#my interpretation on how they looked back then

[reksink]

A Gaggle of Masks

[harmonyrae]

Merging Territories

Synopsis: You just need a little more time with him, you don’t want him to go. Sylus once said actions are more sincere. It’s time to act, no more games.

AN: This is my interpretation of Sylus’s Night of Secrecy memory.

Content Warnings: Fingering, oral (f receiving), handjob, praise kink, implied unprotected sex, PiV, squirting, cream pie, 18+ MDNI

Word Count: 4.6k

“I won.”

You couldn’t hide your smirk as you slid the final part into place on the gun. You shift on the carpet and turn to face Sylus, pressing the muzzle under Sylus’s chin. His eyes narrow and raises his hands in defeat. He lets out a breathy chuckle, tilting his chin to look at you.

“And I lost. Go ahead. Ask your question.”

You’re suddenly aware of how warm the room is. The fireplace crackles and pops, providing the only light in the large sitting room. Sylus’s features are shrouded in shadow, his skin looks warm and soft. You weren’t exactly sure what you wanted to do, you just wanted to spend more time with him. You weren’t ready for him to go. Just a little more time. 

As you stare into Sylus’s eyes, you feel your stomach tighten. You decided to trust your instincts, not entirely sure if it was a good idea or not. You lower the gun, check the safety is on and place it on the floor before locking eyes with him again.

“I’m sleepy.”

“Uh…”

His confusion mirrors your own. You felt your cheeks burn and you hope he can’t tell in the low lighting. The past few months have flown by, you remember meeting Sylus and how much you initially hated him. But over time, you’d seen a side of him that made your heart pound and butterflies flutter in your stomach. You knew what you wanted. Sylus’s words echo in your mind.

I believe sincerity is not having to beat around the bush or play any games.

You had played your game and now, you felt guilty. You swallow your anxiety and square your shoulders.

“Can you… tuck me in?”

Sylus raises a brow and leans forward. His eyes scan your face, like he’s trying to figure something out.

“I thought a certain relentless hunter would ask about my destination.”

You cross your arms and pout dramatically.

“I care more about the present than an answer I can’t get. So… Are you doing it or not?”

“Of course, kitten.”

That damn smirk is back and you can’t stop staring at his mouth. He stands before leaning down to pick you up. You wrap your arms around his neck as he tucks an arm under your legs. He swiftly picks up your heels, which were discarded next to the couch. He looks down at you as he makes his way out of the sitting room and towards the stairs.

“This request is way more powerful than that little gun.”

You feel your heart pounding in your chest, your brain feels fuzzy. You try to keep your hands still and not give in to the temptation to drag your hand down his exposed chest. He had undone his tie and unbuttoned his shirt shortly after getting home, intending to change but you challenged him to your little game. It was like you were being punished for messing with him. He had just sat there, his torso on display for you. 

You kept your eyes on his face, trying to ignore the delicious firmness of his abdomen against your hip. He looks down at you, his eyes look… gentle? The smirk from downstairs was gone, replaced with a soft smile. You hear a clatter and glance over his shoulder to see your shoes discarded on the floor. His arm circling around your waist, his hand resting on your hip.

He enters the bedroom and strides to the couch next to the window. The snow was building up rather quickly, a thin sheet of white covering the lawn outside. He stops at the couch and waits for you to let go so he can set you down. But that all too familiar twinge of panic settles over you, keep him close.  “If you don’t want to lie down, I can keep holding you until I leave.”

Another memory flashes in your mind. The small yurt in the grasslands, the bed you shared with him, his strong arms wrapped around you keeping you warm.

Sincerity really is the best.

“What if I don’t want you to leave…?”

Sylus holds your gaze. You move your hand slowly and rest your palm against the side of his neck. His heart beat is rapid and his skin feels warmer than before.

“Then.. we better make the most of our time before dawn.”

He leans down, forcing you to set your feet on the floor. He stands before you, you barely realize your hand is still resting on his chest. God, you want this. You don’t want to lose your nerve.

You push him down onto the couch, he grunts, a brief expression of surprise gracing his face. You settle your knee between his legs. You press your hand against his chest again, your fingers itching to explore. He tilts his head forward and looks at you, his eyes urging you to continue. 

Actions do speak louder than words. And more sincere.

He’s right. You’ve tried to find the right words for the past three days and they always get lost between your brain and your mouth. It’s time to stop thinking so damn much. 

You caress his face, slipping your hand behind his neck. His reaction to your touch tells you everything you need to know. His shaky breath and the corner of his mouth curling upwards - his excitement palpable. You pull him to you and the moment your lips touch, your mind clears. His kiss is exactly like you imagined it to be. The kiss is needy and rapid, he moves like he is intoxicated. You wrap your arm around his neck, feeling his chest graze yours sets your skin ablaze again.

You bring your other knee down and straddle his leg, inching yourself closer to him. He places a hand on the back of your thigh and pulls you to him. Your bodies collide, your knee finally presses against his groin and your breath catches. He was so fucking hard. His hand trails up to your ass and he holds you close.

He pulls back for only a moment, his breathing unsteady and his eyes hazy. 

“You really don’t want me to leave?”

He leans forward once again to capture your lips. His hands start to explore your back, his fingers sending chills over your exposed skin. You roll your hips, desperate for more. He moans into your mouth, his tongue finally tracing your lips requesting entrance - you immediately oblige. His hands drift down to your waist and he lifts you, allowing you to shift and properly straddle him. 

You hold his shoulders in an attempt to steady yourself, but your thighs are already burning and you just want to sit down. But if you do that, he will undoubtedly feel how wet you are. Your panties soaked and your lace shorts wouldn’t serve as much of a barrier. You needed to change positions, you wanted to feel his body on top of you. You mumble into his mouth, your words lost amongst the messy kisses. Sylus opens his eyes and meets yours.

“Sylus, over there…”

Your head tilts towards the bed. He tucks his hands under your ass and lifts you up, your legs wrapping around him in an instant. His leg hits the bed and he sinks his knee into the mattress, slowly lowering you down onto your back, his lips never leaving yours.

As you settle on the bed, he pulls back to look at you. His cheeks flushed and his lips puffy. You reach up to lock your fingers behind his neck to pull him down. He holds back and that smug smile returns. His fingers caress your cheek and for a moment it’s like you are meeting him for the first time. But instead of cowering, you are holding on for dear life, never wanting to let go.

“Looks like we’re on the same page when it comes to not wanting to waste time.”

You try to control your breathing, but staring at him doesn’t help. You try to look away, but his hand catches your chin. He takes hold of your face, keeping you in place. 

“Stay focused, kitten.”

He covers your eyes with his other hand. 

“Don’t look.”

With your eyes covered, your other senses buzz to life. He starts kissing you again, his open mouth kisses leaving you even more breathless. He lets his tongue dip out and trace your lips before placing a kiss to the corner of your mouth. You finally allow yourself to moan, softly at first to test the waters. You feel his hips lower and he grinds against you. His response was more than you could have hoped for. Just the thought of him being so turned on by the sounds you make is almost enough to send you over the edge. 

All you can hear are your combined breathy moans and the pounding of your heart in your ears. He glides his hand down your arm and threads his fingers with yours. His thumb gently rubbing your palm.

When he finally removes his hand from over your eyes, you want to giggle at his love drunk expression. You’re not even sure he can still see you through the haze. You reach up and touch his cheek, his warmth seeping into your fingertips.

“Am I being too greedy… if I ask you to keep your eyes only on me?”

As you pull away, he grabs your hand. 

“You always had that right.”

He places a chaste kiss on your wrist.

“Which means…”

He leans down and places kisses along your neck and collarbone. You feel his lips drag across your skin and you clench your fists, grabbing a fistful of the comforter beneath you. Your moans are much louder now. His lips are so soft, and every time they make contact you feel your clit throb.

“You can be even greedier.”

He hovers just over your breast, he lets his lips press down gently, kissing your nipple through your top. You feel a burst of pleasure. You wanted nothing more than for his lips to explore every inch of your body.

He rises, reaching down to lift your leg beside him. His hand strokes your thigh before he bends to place a kiss on your knee. When his eyes meet yours again, the intensity behind his gaze overwhelms your senses.

“Do you want it, kitten?”

You take a moment and let your eyes roam. His silver necklace dangles from his neck, sweat has started to drip down his chest, his abs look tight - like he is tensing, awaiting your answer. And then you see how his pants have become much too tight, his erection threatening to break through the confines at any moment. There was only one answer to his question and you didn’t have to think.

“Yes.”

His smile vanishes as he leans in, hungry for more. The answer is yes, but you didn’t want him to think you could be tossed around like a ragdoll. Well, you wouldn’t mind that, but you didn’t want to feel powerless. You know what you like and what you want him to do to you. And what you want to do to him. 

You reach your hand up and place it firmly against his chest stopping him in his tracks. He grunts, his brows knit together and his eyes light up with panic. He regains his composure and  slowly lowers his hand under your knee, pulling you downwards. You feel your tits bounce at the sudden movement. 

“You haven’t changed your mind, have you?” 

He bends your knee once more, bringing your thigh up to his mouth. He kisses your inner thigh right by your knee. The thought of his kisses trailing down your thigh until he sinks his face into your soaked pussy…

“You just said ‘yes’?” 

His voice is needy and broken with his gasps for air.

“I’m hoping yes is still your answer because…”

He releases your thigh and slowly lowers himself on top of you. Your thighs spread open and he presses his erection against your center. He lowers to his elbows, tucks a hand under your waist and holds your face with the other.

“I just can’t hold back anymore.”

He traces your lips with his thumb before diving back in. His kisses seem more desperate now, he doesn’t wait for either of you to catch your breath. He nips at your lower lip and his intensity grows with every shift of your hips or moan echoing from your throat.

You start to feel dizzy. And not the fun kind of dizzy, the “I might pass out” kind.

“Sylus… I can’t breathe…”

You finally push Sylus away and try to catch your breath. You feel a strand of hair fall against your forehead, you try to blow it away, but it stays put. Sylus brushes it aside, tucking it behind your ear. 

He holds your chin, forcing you to look at him. He looks down at you and, while you’re completely clothed, you feel exposed. He can feel your body shiver, your nipples hard and needy beneath your blouse. He’s reading you like a book. He nuzzles his face into your neck. He sinks his teeth into the tender flesh above your collarbone. He’s fucking biting you. And god, it felt incredible. You can’t suppress a moan, but quickly clear your throat and try to be angry. 

“Hey, no biting here.”

He sighs.

“First you want it rough, now you want it soft… You’re a tough one to please tonight, kitten.”

He slides a hand behind your neck and soothes the sensitive skin with tender kisses. He pulls back, lifting his chest away from yours and looks down at you, his eyes glowing in the dim light.

“What do you really want? Won’t you be honest and tell me like you just did?”

You let your hands glide down his chest, digging your nails in as you pass over his nipples and down to his abs. You feel him shudder, here’s your chance.

“... I’m not falling for your tricks.”

You push his shoulder hard, he tips and you hook your leg, rolling him over. The change in positions allows you to finally take a deep breath. You plant your hands on his chest as you take in his shocked expression. You rarely catch him off guard, it’s a treat really. 

“I told you that a hunter doesn’t like being passive.”

His eyes narrow and he nods slowly. His hands wrap around your waist and he traces the zipper of your top. He tugs gently at the zipper tab, just enough to send the message.

“So, you want control.” His voice was raspy and so damn sexy.

Your new position was supposed to help you get more air, but with Sylus fiddling with your top, your chest heaves. You close your eyes and run your hands down his chest again, feeling the goosebumps rise across his skin under your fingertips.  

“Unfortunately, I can’t give it to you. Not yet, at least.”

He finally pulls the tab further down, the buzz of the teeth separating fills the room. Your top loosens and you feel his hand press against your newly exposed skin. He hesitates, giving you a moment to stop him. Instead, you pull the straps down and pull your top away, tossing it to the floor behind you. 

His hands slide up your back unhindered before gliding his hand around to cup your breast. The feeling of his palm on the underside of your tit makes you shiver. His thumb flicks over your nipple and you moan, throwing your head back. 

Your body is on fire as his hands explore your breasts, squeezing and tugging until you grab his wrists. He tucks his hands under your ass and lifts you, he sits up against the headboard. He wraps an arm around your waist while his other hand squeezes your breast, lifting it to his mouth. He rolls his tongue over the hardened peak before closing his lips around it. He holds your nipple between his teeth, not biting, but the pressure is enough to make you rock your hips against him. 

He releases your breast, his mouth moving to the other as he sinks his hand down the back of your shorts. He squeezes your ass while he suckles your breast, he’s painfully slow in his movements.

You try to lean back, the teasing becoming torturous. 

“... Don’t run.”

“You’re… so annoying…” Your voice barely above a whisper.

“I won’t deny it. I guess you can say I lied. Tonight, you’re not the only one feeling greedy…”

He picks you up, his hands under your thighs and you reach around his neck instinctively. He leans forward quickly and your back meets the bed again. His head dips down and he places kisses down your chest, kissing each nipple before continuing down your stomach.

“And I won’t be leaving until this greed is completely satisfied.” 

He reaches the waistband of your shorts and traces it with his finger. He hesitates. “Ah, I misspoke.”

You look down at him and watch him crawl over you until you’re face-to-face. 

“What…?”

He stares into your eyes, lifting a hand to gently hold your cheek.

“Greed can never be satisfied…”

He picks up your hand and places it against his chest. You feel his rapid heart beat. 

“But you can temporarily soothe it.”

His voice is calm, but the storm behind his eyes tugs at your heartstrings. He needs to know that you want him as much as he wants you.

“Say it again. Do you want it?”

You run your fingers through his damp hair. He closes his eyes and leans into your touch. You reach up and lock your fingers behind his neck, pulling him to you. You kiss him sweetly. He lets out a breath, as if he’d been holding it this whole time. You press your forehead to his.

“This is my answer.”

Sylus doesn’t hesitate to capture your lips once more. His hands move urgently to knead your breasts. You grab hold of his shirt and push it over his shoulders, he tugs the shirt loose and tosses it aside. Your hands explore his body, the definition of his abs, the curve of his chest, the deep V leading to the waistband of his pants.

He hooks his fingers and tugs your shorts and underwear down in one motion. The sudden burst of air against your core makes you moan loudly. You felt his fingers slide across your pussy, stopping at your clit to pinch and tug. You arch your back off the bed and cry out.

“Sy…!”

You hear a deep chuckle as the bed dips and you feel your legs being pushed apart. You look down in time to see his face dig into you. His nose rubs against your clit while his tongue presses into your entrance. He works slowly, reveling in your body reacting to every flick of his tongue. 

He shifts his mouth and sucks in your clit. You feel your hips twitch and you grind against his face. A deep moan of approval vibrates against your clit and your hands fly down to grip Sylus’s hair. Your tugs only earn you more groans and vibrations leaving you shaking. His finger circles your entrance and you buck your hips again.

“Sylus fuck…!”

You can feel him smile against your pussy. He wastes no time and presses in two fingers until his palm is flat against you. He curls them slowly and he strokes a spot that makes you see stars almost immediately. 

You’re shamelessly riding his hand now, your hips bucking every time he hits that spot. You feel tears pool and spill over. Your orgasm builds rapidly. You tug on Sylus’s hair once more, harder this time. He groans and pulls back just enough, his words muffled.

“Come for me, beautiful.” 

You hold your breath, calling on your remaining willpower to make this request.

“No, Sylus… I want… I need –”

His movements slow and he lifts his head to look at you, his fingers still pumping in and out slowly. You wiggle your hips away from his agile fingers, but Sylus grabs your hip, pressing you into the mattress to keep you still. 

“Tell me what you desire.” His voice is smooth as silk.

“I want you… inside me... Please Sylus...”

Sylus smiles, your arousal coats his chin and he licks his lips savoring your taste. He leans down to kiss you, slowly and purposefully. You taste yourself and whimper. He removes his fingers and runs his hands up your thighs.

“So direct.”

He reaches down to pull at his belt. You reach down to help him and he chuckles, placing his hand back on the bed to let you handle it. He rests his forehead against yours.

“I’ll give you anything you want, sweetie. Everything I have is yours.”

You unbutton his pants and slide down the zipper, your hands shaking as your mind reels from his words. You meet his gaze as your hand slides down the front of his boxers. You wrap your hand around the base of his cock and firmly drift your hand up and down. His mouth falls open and he gasps quietly.

“All I want is you.”

You feel lighter, like this secret you’d been keeping was weighing you down. And for what? You had finally let your guard down, you didn’t need it when you were with him. Not anymore. He was what you wanted, he made you feel safe, seen, beautiful, happy. 

Hearing your words stirred something in him. He looks down at you, his eyes glistening. The smile on his face is radiant and you trace it with your thumb, wanting to always remember this moment. 

He pulls your hand from his boxers before standing briefly to remove his pants and boxers completely. How he felt didn’t do him justice, he was going to fill you and then some. He chuckles, he must have seen your eyes widen. He crawls back onto the bed and hovers over you, leaning down to kiss your forehead.

“Don’t be afraid, kitten. I have you. I won’t hurt you.”

You wrap your arms around his neck and pull him down, his chest presses against you and you sigh at how perfect his skin feels against yours. One of his hands dips down and starts tracing languid circles around your clit. You kiss him hard, feeling his presence everywhere. 

He rolls you over to your side and guides your leg over his hip. His arm under you wrapping around your shoulder to keep you close. You hold his cheek before raking your fingers through his hair. 

You finally feel the head of his cock press against your entrance and you shudder. He reaches down, angles himself and then tucks his hand under your knee, lifting your leg higher. He starts to press into you and you have to break the kiss to groan in response. He takes his time, letting you adjust and stretch. He waits for you to push your hips forward, begging for more of him, before he continues. You grab a fistful of his hair and dig your nails into his back. 

“Are you ready? Tell me…”

His muffled words bring you back. You let out a breathy laugh and bury your face in his neck.

“Yes, Sy… all of you.”

He bucks his hips one last time and buries himself fully. You scream his name, completely overwhelmed. He strokes your hip and cradles your head. He kisses you slowly as he pulls out and rams back into you. You moan into his mouth, incoherent words tumble from your lips.

“You’re so… perfect, so… so beautiful…” 

His words are broken, his pace quickening with every syllable. You start to match his movements, feeling him deeper and deeper with every thrust. He rolls you on your back once more and you wrap your legs around his waist, locking your heels. His lips trail down your neck to your chest, his pace never faltering. 

“Feels so ��� ngh – you feel so good Sy… oh god…”

His moans start to sound like whimpers as he takes in your praises. You want to hear him and feel him and hold him, always. Your muscles clench and you feel the pressure building, Sylus can feel it too, your walls fluttering around him bringing him close to the brink as well. He starts to thrust faster, his hands finding your breasts again to pinch and tug at your swollen nipples. 

Your thighs burn from how tightly you’re holding onto him and pulling yourself upwards. Every nerve is on fire and your lungs burn with how hard you are breathing. His pace starts to become erratic, his hips stuttering. 

“Come for me, Sy. Come in me…”

He holds his breath, trying to slow down and hold off, but you’re not letting him. You realize he wanted control, but really he never had it. Not completely. His pleasure is directly linked to your own. And he wants to give you everything you desire. Right now, all you desire is feeling his release deep inside you. He’s already made his way into your heart and now… 

That’s when it hits you. You place kisses along his jaw and down his neck. You sink your teeth into his skin and the way he moans your name sends you right over the edge. You release his neck and throw your head back, chanting his name louder and louder. Your climax gushes across his abdomen and thighs, soaking the sheets beneath you. 

“Fuck fuck fuck…”

Sylus tries to continue his movements, but once he sees the intensity of your release he can’t hold back. You feel the warmth of his cum and nearly cry out with how full you feel. His cock buried deep inside you, his cum filling you to the brim, his voice singing your name, his lips peppering your face and neck with open mouth kisses. 

He slowly pulls out and you unhook your legs, you fall to the bed and your legs tremble. Sylus rubs your hips, massaging them carefully. Your breathing steadies and you force your eyes open. Sylus hovers above you, he looks at you with so much admiration and joy, his hair slicked back with sweat, his neck bearing the mark you left. You reach up to hold his face, stroking his cheeks softly. 

“My beloved…” You whisper.

Sylus collapses on top of you, burying his face in your neck, smothering you with a thousand kisses. You wrap your arms around him and hold him close. You’ve never felt so at peace. 

You desperately want more, but your mind is drifting. Sylus senses your exhaustion, he rolls off of you, sits up to grab the blanket from the bottom of the bed, covers you both and drapes an arm over your waist. You roll on your side and lean back, letting him pull you to him until your back is flat against his chest. You lift your head and Sylus slips his arm under, letting you use his arm as a pillow. You let out a deep contented sigh. 

With Sylus holding you close, his steady breaths fanning your ear, his heart beat putting you at ease, it doesn’t take long for you to fall into a dreamless sleep. You wonder if you’ll ever dream again? What’s left to dream of? You have everything you could possibly dream of right here.

AN (part 2): I want to note a few things real quick. Even with their dialogue about control, I feel like it was less about who dominates and more about love making. I also FIRMLY believe MC has a TON of control. In my opinion, Sylus enjoys dominance in the act, but not necessarily in the relationship. He will do anything she desires. Thank you for reading!! :)

Tag List (comment if you wanna be added!): @trishiepo0 @not-so-quite-human @kitsunetori @babyx91 @libriomancer @lilyadora @crowskitten22

[htaesan]

　ᅠ ✿　ᅠ GIVING YOU MY FOREVER　　────　ᅠ ( han taesan )

𝓹recis ⠀ : ⠀when han taesan, your boyfriend, notices you haven’t been answering his texts for the entire day, he sets out to figure out why𑁋only to find you sobbing alone on top of the hill.

　　　ᅠ 한태산 ⠀⠀◜◡◝ ⠀⠀𝒇 reader ⠀wc 0.8k ⠀ genre comfort fluff established relationship ⠀ contains mentions of family issues crying skinship ⠀ note this fic is highkey self-indulgent bc i wrote this when i was having a hard time </3 so it kinda doesn’t make sense? welp ⠀ tagging @a-dream-bookmark ,@/k-labels , @k-nets , @k-films , @sgz-net

　　　ᅠ ＞︿ 　　please leave feedbacks 　　& 　　reblog

“Hey, here you are.”

You didn’t have to look to know who it was—instead, you sigh deeply, letting the boy settle himself next to you. You throw your gaze far, letting your eyes capture the beauty of the night from atop the hill: the way the stars still shine despite being thousands and thousands of miles away, the way the city lights add a sparkle to the night’s black canvas. You take a deep breath, hoping that the smell of grass and the gentle breeze of autumn would bring some peace to your heart.

“You… okay?” you hear him ask after quite some time. You purse your lips, still not meeting his eyes, afraid all the tears might spill once you do. “You didn’t read my texts for the whole day.”

“M-maybe,” you manage. Your throat feels dry as you force your words out. “I’ll be fine.”

“You know,” he says, after a few moments. He places a hand on yours, his touch gentle and comforting. “You can tell me anything.”

You lower your head. 

Please don’t cry.

“I might not understand your pain, I might not fully understand what you’re going through,” he continues, his voice so deep and kind. “But I’m here. I’ll listen.”

“Even if you don’t want to tell me—or if you can’t find the right words to describe how you feel, I’ll be here. Always.” 

Under his hand, you clench your own. 

“I…”

“Okay?” 

You finally look up, turning slightly to meet his gaze. You bite your lower lip as you watch Taesan’s eyes widen slightly at the way your eyes fill with tears. His hands grab yours tight as he offers you a gentle smile. 

“I’m sorry,” you croak, lowering your head again as tears begin to spill. Taesan’s grasp remains firm, his thumb caressing the back of your hand. “I… I don’t know how to say this…”

Taesan smiles softly, squeezing your hands. “It’s okay. Tell me anything—just say anything that comes to mind, I’ll piece it together.”

“My parents,” you say, your words coming out one by one, in between sobs, “it’s stressing me out– I– is this my fault? Why– why are they fighting? I thought they– love– each other—”

You can’t stop it, your tears falling down your cheeks like raindrops in a storm, unstoppable and overwhelming. Your chest heaves up and down with each sob, your throat tight with a lump that makes your speech difficult to interpret. 

“Hey…” 

Taesan pulls you into a hug, causing you to hiccup in surprise. It engulfs you like a warm blanket on a winter night—you could smell Taesan: a mixture of champagne orange, passion fruit, sugar vanilla; the perfume his mother had bought for him. Immediately, your tears begin to flow down again, as Taesan’s warmth starts to become one with you. 

Taesan doesn’t let go—his embrace of you firm and comforting, telling you he’s there for you through every high and low. Taesan hugs you close, letting your heartbeat converge with his. He lets you cry your heart out in his arms, not giving a care in the world about how your tears are staining his favourite sweater. 

“I love you, Y/N,” he whispers, once your tears have subsided. 

“But… won’t you fall out of love, one day?” you ask him, resting your head against his chest. You close your eyes shut, trying to remove the memory of witnessing your parents’ fight from your mind. 

Taesan kisses the top of your head, resting his chin against it after. “Will I ever?”

“Maybe,” you mumble. 

“Darling,” Taesan says, causing butterflies to begin erupting in your stomach. He’s called you that for so many times already, yet it always catches you off guard. “If we love each other truly, we’ll always find a way to make things work, hm?”

He pulls away a little bit, and you look directly into his eyes. Taesan gives you a smile—different from his usual cheeky grin—beautiful, sincere, and ethereal. “Besides, we still have a long way to go before we get married, and before we die. We’ll have plenty of time to learn from our mistakes.”

“Married?” you exclaim, eyes widening. You smack his shoulder in an attempt to hide the blush that’s beginning to form on your cheeks.

“Yeah,” Taesan nods, folding his arms as he holds his neck from behind. “Why? You don’t like it?”

“Well… of course I love it,” you mutter, biting the inside of your cheek. After a while, you turn to him, narrowing your eyes. “But marriage is a serious matter, you know? I—”

Taesan kisses your cheek, grinning as he pulls away. “I know.”

You lock eyes with Taesan, the sparkling night around you, the gentle breeze blowing through. 

“And I love you, so seriously, to be doing it in the future. To be giving you my forever.”

― © htaesan, 2025.

[loredrinker]

Inflection, Context, and Elven: Lavellan’s Veilguard Ending (romance state)

Lately, I’ve seen quite a bit of criticism directed at a romanced Lavellan on my dash - particularly in the Veilguard ending, interpreting her as needy, egotistical, or entitled.

And I am wondering: Did we watch the same ending? (I find it fascinating how differently people interpret the same moments - such a reflection of the human experience.) And I couldn't help myself! I felt compelled to share my interpretations so I punched this out the last few days.

The sticking point seems to be Lavellan’s words, especially the ones spoken in Elven.

It seems like a common interpretation of Lavellan’s words here are: 

“It won’t be terrible if you’re with me.” (Implying possessiveness or entitlement - and that she alone will make it better.)

The game’s delivery offers no inflection on any word though. For me, it’s always been: 

“It won’t be terrible if you’re with me.” 

It’s subtle, but very different. This is just one micro-example of how much nuance is packed into the dialogue in the Veilguard ending. These lines shouldn’t be taken in isolation - especially not the Elven ones. They should be understood in the context of what Solas says to Lavellan in Elven just before, and beyond that, within the history established in Inquisition and Trespasser.

Indulgent Solas x Lavellan post ahead.

Note: I respect and appreciate all Solas ships and I will never post negativity towards other interpretations in this space. Everyone deserves to enjoy their creativity and find joy in their community. There’s more than enough Solas to go around. As for Lavellan’s portrayal in VG, it's not perfect. I understand the devs had the impossible task of balancing every interpretation of her. Some dialogue between Rook and Lavellan took me out of gameplay a bit. But I recognized then they had to condense countless versions of her into one, and perfection wasn’t possible. In general I have honest criticisms about the game but try to keep my posts positive overall.

Still here? Excellent. (And sorry, it's another long post.)

"Elven is often a game of intents, not direct mapping of phonetic meaning." The language doesn’t rely on straightforward translations of sounds or words into specific meanings. Instead, it operates on a deeper level, where intent and context carry as much weight.

Earlier in the game, when Solas confronts Elgar’nan, he says: “I must speak to you in this tongue. It seems Elven is beyond your grasp.” This insult implies that Elgar’nan has lost the ability to understand the nuanced, metaphorical nature of the language. Elven relies on shared understanding, rhythm, intent, to convey its full meaning. By Lavellan and Solas choosing to speak Elven to each other it's an acknowledgement of their shared understanding - a connection rooted in their history going back to Inquisition.

Which is why I embrace it in my interpretations.

I disliked that Veilguard kept out the Elven words and left only the English translations in. They can be found here: (Elven Language - Dragon Age Wiki)  But for funsies, let's take Lavellan’s actual Elven dialogue and translate it literally: Banal nadas. Ar lath ma, vhenan. We already know from Inquisition that Banal nadas translates roughly to "Nothing is inevitable" - the same phrase Solas uses when confronting the Nightmare Demon. So Lavellan is saying: "Nothing is inevitable. I love you, my heart."  The gall of this woman! 

Since I do my best to keep my posts playing in the game’s sandbox, I’m going to just look at what the game tells us the translations are and not get into actual translations (others have done that far better than I ever could). There are some great fandom language resources linked at the end of this post. 

Let's start where Lavellan enters and speaks in the common tongue: 

This is personal and expansive. On one level, she’s speaking as someone Solas has wronged, reminding him of the pain he’s caused her directly. But on another, she’s channeling the voices of countless others whose lives were affected by him and who will be shattered by his actions. It’s a challenge that blends her role as both an individual and the Inquisitor.

It’s also not a condemnation. Lavellan doesn’t lash out or accuse him of being irredeemable. Instead, she questions him, cutting through to reach the man beneath. She’s speaking to Solas (wisdom).

"Vhenan" is acknowledging his love for her but it’s also symbolic of his heart, the part of himself he’s buried and tried to ignore, suddenly reappearing. Solas has spent much of his journey detached and isolated, removing his heart metaphorically to push forward with his plans without the weight of emotional ties. Lavellan’s presence makes it impossible for him to keep it hidden. His heart is right there, exposed and speaking. And the ellipsis - so many words unsaid.

Immediately Solas looks down (I read it as shame). It’s a reaction back to what he said in Trespasser: that he would not have her see what he becomes. And yet, here she is. She sees him, the terrible path he has chosen, the blood on his hands, the awful things he has done, and what he’s about to do. In that moment, his shame is palpable - because Lavellan is one person he couldn’t bear to face in this state. 

And Lavellan doesn’t hesitate. Her next words are as much about holding him accountable as they are about reminding him that there is still another path. 

This isn’t some starry-eyed, naïve Inquisitor we’re dealing with (at least mine isn’t). Lavellan is fully aware at this point. But her stance is clear: no one is beyond redemption, not even the Dread Wolf himself. And she wasn’t the only one – this message is repeated throughout the game by others. 

Her words challenge the belief that has kept Solas shackled to his path. He’s convinced himself that his guilt and mistakes are too great, that there’s no turning back, and that the only option is to see his destructive plans through to the bitter end.

She doesn’t beg or demand or frame it in a way that’s grand and sweeping – she simply says “you’re wrong.”  

She’s not trying to erase his mistakes or pretend they don’t exist. She's saying, Yes, you’ve done terrible things, but that doesn’t mean you’re beyond the reach of change.

Lavellan’s journey as Inquisitor began with the Anchor - a mark born of Solas’s mistakes and choices. From the moment she touched his orb (yes, it sounds dirty), her path became entwined with his. This isn’t Lavellan selfishly claiming Solas’s path; it’s an acknowledgment that their journeys have run parallel.

Their connection was forged long before either fully understood its implications. Lavellan’s work to stabilize Southern Thedas mirrors Solas’s aim to restore a broken world, including the burdens of being forced to take on titles and labels. She is revealing her own struggles with devastating, blood-soaked choices - choices that, like his, have carried profound consequences.

Solas believes he’s been walking this path alone, but Lavellan shows him she's been walking alongside him this whole time. Now, as their paths converge again, this is a reminder of the power of connection and the burdens they’ve both borne. He's actually not alone.

Her words also carry an unspoken promise: she is ready to continue to bear the consequences with him. She knows the road ahead is painful and fraught with difficulty, but she is steadfast.

Why do I feel that people sometimes forget Lavellan’s role as Inquisitor? She wasn’t defined by Solas; she was the leader of a powerful military and political organization, forced to make horrible decisions. Whether you choose the mages or templars in Inquisition, you doom thousands to torment and death. The Empress of Orlais can live or die based on the Inquisitor’s choices. And if you’re like me and made the wrong calls on the Dalish clan war table operation, her own clan can be murdered and wiped out.  (Yes, I’m still haunted by that moment.) Her hands have blood on them too. This makes me wonder: does some criticism of the Solas/Lavellan romance stem from failing to see Lavellan as her own person? I love Lavellan for who she is as the Inquisitor - not because of Solas. Likewise, Solas is fascinating on his own. Their romance is one layer of the story, not the foundation of either character. Sometimes it feels like there are even some Solas/Lavellan lovers who have a tendency to overlook the depth and individuality of both characters outside of their romance.

Solas’s statement is a raw admission of all the guilt he carries for his deceptions and the pain he has caused her - lying to her about his identity, betraying her trust - not just as the Inquisitor, but as a person he loves.

His words are not an attempt to seek forgiveness but an acknowledgment of the truth - no matter how painful it is for them both. He knows his choices have caused devastation to the world and to her specifically. He's exposing the full weight of his dual burden: the grand, world-altering consequences of his plans and the personal betrayal of the woman he loves, who trusted him. 

Perhaps, on some level, he hopes that reminding Lavellan of his lies and treachery will convince her to abandon him, sparing her further pain. His guilt and self-loathing are so entrenched that the idea of being forgiven - or even supported – either confounds him or terrifies him.

But Solas’s confession is not just a shield to push her away. It’s also an invitation for her to see him - not the wise, compassionate companion she knew, but the flawed, broken man beneath.

This moment to me shows that Solas still values Lavellan’s understanding (we also saw it in his letter to her). He doesn’t diminish the weight of his actions but wants her to see the cost of his deception - not just for her, but for himself. To Solas, his betrayal is unforgivable. 

And yet - this "selfish" woman dares to forgive him anyway. 

Forgiveness is an act of wisdom because it requires understanding - and she reflects that wisdom right back at him.

"All you have to do is stop" is heavy with meaning. Yes, on the surface, it’s a plea to stop tearing down the Veil, to reconsider the destruction. But it’s also a plea for him to stop running, to stop isolating himself, and to stop punishing himself for his failures. She’s asking him to step out of the shadow of his self-loathing and see that there’s another way forward, not by demanding or commanding, but by offering him compassion (forgiveness). (Cole, I miss you.) 

But Solas’s guilt and self-loathing run deep.

With these words, Solas apologizes to his heart - hardening it once more. For a moment, it had softened, cracked open. But he shuts the door.

The bow that accompanies his words is loaded. A bow carries layers of meaning depending on context - reverence, respect, gratitude, apology, greeting or farewell, a spiritual act, acknowledgment, loyalty, mourning, or even a romantic gesture. Solas’s bow can mean all of these. 

He is physically reinforcing the gravity of his apology. It’s a solemn moment. He is bowing to her strength, to all she has endured because of him. And when he calls her "vhenan," it is personal. It's an apology to her and to his own heart for not choosing the life he wanted to have with her.  “...to stay by your side as Solas...as I wanted.”  

The bow also carries guilt. He is acknowledging the pain he’s caused and humbling himself before her. And his eyes in the animation during this moment – I saw haunted, tormented, tired eyes – the eyes of a man grappling with the weight of his choices and the thought that he cannot accept redemption, even if it’s offered freely.

Time for a an indulgent moment - a bow can also symbolize acceptance. What if, in that moment, it’s not just an apology? What if it’s Solas saying, “You’re right. You have walked this path with me. I acknowledge that.” The bow could be a tacit agreement - a recognition of a future with her. What if he’s asking: I’m sorry, but I can’t stop, are you still coming with me? And Lavellan’s eyes right after? She looks down, like she’s contemplating this - what if he tears the Veil down? What happens next? What do I do? Anyway, maybe I indulged with this thought a little too much.  

But, as I’ve said before, it takes a village to stop a Solas. Cue Morrigan and Mythal - but I’m not diving into that dialogue rabbit hole in this post.  

But this scene with Mythal is important. Lavellan has just watched the man she loves completely crumble in front of Mythal. He’s bent over in grief/pain, utterly vulnerable. She hears him say, in anguish, “The things that I have done.” She sees him lift the dagger - perhaps to surrender it, to shield himself from Mythal, or even as a plea to Mythal to end his torment. Whatever the intent, Lavellan is witnessing the rawest, most broken Solas. His guilt is overwhelming, and this is the first time she’s truly seeing the full weight of it laid bare (as is Rook). It’s a moment of heavy sadness for her – and for us as players. 

This scene seems to have created a universal understanding among players who love Solas, regardless of who you ship Solas with. We are all witnessing Solas in this moment of pure vulnerability. Let’s honor that shared empathy. 

Solas is bent over with the emotional collapse of centuries of obligation and guilt coming to the surface. Mythal’s departure leaves Solas vulnerable, stripped of the purpose that has guided him for so long. He is alone in his pain.

For Lavellan, can you imagine the helplessness? All she can do is offer her presence, understanding, and faith in him afterward. That might feel like so little in the face of such immense pain, but it’s all she has to give. 

Where Mythal’s words, spoken in the common tongue, are authoritative and final, Lavellan’s are intimate and personal. Her choice to speak Elven reflects her desire to meet Solas where he is - connecting with him on an intimate level.

Only after Mythal has left him exposed - that Lavellan uses the Elven language. In this moment, stripped of his defenses, he is finally open to hearing and feeling the full significance of the words and their intent.

Lavellan’s words challenge the notion that fate is immutable or inevitable. When she says, “there is no fate...,” she isn’t diminishing everything else in favor of her love; she’s rejecting the tyranny of inevitability. Her words assert that choices - rooted in love, connection, and shared purpose - have the power to shape their path forward. She reframes love as a force just as powerful as fate, capable of creating meaning and direction where there once seemed to be none.

Atonement

And at this point? Lavellan has no idea what Solas will do next. None of them do. But the combined efforts of Rook, Lavellan and Morrigan get through to him. Because Solas makes a choice - a monumental choice. He binds himself to the veil, committing to atonement. Atonement is a powerful, active word. It evokes the gravity of recognizing wrongdoing and the courage to address it. His decision to seek restoration with the Titans, to deal with the Blight, to return to where it all began, reflects the depth of his remorse and his willingness to rebuild the balance he disrupted – from the beginning. 

Solas equates atonement with isolation, believing that his punishment must be borne alone. To him, atonement requires severing ties, including the possibility of love. He doesn’t ask Lavellan to join him because he cannot conceive of burdening her with the weight of his choices and the path he must walk.

But Lavellan’s words - once again - challenge that. She offers him the possibility that his actions, no matter how devastating, do not erase the love and faith others still have in him. This is an invitation.

She's also being vulnerable here. She’s offering herself to him, knowing full well that he still might say no. A risk she’s willing to take. 

He doesn’t try to shut her out or push her away this time. Instead, he shifts the focus - he needs her to understand the gravity of the path they are about to walk. His response reflects his own vulnerability as well, he wants her to know what she’s choosing, but he can’t bring himself to reject her offer outright. 

Solas responds in Elven - his acknowledgment of their shared understanding and their entire relationship and journey that has shaped them.

His words also mark a turning point: for the first time, Solas allows Lavellan her agency. Throughout their relationship, he has taken her choices away. He broke off their relationship in Inquisition. He vanished after Corypheus’s defeat, leaving her no say in it all.

And he knows this! During their confrontation in Trespasser, when Lavellan demands answers, he justifies his deception with, “And what would you have had me say? That I was the great adversary in your people’s mythology?” Her cutting reply, “I would have had you trust me!” lands with devastating clarity. His face falls, struck by the hard truth: the man who values freedom has stripped hers away. And he's going to do it again.

This moment in Veilguard feels like a callback to that. Lavellan is asserting her choice. And this time, Solas doesn’t take it from her.

By framing his destination in such stark, "terrible" terms, Solas isn’t pushing her away out of cruelty. He’s laying bare the enormity of what lies ahead, warning her of the peril while giving her the freedom to choose for herself. It’s his way of ensuring she understands the stakes.

Solas is doing what she requested long ago - trusting her - and what a choice to place that trust in. He’s entrusting her to make an informed decision about stepping onto a path that could shape the future of Thedas. He is trusting Lavellan’s strength and resiliency. And in trusting her, Solas reveals a quiet, unspoken truth: he doesn’t want to face this journey alone. By even presenting the choice, he reveals a quiet hope that she might go with him, despite everything.

To me, what makes this moment so achingly beautiful is the duality in his expression. His eyes seem to plead two things at once: “I don’t want to put you in harm’s way,” and “I can’t deny wanting to be with you.” There’s a raw vulnerability in the way he looks at her.

“It won’t be terrible if you’re with me.” 

Lavellan’s response is a direct challenge to Solas’s warning. He tells her the path ahead will be awful - because of him. But she counters, saying that it’s because of him that it won’t be. This isn’t her forcing herself into his journey or suggesting that she alone will make it better. Instead, it’s her way of expressing that his presence will give her the strength to face whatever lies ahead. She’s trying to ease his mind, while also signaling her willingness to trust him again.

At the same time, her words acknowledge the weight of Solas’s suffering, offering herself as a partner to bear that burden together. She isn’t dismissing the risks or downplaying the severity of what’s to come - she’s choosing to stand beside him, fully aware of the challenges ahead.

It’s not about personal gain; it’s about shared resilience. Lavellan’s focus is on what they can endure together, not on what she might receive from the journey.

And since the Fade reflects emotions, as many have pointed out, their combined trust and love could manifest in ways neither of them can predict. Their bond has the power to shape not just their path but the very world around them.

This declaration is past, present and future; it’s a reaffirmation of their bond, a recognition that they’ve been walking the path of the dinan’shiral together all along. It’s future focused - she is offering to shoulder the burden with him going forward.  

She’s also telling him that she won't abandon him, no matter how hard the road ahead may be. 

And at the end of the day, she's a woman who still loves him. What does Prince Lir say in The Last Unicorn? "I love whom I love."

I've never interpreted Lavellan as someone sitting by a window for ten years, writing sad poetry and sighing into the wind, longing for Solas. She’s been busy - rebuilding a fractured world, navigating political fallout, and seeking understanding. Lavellan’s love for Solas isn’t blind devotion; she’s holding onto the possibility of redemption and the deep impact he had on her life. In my world state, Lavellan’s clan is wiped out. The people of the Inquisition have become her family, the ones she fights for and protects. And indirectly, Solas gave her that family. Despite the pain he’s caused, her love for him reflects the complexity of her journey - one defined not by a single relationship, but by hope, resilience, and the connections she’s forged along the way.

Lavellan then leans in to kiss him, and Solas allows himself to be drawn in. This moment is acceptance - a silent vow, a promise sealed in their shared vulnerability. It’s an intimate connection forged in front of those who have just witnessed the emotional storm that brought them to this point, as if to say, “This is where we stand, together.”

While I won’t dive into fly-cam images (you can find some here), there are some tender subtle details: the way he caresses her hands with his thumbs, the way he holds onto her one hand as she pulls away, as if he’s not ready to let go. But I promised to stay within game constraints.

And then Solas turns to Rook and says, “Thank you.”

Solas doesn’t thank Rook when he hands them the dagger, nor when he’s preparing to walk into the Fade. He says it after the kiss. Make of that what you will but Rook’s is symbolic for me, especially after thinking about this ending a bit.

In thanking Rook, Solas acknowledges not only their actions but also their understanding of the connection he shares with Lavellan. Rook, transformed by their own relationships and the bonds they’ve formed throughout their journey, embodies the themes that have always defined Dragon Age to me: connection, fellowship, community, love, and redemption. These games (again, for me) have always been about how people, despite their flaws and struggles, can come together to make the impossible possible.

Rook’s symbolism in the redemption ending feels like the culmination of this ethos. They represent how even those who begin on the periphery of great events can become central to forging bonds and creating change. Solas’s gratitude is for Rook's empathy, their recognition of the importance of connection, and their role in bringing these threads of love and redemption together. I'll go cry now.

And off they go into the Fade.

The Final Translation 

"With Elgar'nan and Ghilan'nain dead, and the Inquisitor finally reunited with her true love, it looked like one of the biggest stories the world had ever seen was finally drawing to a close."  

Varric’s narration ties the ending image back to the connection between Inquisition and Veilguard. Inquisition is the Inquisitor’s story; Veilguard is Rook’s. Solas serves as the thread linking them. Varric frames this moment through Lavellan’s perspective, narrating the story like one of his novels - not to diminish Solas, but to highlight the Inquisitor’s journey. After all, Veilguard wouldn’t exist without Inquisition. Rook wouldn’t be working with Varric or searching for Solas if not for the Inquisitor.

As much as I would have loved a deeper focus on Solas, Veilguard wasn’t his story. If Inquisition is the Inquisitor’s story and Veilguard is Rook’s, this ending is a shared culmination: for a romanced Lavellan, it’s the personal resolution of her journey; for Rook, it’s recognition of their critical role in saving Thedas.

Okay, indulgence over - whew, that was long! I really need to practice shorter posts.

In the end, those who dislike this romance or this ending probably always will. That’s fine; I just wanted to share my interpretations because I genuinely love this story for all its complexity.

To everyone who made it to the end of this post - thank you for joining me in my indulgence. May your own Solas ships continue to bring you joy and inspiration.

Elven language resources: 

Project Elvehn on AO3 

Elven Translator 

World Anvil Elvhen Resource 

Reddit on Elvhen Poetry 

[yuikomorii]

Shu-Yuma because their friendship is the most engaging in the series, yet idk if it still counts as mere friendship, given that in DF and LE it was sort of implied that Shu feels something more for Yuma.

I saw this interesting point you made, I’ve played both games repeatedly over the years and have honestly never thought of it as anything much what’s presented surface level. I’m intrigued by your comment and would love to see what points in routes could be used to back up such an interpretation? :)

p.s you converted me into ayato stan ;P

// Hello there, fellow aNYAto stan! >:3

In my opinion, Shu seems to have feelings for Yuma because he is overly obsessed with him and his well-being, to the extent that he does things for Yuma that he doesn’t even do for us, the players.

Of course, he does feel guilty, but even Shu admits that feeling such remorse is unusual for him, and he's right.

We know Shu is a sadist who enjoys torturing his prey in grotesque ways, so why doesn’t he regret what he did to the previous sacrificial brides? Why doesn’t he regret hurting his own brothers? He sometimes doesn’t even feel remorse when he’s hurting you/Yui. But when it comes to Yuma… Shu would sacrifice ANYONE for him.

This guy must have some kind of built-in Yuma radar, since there’s no other way to explain how he always manages to find him. He willingly goes out of his way to save him and doesn’t even care if he looks pathetic, as long as Yuma is safe, even in routes that aren’t his own, where he’s supposed to be a lazy and apathetic loser.

Not only that, but Rejet had to make him commit sui€ide and then say the “I hope we will get along in another life 🥺” part. What makes it even crazier is that he’s reincarnated as a fetus from the Tree that Yuma later decides to adopt. Basically, his wish to be on good terms with Yuma was so strong that it literally came true. When Shu dies in his own endings, he never says anything as emotional or profound, which is a bit… questionable.

Last but not least, you know how the apple is supposed to symbolize Edgar? It almost feels like Shu was trying to hint something, but when Yuma didn’t catch on, Shu was just like “Yeah… nevermind.”

All translations belong to dialovers-translations

While I understand that he might consider him a "best friend," it feels obvious that, deep down, Yuma holds a more significant place in his heart than anyone else. The way he fixates on Yuma makes it seem like their bond goes beyond mere friendship, with Yuma being someone irreplaceable and central to his world.

I know that BL themes would likely never be included in Diabolik Lovers, given the backlash such elements often receive in otome games. As a result, everything is left open to anyone’s interpretation! :3

[shoresoftheshadowlands]

My favorite part of the books, the first one I believe, is where they were discussing the first dinosaurs they made. These ones were more accurate to life. But they didn't like them because they said that 'the people wouldn't accept them, they were too fast' among other things, I can't remember 100% of the text of the scene, but they HAD accurate animals that they believed the people wouldn't accept as real, when they expected scaly beasts. I always interpreted it as them being feathered, lofty and quick, birdlike in a way the average person simply would not believe was a real dinosaur. So instead they made them into something the people would accept.

I first read Jurassic Park and the Lost World (Technically in a combo book called Jurassic World ironically) back in 2000, and I was fascinated by this idea, I didn't believe for a minute people would rather look at dinosaurs that weren't accurate over appealing- And....Well. As time went on and I saw people arguing over what we knew to be true based on what they preferred, it occurred to me that the author had been right all along. He was RIGHT. People really would prefer an animal that looks like how they expected rather than how it really was, though I'd like to think acceptance for things is better now, that might be wishful thinking.

My favorite detail about Jurassic Park is that it has a baked-in justification for any and all retcons it might need to make due to paleontology advancing forwards.

Because there is not a single dinosaur that has ever appeared in Jurassic Park.

Not one. Not in the books. Not in the movies. Not ever.

"Now what John Hammond and InGen did at Jurassic Park was to create genetically engineered theme park monsters." ~Alan Grant

Grant says that in a moment of cynicism. It's part of his arc for the film. But it's not inaccurate. What Jurassic Park has, what it's always had since the very first novel, are "Mostly Dinosaurs".

"And since the DNA is so old, it's full of holes! Now, that's where our geneticists take over!" ~Mr. DNA

It's impossible to recover a fully intact gene sequence from an ancient amber mosquito. Cloning a pure dinosaur would have been completely impossible, and so the park filled in the gene sequence with whatever works. Frog. Lizard. Bird. Whatever they need to get the result they are trying to get.

Every single dinosaur is a chimeric beast made up of mostly dinosaur and a bunch of other stuff that some scientists thought would achieve the appropriate dinosaur-like result.

"Nothing in Jurassic World is natural! We have always filled gaps in the genome with the DNA of other animals. And if the genetic code was pure, many of them would look quite different." ~Dr. Henry Wu

Which, from a writing perspective, is fucking genius. Because now you have a preset excuse for each and every plot hole your movie has.

Like. Why don't the raptors have feathers? Because of the chimera DNA.

Why do dilophosaurs spit venom? Because of the chimera DNA.

Why do T-Rexes have movement based vision? Oh, they don't. But Rexy does. Because of her chimera DNA.

Why is the Spinosaurus so fucking big? Because of the chimera DNA.

Why are the velociraptors mislabeled? Because Hammond's a dipshit.

Like. I've always marveled at the way Jurassic Park started out by giving itself a blanket excuse to be wrong about every single thing it ever said about the central attraction of its franchise. It's honestly beautiful, and allows the series a degree of immortality well into the era where we know better about its animals.

[startheskelaton]

I'm not sure how Nightflyer and Soundblsster met Sparkplug, but I guess they met her at Earth.

So I'll do my interpretation of how Nightflyer and Soundblaster got on Earth.

Nightflyer was at the palace as usual, going to his berth after he finishes all work for the day he overhears from his sire's chambers about space bridge and how it can take someone to a different planet.

Interested, he begs and pleades Soundblaster to help him try the space bridge, which Soundblaster soon agrees with, using this as an opportunity to get rid of Nightflyer.

So they sneak out and go to the room where the space bridge is kept, and they eventually find it after a few miss ups at which room is it and knocking a few guards or less.

They tried using the space bridge, but it went wrong, and they both ended on the same planet called Earth. They ended up in different places, Nightflyer ended up in the same forest where Optimus first arrived and met Spike, and he's amazed by Earth's beauty while Soundblaster ended up in near fancy human city as he wondered where the living FRAG he ended up.

And that's pretty much it. You can tell me how they actually ended up

Also, I think Nightflyer and Soundblaster would love Earth and its culture.

Nightflyer like Optimus from idw comic and maaaaaaaybe Repunzel from Tangled would fall in love with Earth's beauty and its creatures and plants since he never saw that back Cybertron where everything's metal. To his, this would be a dream come true since, like you said, he's into mutants and plants.

Soundblaster wouldn't like it at first, but then he sees humanity's arts, creativity, literature, museums, and many more humanity has to offer. Like Nightflyer, this would be a dream come true to him, too, since he's into art and literature.

.

.

Bonus: Back on Cybertron, Starscream and Shockwave panicking where the living Primus where their sons went and screaming at anyone while Slipscream tries to eat her energon cereal.

Anyway i really love your ocs and I wish to know more about them. I really love how you have progressed the story so far. I love it.

Actually the real answer is a good bit different, however I love the story you made, It was vary fun to read!

This is how it really went down.

Shockwave chose Nightflyer in particular to be the one to go to earth undercover, he did this because he knew that Night was so loyal to his family, that he wouldn't change sides if need be (this would be proven right later). Nightflyer was absolutely mortified when he was told that he needed to go to earth, not because he didn't like earth, but because he would have to go alone to make the plan look believable. Also he would have to purposefully crash his ship on the planet... but the alone thing was more of priority for him.

He dose make it to earth and makes the ship crash, making it look like he desperately trying to escape from Cybertron. He would be found and taken to the Autobot base (after checking him for tracking devices) where he would be questioned and checked to see if his arrival would bring more enemies to the planet. He was kinda blacked out for a while (because of the crash) when he was sent to Ratchet's med bay to undergo an emergency check up. And who just happened to be the reluctant medical assistant on hand? Sparkplug. She really had to fight her dad in order to stay and help with the exam (she really wanted to be part of something exciting, and a random hot guy falling from space was definitely exciting).

They properly met during tryouts for being put on a mission team. Nightflyer passed well (however he needed to hide his full potential as to not tip off that he was part of the Cybertonian guard). Sparkplug on the other hand passed with shockingly flying colors for a bot her size, however was immediately turned away by Megatron (this is because Sparkplug has been training most of her life to be qualified for off base missions, however is shot down by her dad each time at the qualifying tests. Like her late father, she's not one to take rejection lying down, so she has trained for years and gone to every try out. Much to Megatron's dismay, this has only forced her to get stronger then she would have been if he had passed her earlier).

At first Sparkplug is kinda spiteful against Night simply because he was able to go on missions despite being so new to the autobots, however something makes her look at him differently... she notices he's lying. She has no idea what about but she can feel it, something about his story is too perfect, he's moving up the ranks too quickly and cold outer shell doesn't fit with someone who wanted to break away from his original faction. So when she finds him in the library one night, she corners him, and he breaks... but not fully. He reveals his true personality to her, but not his mission. He is vary genuin about how he feels trapped by having to mask all the time, that no one would take his seriously if he was himself, and how he genuinely felt oppressed by the "the strong rule the weak" mentality of the Decepticons. In return, Sparkplug opens up about her strange existence and confusing expectations people have for her. That she needs to be a replacement but not a copy, to have prime's kindness but none of Megatron's anger, love herself for being special but listen to everyone talk about how freaky her existence is. And after that night... Sparks start to fly between the two.

Soundblaster met Sparkplug in the middle of space.

Eventually the time comes and the seekers (slipstream and company) show up on earth and it's revealed that Nightflyer was a spy the whole time. And a dangerous one at that, actually able to go up against a good amount of the autoboots. This breaks Sparkplug's heart because she talked to Nightflyer a LOT, she had no idea if any of that was real or not. It didn't help his case when he immediately sided with his sister, going back to being a deception due to his loyalty to his family.

However during this shit show, who arrives but the DJD, taking advantage to the situation to try and take Sparkplug in order to make her a new Megatron. Seeking a chance to be praised by Shockwave, Soundblaster is able to grab Sparkplug admits the chaos (capturing the last remints of Optimus prime would be extremely useful in manipulating the public or just making a super weapon) . However due to a mix of Skywarp's powers fucking up along with Slipstream's (she has the same power's as Skywarp), Soundblaster and Sparkplug are warped halfway across the universe. This now forces our characters to try and find Spark before anyone else can.

When coming to, Sparkplug is absolutely livid at Soundblaster and immediately attacks him. But due to the situation, they reluctantly come to an agrement, get somewhere where they can get back to Cybertron or earth, then fight about it then. This forces the two to work with one another to try and make it to intergalactic space station without dying. During this time, Sound only communicates through mores code, never speaking once. However him and Sparkplug have a good amount of conversations, slowly opening up to one another. They really hit it off when Sparkplug is able to relate to Soundblaster, but admit that he defiantly had it worse then her (nightflyer on the other hand saw himself and Soundblaster as equally out cased despite the huge power discrepancy). She's able to see him for who he is, what he was supposed to be, and who he wants to be... and this makes Soundblaster throw away his loyalty to the decepticons and decide to be loyal to Sparkplug herself.

OH MY GOD this was a long post, I could go on but I need to stop myself before this becomes an essay.

[chantersboard]

560 words. Joel x f!reader

Warnings: 18+ MDNI, post-outbreak, unprotected piv, creampie, one warning not tagged for spoilers

A/N: so my New Year’s resolution was to stop All or Nothing-ing. not everything I write has to be completely polished and 5K long. there is so much I want to write but I’m a full time working mom of two I don’t have the time to always write fully fleshed out, edited stuff. so I’m giving up on doing it All. I’ll write the small stuff and be happy for it. so here’s my first small stuff yay

———

Confession

Joel sits on the edge of the bed, his large hands resting on your hips as you stand between his legs.

Your confession still hangs heavy in the air like a cloud of fatal spores.

He looks up at you and you’re unsure how to interpret the subtle emotion on his face. Sadness? Fear? Joy? It’s impossible to tell and he hasn’t said anything yet.

Why hasn’t he said anything yet?

You shuffle on your feet. Nervous. Anxious. Scared. The tiny ball of nausea in the pit of your stomach grows larger with each second that passes in silence.

Joel closes his eyes and presses his forehead against you. Your hands move on their own, instinctually, and you run your fingers through his hair. He inhales deeply and shakes his head.

Shit. This is it, isn’t it?

It was bound to happen eventually. The cold weather forced you inside, forced you within these cramped walls and into his space. Then the snow fell, and continued to fall, extending your imprisonment. So you had no choice but to listen to Joel’s honeyed words. You had no choice but to look at his handsome face and watch his strong body. You had no choice but to desperately fall in love with him.

A hand lingering too long on the small of your back turned into frantic grabs of your behind. A gentle kiss on the cheek turned into love bites that left your nipples deliciously sore.

When he slotted into you he fit so perfectly, as if he was made for you, and you willingly spread your legs further. You let him kiss you until your lips were swollen. You let him get lost inside you until your pleasure crested and you were screaming his name. You let his hips rock against yours until his breathing was haggard, until he choked out those few words: where do you want it?

In your fucked out bliss you tightened your thighs around him and gave him permission. “Inside,” you moaned. And Joel didn’t think twice, didn’t hesitate. He slammed into you until his cock twitched, coating your warm, fertile walls with his come.

For weeks the nights ended similarly, his release seeping out of you and soaking the bed sheets, until the snow outside began to melt and the days grew longer. For weeks you lived like this, your days carefree and your nights filled with love and euphoria.

Until one day you suddenly realized.

Joel moves his hand from your hip and slowly—so slowly—brings it to the spot just under your belly button.

“So last week,” his voice is low and you strain to hear him. “When you were sick…”

The nausea rolls in your stomach again and, afraid to open your mouth to talk, you hum in affirmation to his unfinished question.

His thumb draws small gentle circles on your tummy. As far as he can tell you look the same, but he knows somewhere inside you a life grows.

“After Sarah I didn’t think…” he looks up at you again, his eyes glossy with unshed tears. “I love you.”

You smile and let loose a shaky breath.

Just maybe everything will be okay?

Joel wraps his arms around you and pulls you close. He kisses your belly, then, with his lips still pressed against you he mumbles, “and I love you, too.”

[mochimochimona]

Analyizing Viktor and Jayce from Arcane, S1 E5 Part Two - Am I ruining this ship for me or what

So Viktor being a genuis because he had "a vision" and just explains how runes and mages work and is that..foreshadowing again? Like how did he got these informations? It would have been nice to have a bit more context, because with that scene from the previous post I might get my tinfoil hat back. Anyway, Viktor is mansplaining Jayce and here is the first thing I noticed, the fond and admiring expression on Jayce's face:

Again, that can be completly platonic still. Am I ruining this ship for me now or what?

Viktors absolutly unfazed reaction makes me laugh so much, god I love this man.

But I think there was a first impulse of reaching out to Viktor, just a short tilt of his hand - to make sure Viktor is alright. And his Question "Are You Sure This is safe" was met by a rather cold "of course not" by Viktor and Jayce is reacting like that and I had to make a GIF out of this scene or else I can't explain what I mean.

So Jayce is staring at Viktor, and he feels guilt and I think he wants to say something but he is also unsure of what exactly to say, because he knows Viktor is right and also has the right to be cold towards Jayce, since he is leaving him alone. I think it dawns on him, unconsiously, that what he is doing is wrong and it's nagging at him. So far no interpretation from my side that Jayce is into Viktor the same way Viktor might be into him, though. I am on the way to ruin my delusion.

Mel is such a strong politican, I love her for her cunning way to get Jayce on her side and manipulating him. Again, Mel is one of my fav Chars in Arcane but I do think they don't have either an equal relationship, nor a deep one at that. It feels rather cold to me.

"You pushed this on me". I think it's nice to see he is struggling and not wanting this, but Mel is REALLY good. Girl you slay queen!

Here he looses his inner battle against playing the politican, the struggle was made so clear and was well portrayed, you could feel it!

Foreshadowing at it's best: "There's been quite the investements" - and Mel said "Indeed, better than expected" - Do you remember Jayce accusing Mel of treating him and Viktor as investements? ohhh what a nice foreshadowing! And here it is made clear that Mel is using Jayce for her own goals. Love myself a good, calculated politican!

Well he does look at Mel adoringly. This scene is also important. Because she makes a move on him, and he says "I couldn't have done it without you"

Wait, that actually makes me mad. He couldn't have done SHIT without Viktor. You asshole, Jayce!

And now comes the most heartwrenching scene I have ever seen in my live. Given the feeling of me that Viktor has feelings for Jayce (we can argue which, can't we?) making the deliberate choice to show us Jayce and Mel doing bed gymnastics (sorry I am german, it's a way of saying here lol) and parrallel Viktor collapsing? This is INTENTIONAL. They wanted us to show what Jayce chose and did not choose. What would have been important and what shouldn't have been important. It is quite the foreshadowing, too, because Jayce will regret his actions - which is a topic on it's own.

The fact, that they put Sky in this scene makes it even more obvious or sus, as you may say, because if you wanted to show us that Jayce did choose poorly it would have been enough to show Viktor alone in his study the whole time, and not with Sky approaching and making moves onto Viktor.

Foreshadowing again with Sky saying "There is always tomorrow, right". rip haha.

Viktor is comepletly uninterested in her, romantically speaking. I think it's not because he doesn't get her advances. I think saying her name "goodnight luisanne(?)" makes it clear they do have some kind of relationship. Her implying "again" makes me think she asked many times and this wording from Viktor is his attempt of being polite and respectful, but drawing boundaries for himself.

Him getting angry, throwing the papers around is a stark contrast to his usual composed nature, I think it's a nice way to show how deperate he is because he KNOWS he doesn't have much time anymore. He gets fainty again and hears voices and sounds, which is again really interesting because there is no shimmer corruption in this situation. So what is that sound? Who is it? IS IT HIMSELF?

Again he coughes blood and I think there are two different kinds of runes in this: the one without the corruption of the void/shimmer and the one with, which is making him go bonkers I guess. Because I have the feeling the old Viktor is actually a mage and using only the runes, not the void. Which doesn't make it any less dangerous but you get what I am saying. I hope.

Him going down and fast cut to Mel and Jayce, who are making out WITH A GALAXY BACKGROUND?????? Wait what AM I SEEING. This is deliberate, intentional again, I don't think the smashing is that good she sees stars lolkek.

Maybe I am interpreting way too much into it, but is that a parrallell to the scene in which Viktor and Jayce are connected in the astral plane (or whatever)? I am weezing.

Also what I do find interesting and I don't have an idea why they choose to frame it like this: The Hexcore absorbed Viktors blood and we can see it travel through it, kinda melting together with the hexcore-DNA while you see a sillouette of Mel (why not Jayce, am I asking?). I am not sure what to make out of that. It could be a metaphor for connection. Like Viktor connected to the hexcore and Mel with Jayce, but it was weird to not see more of Jayce, you know? like why were we so focused on Mel here? Is that a foreshadowing that Mel is a mage, but that won't make any sense to me. And I am asking, because I am here for discussion: Why using this cutting, this parallel scenes? Why do you show us this, anyway? You could have implied them having smash-time, but you intentionally put those two things next to each other. Did you wanted to make us angry because Jayce was hooking up but he should have been with Viktor the whole time! That's absolutly implying you think we think bros before hoes! But that's just a saying, I do think everyone goes for the hoe at some point (respectfully, of course). I am getting a headache, this scene made me mad honestly. I was so hurting for Viktor, he was so alone. And when Mel wakes up, she looks a bit pissed that Jayce is gone, honestly lmao. But not in a way like she is disappointing because she wanted to cuddle, but because I guess she thought she had Jayce by his balls or something (well she did).

The cut to Viktor laying on the hospital bed and Jayce shaking and whipping his leg IS A MASTERPIECE. And honestly, the feeling creeps in...like why do that cut? Why stay on Mel and transition to Viktor in the same camera angle. Do you want to tell us something? You could have done a camera angle from the side, showing us Jayce being panicky if you wanted to show us that, but we get this parallel. This is sus, not gonna lie.

So, @stardust-musings provided me a link with a deleted scene where Jayce was wiping away his crying, if you want to see that, here: https://www.tumblr.com/stardust-musings/767415218102059008?source=share

We discussed that Jayce definetly has a lot of affection for Viktor, which one can be argued with but I do think his reaction in general is really important here, though the crying wouldn't only have IMPLIED Viktor is really important to him but made it clear, because he had an open and really vulnerable reaction here. So with that in mind, his actions coming might him be struggling to find out what Viktor really is to him, because as stated above, this gives off mixed signals. I get you can cry about you "brother/hombie" being in a hospital and dying, given the deep relationship as friends. I think this shot is important to make it clear that the love is there, but what love can be interpreted still and Jayce is figuring it out himself.

And there it is, we have regret showing! Honestly, I do get why you chase to your best friend if he is in a hospital and you get the message. But guilt? Regret? Doubt? Panic? Devastation? Realtalk here because I think this is important: As someone who has had a lot of people in the hospital on the deathbed and so on, I don't think anyone will rush to their bro and leaving their spouse behind (and she didn't even know what was up), without like waking them up and telling them what's up, ya know. You may be panicing, but you are connected to your partner and I think you will share this information and trying to get comfort FIRST (not after you visited). So I would explain to my partner what's up and my partner would come visit with me, too, because I care for my friend but I also care for my spouse, ya know. Him leaving Mel who he slept with the night before because his friend was brought into hospital is really rushed and I think he has a deep connection with Viktor and cares about him a lot, so much so, that he doesn't care who he slept with, because he is more important. But I do think Jayce still is not in love with Viktor. Yet? But it makes no sense to leave Mel there, I mean she knows Viktor too and if you have a connection, you would at least wake her up. Even if it's in the middle of the night. So this is confusing, I have to think about it more. Your thoughts are appreciated. Also sorry for any misspellings, I am tired.

It makes sense he left Mel, because she would have seen him breaking down over his friend and maybe he didn't want to be vulnerable in fron of Mel and Viktor, because he tried to kept his panic together. But again, I find it interesting how they telled us this with these scenes. They wanted to imply, I am sure of it, the first time that Jayce always chooses Viktor. Which is, honestly, a love letter on it's own tbh.

That was Part Two, I will continue tomorrow! I am obsessed with this now lol

[nostalgebraist]

Thanks for this thoughtful review!

(BTW, for others – this is probably obvious but there are spoilers below the readmore, don't click unless you've read the book)

I'm going to use this as an opportunity to talk about one specific thing that bugs me about some reader reactions to my stuff. Therefore, most of what I say below will be negative (about your review), but I want to emphasize first that that's not a reflection of what I thought of it overall.

----

What I'm here now to talk about is this kind of thing:

There are parts of all his books, where I really think that the explanation for why they are the way they are is that they are "bad on purpose", and all the bullshit [note: in context "bullshit" seems to be meant as a neutral term for non-realist elements -nost] is a way of turning these shortcomings into strengths. The self-effacing voice which whispers that the characters aren't sufficiently well-drawn, are too cartoonish—well, what if that was the point? What if there was a reason for that, in the story?

And like... okay, there is sort of a sense in which this is true, sometimes, kinda. There is a grain of truth to this; it is getting at something real.

But it pains me to say that, because I don't want to encourage this kind of reading. Interpretations like this are occasionally correct but IMO they're much more common than they should be. IMO the right intuition is that this is a galaxy-brained, contrarian sort of take, a last resort you land on when you've ruled out everything else.

And not just with my work, with everything – I'm simply more aware of the problem when it comes to my work, because I wrote it and I'm aware of why I actually did things the way I did.

I've said this before, but watching the way that people react to my own fiction has been an eye-opening experience, one that has taught me things about reader (and viewer, etc.) reactions in general. Specifically, what I've learned was:

People's tastes are way more diverse than I had realized (before I started writing and sharing fiction). And they are diverse in a very fine-grained way; even if two readers have the same preferences about 90% of stuff, or 95%, they'll still diverge on some things. While it's not literally true that "every reader is a unique snowflake with a preference set that no one else shares," that is a very good first approximation of how things are.

Readers (including me!) have been trained by a lifetime of reading book/movie/etc. reviews to frame their preferences/reactions in a pseudo-objective "this is just how it is" way, like their own tastes have some special viewpoint-independent priority, a quality of "reality" or "accuracy" lacking in everyone else's tastes (which are all different, cf. 1). And this is not just a stylistic quirk of the way people write about fiction, it actually (IMO) feeds back into the underlying opinions behind the written commentary. It degrades people's ability to understand what it is they're looking at and their ability to make accurate inferences about the process of its creation.

----

Here's a sort of cartoonish schematic of the type of experience that led me to draw these conclusions. (And I suspect this is not just a thing that happens to me, I imagine it happens with any sort of work that "contains a lot of different types of stuff" the way mine does.)

Writer makes something that has X and Y and Z in it. Writer thinks X/Y/Z are "great tastes that taste great together." Writer is very pleased with the result.

Reader 1 has similar tastes to writer, says something brief about how they loved the book and it's a new favorite for them.

Reader 2 loves X, is OK with Y, hates Z. They write a lengthy review saying that the book was a mixed bag and could have been great if the writer had stuck to X and not messed things up by doing so much Z.

Reader 3 is the reverse of their predecessor: they hate X, are OK with Y, love Z. They write a lengthy review saying that the book was a mixed bag and could have been great if the writer had stuck to Z and not messed things up by doing so much X.

Reader 4 loves X and Z – but they hate Y. They write a lengthy… you can fill in the rest. Imagine a whole bunch of these guys (readers 5, 6, etc).

Reader 17 has the same tastes as Reader 2: loves X, is OK with Y, hates Z. But their lengthy review takes a different, in some sense "more charitable" angle, speculating that the inclusion of Z was a load-bearing pillar in the overall structure, a thing that unfortunately had to be included to "unlock" all that sweet sweet X.

Reader 18 has the same tastes as Reader 3: hates X, is OK with Y, loves Z. But, they explain, X was a load-bearing pillar in the overall structure, a thing that unfortunately had to be included to "unlock" all that sweet sweet Z.

Writer reads all these reviews and feels strange, dizzy. The "nicer" reviews like 17 and 18 are actually more uncomfortable to read than the "meaner" ones like 2 and 3.

"I don't know how to convince you guys," Writer thinks, "but I... I just liked all of it? I thought it was good? That was why I wrote it? (Why else would I have written it?)"

----

Or, as I wrote in that previously linked post from 2021, w/r/t TNC specifically (and making a slightly different but closely related point):

Some people say X was the worst part of TNC, some people say X was the best part. The story was a celebration of Y; the story was about how Y is laughably futile. It’s a letdown that we were never told more about Z; the reason TNC is good is that it leaves stuff like Z to the imagination. It was obvious we were meant to believe P; it is obvious we were meant to believe not-P; the ambiguity about whether P is tiresome literary masturbation; at least the story didn’t jump the shark by spelling out whether P! The reason people like TNC is, of course, that it has A, although nostalgebraist insisted on putting B in there too because he hasn’t fully perfected his formula yet / he somehow thinks B is good even though it isn’t / he thinks it’s funny how bad B is (but the joke tires). …and then someone else has same take, but with A and B flipped.

This exact sort of thing is of course happening again before our eyes with reactions to TAoHS.

I've encountered multiple readers who disliked most of the story but felt the ending (sort of) "redeemed it," and I've also encountered multiple readers who liked the story up until the ending but disliked the ending (or at least thought it was worse than the rest) – to say nothing of the many readers who liked (or disliked) the whole thing all the way through.

And this ending-related stuff is just one particularly obvious facet of a broader diversity in the overall reader response.

By now I know not to be surprised by this stuff, and even to find it kind of fun to watch... but I have to admit, it is still a dizzying and uncomfortable experience.

----

Now, as I said, it is sometimes true that things really are "bad on purpose."

But I think the interpreter's default hypothesis – which should be maintained by default unless convincing evidence against it can be brought forth – should be:

The writer thinks that the thing they wrote is good. They think the ideas are good and they think they executed them well. And they think this more-or-less homogeneously for everything in the work – there are no "bad but unfortunately necessary" parts from the writer's POV.

(At least, this should be the default with works that aren't making the writer much/any money. Obviously things are different with lucrative commercial fiction; there are plenty of well-paid hacks who know they're hacks and do it for the money, etc.)

Why should this be the default? Multiple reasons.

First: it takes a lot of effort to produce any sort of creative work. The writer thought that effort was worthwhile, for some reason – why?

The most straightforward explanation (and a very common one IMO) is that the writer simply believed in the thing that they were making. They believed the effort was worthwhile because it would yield a good product.

Second: as a writer you have an immense amount of freedom. It's difficult to overstate the extent of it. You are playing God, you decide the way that literally everything will be.

Obviously there are some constraints, cases where one part of a story will imply the existence of another or whatever.

But it's very rare that you actually get forced into "doing a thing you know you are bad at, badly." After all: why do that? No one's forcing you! Just do something else! You're God, you control everything!

(Note that this applies also to the very act of writing anything. No one is forcing you to write at all. If you can't come up with good ideas, nothing prevents you from just not writing your bad ones.)

Third: at least in my experience, "playing God" in this way requires a certain state of mind, a certain boldness and self-assurance, which is incompatible with thinking "yeah this is gonna suck but I have to do it" – but is very compatible with thinking "I am making something excellent and every part of it is excellent, hell yes."

Fourth: because of the previously noted diversity of reader preferences, it should not be surprising to any given reader that they find some parts of the work much better than others, even if the writer thought it was all excellent.

This outcome is predictable from the X/Y/Z stuff I talked about above. No clever interpretive work is required to explain it; it arrives pre-explained; it's simply what happens by default.

And finally: because, as I noted above, I think all of us are infected with "reviewer brainworms" and we need to be mindful of this fact.

(Just to be clear, I am not accusing OP of being more infected with said brainworms than anyone else; I'm still on my soapbox, giving a generic rant about a general issue, with OP as merely a jumping-off point.)

We've grown accustomed to the casual conflation between our own tastes and some (usually hazily imagined and under-theorized) sort of "objective, ideal artistic standards."

Outside of a few edge-case eccentrics who can be ignored for my present purposes, we do not do this because we've become intellectually convinced that

(a) such objective standards make sense and really "exist" or at least really matter and

(b) they just so happen to match our own preferences.

Rather, we've fallen into this habit because it's what the pros do: there's a standard style that professional critics and reviewers write in these days, and that style implies these stances. And if one writes (and thinks, in one's inner monologue) in this style, one can easily fall over backwards into uncritically believing (a) and (b) for no better reason than "I seem to already be talking as though I believe these things, hence it would be simple and convenient if I really did believe them."

But – even if we bracket the philosophical questions of whether (a) is in fact true, and (if it is) whose tastes in particular ought to be elevated in the way (b) presumes – even if we table all that for another day, still we ought to keep in mind how weird and audacious a move this is, this simultaneous assertion-without-explanation of the (a)+(b) pair.

We've gotten used to it by exposure, because "the pros" have normalized it. But in actual fact it is a pretty wild thing to just go and assume, given the X/Y/Z/etc. diversity of actual opinion!

If (b) is true for you (general "you" not OP), then it can't be true for me, because we're both unique snowflakes to a first approximation; indeed if (b) is true for you then (to a first approx.) it is only true for you. No one else's tastes have this magical relation to reality, just yours.

Holding the belief (b) about a given reviewer is conceivable-but-wild if we're only considering them in isolation. But once we bring a 2nd reviewer (with non-identical tastes) into the picture, who also believes (b), it's literally impossible to maintain that both of these people are fully right.

And then of course in real life there are not 2 but many, many readers out there, all of them unique snowflakes. And, while it is socially normal in our social context for each one of them to write like they're the chosen one blessed with that special (b)-magic, if you read enough such writing and actually think about what you're reading, it can't help but feel like a sort of game, like playing make-believe. As with most games, it can be very entertaining (for all parties involved), but we shouldn't confuse its amusing conceits for properties of the real world.

In the real world, the writer has their tastes, and you have yours. These tastes are probably not identical. The writer may be aware of the diversity of readerly tastes, and may thus be aware that tastes like yours are out there, but they have no special reason to consider you in particular, elevating you above all the other readers who are non-identical with them (and with you). The writer is dimly and abstractly aware of you, at best, as just another one of the people who will come along later, dislike some of their choices, assume that these choices were wrong in some "objective" way the writer knew about at the time, and then speculate as to why the writer would do something they know is wrong. For every choice, and every way of making every choice, one can imagine a reviewer who responds to it in this way, and quite often these reviewers actually materialize once the work is available for consumption. If you try to reason about these guys in advance, as a writer, it'll stop you in your tracks (if nothing else because there are 2+ of them whose takes are mutually incompatible). You've gotta have some other standard of value to rely on.

So, as a reviewer, if you ask "why would someone ever make a choice I don't like?" and try to pick at this question, you are quite likely heading toward a dead end. The writer wasn't thinking about you (or people like you). They were applying their own, distinct standard of value.

Better to ask: "suppose there was a person who actually liked all of this. What would they be like? How would they be similar to me / different from me? And what, if anything, can I conclude from that?"

The Apocalypse of Herschel Schoen

My fourth novel, The Apocalypse of Herschel Schoen, is now available in full.

Merry Christmas to all, and to all a good night!

[ghouljams]

Ok, just wanna say that I love your Hephaetus!Nikto.

Just a few things I’d like to say about Aphrodite. Love the way you have them written, I am in no way trying to make you change your interpretation of them.

She is one of the oldest gods along side Poseidon. Their lore dates back way before Ancient Greece and yet Aphrodite still predates him. Aphrodite is not just a soft thing. She started the Trojan war dammit. And she’s been associated with War as well, and not just in the sense that she has a relationship with Ares but of herself (then again haven’t done much research on this part so I could be wrong).

And Aphrodite is of the sea. The sea is no tame thing. It is wild. She is the Goddess of love and beauty and I’m getting a little pissed at Nikto for thinking she wouldn’t find him beautiful when it is her literal job to see the beauty in everything. Like come on dudeeee!!!!

I think the way you wrote him also pairs kinda well with the way you have the other Olympians view Aphrodite!Reader. I’d wonder if Aphrodite!Reader will ever snap on them and show them what it means to be the goddess of love and beauty.

Also fun fact, the ancient Greeks had multiple names for love that all had different meanings. I personally don’t know them all, but from what I recall, Eros is what they call romantic love.

Sorry for blabbing on, you don’t have to respond to this at all, just wanted to vent a little.

Oh no you're fine venting, I think a lot of people often think of Aphrodite in a specific way (pretty goddess of love who just cheats on her husband and is vindictive all the time) and here's what I will say regarding the way I'm writing Aphrodite!Reader:

Neither the reader nor Nikto is a reliable narrator.

Aphrodite sees herself as this wonderful loving force but she still walks the battlefield, taking trophies as often as she takes lives. She views herself as innocent in all of this drama and rumors, but she's done nothing to stop them(It's nice having Ares talk about how beautiful and good in bed she is, y'know?) She loves Nikto but she also treats him a bit like a curiosity, waiting for him to come to her because, well, everyone does eventually.

And Nikto is stuck in his vision of being cast aside by the gods. He's trapped in their mockery of him, why wouldn't he assume his unwilling wife, who begged to be kept a virgin goddess right before their wedding, doesn't like him? Aphrodite forces their way into his life, into his space, disrespecting any boundaries he tries to put up, of course he's wary of them. But at the same time Nikto only sees the parts of Aphrodite that they want him to see, the soft, the gentle, the loving with sweet voices and stroking fingers, so of course he thinks they're a bad fit. He's every bit her opposite.

The Trojan war has yet to happen in the timeline of the hephaestus!Nikto anthology, but I keep thinking about it because it will feel very out of character for Aphrodite to start a war over something as petty as vanity, but that's only because we've been seeing her through her own eyes.

Also I will say I think a lot of my softening of Aphrodite comes from my disbelief at the way goddesses act within Greek mythology. You're telling me every single goddess is vain and jealous, that they can't keep their man from cheating on them, that the Goddess of love can't find anything to love in her husband, that Artemis would turn her back on her desire to remain a virgin because one guy looked at her the right way? Like the way that the goddesses are depicted just reeks of misogyny and that particular brand of ancient Greek hatred for women. IDK So excuse me for making Aphrodite a little out of character from the myths in my attempt to give her the benefit of the doubt where no man ever did.

[haru-dipthong]

Fansub Release + Notes on the translation process for Utena ep 17

We're back! Apologies for the hiatus, Christmas and Oshōgatsu had me too busy with family stuff to stick to my usual rate of translation.

This time, instead of general translation notes, I'd like to show my working! Where do I start with a tough line, and how to I end up on the translations I settle on?

いつも私を守ってくれた

For example, this is an interesting line, and the final translation is a bit out there if you look at it without seeing the thought process. The key word here is 守る, which is often translated as “protect”, so the lowest-hanging fruit for this line would be:

She always protected me.

But it sounds weird and conspicuously like “anime-english” which I always try desperately to avoid. So I tried this instead:

She always took care of me.

This translation gets the literal meaning across better, but it has a fatal flaw. The word 守る has strong connotations with masculinity in general and throughout the series, yet “taking care of” someone makes it sound too feminine. In this line, it’s important that Juri’s masculinity is emphasised and contrasted against Shiori’s femininity. So then I thought, maybe this:

She was always protective of me.

But this is no good either. The くれた in 守ってくれた makes it clear that Shiori views the care/protection that Juri provided as a positive thing, yet this translation comes across as slightly bitter. In English I think “being protective of someone” has the nuance of restricting one's freedom, like an overbearing parent.

I felt like there were no good options for this line! Then it struck me like lightning:

She was my rock. (no orange because I didn't use an equivalent word at all)

“Being someone’s rock” is such a masculine thing! It also carries these patriarchal notions of stability (masc) vs instability (fem), which I think the series tries quite hard to weave into the story as criticisms of patriarchal gender. Juri at least in part represents women who seek success not through liberation for all women, but by becoming a patriarchal dominator herself.

Not to mention, 守る is often depicted in RGU as being something that a man does to their female lover. The “my rock” translation also carries romantic connotations, which is obviously important for how the Shiori/Juri relationship is portrayed through the dialogue.

This translation departs from the literal meaning quite heavily, but it preserves the subtextual meaning much better, which I think is more important in this case.

あの動き、まるで先輩の剣だ。

The way she moves... it's exactly like Juri. (my initial translation, which I didn’t use in the end)

The word 剣 means (literally) sword, but it can also be used metaphorically to refer to someone’s sword technique. Take this panel from Ranking of Kings:

それは王の剣じゃない！

That’s no way for a king to fight!

That’s not the “sword” of a king!

So the question is — how do you translate this when the swords are both literal AND metaphorical? When Utena says 剣 in this line, they’re talking about the technique (剣 as a metaphor). But the writers want us to make the connection that it is also literally Juri’s sword, pulled out of her heart, which in turn is a metaphor for her anger, insecurities, and angst. It's a metaphor for swordsmanship, which is meant to be interpreted as literal through dramatic irony, which literal meaning is meant to be reinterpreted as a deeper metaphor. I love Utena.

If the swordfights can be interpreted as philosophical debates, the swords can be considered the worldview that each character wields. Since the Black Rose duellists don’t use their own swords, they could be said to be tapping into, stealing, and exploiting the worldviews/swords of their respective victims, represented by their literal ripping the sword out of the victim’s 心 (heart/mind).

With no word in English that can capture the metaphorical triple meaning of 剣, I had to settle for something else:

Those moves… it’s like she stole them from Juri. (no red because I didn't use an equivalent word at all)

I think this phrasing gets across a similar feel that 剣 does. The base reading, and the one that the uninformed and naive Utena intends, is that Shiori is just imitating, “stealing”, Juri’s moves. The next level up is that she literally did steal something from Juri — the sword from her heart. Then the final level is that what she stole was not just a physical sword; she literally stole the metaphorical moves by stealing the sword, because the moves are the sword, the sword is the angst, the angst is the worldview!

Thank you to @dontbe-lasanya for your amazing edits as always!

Follow the blog if you'd like to keep up to date with new episode releases. For all episodes released so far, go here:

Rose divider taken from this post

[glassladyoftheopera]

In Stars and Time as a Musical Follow Up: Costumes

Okay, a topic I may have enough thoughts on to make a full post about; costumes! (and a little bit stage craft in some places.)

This is mostly about what people would do if they wanted to actually put on a live version of this, versus treating it like a concept album. I am however going to mostly ignore cost restraints outside of like, truly ridiculous stuff.

So first, some general notes.

The color palette: we will still have all of the costumes and sets be in grayscale, with the red used in the 'say it's name' and Act 5 sequences probably mostly being done through lighting. We will not have the actors use skin paint though. I'm not that mean. The audience can buy the idea that the world is meant to be black and white just fine without it.

Materials: I would avoid overly synthetic looking fabrics to maintain the 'vaguely fantasy medieval' vibe, but I wouldn't worry about using actual natural fabric. Comfort and cleaning are higher priorities.

Ensemble: Not much to say about them! Just that the production would have to be careful to make sure everyone is in truly neutral grayscale and not let too warm / cool of grays slip in.

Okay, let's talk characters.

Siffrin is tricky basically every option for interpreting the cloak has it's own pros and cons. Having sleeves means better movement options for the actor, but they only show up in a handful of images in the game. Full poncho means we get Full Triangle Vibe, but it would hamper movement a lot. Cloak with a pinned closed front means we see more of the rest of the costume more often, which I wouldn't mind, but it does break up the classic triangle silhouette. It's honestly still my pick though. Then there's the eye patch. I know some shows just give characters eye patches, and as long as you're careful staging the dances it will probably be fine? But I assume semi-mesh eye patches for performers are a thing, so I'd try to find one of those. Lastly, hat. It probably couldn't be as absurdly big as in game without casting major shadows we don't want on Siffrin's face, so they'll need a slightly narrower brim and we'd keep the hat pinned in a more back position.

Mirabelle's outfit probably wouldn't need to change much, but her little fingerless gloves would need some reinforcement at the top to keep them from falling down her arms. There's also the matter of her needing to have her sword with her most of the show; it might need to be a little smaller than a true rapier, but Shakespeare shows have duels and such so we can make something work.

Odile wouldn't be particularly difficult to costume as long as you don't make her sweater / jacket too heavy and put some straps on her shoes. Fake glasses aren't hard too bad, but some rigging in the back to keep them on will be helpful.

Isabeau I'm sorry but your sleeves have to be a little less gigantic, it will get in the way of the audience being able to read your gestures / get caught on stuff. They can still be long and loose though. Also, in real life the stripes on his pants being that wide could be an issue in terms of reading where he is on stage with the set / looking kind of goofy, so I might make them just a bit thinner.

Bonnie... I do not know how to make your weird pillow hat work in real life. For most game accurate version you'd have to make it completely from scratch. Something like a beret in terms of construction but... big. And probably held up internally with stuffing and wire. The alternative would probably be a big sunhat, and if you want to include Bonnie getting a new hat just slightly redo that scene to find something else that's similar.

Heck yeah its time for Loop! Now, we're definitely not doing a full star head, that wouldn't let the actor do any of that good emoting. But! I think a lower face mask could still work. You might have to hide the actor's mic under there to make sure they could be heard, but it's definitely possible. They would definitely need a custom wig for spikiness, plus a star-like head piece to top it off. Now the rest of it... I mean, you could go full body suit. I'd probably do that as the first choice, though maybe adding a wispy loin cloth or tie around the middle for modesty depending on your performer / venue. But! Different productions could get really creative with it, as long as the base still has them black and covered with stars and there's the star in their chest. Add in some specific design quirks that are only elsewhere found in Sif and The King's costumes, but just tiny little detail type things? Chef's kiss.

Speaking of the King! He unfortunately does need to be Very Big, but thankfully Broadway shows can pull that off! Something similar to the Wizard head in Wicked could work here, where only some parts of the set piece move (mechanically or via puppetry) and the actor is a voice over. The hair could be a mix of practice and projections. The tears that show up in the fight would probably also need to be projected. The hard thing would be getting it to disappear quickly enough. Maybe the last bit before the loop resets is always in front of the curtain? Could be cool. A less well funded production would probably have to either use mostly projections or re-work to use less moving parts.

Last up Euphrasie! Since she has a long dress getting her some extra height wouldn't be too hard, and she doesn't have to dance or anything so that helps. But! She does need to do the Act 4 finale dramatic kneel down, which is harder to work around. If we cast a tall actor and just use lifts in her shoes, it could work. She wouldn't be as super tall as she would be if we used hidden stilts, but I like the image of her cupping Sif's face, it goes all the way back to the comics, I gotta keep it.

What about y'all? How would you dress everyone? Any little details you'd want to see? And tricks to deal with the problems I thought of? Have fun!

[vomittedsoap]

reblogging my own post bc lowkey...we need to put a brief pause on the Body of Christ or Doubting Thomas metaphor and move on to greener pastures. I mean yeah literally they're eating eachother, but we can also find some Biblical analogies with

the Leviathan (Tunbaaq..also easy bc it's Crozier is extremely fixated on a fictitious book of the Bible named "Leviathan")

Peter walking on water (the shipmates walking on ice=water, in the book there's more problems with them falling through the ice. That's how the majority of the marines end up dying)

Noah's Ark when he constructs a ship to find land (ahem ahem...northwest passage?) Generally there's a lot of boat-centric verses.

Jonah, even though I've already seen a few of y'all get into that. Good job, team.

Sodom and Gomorrah (easy...Hickey and Gibson/Manson, but the more interesting part is Lot's wife being transformed into a pillar of salt as she looks back at the city of Sodom after it was struck down by God...plug and play,baby.)

The Israelites travelling across the desert after escaping Egypt (idrk but it's such a long story there's probably something in there, especially the golden calf or the Israelites' general uncertainty about having to rely solely on God for every single thing)

Anything that has to do with fire, i.e. burning bush, tongues of fire at the Pentecost, the cleansing fire etc.

Before Jesus feeds the five thousand people with fish and bread, he hops on a boat to go to a solitary/deserted/uninhabitable place. He was known to do this several times, including going up the mountain before being crucified and venturing out into the desert where he was tempted--these being intimate moments with God where he contemplates his next move (think about Irving's schpiel to Hickey about being alone on the boat being a great time to fix yourself)

Jesus going into the desert for 40 days and being tempted in several ways: turning stones into bread (think of the crewmates eating inedible stuff like shoes), to prove himself by jumping off the temple so the angels will catch him (think of John Franklin assuming that God will save them with no work on their part, or any time someone was in air, Blanky hanging from the mast maybe), and to worship the devil and become king of the world--which can be interpreted as the devil telling Jesus to obtain the world through political means instead of God's plan (think about the promise of land in the Northwest Passage, or colonialism in general, as well as all the political factors that came into creating the Franklin Expedition)

Daniel refuses to eat the King's meat and opulent foods/wine that were blessed by other gods, and instead he and half of his followers eat just vegetables and water, and the other half eat the king's food. The ones that eat the meager vegetables and water are strong, but the ones eating the meat become weaker and sickly in comparison. (think about eating lead-tainted human meat, or lead-tainted goldner's cans instead of the fresh food)

Just paraphrasing using my 3rd grade understanding as well as several ActionBible reads. Anyways... I'm just saying we can get pretty creative here, and these are some examples that I'd love to see used.

The Ladder has to be one of the best episodes of The Terror(not that the otheres are worse but ykwim). The speech Crozier gives that features the story of Jacob's Ladder as well as the rest of the writing from Sir John that basically reiterates what he said to Collins before he descended in his diving suit (something like "God lies in all realms") has such a chokehold on me...The whole episode is so eloquent, like even Irving's speech to Hickey about bettering himself while he has the chance and the world being born anew from an ark is beautifully said.

Interestingly, the story of Jacob's Ladder happens when Jacob lays his head on stone to sleep in an ancient city called Bethel, which means "House of God" and kind of made its debut in this verse. There's a fable/morality tale that takes place in Bethel when Elisha(the current prophet at the time) is taunted by a mob of teenagers, whom he curses, and God sends she-bears to kill 42 of them.

"And he went up from thence unto Bethel: and as he was going up by the way, there came forth little children out of the city, and mocked him, and said unto him, Go up, thou bald head; go up, thou bald head. And he turned back, and looked on them, and cursed them in the name of the Lord. And there came forth two she bears out of the wood, and tare forty and two children of them." 2 Kings 2:23-24 (King James Version)

Basically the story is teaching that you shouldn't jeer at prophets no matter how much you dislike what they're saying. Possibly there's parallels here with Tuunbaq.?? The She-bear?

I mean I'm not the most well-versed with Bible stories like this one so if any of you know more feel free to share. It's just interesting to me.

[themindcastlesystem]

Another crackpot "Project: Eden's Garden" theory

(Sunny, they/she) hi again it's your girl I'm going insane again so I'm back with another theory

NOTE: Unlike my chapter 2 theory, which is more cohesive and at least has some Biblical parallels and narrative themes to back it up, this theory is COMPLETE speculation based off of only a few observations - so keep that in mind while reading.

THE THEORY

So uh. Cassidy sus. *points at her* amogus! amogus!

For real, though. Does anyone else get the feeling that she's a bit... out of touch, emotionally? Or that she's the most fourth-wall-breaky of the group, like she keeps feeding her jokes and references to some sort of viewer (whether the player or the literal broadcast viewers in-universe)?

This could most definitely be just a comic relief thing. Or maybe a "streamer" thing, since that's what she's known for - and streamers are notorious for not being totally authentic, especially when they're in front of an audience. It's not like half of their audience really cares about how they feel, or if they're having a bad day - they want entertainment. I could see a character arc where Cassidy becomes a bit more expressive and authentic with her emotions across the rest of the game, learning to let her actual feelings show instead of masking her fear/sadness with smiles and jokes. I would love an arc like this in a DR fangame.

But, personally, I have other suspicions. There's a few pieces of "evidence" that make me suspect her of being the mastermind (quote marks because it's not conclusive and could be interpreted in other ways). I know there might not be a traditional "mastermind" in P:EG, especially since the creators said not to expect canon DR tropes, but just take "mastermind" to mean someone in the main cast that's working with Tozu/Mara/any other killing game organizers, whether willingly or under duress.

THE "EVIDENCE"

She's a streamer. As I said, this could explain why she seems so inauthentic and that's that - but that is ignoring the tangible benefit that her platform would have for the masterminds if they decided to use it. She easily has the biggest live following of the group - while there are other individuals with mass followings, like Wenona (who runs a huge business) and Kai (who has a ton of social media followers), Cassidy's thing is livestreaming. This killing game is being livestreamed. And if the killing game organizers are broadcasting it, it would make total sense for them to take advantage of the Ultimate Pro Gamer's live audience - and this would be easier to do if she was in on it, rather than if they had to hack her account to get a stream going or something.

Her actions during chapter 1. The two most important things she does are: a) kick down everyone's doors so they're forced to leave their dorms, and b) organize the game tournament during which a murder happens. The reason she says she did this was to get people to be more active and do something fun with each other, to boost their spirits. But it is possible that she wanted to force people to be out and about so that there would be more chances for people to kill each other - and/or to keep things more entertaining for the viewers (similar to how she feeds jokes/references to the camera). There is also potentially an argument that she might want to get people to trust each other in a less overt way than someone like Wolfgang or Diana - by getting them to let their guards down. With people's guards down, it becomes easier for a wolf in sheep's clothing to strike. (Hahaha get it because-- *gets shot*) You could even say that everyone's caught in her spider's web and they don't even realize it. (Hahaha get it because-- *double gunshot*)

This fucking picture. (Everything before this was already speculation, but this is EVEN MORE SPECULATIVE!) I have no idea what it means, and I know it was Diana that Wolfgang hallucinated as being his mother when he was in the boiler room, but Cassidy looks even more like her. Like, other than her eye color, she has the facial proportions of Wolfgang's dad and the eyes/hair of his mom. (Haha your mom.) Maybe they're siblings/half-siblings, I don't know. But it does strike me that Wolfgang's last words were "I won't stop until the world knows me as--!" before he died. Which... could mean he knows who the mastermind is, or has some involvement with the killing game, or maybe his parents did and he knows about it ("like father, like son..."). I have no clue, this is just me guessing based off of a facial similarity and two lines of dialogue lmfao.

WHAT THE FUCK ARE YOU TALKING ABOUT?

I don't know. Try again later.

Uh, but if I had to come up with some sort of potential motive for her to be involved - assuming she's a willing participant and has some sort of ideological or personal motive - then... here goes.

The first thing that comes to mind is something Damon says multiple times in the prologue: "Ultimates are charged with the betterment of society." And, well, he thinks everyone's doing a shit job - except for maybe Wenona, because she's a billionaire and runs a big business that feeds people. Basically everyone else, he thinks is totally useless.

Well... I can see a way that Cassidy might feel similarly, but in sort of a reverse way. She's a streamer and a pro gamer with a huge audience - and so far, she actually seems like the least harmful popular figure in the group. Compare her to Kai Monteago - who's a total dunce and who seems to really only care about his own fame when it comes to his talent. Or Wenona - who's a billionaire, a wealth hoarder whose profile literally says she owns over 90% of the agriculture industry and she dislikes unions.

We don't really know anything about Cassidy's platform (that I can immediately remember) other than "she's a gamer" and "they're called Cassidy's Comrades" - but even in just that, there's already communist theming with the "comrade" joke. Though that could just be a "haha Soviet Russia" joke and nothing deeper, I will also point out that one thing streamers are known for doing is charity streams - oftentimes long ones that become widely talked about because someone decided to stay on stream for 24 hours straight to raise money for a charitable cause. Also, because of the live nature of streamers' relationships with their fandoms, it's much more common than other industries for streamers to be publicly put on blast for things like microaggressions or giving money to bad people - something that could easily influence someone like Cassidy. What is a killing game broadcast, but a livestream where all these Ultimates are put on blast - with their first murder motive being cryptic blackmail about some of the worst things they've done?

In my "Cassidy = mastermind" hypothetical, where Damon's hatred of the Ultimate title and the people who have it comes largely from his ego and distrust of others in general, Cassidy could hate the Ultimate title and the people who have it because she thinks they're not doing enough to help others. Ultimates have been charged with the betterment of society, and they're failing. In this hypothetical, Cassidy also puts herself above others and distrusts others - but expresses it very differently from Damon. Surprisingly, much more pessimistically, given the whole murder game and all.

Well - that's if I'm right. I'm probably not. But it's a fun thought, right?

[syluss-karaoke-teacher]

Love and Deepspace - Nightly Rendezvous - Part III, Rafayel

Third part is up!! Rafayel and Sylus are my main boos, and I absolutely adored Intertidal Zone and the sensuality of it. This (and Sylus' upcoming one) were written wholly after the cards had dropped, so it's more faithful to the card's plot, but still with my own interpretation and imagination sprinkled in hehe.

Word count: 2248 words

MDNI! Tags and main text under the cut. You have been warned.

NOTE: This fic is only posted on tumblr and on AO3 under the pseud Yuli_Hunter. All other uploads on any other websites are non-authorized. I do not own any part of Love and Deepspace as an IP, but I do own this piece of fanfiction, and you are not allowed to repost it, copy it or otherwise claim it as your own.

That's it, enjoy! ❤️

Tags: reader!MC, fem!reader, PWP, fingering and oral (f!receiving), PIV, what do you mean I'm starting to repeat myself with these tags?

Not beta-read we die like Grandma

~*~*~

The bathroom is quiet, and the water in the tub is warm. After the blazing desert sun you thought you would never want to feel warm again, but the sudden snowfall, along with having to leave Rafayel to his own devices, reversed those thoughts. You sigh and lean your head back against the edge of the bathtub. You are not quite sure how long you have been here. After you woke up in the hotel parking lot the rest of the evening has been a blur. Your thoughts have been occupied by Rafayel so completely that at times you could have sworn you heard his voice in the empty room. The look he gave you before you left… You are sure you could spend an eternity gazing into the beautiful nebulae of his eyes and still not unveil all the mysteries hidden there. Today you would have wanted nothing more than to envelope him in your love so completely that you could have erased whatever sorrow held him captive. Alas…

You shift in place and the water splashes higher on your chest. The goosebumps it causes makes you realize how lukewarm the water has turned. You see that the falling snow has piled up on the windowsill, and decide it’s finally time to leave. But to do what?

You dry yourself with a towel and wrap it around yourself as you step into the bedroom. As you circle the room aimlessly you spot your black cocktail dress from the first night of your trip. It’s laying on the backrest of an armchair, carelessly tossed there after, well… You had tried to make Rafayel feel better on your first night here. You blush a little as you inspect the garment. It’s the only fancier dress you have with you for the trip, and you could have worn it to the art salon as well if not for Rafayel’s insistence to go alone. Seeing that he is yet to come back, your options are either to wrap yourself into a bathrobe, order room service and watch a movie all by your lonesome or use the opportunity to dress nicely for your own sake and eat dinner at the wonderful hotel restaurant. You turn the dress around for a moment longer before making up your mind.

Your push-up bra hangs discarded on the armchair along with the dress, and you slowly ease it and the dress over your still damp skin. Afterwards you go looking for a pair of fresh panties from your suitcase, only to realize that your suitcase isn’t in the walk-in closet where you left it. You frown at the row of men’s shirts hung up in there and idly wonder how Rafayel has packed so much again that he feels the need to spread his outfits into your room too. It wouldn’t surprise you to find his paintbrushes in your makeup box next.

The suitcase isn’t in the bedroom either and at this point your tired brain starts to catch up. You go into the bathroom and stare at the vanity table. Cologne, a silver razor with shaving cream, hair mousse…

“Oh.” No wonder you only found this one dress and bra in the room.

Suddenly there are noises coming from the front door, and you walk towards them without a second thought. As you are almost out of the bedroom you come face to face with Rafayel.

His eyes are upon your face instantly. Before you have a chance to react, he grabs you by your wrist and waist and swirls you around to lean against the wall. He buries his face into your neck, sighing deeply and laying kisses onto your heated skin.

“Rafayel… what are you doing here?” you managed to ask as your mind threatens to go hazy again. You don’t seem to be faring that much better than Rafayel was earlier.

Rafayel pulls back for a moment. He doesn’t say anything, yet the heat in his gaze is enough to make your stomach flip. He pushes his thigh between your legs, and instinctively you grind against it. The action reminds you of your missing underwear and causes a shiver to run along your spine. Your eyes flutter shut, and a small sigh escapes your lips.

That seems to flick a switch in Rafayel, who surges forward with a groan and captures your lips in a searing kiss. It’s demanding yet gentle; it forces every thought, every last shred of your attention onto him. Rafayel circles his arm more tightly around your waist, pulling you fully against his thigh. With his other hand he cradles the back of your head as he licks your lips to ask for entrance.

You were never good at poetry, but for Rafayel you will have to learn some day: there are no ordinary words to describe what he does to you. Only a few moments of kissing and you are left feeling like a teenager again, thighs trembling with need and lungs begging for oxygen as your lover pulls back to admire his work.

“Wh…what are you doing here Rafayel?” you try again, and when Rafayel still won’t answer, you playfully bite his lower lip as he leans in for another kiss. Rafayel groans at the feeling and pushes his hips flush against you. He is rock hard, and it makes you feel a little bit better about your sorry state.

“This is my room. You came in here, not the other way around,” he finally murmurs. He runs a slender finger over his bruised lip before laying his hand on your chest. Slowly he lets his fingers slide down the black fabric of your dress as his eyes are fixed upon yours. Your breath hitches as he reaches the hem of the short skirt and grabs it, then pushes it upwards until your naked pussy is exposed.

“What I meant was… Shouldn’t you be at the even—tahhhh—” your question ends in a moan as Rafayel’s fingertips brush against your slick entrance. He rubs against you with such faint touches that it drives you mad.

“Did you plan on leaving the room like this?” he asks with a hint of jealousy in his voice, and pointedly ignores your own question. You feel yourself clenching over nothing and end up grinding down on Rafayel’s hand. He lets out a playful tsk and releases your cunt before reaching for the zipper of your dress. Once unzipped it takes only a few tugs to undress you and leave you clad in just the push-up bra.

With a pleased hum Rafayel leans down to kiss your breasts as he returns his hand to your core. He cups your sex and slides his index and middle finger inside you. He starts to slowly pump into you as he nuzzles your cleavage that’s rising and falling in tandem with his thrusts.

After leaving a mark of blossoming red onto your left breast Rafayel lifts his head with a lazy smirk. He brings his other hand to your face and presses his thumb in, sliding it back and forth a bit for you to get the gist. Your eyes widen and you whine pitifully before starting to bob the digit in your mouth, wetting it at the same speed he is doing to your cunt.

Rafayel’s eyes are almost black now with how wide his pupils have blown up. His mouth hangs ajar as he uses both of his hands to fill you. The fingers inside you curl against your g-spot and you moan around his thumb. You bring your own hand to circle your clit as you brace yourself for your impending orgasm. Rafayel grasps your chin, forces you to look only at him. You feel yourself racing closer—

Ding-ding!

The intercom on the wall near you suddenly bursts into life. You squeeze your eyes shut, and hear Rafayel cursing softly.

You have a call waiting!

It’s a small wonder Rafayel doesn’t use his Evol to blow up the offending device. The call signal rings again, and you slip Rafayel’s thumb out of your mouth.

“You should answer. It could be important.”

Rafayel turns back to you, and you look at him with the most innocent expression you can muster. You lick your lips and clench around his fingers. Your slick has dripped down to his wrist by now, and you are still infuriatingly close to your orgasm. The blazing annoyance in Rafayel’s eyes is nothing but a turn-on at this point.

Rafayel grits his teeth and pushes the ‘accept call’ button harshly. The intercom crackles to life, and an unknown male voice starts to talk. Rafayel’s hand slips out of you, and it makes you panic for a full two seconds.

“I am busy,” Rafayel barks at the intercom before grabbing your hips with his hands and hoisting you up into his arms. He crosses the short distance to the bed and sits you down onto it, crawling between your legs as the man on the call still asks him questions. You manage to hear the words ‘salon’ and ‘early’, before Rafayel rolls his eyes and dives his head down. You can only hope his friend doesn’t hear the sound you make as Rafayel goes down on you.

Strong hands hold your hips down as Rafayel brings you back to the precipice. His tongue is hot and heavy against your folds and he moans around you like a man starving. You grab his purple hair a bit too forcefully, but that only makes him more determined to please you. It isn’t long before you are bucking your hips futilely in his grasp.

“Raf, I’m so close, I’m—” you try to warn him, but Rafayel merely hums and pushes his tongue into you. Then you are tumbling over the edge, cumming straight into his awaiting mouth.

You chant Rafayel’s name like a prayer as he eases you through the aftershocks. His hands massage your hips, and he kisses the shivering skin of your inner thighs.

As you come to your senses you look at his beautiful visage between your thighs. He stands up slowly from the bed while pressing light kisses up your leg. With a final kiss on your toes he lays your heel on his shoulder and brings his hands to his belt buckle. You lick your lips as he slowly undoes his belt: something about the sure movements of his hands mesmerizes you. Rafayel toes off his shoes and pushes his pants and underwear down. As he does his cock spring free, slapping against his abdomen. The tip of it is flushed angry red and slick with precum. Rafayel hisses and brings his hand down to stroke himself. Despite having just come you feel your arousal simmering to life again as you watch Rafayel pleasure himself. You arch your back to unhook your bra, which has grown uncomfortable, and then move your free leg behind Rafayel’s backside to gently coax him forward.

“Please Raf, my love,” you whisper hoarsely, and hear his breath hitch in response, “I need you.”

You see Rafayel’s chest glow red above his heart. He crawls onto the bed, kneels between your still spread legs and lifts your hips up and over to his lap. He nestles his aching cock between your folds, rubbing up and down as he leans over you.

“That’s my line,” he murmurs and captures your lips into a soft kiss. It’s almost enough to distract you from the sharp intrusion as he suddenly pushes in and buries himself almost to the hilt into your pulsating heat. You moan into the kiss and claw his back as he rocks back and forth. The air between you is hot and heavy. You feel like choking on nothing, and Rafayel steals what little oxygen there is with his kisses. You can do nothing but hold onto him as he sets the pace.

You are a sweaty mess: your hair sticking to your forehead, and you are sure that your face is as red as Rafayel’s dress shirt. Yet, when he pulls back enough to lay his forehead against yours and gaze into your eyes, pure beauty is reflected in them. You can’t turn away, not even with the risk of drowning.

Rafayel turns louder the closer he is. His gasps, groans and whimpers tumble out of his mouth as he quickens his thrusts. He changes his angle ever so slightly until your voice matches his, and when he feels you tightening around his cock, he releases your hip to help you along with his fingers.

“Sing for me, cutie,” he pleads. And when have you been able to deny him anything? You come apart around him, your whines high-pitched and your back arched off the mattress. Splendid colors flash behind your closed eyelids as your orgasm coaxes Rafayel over the edge with you. As he stills inside you so do his moans, and in that silence you swear you can feel him coming straight into your womb with how deep he holds you in place.

You lay like that for a while, Rafayel still inside you, running his hand through your hair as he searches your eyes for an answer to a question you didn’t know needed an answer. He kisses the palm of your hand and the tips of your fingers, and you smile up at him.

“As long as you need. As much as you want.”

So he does.