

(It can hurt him. It does hurt him.)

The world as we know it is destroyed in a split second, Carl surviving by mere happenstance and the only reason he goes into the dungeon is that he will literally freeze to death otherwise. At no point is this guy searching for glory or thinking he's a savior, he's just trying to survive another day. That Carl happens to have his ex-girlfriend's prize-winning tortie Persian cat with him is a coincidence - and it turns out to be his major lifeline in the entire series. Princess Donut is his partner in crime, his bestie for life and if he ever loses her, he will lose everything. Goodbye to the last vestiges of his sanity.

The first couple levels are pretty contained, Carl & Donut learning the ropes and how to survive every encounter with increasingly powerful enemies who want nothing more than to see them dead, the eyes of the universe and the corporations running the shitshow ever focusing on them and trying to eke out as much profit as possible at the same time.

Then they meet other survivors - both good and misled - and the beauty of humanity comes out, the sacrifices they are willing to make for one another, the knowledge that they aren't likely to survive, but they make the right choices anyway because dying might be bad, but letting each other down is worse.

The secondary characters grow in complexity with every level. Where it was once just Carl & Donut, it becomes dozens of characters, from all over the world, all of them gifted in their own way, all of them fighting as best they can, some of them betrayed, some of them dying, some of them choosing to go out on their own terms. Men and women and animal alike, they are individual and committed to the greater good.

Matt Dinniman has written a series that takes an emotional toll on its readers: pain, loss, horror, humor, desperation, walking through life with an unrelenting grief. There are dick jokes and drug-dealing, lava-spitting llamas and riffs on Wonderwall and lines like: Trauma does that, I thought. It's an explosion with your heart at the center. It changes everything all at once.

Also, there are velociraptors.

And a decapitated, talking sex doll head that wants to kill everyone's mothers.

It's a LOT of stuff going on, all right?

And just as you think the story can't get any better, enter Jeff Hays. Our audiobook narrator, our man of a hundred distinct voices. Good god, he's phenomenal. I've listened to so many books and while there are some very talented narrators out there, Jeff Hays leaves them in the motherfucking dust. I honest to god thought he was using an app to manipulate his voice for different characters until I saw him narrating in real time and I was utterly blown away by his talent.

The combination of this story by Matt Dinniman and narration by Jeff Hays has me going back, time and time again. I recommend the experience wholeheartedly and hope you'll give it a chance.