#maybe i just need to figure out how i'd personally like to go about the story from a literary perspective

[tyrantisterror]

At Sea Without a Map Post-Script

After two months of so, my little writing experiment At Sea Without a Map has come to an end. And because I'm vain, I not only felt compelled to share it, but to talk about it in depth after the fact, so here we are. This is going to be long, though, so I'm not only going to break it into sections, but put it all under the cut for the sake of your dashboard. So go ahead and dive into the depths of the Sea of Monsters with me one more time!

Part 1: Never Stop Blowing Up

The writing process of Wizard School Mysteries Book 3 was really strained - not because of the book itself, mind you. When I was actually able to work on it, Book 3 came together really well - I think it required the least substantial rewrites of any my novels thus far. It's just that real life was kind of beating the shit out of me while I was trying to get it done - or maybe the better metaphor was that it was just slowly but steadily draining me of energy all the time. I'm honestly surprised I got the book out in roughly the same amount of time as the first two - by the way life had been treating me, it should have taken longer.

But when I got done with it I was accutely aware of how tired I was. I still had the creative drive, but fuck I needed something simple as a palette cleanser - something easy, and more importantly, something that was allowed to be bad. I needed something creative to do that was surplus to requirements and fully within its rights to suck ass so long as I had fun making it.

Around this time, I decided to rewatch Dimension 20's Never Stop Blowing Up. Brief explanation of what that is: Dimension 20 is an actual play show, i.e. a recording of people playing D&D and other TTRPGs. I'd say its reputation is built on the contrast of its main DM, Brennan Lee Mulligan, who makes these meticulously crafted campaign plans, and his chaotic band of improv comedian players who promptly derail those plans spectacularly. Like, a good deal of the show's humor comes from Emily Ashford or Ally Beardsly doing something so off-the-wall that it shatters whatever the scene was going to be and creates a far more absurd and zany spectacle in its place. Which is why Never Stop Blowing Up is pretty notable, because it's the one campaign where Brennan himself is the agent of chaos, fully unleashing his own brand of madness that the players struggle to keep up with. And fuck does he seem to have fun with it.

Of course, all of the analysis above is purely from the outside looking in - it's likely that a lot of the "chaos" is played up for the audience. But still... there is something to the idea of a person who's been working on meticulously structured stories letting loose and just doing something extremely stupid.

So I decided to give myself a Never Stop Blowing Up moment - a short story that would be simple by design, with no standards to live up to or goal beyond "have fun telling a silly little story." I then came up with a few key criteria:

It can't be set in the Midgaheim/ATOM universe. I don't want the burden of figuring out where this story would fit among others.

It's gotta be a romance. People who've read my books might have picked up on the fact that I like to write about people falling in love, for the same reason I like to write about fire-breathing reptiles and friendly monsters (i.e. I use writing to indulge in things I'll never experience in real life). I've only used romance as subplots in my fiction before, and tend to feel a bit guilty if I focus on it too long - like I'm being self indulgent. Well, this is all about self indulgence, so the romance should be front and center.

It's gotta be SIMPLE, episodic even. Not complex plotting required.

I almost chose my xenomorph romance for this, but I had developed its outline to the point where it would be too complex to fit. I then considered a sort of superhero story that could be pitched as "what if Bringing Up Baby but Katherine Hepburn's character is a Harley Quinn-esque supervillain and Cary Grant's character gets turned into some sort of horrifying genetic mutant in the first ten minutes." That one hit a weird roadblock when I got to the character brainstorming phase (the first phase of any writing project I do) - I was trying to figure out what the mad scientist who turns out Cary Grant-figure into a mutant would be named, came up with the name "Dr. Skullfuck," immediately realized that having a character named "Dr. Skullfuck" is a Mark Millar-ass writing move that I could not allow myself to do, but then couldn't stop thinking of the name "Dr. Skullfuck" and giggling, which just brought all thinking to a grinding halt on that project.

(I'll still probably do it someday, though - just, you know, without Dr. Skullfuck)

Inspiration struck again, though. I'd been getting into Epic: The Musical, a musical retelling of The Odyssey, and it put me in the mood for a sea monster story. But, more than that, it got me thinking about one particular archetype from sea monster stories - but that brings us to the next part of this Post Script...

Part 2: It Was Always About Calibani

Ok, so, one of the big changes Epic: The Musical made involved Odysseus's encounter with the sirens, and before you read more of my rambling, I'd like you to watch two animatics for the two songs in question here:

A summary: one of the sirens takes the form of Odysseus's wife to try and tempt him into getting in the water, Odysseus tricks her into giving him directions, captures her and the rest of her kind, and proceeds to have his men slaughter them horribly. In the OG story the sirens don't die - nor does their song involve imitating a man's wife, for that matter, it's just a really pretty song.

This is done for an important narrative purpose - Epic: The Musical is focused on analyzing the moral ambiguity of Odysseus, and how it is constantly challenged by the impossible choices he is forced to make in his attempt to get home. At this point in the musical, Odysseus has decided to stop trying to be a compassionate man, shirking all mercy in favor of utter ruthless pursuit of his goals. These two songs are meant to be unsettling as hell - this is the beginning of a series of heartless choices by both Odysseus and his men that will culminate in the mutiny and complete annihilation of Odysseus's crew, as well as Odysseus himself being so hopelessly stranded that nothing short of divine intervention will save him.

I bring this up because when I first heard these two songs - specifically while watching these two animatics - it, like... it devastated me. I was so horrified and sad, so shaken by it. And part of it was for the reasons outlined above, but admittedly that wasn't the gut reaction I had. No, my immediate reaction was, and I quoute my own broken brain verbatim here: "You can't kill the sirens! They're not for killing, they're for loving!"

...now, those of you who know me are probably not surprised by this very stupid sentiment coming from me. One of my more popular posts is just me talking about how down bad I would be for various folkloric monsters whose whole shtick is "looks like a pretty lady but Watch Out." But as a person filled with immense self loathing and doubt, my brain immediately looked at that very stupid sentiment I expressed and said, "Wait, no, that's fucking dumb, I'm fucking dumb. The sirens are remorseless murderers. These sirens in particular preyed upon a man's love for his wife, who he has not seen in twelve years, to convince him to let them kill him. They are, by all standards of morality, Very Fucking Evil, and if they were not women you would not feel bad about them getting killed."

And as my brain argued with itself over this topic, I got to thinking about the various monstrous/othered sea women of The Odyssey - not just the sirens, but the witch Circe, the nymph Calypso, the monsters Scylla and Charybdis. And I thought about the others of their kind in other myths and folktales - selkies, mermaids, etc.

There's an archetype of sea monster that focuses entirely on one specific anxiety sailors are prone to, namely the fact that (for a good deal of human history) being on a boat meant spending a lot of time away from women. The horror of this monster is how it uses that desire for female company to tempt people into danger - like a mirage, it leads you to expose yourself to danger in pursuit of an illusory comfort.

But, unlike real world mirages, these monstrous sea women DO exist in their stories. More than that, they're often, like, sad and lonely. Their narrative purpose is just to be a temptation, but that doesn't change the fact that they do have lives of their own in these worlds. And, softie that I am, I can't help feeling sad for them, especially the ones who actually seem to want the same companionship the sailors they tempt want. Sailors don't stay with their Circes, they don't marry their Calypsos. The sirens live on a barren rock, alone, Scylla is left to wallow in misery at her monstrous form, and the selkie always has to leave for fear of being trapped by a person who won't love her on her terms.

I realized I had my hook for this simple, easy, silly little sea monster romance story: I was going to give a sea woman the happy ending she'd never get from anyone else.

Sailor may be the protagonist, but make no mistake: At Sea Without a Map was always, always, ALWAYS about Calibani.

The goal with Calibani was simple: I was going to set up a fairly standard Monstrous Sea Woman, but where other stories would let her be in one episode of the travel narrative and move on, this one would stick around. She'd be an unambiguous predator of human beings - an open and admitted maneater - but she would have no true malice to her. She, like all predators, eats what she can get to survive, and it just so happens that she's adapted to eat humans. And the story would pose the same question to the reader that my brain posed to me during Different Beast: is there any way you could make a siren-style sea monster sympathetic? Can you make a normal person who doesn't have my particular brain rot look at a maneating siren and think, "You're not supposed to kill her, you're supposed to love her!"

One of the few unavoidable plot points of At Sea Without a Map was that Calibani and Sailor's relationship would become romantic. What kind of romance it was could have varied substantially - it could have been one-sided, it could have been toxic, it could have been far more tragic OR far more comedic. But it was always, always going to be a romance of some sort - the goal of this experiment was to make you, the reader, love Calibani. All else was icing on the cake.

I decided to base Calibani's personality on Miranda from The Tempest - i.e. a sweet girl who is both wordly and naive, who understands the strange setting of our "lost at sea" story far better than the audience viewpoint character does, but views the mundane world of the audience viewpoint character with wonder and naiveté. In fact I almost named her Miranda outright... except I already had a character in the setting I chose for this story who had that name, and as an allusion to the same Shakespearean character no less. So I settled on naming her after Miranda's adoptive sibling (of sorts), Caliban - more fitting in some ways, as Caliban is a fish-human hybrid who is arguable more native to the magic island in The Tempest than Miranda herself.

(Calibani isn't the only Tempest name homage, either - her mother, Sycorax, takes her name directly from Caliban's unseen but oft-spoken of witch mother. Dr. Antonia Warefore takes her first name from Antonio, one of the human villains in The Tempest who hopes to use being lost at sea as a way to perform a coup. And the mothman Iriel takes her name from Ariel, the wind spirit in The Tempest who aids the wizard Prospero in controlling the magic island. If Sailor has a "real" name, it's probably either Ferdinand or Miranda, the two lovers who manage to blend civilization and the wilderness together with their romance.)

Visually, I wanted Calibani to not be any common archetype of sea monster woman, but rather something that evokes the popular images while still being her own thing. She's not a mermaid or a siren or a selkie - she's basically "what if a sea serpent was also a girl." In-universe, she's chubby because she, like all marine megafauna, needs blubber to survive. Out-of-universe, she's chubby because I've found that routinely drawing cute chubby girls is good for my mental health.

Part 3: CYOA

Now, while we live in a post-Muncher society where shame and cringe are emotions only the cowardly should experience, I am nonetheless Very Catholic about expressing my own feelings of, like, liking girls and shit. I cannot help feeling guilty when publicly expressing adoration of women without, like, an excuse - it's gotta be a joke or something, you know? I can't be genuine about it, or else Jesus will beat me with a cane for disrespecting women with my lecherous gaze.

But luckily I've cultivated a loyal audience of fellow monsterfuckers, which meant I had an excuse lined up: if I made this a choose your own adventure type deal, a story with audience participation, then you all would be my accomplices. And Jesus can't cane all of us! He doesn't have enough hands! I found a loophole bigger than his stigmata!

Plus I love collaborative story-telling - there's a thrill in not having total control of where the narrative is going. As Brennan Lee Mulligan must know, there's a joy in having to deal with the chaos thrown your way by letting others grab the figurative ball, even if just for a moment.

Part 4: Offbeat Melody

Since I did not want to set this story in Midgaheim, I decided to steer myself away from a vaguely medieval setting altogether. But I also didn't want to limit myself with the need for "realism" that putting it in a normal sea would require, and making a new setting whole cloth would start pushing this project into "not easy" territory.

Luckily, I had a setting lying around that I hadn't played with in a while, which just so happened to have a location that was PERFECT for the sort of Never Stop Blowing Up style madness I was aiming for. For a few years I ran a Monster of the Week TTRPG campaign called Offbeat Melody, and one of its core setting elements was taking the goblin universe hypothesis in paranormal science (yeah it's a real hypothesis) to an illogical extreme. We had specifically seen glimpses of the Sea of Monsters in Offbeat Melody, i.e. the parallel universe where monsters like Nessie, Ogopogo, Champ, and the like all hail from. Well, why not have a whole story set there? It's literally a universe devoted solely to creating sea monsters - what better place to strand our modern Odysseus?

Offbeat Melody was always sort of a Never Stop Blowing Up project, or at least NSBU adjacent. Some of my most unhinged story-telling moments are in that campaign - you could make a supercut of just the "commercial breaks" in the various sessions and it'd basically be an I Think You Should Leave episode. Taking one obscure corner of its multiversal world and exploring it in detail was perfect for this project.

Part 5: Monster by Monster

With our main romance as sorted out as could be for a CYOA story, it was time to figure out the "episodes" of this sea voyage. I settled on there being ten to roughly align with The Odyssey - just in terms of number, mind you, not in a one-to-one comparison. The first was, obviously, Calibani herself, which left nine more slots for me to fill with monsters. Let's go through them together in brief:

Tree Storks - any lost at sea story eventually has to get its protagonist into an island at some point, but this immediately begs the question, "Why don't they just stay on the island where it's safe?" The answer to that question has to be, "it's not safe there, actually." The Odyssey does this quickly and cleverly with a one two punch: the first island seems safe until you realize the food on it brainwashes you into forgetting everything except your desire to eat it, and the second island is full of delicious sheep but also giants who will eat you just as easily as they eat the sheep. When other islands show up in the story later, you immediately regard them with suspicion, because you don't know HOW they're going to be fucked up, but they definitely will be. My goal with the second episode was to establish the same sort of danger - that land is NOT safe, that islands WILL be fucked up and dangerous in ways you might not expect.

I also wanted to establish that this is not just a sea of monsters, but a very WEIRD sea of WEIRD monsters. It couldn't be any old monster on this island - it had to be one that was unique, unexpected, and maybe just a bit silly while still being menacing.

I've always felt that there's a lot of un-mined horror potential in storks, cranes, and herons - any bird with a long neck and spear-like beak it uses to stab smaller creatures from above. Just imagine yourself in a frog's place in the world - tiny, going about your business, when suddenly something shoots down at you from above and impales you before you even feel the shadow fall over your face. Or perhaps you did see the shadow - some of these birds spread their wings to create shade specifically to attract fish, and then spear the poor little bastards.

Well, what do people often look to islands for when out at sea? Shade - the shade of a palm tree. And palm fronds kinda resemble feathers, don't they? Wouldn't it be both ludicrous and terrifying is there was a stork big enough to mimic a palm tree - and wouldn't that be a DEVIOUS trap for a sun-drenched sailor to fall for? So the Tree Storks were born.

The Globster - I made a list of sea monster archetypes in the early planning for this project, and one I wanted to include was a kraken, i.e. some sort of tentacled sea beast. But I didn't want to do JUST a big squid or octopus, or even a riff on them. I wanted to take the idea of "big sea monster with lots of tentacles" into a stranger direction.

Since the Sea of Monsters is explicitly the home universe of lake and sea monster cryptids, I thought it might be fun if ASWaM's kraken equivalent was a globster - just a big ball of rotten meat. I love drawing monstrous faces, so I decided it'd just be, like, MADE of hideous rotten faces, all melting and congealing together, with its tentacles doubling as the tongues of its many mouths. A perfectly wretched image that, like the Tree Storks, would do well to establish how Fucked things could get in this setting. Plus similar monsters had appeared in Offbeat Melody, which would make for a fun sense of familiarity for the, like, five or so readers of mine who had listened to that campaign before.

Captain Peter & the Dolphin - Another thing I did in the early planning stages of this project was make a list of the different sea voyage stories I know and love, the most contentious of which is The Life of Pi. That's a story that I love on a literal level but kind of hate on a figurative level - its whole theme/message is that doubt is the worst thing you can have, that if you don't commit to believing something with zealous conviction you are a coward. As a person who thinks doubt is valid, that "I don't know" is sometimes the ONLY truly valid answer to a question, I have issues with that message.

But I can't help loving the beautifully ludicrous idea of a non-anthropomorphic tiger sailing the ocean on a big Odyssey of its own. Like, if that story didn't actively hate me for being agnostic, it would be one of my favorites.

So I decided to, you know, just steal the idea of a tiger Odysseus. The tiger in The Life of Pi is named Richard Parker. Richard Parker also happens to be the name of Peter Parker's dad. Hence we get Captain Peter - the figurative son of Richard Parker, if you will. And to ratchet up the absurdity of a tiger Odysseus, I made him a pirate and the sole sailor of his voyage. Somehow, this tiger has manned a boat on his own.

Captain Peter was intended to be the hero of another story - a sign for the readers that it IS possible for a stranded person (or, in this case, tiger) to survive out here. To that end, he had to rescue our heroes from another threat, but not one that would be interesting enough to take the focus off of the tiger pirate. Originally I planned for that threat to just be a big shark, but I ended up liking my shark design too much to put it in a role that small, so I quickly designed a nasty dolphin for the role instead. I think that worked out well, honestly.

Dr. Neptune - Episodes 5 and 6 were the mid-point of this journey, so I wanted the two monsters of those to escalate things significantly. I figured episode 5 was probably a good place to FINALLY give some meaningful exposition on what was going on, and there are a lot of stories about mad scientists doing weird shit on islands in my big list of sea voyage stories I love. So we get Dr. Neptune, a classical brain-in-a-jar mad scientist who's affable enough to give more-or-less accurate exposition but loony enough to be a problem. This also felt like a good spot to remind the reader that Calibani is not just a girl with a tail but rather a Sea Monster herself, and one that we'd been making stronger by allying with.

With his human-but-not-quite nature and cyclops eye, Dr. Neptune could sort of be seen as the Polyphemus of this story, couldn't he?

The Crocodisle - One of the sea monster archetypes on my list was "the island that's actually a sleeping monster," of which there are many in mythology and folklore. My favorite is the Jasconius from the voyage of St. Brendan, mainly because it's more or less benign and actually comes back to help St. Brendan and his crew at the end of the story. I always love when I can find an old story with a friendly monster in it.

When thinking of my own spin on the island monster concept, I remembered the only Magic the Gathering card I had as a kid, which I still have and love to this day: The Sandbar Crocodile. This card already inspired Crocogon's color scheme in The Atomic time of Monsters, but I felt I could go to that well again one more time, and so made a crocodile that wasn't just a sandbar, but a whole damn island to itself. And, like Jasconius, it turns out he's pretty chill.

I did not think of the pun name "Crocodisle" until I was actually writing the chapter in question.

The Femdom Mermaids - These three were a late addition to the roster. When I had Calibani bring up mermaids early in the story, I realized as soon as I wrote her rant about them that we'd HAVE to meet some later on in the story.

The readers had significantly shaped Calibani and Sailor's romance by this point, and I decided that it could be useful to have a chapter that was devoted to showing definitively how these two were good for each other. I thought the mermaids could provide a good contrast: have them act out a seemingly more benign take on the monstrous sea women trope (they abduct our hero to protect and care for them!) only for it to quickly feel MORE deranged than Calibani's comparatively simple desire just to eat him.

The spirit of Calibani's rant about mermaids was taken from weird* girls I knew in high school complaining about cheerleaders, so I wanted the mermaids to look like the sea monster equivalent of popular kids to Calibani's chubby weird girl. Two of them got the names of famous beauties - Helyne = Helen of Troy, Clio = Cleopatra.

(*when I say "weird" I mean it in a complimentary and affectionate sense)

Bob, meanwhile, kinda... rebelled, I guess? Before I had names for them, I listed "bob" by her as just, like, a descriptor for her hair cut, but then I liked it as her name, and once she was named Bob she became more than just a mean popular girl. She was a weirdo too, the little punching bag of the two mean popular girls who did their dirty work and smiled through their abuse because hey, at least they included her. It gave the trio an easily defined dynamic, helped make two of the three more visibly nasty, and gave us comic relief in an arc that could very well have gotten too uncomfortable otherwise.

And I guess it worked - readers REALLY loved Bob, and were very vocal about it, and I realized mid-arc that I had accidentally made her too likable to just leave in this arc. So Bob got to be rescued from her awful friend group thanks to readers like YOU.

Lord Ironteeth - yeah, this was the shark that was too cool to be a minor threat. When I drew his noggin, I realized he would need a chapter of his own, one with gravitas. I decided he'd specifically be the threshold guardian -once we beat him, we'd know for sure how to get home, even if there were a few more threats in store.

Spindle Inc and Sycorax - when I was a kid I used to have this recurring nightmare about being on some sort of underwater sea station that had this huge sea serpent trapped inside it. I'd look at the sea serpent from a window within the station and see it coiling in its tank, only for it to look at me with fury. In that glance I would suddenly realize two things with absolute clarity: first, it was going to break free and kill everyone, and second, we deserved that destruction for what we had done to it. The terror of the dream was less that the sea serpent was going to break free, and more the guilt of knowing that all the mayhem that was about to unfold was our fault to begin with.

I thought that would be fun to homage with the penultimate chapter of this story. OBVIOUSLY the sea serpent was Calibani's mom, obviously the trauma of its capture was why Calibani grew into a predator that specializes in hunting humans, obviously we would have to free the sea serpent despite that running counter to Sailor's goal of getting home. Easy, easy, easy plot point to include.

Spindle, Inc. is the primary antagonistic force in Offbeat Melody, so they easily slotted into the role of the arrogant humans who captured this monster for nefarious and selfish motives. They could tie a lot of other plot threads together too - Dr. Neptune was a scientist who worked for them as a contractor only to get screwed over (i.e. they stranded him in the Sea of Monsters, expecting him to die, and then used his research to make their own base of operations in it), we'd learn of him through a spindle briefcase left behind by some unfortunate rogue agent who got eaten by the Globster while he was trying to escape, hell they could even be one of the possible origins of Sailor themself (more on that later). Very useful villains, Spindle.

The Abyssal Mother - I knew the last sea monster would need a lot of punch to it. I briefly considered just a big whale - the Moby Dick to Spindle's corporate Ahab - but it felt underwhelming after all that came before. So I went for arguably the most dramatic possible sea monster, a full on Cthulhu-style elder god. If you're a frequent follower of this blog, you might know I have particularly high standards for Eldritch Abominations, so I realized this was going to be a pretty big challenge for me to live up to, and decided to keep the cthulhu in question reserved to the last few entries as a result - the less it appears, the less it has to live up to.

I realized I had a good angle when my experiments with the Cthulhu "squid for a head" concept ended up having a face framed in shadow - you know, the same visual that our protagonist has in most appearances. That provided some very juicy parallels between the two that made this final monster feel particularly noteworthy to me, ones that I'll leave you to ponder, since they tie into...

Part 6: Themes

I did not set out to have a theme in this story. I just wanted to make a sailor and a sea monster kiss. That was my only goal.

But I really don't begin with theme in ANY of my writing. I figure out topics I want to address, but for all my novels I feel like the themes didn't start coming together until about halfway through the first draft, when enough of the elements of the story had been set down and interacted with each other enough for me to realize what I was saying with them. A huge part of my second and third drafts for my novels have focused on making the themes of my stories more concrete and unified.

Well, ASWaM is very much a first draft of a story, but it's a simple enough story that I think the theme found itself pretty well despite lacking subsequent drafts to refine it.

ASWaM is about doubt and direction. It's about being adrift in a world that is in many ways hostile by nature, about not feeling like you're where you're supposed to be or even WHO you're supposed to be, and about setting off aimlessly in the hope that maybe you'll find your way to that mythical land of "what my life is supposed to be."

When I began the story, Sailor had amnesia and wore clothes that obscured their identity as a way to make it easier for anyone to step into Sailor's role. Sailor had to feel like You, the Reader, and so we don't know their name, their gender, their eye color, their hair color, even their skin color (note that their hands are always wearing gloves, and their face is always in shadow).

But it also meant Sailor is, well, undefined, at least at the start of the story. Sailor doesn't know who they are, what they are, how they came to be. Sailor feels distinctly that they should be Something Else, should be Somewhere Else, should be Someone Else, should not be who/what/where they are. Sailor is plagued by doubt, by a need to go in a different direction, by a need to be other than they are.

This initially contrasts with Calibani, who begins the story very confident that she is doing exactly what she was designed to be doing and acting exactly like she should be. As they interact, they begin to shift each other in opposite directions - Calibani questions her existence and nature, sometimes to a self destructive degree, and Sailor begins to find something about who and where they are that they like. They find a healthy middle ground together - doubtful enough to want to be better people, but with love for themselves that allows them to not feel the need to up-heave their lives entirely.

I knew at the start that I would build an expectation for there to be some answer to the question of who Sailor is and where they came from, because those are the questions that begin the whole narrative. I brainstormed a number of answers to those questions, but once I got a few chapters into writing the story and saw this theme of doubt developing, I realized I couldn't answer them. From a thematic standpoint, the doubt HAD to remain. So I gave hints to possible answers, bits of evidence to support the possibility of them being true, but never planted a smoking gun that answered it for sure.

Sailor can't know the answer because NONE of us know the answer. Outside of blind Life of Pi style faith, you cannot know for sure that you are living the life you're supposed to live. All you can do is figure out whether you're happy with the life you've got, or if you need a change. Sailor will never know who they are supposed to be, but they did learn who they are, and they love that person now.

For those curious, the possible Sailor origins are:

Occam's Razor: they're exactly what Dr. Neptune theorized, i.e. a human who got stranded in the Bermuda Triangle (or the Devil's Triangle or any other number of paranormal triangles) and fell into the Sea of Monsters. The trauma of that experience gave them amnesia. It's just brain damage and bad luck.

A Spindle Experiment: Dr. Warefore mentions that Spindle has been trying to find a way to make a human who can evolve like the denizens of the Sea of Monsters. Sailor may well be an attempt to do just that, perhaps one they wrote off as a failure and abandoned (they do that a lot)

A Deep One: Sailor is the offspring of one of the denizens of the Sea of Monsters (most likely the Abyssal Mother herself) who has somehow been tricked into believing they are human, to the point where they seem to be human to everyone else, even other monsters. Maybe a human summoned a sea monster to breed with on earth, and Sailor ended up being subconsciously drawn back to the Sea by their blood. Maybe Sailor never actually lived on earth at all, but was only made to THINK they had as part of the transformation into a human.

The Platonic Ideal of a Sailor: the Sea of Monsters is full of archetypal concepts, and arguably a sailor trying to find their way home is just as archetypal as any sea serpent, mermaid, or kraken. Our only proof that humans aren't native to the Sea of Monsters is Dr. Neptune, and he's not as reliable an expert as he claims to be.

This theme of doubt and direction also made the compass more important to the narrative than a simply mechanic for audience participation - a compass, after all, gives direction, and the feeling that Sailor is not where they're supposed to be, that they need to head in a different direction, is ultimately the catalyst of the plot. The compass is, in many ways, the antagonist of the story - the force that keeps Sailor from accepting themself. I realized this a little after I started making the different directions have personalities - initially they just represented broad concepts (North = follow conventional wisdom ala the North Star, South = preserve your short-term self interest at all costs, East = act with curiosity and be willing to take calculated risks, and West = throw caution to the wind and do anything that seems novel and exciting), but over time they became little characters themselves.

Since it was our thematic antagonist, I decided to pepper in some ideas about what the compass might be in-universe - and, in a move that would no doubt frustrate the compass, we also don't know for sure which of those is "correct." Is the compass a poltergeist, some amalgamation of dead sailors who try to steer other lost souls home? Is it a malign entity that leeches off of those desperate enough to seek its aid, living through them while pretending to aid them? Is it a device Spindle made to lure sailors to their clutches, OR to guide their experiments in human/monster hybrids? Was it a cursed item that forced a sea monster to assume a human shape? Who can say - the compass sure can't, it can only tell you a direction to go in.

Part 7: Q&A

Since this was an interactive story, I felt it was only fitting to add one last interactive element to this post-script write up, and some of your happily obliged me by sending in questions.

When I noticed how fast readers were falling for Calibani, I figured there was a good chance we'd end up staying in the Sea of Monsters. By chapter 7, I figured it was more or less a given, and by the end of the Lord Ironteeth encounter I was almost 100% sure Sailor would remain at sea. There was always a chance, though - while a look at the polls shows that the audience got more and more on the same page towards the end, there were always dissenting voices, and the desire to get an answer to the question of Who Sailor Was remained strong, as a number of people kept trying to find angles where they could get that AND stay with Calibani.

I was surprised early on by how easily the audience fell in love with Calibani, to the point where I made a few posts commenting on it. I mean, I shouldn't have been - as I said earlier, I have cultivated an audience of fellow monsterfuckers on here, and I know at least a few of them saw my bait and knew they could get me to be freaky in a way we found mutually agreeable (thank you all again for helping me escape being caned by Jesus for being horny).

Like, we REPEATEDLY ignored developing the plot in the Tree Storks chapter for several days just to spend more time with Calibani - something that I enjoyed immensely (this whole thing was an excuse for me to write and draw a cute chubby sea monster girl as much as possible aftter all) but also knew as a storyteller was not what most would consider a good story call. I like how it turned out, but it defied conventional narrative wisdom, you know? I was surprised.

On the other side of the coin, I was also surprised by how the audience NEVER chose an option that was humorously disastrous. I gave plenty of them, and, like, generally in collaborative storytelling there will be at least one moment where your collaborators decide to do the really, REALLY stupid thing that makes everything spiral out of control really quickly. I figured at least once the audience would choose the troll response, but no, you guys worked hard to keep Sailor and Calibani alive. You refused to let them hurt each other, refused to let them throw themselves into danger, refused to imperil them for your own chuckles. It was very sweet and unexpected.

I say "you refused" but to be fair it's not like NO ONE voted for the troll options - they generally got a handful of votes, just one that was beaten by a landslide of more reasonable options. Hopefully those of you who voted for the troll options enjoyed Bob throwing you a bone by disintegrating Dr. Warefore - that was my consolation prize to you.

Yes. I knew at the beginning that there would be two endings for this story: either Sailor leaves the Sea and goes home, or Sailor stays there forever. Or, you know, Sailor dies as a result of you guys choosing several stupid options in a row, but as stated above you guys avoided those scenarios pretty decisively.

Had Sailor gone home, the following would have occurred: first, they would forget everything that happened in the Sea of Monsters. Second, they would wake up in a hospital, having been found in the Atlantic Ocean by a human-recovery charity run by... oh, isn't that funny, some tech company named Spindle Inc! Spindle would foot the medical bills and even offer Sailor a job, but Sailor would decline because even now they're still not sure what Spindle even does. Sailor would go back to their life and find it familiar and utterly mundane, but not particularly happy. Their father died when they were 18, their mother was never in the picture, they have no siblings. They worked an office job and were sort of a nonentity - that position has long since been filled, but Sailor gets a new job and lives out much the same life: simple, mundane, dreary. Every now and then they get a pang of desire to leave, to go to sea, but they push it out of mind. They never even see the ocean again as long as they live.

Sailor would have gotten the normal life they thought they were supposed to have, the normal memories and name and identity, the mundane life of a normal person. And they just had to trade everything they found in the Sea of Monsters to get it. A question is answered, a direction is followed, but is it the right answer, the right direction?

Well, I think doubt would have remained.

I had a very vague idea for there to be some sort of man-eating giant in, like, a crystal castle. He got cut to make way for the mermaids.

I wanted to fit in a big whale and a giant crustacean, but there wasn't room or an interesting angle for me to want to make room for them. Saved for a possible sequel, I suppose.

I also wanted to have a scene with, like, DOZENS of sea monsters, including some of the ones from Offbeat Melody, but the goal of "this should be EASY you dumbass" made me kill that idea pretty quick.

Thank you!

The primary inspirations were:

The Odyssey and Epic: the Musical

The voyage of St. Brendan

The many "weird shit happens on an island" movies in Toho's filmography, i.e. Godzilla vs. the Sea Monster, Son of Godzilla, Yog Monster of the Deep, Matango, etc.

The Island of Dr. Moreau

The Boy and the Heron

Ponyo (specifically Ponyo's parents - I wanted Sailor to have the same desperate energy as that wizard who fucks the giant sea goddess)

The Life of Pi

Slay the Princess (perhaps most obvious in the use of second person narration, multiple voices in the protagonist's head, and falling in love with a creature that has tried to kill you at least once)

I'm going to use this to springboard to a related point in a second, but first a genuine yet humorous answer: Yes, absolutely yes, I am enough of a big romantic sap that I would give everything about my life away to be with a person who loves me and explore a world of monsters in a heartbeat. Hell, I would have jumped in the water the minute Calibani asked and died with her fangs in my neck and a smile on my face. I am dumb this way. Do not follow my example.

On that related point, though... Most stories like this, I daresay ALL stories like this that I know of, end with the hero abandoning the fantasy world in favor of reality, never to return. And that seems like the proper choice and lesson on the surface - we don't want to tell audiences to give up their real life in favor of a fantasy, after all. That's encouraging escapism, and that's not healthy!

But, like... textually speaking, the fantastical world IS real to the characters in these stories. And it's often not really an escape - was Sailor's life devoid of conflict and suffering in the Sea of Monsters? Fuck no! It's just that they figured out how to deal with that conflict and suffering - they built skills and a support system, they adapted, they learned how to overcome what was there.

I think it can be argued that sometimes the return to a "normal" world is, in itself, an escape - the idea that your life can spiral into chaos but that's ok, you can just reset everything and go back to The Way It Was and Should Be is just as unrealistic and unhealthy an idea as You Should Escape to A Better World. Sometimes your plans for your life fall apart, sometimes you're thrown into a place you never intended to go, sometimes you have to learn skills you never anticipated needing and ally with people you never thought you'd befriend to deal with problems you never dreamed you'd have to overcome. And sometimes it's ok to look at your derailed life, your Not Where You Should Be life, and say, "Well, I've learned how to live here... maybe I can stay."

Especially if there's a cute chubby sea monster girl who loves you.

Bob was never supposed to appear past chapter 7, but about halfway through that chapter I realized the audience and I myself would be heartbroken if we didn't rescue her. Definitely for the best - she provided some well-needed comic relief in the final chapters.

This is gonna sound snarky, but, yeah - there were 58 choices with four options a piece, and we only chose one of the four. While some of the options would have similar results, almost none would have had identical outcomes. And some would have been VERY different.

Like, to go back to the beginning: when Calibani attacked, we could either throw a net on her, harpoon her, try to drive around her, or hide below deck. We picked the net, but for the other three options:

Harpooning would result in us hitting her in the thigh, causing her enough pain that she collapses on our deck and we, horrified at the violence we committed, just sort of push on. Calibani would be wounded for at least the next chapter, perhaps longer, and significantly weaker (and probably harboring a great deal of hidden resentment while also being genuinely scared of Sailor). She would be vulnerable during the stork attack, forcing Sailor to take a more active role in that chapter.

Trying to steer around her would result in us essentially fighting her with our boat, resulting in the boat capsizing and Calibani getting tangled up in it. We'd wake up alone on Stork Island and have to travel in search of our boat, alone and vulnerable among man-eating trees. We'd run into Calibani again, also beached and in trouble, end up recruiting her to help us get our boat out of the sand.

Hiding below deck would end in a sea storm that leaves us inside our boat as it's beached on Stork Island. We'd fend off the storks alone, and run into Calibani once we get our boat out to sea, as she got away more or less unscathed.

All of these would have majorly changed the trajectory of our relationship with Calibani and our identity as Sailor, despite seeming to have the same component parts on the surface. Now account for how similarly slight changes in the other options could have gone, and we could have had a very different story indeed.

Part 8: Our Girl

I just think she's neat!

[asexualbookbird]

I didn't complete my 24 in 2024 list, but that's okay. I read a lot of short books and that's okay. I tried something new and wrote a small blurb in a draft after finishing it, instead of cobbling together feelings from what I remembered throughout the month, and I liked that a lot. I'll continue to do that, it made this a lot easier. Officially gave up on Ga'Hoole, and don't feel guilty about it. There are better books in the world and I will find them. That is a threat.

The Screaming Stair Case by Jonathan Stroud ⭐⭐½ - I want to watch the tv show, and I always feel weird doing that before reading the book. I'm not sure what I was expecting but it wasn't another Jackaby. I will not delete my blog over it, but it was. Not great. Fine. Fun at times. Would be more fun if the author didn't hate fat people so much. A pet peeve of mine is when the main character is a girl but the series is named after the main boy in her life. Icky. Not the worst, but I'm not sure I want to continue the series. The audio narrator was Delightful.

The Shattering by Kathryn Lasky ⭐⭐ - GaHoole book five. I know I said at the start of the year I'd read what I owned, but I'm no longer having fun so this will be the last for me. I'd rather be reading Animorphs. The owls can't save it for me, I'm sorry. Still counting it towards my yearly list though.

I'm Afraid You've Got Dragons ⭐- by Peter S Beagle This was trying to be a T Kingfisher novel but couldn't figure out the right balance between humor and devastation and how it fits into a small amount of words. It tried to be a Terry Pratchett novel but couldn't figure out what satire was. Disappointing considering I was hyped for it when it was announced. Dragons eventually showed up, but it was too late for them to save it.

A Psalm for the Wildbuilt by Becky Chambers ⭐️⭐️⭐️⭐️⭐️ - reread for book club! Still adore it! This time around I was able to pinpoint WHY I adored it! It's because I too feel Aimless and Without A Purpose. So. Ouchie. It's also helping me figure out what I want out of a "cosy" novel (or novella). Internal personal conflict! I would still do anything for Mosscap.

A Prayer for the Crown Shy by Becky Chambers ⭐️⭐️⭐️⭐️⭐️ - reread for book club! Once again, Becky Chambers has flayed me open and picked apart my soul! Reading Monk & Robot is like sitting down and being given a cup of tea while I cry my heart out.

Sorcery of Thorns by Margaret Rogerson ⭐️⭐️⭐️ - "Is this what it means to lose someone? The pain never goes away, it just gets buried?" I think this ending hit me hard for different reasons than most people are going wild for. It was Fine. Not mad I read it, but don't see myself ever wanting to reread it. I like the idea of the library as a living thing and a character itself, but there were a few plot points that just seemed to be brushed aside.

Gideon the Ninth by Tamsyn Muir ⭐⭐⭐⭐⭐ - I needed a safe tragedy I knew the end of and this did it. First time I actually shed tears over these words, but I needed it. It was fun to see and note the pieces that were laid out for later books, and I wonder, knowing some teasers we've gotten for Alecto, what TMuir means by Gideon wishing she could marry her sword.....

I don't have 2025 reading goals at this moment. Maybe that will change. It will probably change. I mean, there's the Usual, read the books I own, dangit, but that seems so. Boring. Typical. Everyone's doing that. Let me be ~Different~. I have a few fiber arts projects I'd like to do and finish, and I'd like to finish the sewing projects I started if only so I can pack all that up and put it away for a while. We're still hoping to move, so paring down my book collection is still an ongoing endeavor, and I do have a couple of art pieces I'd at the very least like to get sketched out. I want 2025 to be slow. I want 2025 to be quiet. I want 2025 to be kind. That's all I ask of it. Be kind.

[nihilnovisubsole]

hey, gang! miss me? no? too bad, because i miss you. i think about you all the time. i hope the year has treated you well. this is, what, the third, fourth year i've done a year-in-review post? have i done more than that? it's after midnight. i can't be bothered to check. i fear a lot of the mysteries of getting older, but i will say, i don't mind that it's easier to shrug certain things off. i look back on all the times i hid from some scary fandom discourse and go, "god, why did i care?" it helps to have other things going on.

on the other hand, i guess 2024 was the year of finding out what happens when you put everything into your day job and leave nothing for the weekend. it was a wild year at work, which i assume is normal as a game ramps up to ship. i gave a lot, which was good! i'd be lying if i said it didn't take a lot out of me. important people at trade shows have now seen things i wrote! i got to work with voice actors! good news: a lot of your faves are great people! i also made, like, no progress on any of my own projects except the picrew, which i still chip away at. yes, i still draw. more on that later.

one or two people in my coworkers-turned-friends circle have broached the subject of occupational burnout and whether i've reached it yet. as i said last year, i remember what voltage burnout felt like, and it took a much weirder, angrier journey to get me there. it's kind that they're looking out for me, though. i think it's something all creative people could stand to keep an eye on. a buddy of mine even gave a GDC talk about it. it's a shame GDC is so stingy with access to its talks. at least this article has a great summary if you're interested in learning more.

there were other things, though. my mother broke her hip in june, which forced me into a caregiver role that i'm not suited to. don't worry, she's fine now. i love her, so it was important to me, but it didn't leave a lot of time to sit and write for fun. i started what i thought would be a casual fanfic project, wildly over-scoped it, and made a ton of work for myself. i outlined an original story about a difficult, personal subject and a culture i'm descended from, but not really familiar with. there's a lot of pressure to do it right, is what i'm saying. i'm taking the only path i can think of, which is to bury myself in research. the trouble is, a lot of the literature about this time and place is also very challenging, so it burns a lot of brain calories. it's a far cry from what usually gets me to start a story, which is "i want these characters to sleep together. let's see where it goes."

in a different time, i would've taken this struggle as an omen that i wasn't the right person to write this story and abandoned it. it's critical that i don't take the coward's way out this time if i'm going to honor the question i asked at the end of last year. "what is my work saying?" my mother told me the same thing a few months ago: "i think you're a good writer, you just need to find good things to say." i take that to mean i have to write closer to real experiences, which means including the parts i don't like: disappointment, loss, mistakes, uncertainty. i had all of this year to figure out how, and the evidence shows i didn't. i don't know what to say. "oh well?" maybe you can't put a deadline on these things. in the meantime, hercule and aida deserve more stories (it's an hercule and aida story), and i want more people to know about them, and maybe i can say something real through them.

this was also the year that i reckoned with the other side of "all it takes is money to make problems go away." i was able to travel, i mean really travel, for the first time. all it took was being able to throw a chunk of my salary at it. i had some shipping drama [sorry, not the romantic kind] where i had no choice but to pony up a ton of customs fees. my arm PT didn't work, so i'll have to try a specialist who's out of my insurance network and pay full price to see them. this must be what they call "being a successful adult." i thought it'd look different. i wanted to live in the city and have a hot, mysterious boyfriend. well, i can still live closer to the city if i keep saving up for that house, and maybe some hot, mysterious guy will take pity on me someday. do you think they like 32-year-olds who play video games and have flat chests? i went all the way to paris and still didn't find out. damn! 🤌

nah, i'm kidding. i mean, i'm not, but i have other things to worry about. as i mentioned above, things with my arm have taken a curious turn. after six and a half years of assuming i had tendinitis, i found out, not only is it likely not that, i may not be injured at all. the particulars of this theory get out into the weeds of neuromuscular science, so i'll only bore you with them if you want me to. the point is, if any of it holds water, it would go a long way toward explaining why none of the typical rest/heat/stretching/strengthening protocols have worked. it's actually unfathomable how much effort i've put into solving this mystery just so i can get back to drawing fictional people kissing. you can call my creative work boring or predictable or whatever you want, but never say i haven't committed to the bit.

i don't tend to read my previous years-in-review. this year, i did, because i sensed i was grappling with a lot of the same things as last year. there's nothing i hate like being repetitive. not that you would know from the way i keep writing the same three character archetypes. humor me here. i was all set to keep whining until i reminded myself how 2023 had gone, and i thought, "geez. it wasn't that bad." nobody i love died, for a start. my health is better. i have some unread books sitting around. as terrible as 2023 was, i survived it. if you're reading this, you did too.

so here's what i'm going to do. i think you should do it with me, though whether i'm in any position to give advice is up to you. i'm not going to make any predictions about whether 2025 will be bad or good. i'm just going to see what happens. deal? all right. we'll check in next year. you'd better be there!

[brionysea]

if stranger things 5 comes out and they're like 'omg! the upside down has been a product of someone's dark and twisted mind this whole time! it's... WILL!' I'll immediately lose interest

[commanderjuni]

twirls my hair absentmindedly.... i know i say i'll use this character and that character as my commander but making one is genuinely so hard for me! U_U each time i think i got something figured out i end up going to another character or idea.. its a bit fustrating...

[keeps-ache]

little soup cans are some of the neatest things we have, wish there were more soup-can-like things in this world

[musical-chick-13]

.

[desperatecheesecubes]

See the mental unwellness in me is telling me that I should combine all the reading guides for the Young Justice crew together to get the true full YJ reading order, but I feel like that would just immediately become overwhelming. But I might do it anyway lmao.

[medicinemane]

The world is set on prescriptivism and... it doesn't jive with me

[ame-to-ame]

Rereading ayaka is in love with Hiroko senpai!!! Last time I read it I don't think it was finished/I didn't finish it but ack. Now I also want to be in love 😭😭😭

[snekdood]

bitches prolly out here psychoanalyzing my old art on behalf of my abuser to cushion their belief that im a Horrible Person but then dont see the irony when I point out the shitty things my abuser has drawn and how I see it as clear evidence of their mindset and beliefs (of what's okay to do and how to treat people) descending and pairing that along with everything else they've done and it paints a clear picture of how this person got to the point of thinking it was okay to abuse me the way they did and then the people looking for reasons to hate me through my art will act like "they're just drawings !!!" about their art. which one is it. does someones art say something about them or not? or does it only say something about them if you hate them?

[amaranthinespirit]

professor!simon riley ruining his goody-two shoes student cw: teacher-student relationship (all parties are of age) inspired by this post from @ebodebo

you were a good student, an eager to please college attendee that most people couldn't stand. studious and stupidly-smart, studies wise anyway.

most of your teachers liked you. how could they not? you reached the bar in their class, hell, you even raised it. but that couldn't be said about every class you took. you had this one professor who couldn't stand you, and you couldn't either.

professor riley was lazy in your eyes, he didn't give you, the class, enough, whether it was in terms of school work or personality, the daunting man was an enigma, and the epitome of gloom. perhaps he was suppressed with melancholy, but that wasn't your issue to deal with, you just wanted him to give a damn.

but maybe lazy wasn't the right word to label him as because he certainly wasn't, in terms of physique anyway. you shook your head at the thought, disgust crossing your face whenever you caught yourself thinking as such.

he wasn't lazy, professor riley knew his stuff, but you always had to do extra studying outside of his class to even understand the material. it was like you were teaching yourself, and that was not an easy feat.

it also didn't help that when you got one of your exams handed back to you, your eyes were sparked with anticipation as the paper landed on your desk, you couldn't wait to see-

a 69%?

how could this be? you studied meticulously for hours, combing through all the material you were sure was going on the test, but you got a 'd'?

your face was knit with confusion, brows furrowed deeply as you flipped through the pages. every single question marked right, did professor riley suffer from amnesia before grading your test? or rather, when putting the mark on the front page?

you were fuming, glaring up to see that wicked smirk pulling at his lips as your eyes locked. you felt more than petty loathing, more than just not standing him.

it was later, classes are out and no students lingered in the building, but professor riley's office hours remained open, and now you took advantage of it. you grasped your wrongfully marked exam tightly in your fist, creasing the paper under your palm as you stomped into his room.

there he sat, in the dark with only a dim lamp, hunched over his desk grading more papers, wrongfully marking them most likely. he heard the heavy footsteps and the echo that followed you, glancing up at you, a ghost of a smile cursing his lips.

he leaned back in his office chair, the hinges squeaking under his weight as he set down his fancy fountain pen, "evenin', unusual t'see ya durin' m'office hours, what can I do f'ya?" his voice was gruff, heavy with exhaustion and eyes in need of sleep as they trailed over your flushed face.

your body was flushed and radiated heat, chest slightly heaving from the walk over. it didn't help with his gaze on your figure, eyes basically scrutinizing you as you stood in front of his teacher's desk, "sir, i'd like to talk to you about the exam," you spoke through gritted teeth, looking down at him as you swallowed thickly.

you were looking for answers because certainly you found the right ones on your test, but for some reason, he fucked you over. but with the way his eyes seemed to linger, maybe he was looking for more.

though his eyes lit up in realization, a grin breaking out onto his lips as he hummed lowly, looking you over, "ah, yes, was there a specific question y'were lookin' to-"

before he could finish, you slammed the test down onto his desk, the bright red pen that displayed the grade glaring up at him. you acted without thinking, impulsive and brass.

your voice was raised, without a doubt, angry and hostile, "more like the whole damn test, a 68 percent?" you took a deep breath, chest heaving as you cross your arms against it, "i know i did better than a 'd', sir."

he merely scoffed, he couldn't believe the audacity you had to speak to your professor like that. he glanced down at the test before looking back up at you, his eyes betraying no emotion, not a hint of sympathy or kindness behind the amber of his iris, "yeah, y'did." he answered simply.

you looked to him with further confusion, eyes widening ever so slightly, "so why is my grade so low?"

"felt like you needed it." he shrugged it off so casually, it made your blood boil. his audacity to mark your test so low because he felt like it? no, no, felt like you needed it?

you scoffed in disbelief, taking a step towards his desk, "riley-"

he cut you off in correction, "professor. riley." he paused between the two simple words, heavy emphasis. you wouldn't let him see the falter in your expression at his firm correction show how his tone made your stomach twist and thighs clench.

"professor riley," you adhered to his corrections as you took another breath to calm yourself from more than just anger, eyes fluttering shut momentarily. "it's not fair! you can't just give me a bad grade because you feel like it!"

he watched as you raised your hands as you spoke, slapping back down to your thighs as his gaze followed your gestures, lingering at the bare skin of your legs.

you gulped at his heavy gaze, feeling your skin crawl where his eyes seem to linger, goosebumps rising along your even skin. he seemed to notice the way your thighs clenched together, your stiff posture uncomfortable and awkward, fingers flexing at your side.

"but I did, so what do you plan to do about it?" he cocks his head to the side, a silent challenge to you as your eyes narrow. he can't deny that you irk him, such a pretty little thing practically begging for validation, validation he didn't want to give you. he also can't deny the way he fucks his fat cock into his fist, aching and throbbing angrily at the thought of you.

before you can answer his question, he asks another, "d'you touch yer'self thinkin' abo'me, love?" his tone is sly like he's got the upper hand as he leans back casually, elbow propped on his desk.

the question stuns you, renders your english useless as your jaw falls open, looking at him in silence as you can do nothing but stutter hopelessly. though, you can't deny the subtle flutter of your pussy in your lacy underwear, clenching around nothing as slick drools from your slit.

the question grinds the gears in your head, puts you back to the many late nights with your fingers plunging into your drenched cunt, small fingers, imagining they were his lengthy, thick digits, only barely managing to graze that spongy spot deep in your pussy. his name, full of loathe, falling from your lips in a soft mewl as you cum, release coating your skin.

he merely chuckles at your stutters and zoned out gaze, "guess that answers it," his shoulders shake with his huffs of laughs that he disguised as unevens breath, "you're a good student, y'know that? surely, ya do, swee'eart, or ya wouldn't be 'ere."

neither of you speak for a second after his words, letting them hang in the air as it grows thick with tension, tension that's built up since the first day of classes. unbeknownst to each other, you'd been getting off to the idea of one another for weeks, channeling your hatred into self pleasure in a form of denial.

it's weird to finger yourself to the idea of your professor, but he's hot! he's tall, brooding and tatted with a thick accent, not to mention smart. but gross, he's your professor! decades older than you, surely, and not interested in a girl like you, his student, no less.

the tension further mounts, and he decides to speak up when he realizes you aren't going to say anything, still too stunned, "tell ya what, y'can earn yer grade back by givin' me a nice blo'job."

his words are blunt, turning your throat dry, but also making you salivate at the thought, your eyes subconsciously trailing down his button-up shirt down to his slacks. you gulp at the tightness that seems to pull at the material, bulging slightly at the seams.

you don't know what to say. you should say no, and you have no clue why you hadn't yet, why you hadn't turned and ran out the door at such disgusting words leaving your teacher's mouth, but you can't help but feel excited at the thought, oh it's so wrong, but so exhilarating.

still, you can't find the courage to accept the offer, no matter how much you wanted to raise your grade, so you stumble nervously over your words, "sir, I don't know-"

"you're such a goody-two shoes, no?" he asks, eyebrows lifted in confusion. you wouldn't call yourself a goody-two shoes if it was up to you, but you knew that's how others see you, and so does he. "so be a good girl and get on your knees," he finishes, big, veined hands slowly moving to his belt, unclasping it.

the sound fills the empty class, and suddenly your heart's in your throat, and your body's moving on its own. why are you listening to him? do you seriously crave validation so much? from your professor, no less.

"atta'girl," he cooed, gathering your hair in his large hand, wrapping the strands around his palm as he held your head firmly in front of him. he watches your nervous gaze, pretty doe eyes staring up at him with uncertainty. god, you really needed him to guide you, fuelled by guidance and praise. "put yer hands on'me, swee'eart."

your dainty hands slid up onto his knees, fingers drumming against his lower thigh in an anxious outlet. though, despite your uncertainty, you seemed to be guided by adrenaline, going off the hours of teacher-student porn you watched alone in your dorm room when your dorm mate was out.

tracing along the inner seams of his dark trousers, until you reached his crotch. you felt the way he twitched through the fabric at your unsure, naive touch, his bulge tightly straining against his pants.

you felt more confident the more you touched him, especially as his breaths started to get more laboured the higher up you touched and teased him, priding welling up in your chest that only encouraged you further. a sweet smirk on your face as you slowly unzipped his trousers, freeing him from the confines of the tight fabric.

you salivated at the sight, subconsciously biting your lip as you eyed the thick veins that decorated his pretty, pink cock. the sticky pre that coated his boxers, leaking and oozing from his angry tip. he was hard, and hung.

he chuckled breathlessly as the way your throat bobbed, no doubt a nervous gulp traveling down your esophagus as you eyed the size of him. you weren't even sure you could fit your lips around him, much less your weeping pussy that gushed at the sight.

"c'mon, love, 's not a starin' contest, is't?" he joked with a breathy huff, a rough finger caressing your cheek as he eased your gaze away from his engorged cock and back to his honey irises, "tha's betta', baby, keep lookin' a'me with those pre'ty eyes."

your fingers were tentative, sharp fingernails tracing his veins, pupils growing at the sharp inhale he sucked in through his teeth as you studied his cock. he loved your eyes on him, feeding into his ego as if it wasn't big already, gaining silent validation from a girl that fed on academic praise.

and the fact that your fingertips barely met when you wrapped your slender fingers around his thick cock, his self esteem growing exponentially at the sight and blood further rushed down south.

he groaned at your amateur movements, wrist stiff as your smooth palm felt a bit abrasive against his sensitive cock. god, you were so unpracticed and nervous, he just had to guide you, "spit on y'r hand, yeah, good girl," he cooed, his thumb careeming your bottom lip, spreading your saliva across the plush pink.

he couldn't help the satisfied hum at your now slick movements, the way your thumb caught the tip of his angry cock, smearing pre along the spongy head. his head thrown back at the tentative taste you took with your pretty tongue, not missing the small contortion of your features at the salty taste. if he knew he would get you on your knees for him, he would've eaten sweet fruits in advance.

but now he knows for the future, he'll keep his fridge stocked, and maybe slip you a few smoothies to make you that pinch more sweet for when he does get a taste of what's between your thighs.

you were sure you were doing a terrible job, no way any guy would be satisfied with the uneven strokes of your tongue on the underside of his cock, but regardless, professor riley praised endlessly, "yeah, tha'sit, baby," he tugged you closer, causing your lips to wrap around his girth snuggly.

you tried doing what you had seen in porn, but then again, you were too busy imagining the main guy as your professor that now had his cock stuffed in your mouth.

it was embarrassing, downright humiliating because it was so glaringly obvious that you were trying to please him, movements hasty and unnatural as you furthered down on his lengthy dick.

his cock inched further in your mouth, his spongy tip punching the back of your throat all too quickly. it caused tears to brim your eyes and you clenched them shut, sputtering on him as spit pooled from your lips. he pulled you gently back from his dick by your hair, noticing how you'd just frozen up when you couldn't breath with his dick shoved down your throat.

he shushed you, cooing softly as he wiped a wad of saliva that bubbled at your lips, smearing it on your skin as it connected in a string back to him, "know my office 'ours don't last al'night, but surely, 's not'a race, yeah?" he cocks his head to the side, watching your bashful expression as you catch your breath, cheeks flushed and red, "take y'r time, baby, if 's too much, we'll revisit another time, hm?"

you swallow thickly. you didn't want to revisit this another time, you wanted it now. you had fantasized about him for months, even when you convinced yourself you were sick in the head for liking him. since the moment you caught a glance of him, he hadn't left your thoughts, merely convinced it was a behavior that sprung from loathing.

it didn't help that when you first locked eyes, you went back to your dorm and delved your fingers deep in your desperate cunt, clenching around yourself with the thought that they were his fingers instead of your dainty ones.

you just glared up at him indifferently, convinced you could handle it in any semblance of dignity, that you knew what you were doing after all—you didn't, but he didn't need to know. he did though.

he just barked out a harsh laugh, shoulders shaking as he shook his head. it made you want to recoil into a shell, like a hermit, or a turtle, somewhere safer than between his meaty thighs and in front of his meaty cock.

"you're so clueless, swee'eart," he calms down, his chest still rising and falling at an elevated pace, "i know ya'want to raise y'r test score, but bein' sloppy 'bout it isn't gonna help, yeah?" he speaks tauntingly, his tone coaxing and smooth.

he continued, "don't y'think a more thorough job will do the trick?" you hate that he's right. you hate that you have you spend any more time between the sanctuary of his toned legs, dusted with light blonde hairs that grew thicker near the base of his cock, though neatly trimmed, a stark contrast to his dark trousers as it sprouts out from beneath the material.

but he is the professor after all, let him teach you, yeah?

you let out a grumble through your lips, a deep frown remaining on your face as you return to his pretty, swollen cock, tentative licks along the veins as you stare into his eyes. you observe the way his lashes flutter, mumbling with your lips pressed to his sensitive skin, "i'll do it how i want." defiant, causing a rise of infuriated irritation to creep under his skin.

he growls. you just had to be a smartass about it. here he was, being so gentle, patient, and kind as well, for even allowing you to make up those 'lost' points, and all you do is bite back as if you don't want him just as much.

you squeak out as he tugs slightly at your hair, fist tightening in the strands. your eyes widen like a deer in headlights. frozen and doe eyed as you stare up at him, indifferent expression wiped from your face as his throbbing cock presses into your cheek. the warmth from his skin seeps into yours, the hand not in your hair holding the base of his dick, slapping it lightly back onto your face.

"be nice, yeah? i'm being s'generous to let y'make up these points in the firs' place," he gives a gentle nod of his head once, his expression firm and eyebrows raised as he studies you, "don't be a brat, doesn't suit you." with a final slap of his cock to your face, he loosens his grip and lets you go back to ministrations, patience returning now that you're back to the sweet and docile student you were a few minutes ago.

he hums pleasantly as you trace your pretty tongue along his veins once again, his calloused hand rough against your cheek as he smeared the saliva left from slapping his cock against your sweet face, rough enough to move and tug your face in different directions.

you just ignore his touches, lavishing on his cock as you kiss up and down his shaft, taking your time before you even attempt to wrap your lips around him again. either way, he seems to be enjoying the view, the tiny glimpse of your thighs twitching causes his to flex on either side of you.

soon, you have your swollen lips back around the tip of his drooling cock, still oozing gooey globes of pearly pre that tasted salty on your tongue. certainly an acquired taste, that is if you end up back between his meaty, muscular thighs, which you try to convince yourself you wouldn't be. this was a one-off thing, for your grades.

you aren't sure how you look in the moment, but you have a feeling you look a mess, hair frizzy, tousled and tangled around his fist, slurping on his cock with lewd sucks as drool drops to the ground with small splats. god, it really is filthy how ruined you already looked, such an innocent thing reduced to a professor-sucking whore.

his eyes stayed locked on yours, his pupils nearly blown completely as his iris is barely visible, replaced with a black void, or maybe his eyes are just that dark. you couldn't tell with your hazy vision staring back. your ears rang, but you didn't miss the way he sounded more desperate, increasingly vocal as you lavished his throbbing cock, reveling in the way it twitched against your pink tongue.

you only whined as he gently bucked his hips up against your face, cock pistoning to the back of your throat with light gags until you felt thick ropes of warm, creamy cum spill inside your throat, forcing you to swallow the salty substance.

it didn't dawn on you that you just gave your professor a blowjob until you pulled off his cock, positively ruined and lips coated thickly in saliva, now being layered with his spend as he rubs his cockhead against your lower lip. you looked frozen in shock at your actions, subconsciously licking the saltiness from your lips as you peered up at him, stroking himself a few more times for good measure, milking his release before storing his now satisfied cock back into his pants.

he just cradled your face after, pulling a handkerchief from one of his drawers to wipe your face and help you stand, cooing with praise as he did so. once you got back to your two feet, he handed over the cloth for you to tidy your appearance with, not taking notice when you slipped it into your back pocket.

your dainty fingers went to the first button of your cutesy blouse, only for embarrassment to creep up onto your face as you watched him shake his head, tsk'ing with a small huff as he spoke, "sorry, office hours ar'over, swee'eart, come see me t'morrow if ya need s'more clarification on yer grades," he pauses, a cocky smirk on his face as he glances up at you, his head tilted downwards now as he turns back to grading papers, "or if ya wan't'do more t'raise it..."

bastard.

[felassan]

David Gaider on Fenris, under a cut for length:

"Fenris. Now, DA2 is a story all on its own but I'm not going to go there other than to sum it up as "we had just over a year and a half to make this". It's why I only wrote one follower, Fenris, and although it'll make his fans mad: I probably shouldn't have. Let me explain. The way we'd approach making the followers is brainstorming a list of concepts covering first the array of gameplay classes (and sub-classes) and then making sure they each have some skin in the game when it came to the story's conflicts - ideally having characters on both sides of the major ones. Why? You can't make a player care about the world, but you can make them care about characters who care about the world. It's the easiest way to provide hooks into a conflict, outside of it knocking on the player's door. Heck, it's probably better than that. Players will burn the world for approval. After that, we'd decide things like romances/sexuality. Then the writers would pick who they'd write. I always let my writers pick first. I figured they do their best work when it's something they're inspired to write... and they got so few chances at ownership, I wanted to give it whenever I could It's why I (reluctantly) let Patrick wrest Cole from my grasp in DAI, a character I'd created in Asunder. It's also why I let Jennifer take Anders in DA2, who I'd started in Awakening. In this instance, it meant I was left with the angry elven warrior character who nobody else appeared to want."

"It should have been my first clue that something was up. The second was how the artists had zero clue what to do with him. The art concepts were all over the place - from mages to crows to... well, even weirder. No matter how hard I tried to explain the idea, the artists simply didn't seem to get it Does this mean he was a bad character? Not exactly. Just an idea that probably deserved some re-examining. You can tell when an idea has a certain spark, and part of that is being easy to communicate. Sadly, there wasn't time for any re-examining even if it'd occurred to me. And it didn't, not yet. If it had, if I had time, maybe I'd have re-booted him as a templar. Someone pro-templar rather than anti-mage, who could give a personal hook into Meredith and give the templars some badly-needed humanity. But this falls into the shoulda-woulda-coulda category. I had a follower to write. Quickly. I struggled, at first. It was hard to get away from "Fenris hates everything, all the time". It felt very one-note, and I didn't know where to take him. My third clue, I guess. I also wasn't sure if I was the right person to write a former slave. I did know that couldn't be the center of his story. I did know trauma, however. How it can eat you up. How the hate and resentment is like drinking poison and hoping the other person dies. How it can infect your relationships. Fenris's trauma isn't my trauma, obviously, but here I dipped into a more personal part of myself than I'd ever done before."

"It gave me the center of his story I was missing, but wow was it uncomfortable. In a good way, maybe. I likely wouldn't have, if I hadn't been so desperate. In a way, I think DA2 had some of our best writing *because* of the timeline. It was raw, with little time to sand down the interesting parts. I wouldn't have done the "Fenris doesn't talk to you for three years" thing if I'd known we were going to cut all the reactivity initially planned for the time jumps. When that call was made, I campaigned to cut the jumps to a year, but there was no time for the revisions it'd need. So, um. Awkward. I used to get asked where the name came from, and I... don't remember? Obviously it's derived from Fenrir, but I don't recall why we picked that. Someone pointed at Fenris the Feared from Joe Abercrombie's books... and I did read them, so maybe the name lodged in my head? Wouldn't be the first time. Casting Fenris turned out to be easy. He was the first time I requested a specific VA and got him. (The other times were Merrill and then Solas, my two "I want these specific Welsh actors, please".) Why? OK, if you must know, I'd played a bit of Final Fantasy XII. I heard Balthier. "Yes, that." 😅 And Gideon Emery was a delight, as it turned out. Consummate professional, and that lovely gravel in his voice... good god. Bite the knuckles. There was a struggle to find the voice at the outset where I did my best not to say "just pls do Balthier" but he found Fenris on his own and it was amazing. Overall, Fenris turned out better than he had any right to, considering the rocky start. He had a lot of soul, a vulnerability forged by pain that struck a chord with a lot of players, and I'm glad. Do I regret anything? Probably having him live in a corpse-filled mansion that would never update. That's a hindsight thing, though, as again the cut to reactivity over the time jumps came late. Outside of that, maybe letting the player give him back to Danarius? Poor shock value and a waste of resources because almost nobody took the option. Good evil options are ones that are tempting to take. And the lyrium tattoos. Interesting concept, but they're probably why you'll never see Fenris in a future DA. He requires a custom body, and the tattoos make that expensive. It's why I put Fenris in my 4th DA novel - the cancelled one. Don't fret, though. He died in it, so this way he lives on. 😉"

[source thread]

User: "Wait wait how does he die in [the cancelled novel]??" David Gaider: "Gloriously, after taking up a cause he didn't believe in at first but then made his own, one that allowed him to rediscover what it meant to be elven." [source] David Gaider: "I’m not sorry about the novel cancellation. I’m the one who cancelled it. I am kinda sad we couldn’t make it work, though. Considering it was after I left the DA team, it would have been my final DA hurrah." [source] David Gaider: "From my perspective, it was kind of "well if you're never going to use him again, let me at least give him a proper send off" and the story required a glorious death... but I get that's not the story his biggest fans would want (which is Hawke + Fenris 4ever), so it's just as well." [source]

User: "You all did some incredible work with such a tight deadline" David Gaider: "I'm of the opinion that even if we'd had only another six months to bake, DA2 would be remembered as a classic and not either a flawed gem or underbaked sequel, depending on who you ask." [source]

David Gaider: "Just to clarify the "they're probably why you'll never see Fenris" thing, as it's spawned commentary: 1. It's the reasoning as was explained to me back then. 2. Obviously, if Bio *really* wanted to, they'd find a way around it. But it was a complication that meant he couldn't be included casually." [source]

[queenkatluv]

Impersonations

Hi, Kat here! Usually, I don't interact in the community openly. I do scroll through Tumblr, YT comments, Discord, etc whenever I get the time, just because I love to see how people feel about the series/episodes/characters. I'm no stranger to people pretending to be me/Davis/Reed on other socials. There's not much I can really do about it but spread the word and hope people will figure it out on their own! But what really surprised me was a certain account on TikTok. I won't be spreading the account as I don't want to ignite anything, though it would be relatively easy to find them once I describe the material they are posting. Someone has been impersonating Davis, not correcting people who think it's the real them (from what I can see in their comment section) and post sexually graphic material. Some of their comments are...questionable, some of them seeming to be sexually directed at minors or myself. Implying things such as 'liking them young' or finding sex toys in my bedroom. This in of itself is very worrying, and I would like to let people know that Davis DOES NOT HAVE ALTERNATIVE ACCOUNTS! SAME WITH ME! The fact that there are some people under the impression that Davis would behave like this is upsetting, and we have tried reporting this account/specific videos but have had no success. Hence why I'm trying to spread the word to not believe everything you see online! I'd also like to take a moment to be real here. I understand that as a person with a following online, I have no control over what people say about me or do with my pictures/persona in private. But the amount of accounts that I believe belong to minors openly sexualizing me is really disturbing to me. I realize there's not much I can do about that, and in all honesty I don't mind characters I portray to be sexualized (as long as they are adults) but it's very different when it's ME, MY FACE people are sexualizing. Maybe that's something I need to get used to as a micro influencer (haha) but it makes me uncomfortable. This is not me calling anyone out (aside from that one TikTok account owner, I hope you read this and kindly either stop or clarify you aren't Davis/it's a strange joke) but I want to let people know my boundaries. Thanks for reading! I'll go back to lurking!

[inbabylontheywept]

Weird Grandpa Dale Story #1

The day started with me digging up cactus. Grandpa Dale had a weird beef with cactuses, bad enough to pay me 10 cents for every pound I turned in. Looking back at it, I think they offended him because they could exist without his consent: They didn't need his water, they didn't need his fertilizer, and they certainly didn't need his permission. 

And that, he simply could not abide. 

Grandpa Dale had been doing something weird that whole morning. I knew because I'd been able to watch him since sunrise. Every time I took a break from digging cactus to look back at the house, I saw him doing something with the gopher holes. 

That made me nervous. Things never went well when he started messing with the gophers.  Earlier that month he'd tried gassing them out, and all he got from that effort was nasty looking blisters up both arms. He almost never complained about anything, but he griped all day about how bad those blisters hurt. When his wife suggested that he go to the hospital he said No, what am I gonna tell them? That my trench got overrun? They wouldn't buy that. They'd think I was cooking meth. 

Which was funny to hear, but also, true, and also, enough for me to know better than to get involved in future gopher battles. 

Which is to admit that I did get involved. But I should've known better. A few hours in, he invited me over, gave me a cold soda, and showed me what he had set up: Two camping chairs, a wicked sharp shovel, a car battery, and a long length of copper wire leading to a pit he'd dug in the middle of the yard. Told me that if I stayed a bit and took a break, cooled down there with a soda in the shade, I'd see something amazing. I asked him if there was even a chance I could get hurt by this "something amazing", and he said "no," which I knew was a bald faced lie. But I believed him because I wanted to believe him. Because I wanted to know what he'd done, and I wanted to sit there in the shade with my grandpa. I also figured, hey, maybe getting gassed taught him a lesson. 

(Never, ever assume that the kind of person willing to break out chemical weapons against gophers is capable of being taught a lesson.) 

So I sat down in my chair and he beamed at that. He loved having an audience. Then I watched him lean forward and tap the ends of the wire against the battery terminals.

And that's where everything went wrong.  

The first thing that hit me was the yard itself. Little bits of sand and grit flying fast enough to hit my skin and bite. It took a year and change for all the little bits to work their way out. But I didn't even feel it at the time, because of what happened after. 

I genuinely think he'd imagined the gophers getting launched out of the holes, disoriented but alive. I think that shovel was there to finish them off afterwards. Which also would've been traumatizing, but probably less so than watching each of those cute little gopher holes projectile vomit bloody piles of tattered critter all over the lawn. 

Which, spoiler alert, is exactly what happened. The sky fell down, and the ground flew up, and the gophers found themselves with nowhere to go. So they did the next best thing and went a little bit everywhere.

I don't think it was actually silent afterwards, but I couldn't hear shit. There was just this long, ringing period of us looking at each other, then the meat piles, then the lawn crater, then the big buckled section of yard that looked oddly like Rockies just behind us, then back to each other. 

I think I did that two or three times before I felt my shoulders start to shake a little. I was crying. Felt weird to cry and not be able to hear it. Like a tic almost, or the way your body seizes up right before you puke. 

And then I looked at his face, and I saw him mouth a single soundless word: 

Shit.

[cjlouwho]

“Tommy!” Eddie cheered, lifting his drink toward the sky as he spotted his friend walking toward him. “Whatcha doin' here, Man?”

“Figured I'd stop by and see how you were doing, Bud,” Tommy replied. He gave Eddie a pat on the back as he sat down in the empty seat next to him. “You come here alone?”

“Mhm. Needed ta get out. House's too quiet.”

“How long have you been here?”

“Too long,” the bartender interrupted as he walked by. “Was about to cut him off. I already took his keys.”

Eddie's eyebrows furrowed, looking around the bar counter. “Hey! You took my keys.”

“I got him,” Tommy said, giving the bartender a nod. “I gotta say, at least you're talking better than you're texting. I was worried.”

Eddie's face scrunched up in confusion. “Huh? I never did texted you.”

“Oh, I beg to differ.” Tommy fished his phone out of his jacket pocket and went to his messages. “'Buuuuuuuck, lezz drink, Buddy.' Then five minutes later, 'Bruck, why rn't you at bar? I waiting.' A good two minutes after that you sent me your location with an angry emoji. Then, and this is my personal favorite, 'Loser too busy kissy kissy with Tummy to be a friendship.'”

"Huh. Thought I was textin' Buck.”

“Yeah, I pieced that together.”

“So where's Buck if you're not kissy kissy?” Eddie asked, his final drink sloshing over his fingers as he attempted to bring it to his lips.

Tommy took the drink from Eddie and set it back on the counter. “Evan is watching Jee overnight so Howie and Maddie can have a night away. So, you wanna talk about whatever's bothering you? I mean, I could take a guess, but...”

“Nah. No, no, nope. I wanna,” Eddie pulled at the collar of his shirt. “Lessgo karaoke, Tomboy-”

“We're not calling me that.”

“I wanna sing to the rooftops,” Eddie continued, his words slurring more and more with each sentence. “I wanna. I wanna be, you know, be free, Tommy. I don't have a rea-,” he hiccuped, “reason to get back home.”

“Really? Seems like that's exactly where you need to be right now.”

Eddie's eyes widened, like he'd thought of the best idea in the entire world. “Let's go to Peeping Tom! That's your name!”

“Peeping Tom is a gay bar, Eddie.”

“I don judge.”

“A very kinky, fully nude gay bar,” Tommy clarified.

Eddie squinted, deep in thought. “No karaoke?”

“No karaoke.”

“Well, then were we go? Don't say home!”

“Home.”

“Ugh,” Eddie groaned, allowing Tommy to wrap an arm around his back and help him up. “You're like a no- no fun dad. Wish I'd texted fun dad.”

Tommy gripped onto Eddie tighter as he stumbled while taking a step. He sighed. “Maybe next time.”

*****

When Eddie woke up the next morning it was to a pounding headache and blinding sunlight coming through his window. He was nauseous and his mouth tasted like a mixture of gasoline and mouthwash.

He laid there for a few minutes, trying to figure out what happened that made him feel so unbelievably ill.

After a few failed attempts, he finally rolled out of bed and made his way into the kitchen to fix himself some coffee.

He froze when he walked through the door to see Tommy sitting there, reading the newspaper.

“Good... morning?” Eddie started, confused.

Tommy set the paper down. “Morning. Sleep well?”

“I- I think so, I guess. It's a little blurry.”

Tommy hummed. “Not surprising. Coffee just finished, if you want some. Your couch is not comfortable, by the way.”

“Buck's never complained.”

“Yeah, well, he's easier to please than I am.”

Eddie was too hungover for this. He had so many questions, but for some reason the first one out of his mouth was: “Where'd you put my shoes?”

“In your closet.”

He grabbed himself a cup for some coffee. “My keys?”

“We have to go pick them up at the bar today, along with your car, obviously.”

“You didn't close my curtains last night. Woke up thinking I was being interrogated by Ice T.”

Tommy sighed, leaning back in his seat. “'Thank you so much for getting me home safely, Tommy. Did it hurt your back having to drag me into the house while I belted out Bohemian Rhapsody at the top of my lungs?'” He stood, walking over to Eddie and taking the coffee out of his hand, drinking a big sip. “Thank you for asking, Eddie. I think my back will be okay, but my ears will never recover.”

Eddie rolled his eyes, turning to fix himself another cup. “Thank you for getting me home safely, Tommy. I appreciate it.”

“Mhm. No problem.” Tommy returned to his seat and Eddie joined him at the table. They sat in silence for a couple minutes, taking small sips of their drinks.

Eventually, Tommy set his cup down a little harder than normal, getting Eddie's attention with the clinking sound. “Wanna talk about it?”

“About what? How your coffee tastes like cigarette sludge?”

“I'll take that as a no then.” Tommy checked his watch. “The bar doesn't open until three. Want me to stop by and pick you up then?”

Eddie shook his head. “I can just get an Uber, Man, thanks though.”

“Of course. I'll, uh, let you recover.” Tommy stood and went to leave, checking his pocket for his keys and phone.

As he neared the door, Eddie spoke. “Wait,” he said. Tommy turned back to face him.

“Yeah?”

“Why'd you sleep on my couch?”

“You're my friend,” he answered simply. “You drank a lot. Wanted to make sure you were okay.” He took a step back toward the table. “Are you okay?”

Eddie cradled the mug in his hands, watching the steam rise from the cup. “You don't... How long has it been? Since you talked to your dad?”

Okay, so Tommy wasn't leaving then.

He came to the table and sat down, taking a moment to think about Eddie's question. “About six years, I think.”

“What did he do?” He looked over at Tommy. “To make you stop talking to him, I mean. Unless you don't wanna get into it. In fact, forget it, I shouldn't-”

“Eddie, it's fine,” Tommy assured him. “I don't mind.”

“Okay,” Eddie nodded, sitting up straighter. “So? What happened?”

“It wasn't just one thing,” Tommy explained. “It was a lifetime of things. He's... He's not a good man. I think the catalyst was about a year after I came out. I hadn't been home in awhile, so I decided to drive to his place one weekend. When he answered the door he said, 'What the hell are you doing here?' I told him I was coming to see him and he said, 'What's the damn point in that?' I thought about it for a second and realized that was a good question, so I turned around, got in my car, and left. Never looked back.” Eddie seemed to be contemplating his words, and Tommy could tell where this was going. “It's not the same thing, Eddie,” he said, beating Eddie to it.

“What if he doesn't come back? What I did, Tommy, it wasn't... It was bad.”

“You made a mistake.”

“I cheated on my girlfriend with a doppelganger of his mom, Tommy, and he caught me.”

“Granted, it was a big mistake,” Tommy deadpanned. “But, still a mistake. He'll come around. You gotta give him time.”

“People keep telling me that,” Eddie replied with an eye roll. “That he'll come around. But it's been months of nothing. And it seems like no matter what I do, it's not enough.”

“You're trying.”

Eddie huffed. “I'm not sure getting drunk alone at a bar is trying.”

“I think it shows you care, Eddie. And, yeah, that shouldn't become a habit, but you're allowed to be upset. You're allowed to hurt. You made a mistake, but you're a good dad and Christopher knows that. He will come around.”

“And if he doesn't?” Eddie asked, staring over at Tommy.

“Then you keep trying,” Tommy replied. “You never stop trying. Keep being there, keep sending him letters and getting him on Facetime. Go for a visit. Send him texts. I'm not saying you gotta smother him, but never let him forget that you're there. That's the biggest mistake you could ever make.”

“Yeah,” Eddie took a deep breath. “Yeah, you're right. I just... I gotta keep it up. Let him know I'm here, whenever he's ready.”

“Exactly.”

Eddie looked over at the clock on his stove, 11:32 staring back at him. He had no idea he'd slept so long. “Why don't you call Buck, see if he wants to come over and watch a game? Then you can drive me to my car.”

“Oh, you want me to call Evan? Don't you mean fun dad?” Tommy asked, eying Eddie.

It took him a minute, but the memory came back to him. “I did say that, didn't I?”

“You did,” Tommy confirmed. “Which I'm very offended by, by the way. I'm fun!”

Eddie sighed, his head drooping down. “I know you are.”

“I introduced you to karaoke trivia. I've flown you to Vegas.”

“I remember.”

“I never tried to seriously injure you in the name of love.”

“Which I'm very grateful for.”

“I don't have control issues when I have a clipboard in my hand.”

“Are you just gonna keep listing reasons why you're fun?”

“I once shoved three cupcakes in my mouth at once! Nearly choked to death, but Evan whacked me on the back and everything went down just fine.”

Eddie stood with his mug in hand, pointing toward the living room, “I'm gonna go to the couch. Get more comfortable.”

Tommy followed behind, pulling out his phone to call Buck. “I'll let Evan tell you who bowled a 230 last week. Hint: it was me!”