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nadvs · 8 months ago

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cam girl (part eleven)

pairing rafe cameron x female reader

rating explicit 18+

content warning alcohol use

summary you work two jobs. by day, you’re a maid for the cameron household, where rafe degrades you any chance he can get. by night, you’re a cam girl, hiding your face so nobody can recognize you. when you discover your new subscriber, the filthy-mouthed man obsessively paying you to do everything he can think of, is rafe, you’re not sure what to do next.

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Rafe has never had a hangover this bad. The sharp ache hammering against his temples is relentless.

He feels absolutely fucking finished. Last night, he passed out on whoever hosted the party’s floor, so not only is his head a mess, but his back is sore as fuck.

And the black eye doesn’t feel so good, either.

Even after last night’s aggravating argument with you and the embarrassing drunk texts he sent and this residual hangover from hell, when Rafe gets home in the late morning and finds you curled up in his bed, he feels better.

His head always does this when he’s around you. It’s like the whole world is nothing but fucking noise but with you, the loud turns quiet.

He still doesn’t know how you do that.

Rafe peels his clothes off, takes a hot shower, brushes his teeth and puts on new boxers… and he comes back to see you still passed out on his bed.

You must be exhausted. He feels the usual warm and incomprehensible buzz in his chest when he looks at you, even though he’s mad at you.

Rafe settles in his bed half-naked, slow not to wake you.

He’s half-asleep, fighting the ridiculous urge to turn around and hold you, when he feels you finally shift behind him. He turns to look at you and hates how his first thought is that you look pretty. He’s supposed to be pissed off at you.

He has no idea what the fuck happened last night. Why you made him feel like you’re sick of him all of a sudden.

“Crap,” you whisper as you sit up, realizing where you are and dropping eye contact with him immediately.

“Thought you needed a break from me,” Rafe mutters. “Why are you in my bed?”

He didn’t intend for his words to come out so sharp.

“I didn’t… mean to fall asleep.” You don’t even look at him. “You don’t have to be a dick about it.”

You’re about to get out of his bed and Rafe is powerless to his impulses like he always is around you. His hand circles your wrist, pulling you back.

You drop to sit on the edge of the bed and he can tell you’re annoyed by the way you look up at the ceiling and sigh. He remains on his back, the pain radiating through him keeping him from sitting up.

“I have work to do,” you say, still refusing to meet his eyes.

“Did we go too long last night?” Rafe asks, needing to know why you’re so cold, why you’re done with him all of a sudden. “Is that why you’re being like this? That shit was your fucking idea.”

That stupid toy you got was what kept him from cumming for so damn long. He was fucking you for ages. Maybe it was much for you. He can’t think of what else could have compelled you to say you want a break.

“I’m obviously tired, Rafe,” you breathe. “In every possible way. Just let me…”

Your words fade into nothing once you look at him. He sees the same concerned expression you wore when you towelled the raindrops off of his face last night.

“What happened?” you ask, your voice soft.

He knows how rough he looks; he saw himself in the mirror this morning. His right eye is covered with an ugly purple splotch that spreads down to his cheekbone. Evidence of the fight he got into last night. He doesn’t want to think about it.

So, he resorts to what he does best and tries to suffocate the feeling with sex.

“You wanna make me feel better?” he asks suggestively, cocking his head. He hopes he has the effect on you that he usually does.

You’re motionless, your eyes still hard on his face. Okay. Now he’s fucking desperate.

“Please?”

Did he really just say that?

The corner of your lips curl up into a small smile. He’s embarrassed, but thank fuck you don’t look angry anymore.

“Are you… begging me?” you ask. Your voice is back to that playful tone he’s used to.

His hand is still curled around your wrist, tense that you’ll try to leave again.

“Come here,” he says.

“How bad do you want me?” you tease. He loathes when you fuck with him like this. But why does he kind of like it, too?

He only says your name in warning, even though he knows he doesn’t have the power here.

It’s so goddamn frustrating. He’s used to you doing what he wants. But after last night, after you mentioned a break, he realized he needs to feel needed by you. You’re the one actually in control here.

“I’m all you think about, right?” you goad him. “According to your text?”

Rafe pinches the bridge of his nose with his free hand. It’s humiliating how he typed out everything he was feeling last night.

“I was drunk,” he says defensively. Your smile drops and you start to twist your wrist out of his grip. Shit. Wrong thing to say. “But, yeah,” he adds. “You are.”

“You’re only saying that to get laid,” you murmur.

“I’m not,” he admits. He takes a breath. “All I do is… wait until the next time I can see you.”

Rafe’s not looking at you as he stammers his way through his words.

“That’s what you meant last night?” you ask him. He thinks back to the way he had you bent over the table, stupidly saying he’s the one who always has to wait.

He needs to fuck. Now. He can’t take this feelings shit.

Once he finally meets your eyes again, he’s relieved to see that your stare has softened. You turn to move towards him and his muscles immediately lose their tension.

You straddle him and the way your thighs box him in like this feels so fucking good that he forgets he’s hungover.

You start to grind against him and the thrilling promise of satisfaction washes over him, his boxers getting tighter as he gets harder.

“Does this help?” you whisper. He watches you through low lids, his hands on your thighs.

“Yeah, like that,” he groans. “Good girl.”

He slides his hands up to grip your waist and beckons you to lean over so he can kiss you, but you stiffen and reject the advance. Whatever. You must still be kind of pissed off, but he’s not about to stop what’s happening.

You sit up straighter and pull your dress up over your body, tossing it on the floor.

Rafe’s eyes hungrily trail down your body. Every time he sees your body or even just thinks about it, arousal burns through him.

He hates the feeling of you getting off of him, but once he realizes you’re taking off your panties and straddling him to fuck him in reverse cowgirl, his head feels like it’s spinning.

The sight of your bare ass perched on his pelvis is mind-blowing. He feels you pull down his boxers just enough to take his cock out, your hand running up and down his length.

You stroke him to get him fully erect, which barely takes any time. He gets hard for you in seconds.

When you lower onto him, he exhales in pure elation. You’re so wet and tight and soft and the moan you let out when you fill yourself with him is so fucking pretty.

You finally put all your weight on his hips, your hands stabilizing yourself on his knees. It’s heaven the way you squeeze him so damn tight.

You start to rock on him and his eyes drink in the way his cock is burying into you, the way your pussy looks stretched out like this.

Rafe looks over at the mirror mounted on his closet door to watch you arch your back and start to bounce on him. He doesn’t know which vantage point is hotter.

“Fuck,” he whispers. “Look how fucking good you look.”

You meet his eyes in the mirror, your lips puckered as you hold back your moans. That look is for him only. He can’t stand the thought of you doing it for another man.

He watches you put your hand on your clit, touching yourself while you ride him. There’s something so fucking hot to him about how you know your body and how you shamelessly chase your own pleasure.

Rafe looks forward again, taking in the way your ass is bouncing on him, the way your back is curved, the way your cunt is clinging to his cock with every recoil.

He feels himself getting to the edge. He shuts his eyes in an attempt to delay it so you’ll get there first. Cumming will remind you of how good this arrangement between you is and you’ll forget this stupid ‘take a break’ idea.

You start to writhe even faster and breathe even quicker. He knows he’ll finish before you at this rate, so he buries his fingertips into your hips and holds you down to stop you from moving anymore.

“Why?” you whine, needy.

“Sit on my face,” he orders.

You lift your hips off of him, his cock popping out of you, glossed with your wetness. You obey and shift back on your knees.

You lower your core onto his mouth. Rafe fucking loves the way you taste. He puts his lips on you, rolling his tongue out over your velvet folds.

When he feels your hot mouth wrap around his cock, he exhales sharply. He sucks and licks you as he revels in the feeling of your tongue flicking up and down his length.

The way you’re pleasing each other at the same time makes his stomach tighten with something he’s still not used to. His body hasn’t ever reacted like this during sex, but it keeps doing this lately with you.

Rafe shoves away the thought.

He hooks his arm around you, dipping two fingers inside and curling them as he eats you out, eager to get you to cum.

Your breath is shaky, your hole tightening around his fingers. The way you looked at him when you told him you needed a break last night flashes through his mind again, pissing him off all over again.

“Nobody else can make you feel like this, hmm?” he mutters, his lips wet from you.

“Rafe…” Your voice is thin.

“Answer me.”

“No,” you tell him.

“And you want a break?” he huffs. “Do I need to fuck some sense into you?”

You’re silent, your mouth sliding up and down his cock, palming him. Frustration rises in him when you don’t answer. He needs the control. He needs to know how badly you want him.

“Do I?” he asks angrily, fingers slipping out of you to slap your ass. Your back arches at the impact, bucking up off of his face. “Do you need to watch me fuck you to get it through your head?”

Rafe pushes through the stiffness of his hangover to press against the backs of your thighs, forcing you to sit up.

“Get on your knees,” he says. “In front of the mirror.”

You groan out of irritation, but you listen to his instructions like the good girl he knows you are.

His eyes remain locked on you as you get up off of him and settle on all fours in front of the mirror on the floor, looking back at him with those beautiful eyes.

Rafe guides himself into you, finding bliss all over again. He lustfully looks at your reflection and sees the necklace he gave you hanging on your neck. It starts to swing as he thrusts into you, a reminder of how you belong to him.

Every plunge into you is fucking perfect. You squeeze his cock so nicely.

When you tighten around him, your breath hitched, he has no chance of stopping himself anymore - he cums at the same time as you, his moan tangling with yours.

Rafe can see stars as you tremble beneath him. He feels you take in everything he has to offer.

“Damn,” he says gruffly. He can’t stop himself from teasing you. “Sleeping and fucking on the clock. You’re looking to get fired.”

You let out a weak laugh and pull away from him. You stand to pick your uniform up off the floor, giving him another view of your hot, quivering body.

“Tell on me, then,” you challenge. You walk to his ensuite, shutting the door behind you. He’s sure that you know he’d never risk letting you get fired and losing this access to you.

Rafe’s heart is racing. How does every time he has sex with you feel better than the last?

He gets back into bed and pulls his cool comforter over his bare body, coming down from the high. He’s needs to figure out why the hell you’re retreating from him. And he’s determined to show you why you shouldn’t.

But with the hangover and lack of rest, Rafe falls asleep before you step back out into his room.

୨ᰔ୧

You couldn’t let Rafe kiss you. You’ll allow that sort of tenderness if, and only if, you’re more than a sex toy to him, and all signs point to that possibility being a big, ugly no.

When you step back into his bedroom to see that he fell asleep, you take a second, just a second, to look at him.

His lips are slightly pursed, his hair a tousled mess. The bruise on his swollen eye looks painful. You wish you knew what happened. You figure you’ll ask him tonight when he inevitably comes over.

As you make your way to the kitchen, the rush from the sex you just had starts to dissipate and you realize you shouldn’t have done it. You have heavy, unavoidable feelings for Rafe. You said you needed a break. Giving into the temptation was stupid.

But the way he was looking at you, holding your wrist… You couldn’t ignore the magnetic pull you seem to have for each other.

The self-destructive hope flares up as you think about what he said today. It rattled you. He thinks about you? He’s always waiting to see you again? It can’t all be sexual, can it?

You’re desperate to know what’s going through his mind.

You begrudgingly accept that because of the time you spent sleeping and having sex with Rafe, you’ll need to stay late to complete all your tasks today.

After finishing up your work in the kitchen an hour later, you head out to the backyard to throw out a few bags.

You give a polite smile to the gardener, who’s standing by the gazebo. Your mind flashes back to what happened when Rafe caught you talking to him.

Rafe’s possessiveness couldn’t possibly be purely sexual. Not after the way he looked at you once you reassured him he was the only man who could touch you.

You drop the bags in the bin and turn to head back inside, but get stopped in your tracks.

“You should be careful.”

You look up to realize the gardener is speaking to you. Your brows furrow in confusion.

“What?” you ask.

“I overheard him talking about you.“

“Sorry?” you repeat.

“The son. I heard him.” Anxiety fills your veins. He wouldn’t know Rafe’s name - he’s just the son of the millionaire you’re all working for.

He heard Rafe say something about you? You decide to play dumb. You have to. You could lose your job.

“What are you talking about?” you ask.

“He was with his friends out on the balcony a few days ago,” he says. “I was working and I heard him say that he’s… uh, nailing a maid.”

The word seems to make him uncomfortable. You’re so used to Rafe’s vulgarity that you forgot some people blush at a crude word.

Honestly, you expected Rafe to brag to his friends about fucking you. But you didn’t expect a coworker to hear.

You remember watching him through the window that day. Sending him that explicit video. Slowly developing feelings for him when you knew you shouldn’t.

“What, and you think it’s me?” you say with a laugh. Maybe there’s a chance you can convince him that Rafe was lying or that the conversation wasn’t about you.

“People have been talking… Apparently you got caught in the laundry room?” he says.

Shit. All that other maid saw was Rafe in the same room as you. That was it. You didn’t expect to make friends at this job, but this is ridiculous. Do they have nothing better to do but gossip?

You’ve been found out.

“Please don’t… say anything,” you finally say quietly. “I can’t lose this job.”

“I won’t. And I’m not judging,” he says, but he definitely is. You can see it in his expression. “Just wanted to tell you that I heard some… bad stuff.”

“What?” You cross your arms, feigning confidence.

“He told his friends that you’ll do anything he wants you to,” he says. “And that you never say no.”

“Okay,” you say. You’re trying to keep your gaze steady. This is humiliating. But it’s all true and not a surprise. You didn’t expect any better from Rafe.

“And one of them said something like… that’s the type of… um…” He looks nervous again.

“Just say it.”

“The type of… slut you run through then drop when she gets boring.”

This is what finally breaks you. You only nod, trying to seem unaffected.

“What did he say to that?” you ask. You hate that you have a little bit of hope that Rafe would defend you, show a shred of respect for you.

“They all just laughed.”

Your heart sinks.

Of course that’s what Rafe thinks of you. Of course to him, you’re just a whore that he’ll get tired of eventually. You shouldn’t have ever given him the power to disappoint you.

For fuck’s sake, you asked him point blank over text last night if all he wants to do is fuck and he replied with a clear YES.

“Okay,” you say, turning away before he can see the tears welling up in your eyes.

“Sorry. Thought you’d want to know,” he says to your back. “These rich guys are all assholes.”

“Yup,” you reply, walking away.

You don’t even give a fuck about your job anymore. It’d be better if you lost it so you don’t have to see Rafe ever again.

This is fucking agony. You feel so dehumanized.

When you make it home that evening, two hours later than usual, you type a text you mentally drafted on your drive home.

You open the conversation with one of your close friends from college and text her: hey, are there any parties tonight?

Getting drunk and partying is not a healthy way to cope, you know that, but you desperately need to get your mind off of things. Thankfully, your friend responds quickly about a party at a frat house on campus.

After you get ready, you take a cab to the address your friend sent you. It doesn’t take you long to find her and start downing shots.

Your phone buzzes, right on cue. It’s 10 pm, after all. He’s waiting for you on that depraved website where it all began. The text is blurry through your tipsy eyes.

Rafe: where are you?

You finally send him the message you’ve been toiling over, anger and disgust and embarrassment and sadness heavy on your chest.

You: i’m done. this is over. i’m not even a fucking person to you am i

{ read part twelve here }

#yay i finished this way earlier than i thought i would #rafe cameron #rafe cameron smut #rafe cameron x reader #rafe cameron x y/n #rafe cameron x you #rafe obx #rafe outer banks #rafe x reader #obx smut #rafe cameron fic #rafe cameron fanfiction #rafe cameron and you #rafe cameron and readef #rafe cameron and y/n

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icanseethefuture333 · 2 months ago

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Asteroid Kitty (9563): your kitten like charm 🐈‍⬛

Asteroid kitty represents the duality of a person, it’s how people are seen as sexy and cute. Asteroid kitty can also show how mischievous or promiscuous a person can be towards their prey, especially when it comes to women using their feminine charm to get what they want.

“I’m the type of girl you wanna chew all of my bubblegum

I’m the type of girl you wanna take to ya mama house”

Kitty in the signs/houses:

Aries Kitty / in the 1st house

Aries Kitty / in the 1st house people are the embodiment of “cat pretty”, their eyes are often shaped like a feline’s, and they are I nown for being a leader. They don’t like to follow the rules and could be seen as rebellious by people. Kitty 1st housers may also hate having people in their personal space but could lack a sense of respect for others. When in a relationship, they see what belongs to their partner’s as theirs, and wouldn’t understand why they don’t want to share. They could also be drawn to cats and animals prints in general. These kittens like to play hard to get and enjoy playful pushing/smacking on the arm as a form of flirtation. If they were a cat, they would believe they are the master and their owner was their servant, similar to those wirehair cats. They are only affectionate with the people they care about and can look at you as if you’re crazy if you act like you know them. These kittens have an infectious laughter as well and their voice sounds like purring to the ears. They are also athletic and look damn good in their workout clothes. They can pick up dudes at the gym and they often find people trying to help them whenever they are lifting weights.

Taurus Kitty/in the 2nd house

Taurus Kitty / in the 2nd house people prioritize financial security and success over the approval of others. These kittens value comfort and stability, they could often take naps and be seen as “lazy”. They might also carry weight more than others or have a “fat cat” 👀. Taurus Kitty 2nd housers charm is their ability to make their home and their style fancy on a budget. If they were a cat, they’d be the fluffy white Persian ones with the diamond collar. These kittens love luxury and being pampered. These are the type of people who grew up spoiled by their family. In a relationship, they are the type to be given money for spa days and so they can get their claws sharpened. They are also stubborn when it comes to arguments but for others their temper can be seen as sexually enticing. Romantic suitors feel compelled to give them their money and assets. Touch is also a big turn on for them and being touched by them always feels so sensual. They are high maintenance and lack patience when it comes to other people’s ignorance.

Gemini Kitty / in the 3rd house

Ohhh what chatterboxes! These kittens are very vocal and outspoken, but their way of communicating is very endearing! The way Gemini Kitty / in the 3rd house people talk is so adorable, when they have a crush on someone they can be very cheeky, and like to play a game of “cat and mouse” with their romantic interest. If they were a cat, they’d be a Siamese cat 🗣️! They are also very observant and attentive to details, if you do something that they don’t like, then they get the ick immediately. They are also very hot and cold, they hate when people are constantly in their face and need to have their alone time. Gemini Kitty 3rd housers need mental stimulation and have to be intellectually engaged. They are bold when it comes to saying dirty things and can be very vocal in the bedroom.

Cancer Kitty / in the 4th house

Cancer Kitty / in the 4th house people are attuned to people’s emotions and are sensitive to their surroundings. They could be described as empathetic and homebodies. People see them as cute and loving, they could often be babied by people, even as they get older in age. These kittens are classy in the streets and a freak in the sheets, they could play a more submissive role in the bedroom. Cancer Kitty 4th housers are known for their glowing skin, sweet scent, and docile nature. They like to be nurturing towards their loved ones and may cry with them when upset. If they were a cat, they’d be a exotic shorthair 🧸. They are viewed as the girl/boy next door and some people dream of marrying them. People hate seeing them sad and would do anything to make them happy again, they could manipulate others’ emotions if they wanted and whenever they’re in trouble, they get away with it because of their innocent demeanor.

Leo Kitty in the 5th house

The definition of mischief! Leo Kitty 5th house people are playful and vivacious, they love to have fun! You can find them at a party dancing or playing video games on a Saturday night. These are the kittens that enjoy laser tag, they like anything bright and shiny. If they were a cat, they would be an orange cat 🐈 ! People could find their energetic personality uplifting and are appreciative of their positive attitude. They are optimistic when it comes to their goals and they believe in having a team spirit. Leo Kitty 5th housers could be loved by children and animals, they see them as a big kid as well. They might be the youngest of their family or was that child who was a “busy body”, always wanting to go outside. When in a relationship, they love physical touch and quality time, they just won’t get off their partners lol. They could also have a high sex drive and are always excited to try something new, they might even want to try something silly like spanking their partner’s butt when they are caught off guard.

Kitty in Virgo/6th house

Virgo / Kitty in the 6th house people require more care than others. They could often be prone to sickness and when they are feeling under the weather, people wish to tend to their every need. Self care is an important part of their daily routine, so you can catch them doing their yoga routine or doing skincare. They could also be allergic to pets as well even though they might want one to keep them company. Virgo / Kitty 6th housers can be quite critical to cheap materials and are picky to certain foods, they have a refined palette. If they were a cat, they’d be a Russian blue. Hygiene is important to them and they are often praised for their well kept appearance (“pussy tight pussy clean pussy fresh”). When in a relationship, they are more shy and prefer to show their love through acts of services. In order to feel comfortable sexually, they could need lots of foreplay and require a partner that has patience, it takes a while for these people to get in the mood. Lying on the green grass underneath the warm sun could be healing for these kittens. Being in nature allows them to unwind and release stress.

Libra Kitty / in the 7th house

Popular and pretty! Libra Kitty / In the 7th house people are admired by their peers and often attract attention without even trying. They have many romantic suitors and they like getting what they want. People could often be jealous of them because of how well liked they are. They could have a reputation of being a “home wrecker” but they don’t see it that way. They feel if the home was never secure in the first place, then it wasn’t their fault someone chased after them lol. Libra Kitty 7th housers can be superficial and most of their attraction is based on physical appearance. These kittens also value balance and have a steady workload. If they were a cat, they’d be a ragdoll. In the bedroom, they are likely to be a switch and enjoy giving and receiving. These people like to see their partner’s face so missionary or cowgirl would be their favorite position, as well as 69 for fairness.

Scorpio Kitty / in the 8th house

What mysterious little creatures. Scorpio Kitty / In the 8th house could prefer to be alone and dislike being forced to socialize. These kittens are often misunderstood by others and might have been outcasted in their youth. They go wherever they please and look good doing it. Scorpio Kitty 8th housers may be drawn to the dark and prefer taking walks out at night, they also wear a lot of black. If they were a cat, they’d be a Bombay cat 🐈‍⬛. When they are attracted to someone, they ooze sensuality and are very alluring without even trying, their mannerisms as well are attractive to people. These people could have supernatural experiences and might be highly intuitive as well. In their family dynamics, they could be protective of others and can sense danger before it happens. In the bedroom, they are flexible and able to place themselves in all types of positions. They enjoy the darker aspects of foreplay such as roughhousing, shibari, whips, and bdsm. Their goal during sex is to claim their partner as theirs, expect love bites and scratch marks from these felines.

Sagittarius Kitty / In the 9th house

These are the alley cats who have seen and experienced a lot of things. Sagittarius Kitty / in the 9th house people are wise and knowledge of various topics. To other people they could consider them a “know it all” and mature beyond their years, they might feel inferior to them when engaging in a conversation. These people enjoy adventure and freedom, they would be a stray cat that is known and loved by all in their neighborhood. These kittens would most likely have multiple homes and don’t like being tied down to one place. They enjoy a good sense of humor and are attracted to someone who is intelligent, when a person matches their energy that turns them on even more. In the bedroom, they like to are open to new experiences and wish to try different things, so they are likely to mess around with sex toys. Sagittarius Kitty 9th housers could value their education as well and may be a “teacher’s pet”. If they were a cat, they’d be a Bengal cat. Within their family, these people would be the carefree older sibling who has crazy stories of parties and drinking, they are mostly likely to remain single and would not want to get married. They spend their time traveling and enjoying different cuisines.

Capricorn Kitty / In the 10th house

Capricorn Kitty / in the 10th house are focused , responsible, and determined. They have a sharp wit and don’t tolerate nonsense. These kittens are often annoyed with people’s incompetence and it puts them in a bad mood when things are not handled properly. They admire individuals with a good work ethic and have a good head on their shoulder. It’s a major turn on for them when a partner is able to take the role of a provider and make them feel secure in a relationship. These kittens are the type to receive push presents and don’t accept anything less than they are worth. They prefer stability and assets over romantic infatuation. Capricorn Kitty / 10th housers are likely to be “trophy wives” and “wags” (wives and girlfriends of athletes). In the bedroom, they assert their dominance only as a form of punishment or a way to relieve stress. In general, they can be a brat and desire a partner that can tame them. They are very opinionated and will let you know if the sex was bad or not. Their style consists of expensive jewelry and casual business attire. If they were a cat, they’d be an Egyptian Mau.

Aquarius Kitty / In the 11th house

Aquarius Kitty / In the 11th house people catch on quickly to things and have a keen intellect. They are smart when it comes to technology and could have a solid social media following. Their pets would also be popular on social media or they could make money from them (E.G: placing them in pageants or competitions). They do well in modeling campaigns and could have been seen in commercials and catalogs. Their sense of fashion is unique and they could be referred to as a “trendsetter”. Aquarius Kitty / 11th housers are able to find sexual and romantic partners quite easily thanks to dating apps or having good luck when it comes to sliding in people’s DMs. They also enjoy cybersex, either on FaceTime or sending sexy texts to their crush. Their online presence is considered tempting and alluring. They could post pictures of themselves in risqué positions or thirst traps are often their go to on their story. I wouldn’t be surprised if they make money from having an OnlyFans as well. When it comes to relationships, they are most likely to prefer being single and value their freedom. The downside is people try to trap these kittens and try to turn them into a housewife (or spouse) when they know they are very independent and rebellious.

Pisces Kitty / In the 12th house

What gentle beings. Pisces Kitty / In The 12th house people have a healing presence and are in tuned with their senses. They could have a spiritual connection to cats and often receive signs from them. They are highly intuitive and have cat like reflexes, they can predict things before it even comes true. If they were a cat, they’d be a blue abyssian. They enjoy reading books, meditation, and anything that allows them a peace of mind. Pisces Kitty / 12th housers are likely to smoke weed or use some type of psychedelics. These are girls at Coachella that dress whimsical and colorful and just there to vibe and have a good time. These kittens believe in manifestation and are the type to leave crystals in their crush’s car/home. They believe they can seduce people with their mind and aura (which is honestly true). In the bedroom, they prefer to use as sex as an act of healing and creating a spiritual bond. They could also be in non traditional relationships and may be open to polyamorous relationships. They might have even had sex with more than one person at a time.

#astrology #astro observations #astrology observations #kitty asteroid #asteroid Kitty #asteroids #pac #pick a card #pick a pile #witch #witchcraft #law of assumption #law of attraction #manifest #manifestation #self concept #18+ astrology

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starboye · 28 days ago

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babydaddy!vinnie absolutely wrecking thicc!reader boypussy to put another baby in him and telling him he’s gonna fill him up and he’ll look so good and round with his baby omg im FERAL

could you think of anything at this point? no, you had no idea what was going on around you, for all you cared the world could be dying and you wouldn't give less than to fucks

all (sorta) thanks to the man plowing your ass like he hasn't gotten laid in years (he was just here last week) but as much as he was making you feel good he was also being incredibly annoying

"can i put another baby in you please y/n"

"vin- ah fuck... hell no"

"just one more time i promise"

he said the same thing last time before he got you pregnant, which left you with two kids instead of one, you weren't gonna risk it again

but with the way his cock was destroying your insides it had you thinking of having a plethora of this mans babies, and his argument was pretty compelling

"c'mon just think of it right, you and that big round belly i love so much"

"no vinnie"

"let me finish, you remember how fun it was carrying our baby right and god the second one made you look so handsome. so just imagine how good the third will make you look"

"fat and ugly"

"how about big and beautiful"

you were starting to think vinnie really had a thing for seeing you pregnant with how much he always wanted to get you pregnant, and damn were you glad your parents took care of the kids tonight

because vin had you moaning and whining all over your room, by morning you were a complete mess, but vinnie saw this as an opportunity and made you some breakfast and went to pick up the kids

shit, you both may have not been dating anymore but he really had you thinking of baby names now

#vinnie hacker #vinnie hacker x reader #vinnie hacker x male reader #x male reader #gay smut #x male y/n #x male smut #x male #gay #male reader #bottom male reader #vinnie hacker x y/n #vinnie hacker x you

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the-music-maniac · 4 months ago

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I get a little annoyed when people's complaints about zosan stray into the "Sanji would never fall for Zoro because of personal hygiene issues" territory. Mostly because I feel like it involves a fundamental misunderstanding about their dynamic and also Sanji as a character.

First of all, Sanji smokes cigarettes and cooks seafood and shit. Even if he does shower daily, there is no way he smells like a rose garden. So there's that.

Second of all, Sanji is a COOK. You literally cannot be a cook if you're afraid of getting your hands dirty, if you're afraid of working up a sweat. He knows the value of hard work in that regard. For his craft, Sanji gets all up in some fish guts, he hunts, he cleans, de-feathers, skins, butchers whatever creature they've managed to hunt - come on y'all. That is not a man that would be a germaphobe. He keeps his workspace and himself clean cause that's the mark of a good cook, but the man would have no qualms about getting dirty. He ain't squeamish.

Third, Sanji's entire thing is that he ACTS like a refined gentleman, but he's a little bit batshit crazy in the same way all the strawhats are. He's one of the monster trio for a reason! They're all freaking unhinged, Sanji's first reaction to seeing sea monsters is to yell that he wants to cook it. He's fought so many battles, I've no doubt that there's blood soaked into the soles of his fancy loafers, caked into some of the hems of his suit pants. My point being that while him acting like he's a gentleman with "refined tastes" is no means deception (he probably has excellent taste when it comes to dining) he also doesn't fit that description entirely. He strives for it, in order to maintain an image, and it also plays into his whole "ladies man" thing as well. But he's not actually a refined gentleman in our traditional interpretation of the word. He's down to slum it if needed, and will kick a person's ass for not finishing a soup that has a bug in it because it would mean wasting food. Also the man has worn orange crocs. Refined my ass.

Fourth, you can deny it all you want, but Zoro and Sanji have always been and will likely always be, two people that match each other's freak. And by that I mean that all it takes is Zoro muttering one little disparaging comment, and Sanji is immediately there, ready to throw down, dirt and sweat be damned. If he were to complain about Zoro's supposed bathing habits and shit, while I don't doubt some of it would be genuine complaint, it probably would mostly be because it would annoy Zoro. But when it comes down to stuff Sanji actually gives a shit about, hygiene would probably not be high up on that list. He is 100% that motherfucker that would get heart eyes over Zoro eating sugar onigiri out of the mud to spare a little girl's feelings.

I get annoyed by people using that argument as if it's a legitimate reasoning for why Zoro and Sanji wouldn't get together. Like what impression of Sanji do you have in your head? You think the dude that constantly knocks foreheads with Zoro during their antagonistic (gay) posturing would get squeamish about Zoro being a little sweaty? Sanji can be your babygirl if you want, but we gotta stop acting like he's the type to get squeamish over stuff like that - there's no way that out of ALL the issues Sanji has yet to work through locked up in that pretty noggin of his, that personal hygiene would be the hold up on a relationship between these two. The zosan dynamic is Sanji complains loudly about Zoro being a disgusting brute and then will turn around and roundhouse kick a man's head off. Like yes, Sanji. That's not the pot calling the kettle black at all.

None of this is a complaint btw. That's literally my favourite part about Sanji, and Zosan as a whole. Sanji wouldn't be nearly as interesting if he was just a gentleman. Zosan wouldn't be as compelling if they weren't two lil peas in a pod, equally as unhinged. The only difference is Zoro puts literally no effort into trying to hide his level of derangement. Which is also very in character for him, btw.

#blackleg sanji #roronoa zoro #one piece #zosan #sanzo #sanji x zoro #zoro x sanji

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seeminglyseph · 4 months ago

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I really appreciate that Eurylochus in Epic I am pretty sure is adapted from a character in the original who is at the very least somewhat antagonistic and cowardly in characterization and has spun him into a compelling and interesting character who has genuinely caused the fandom to basically to be like “but was he wrong though?”

Because like, the fact that at multiple points both Odysseus and Eurylochus have been right at different points of their adventure and just too fucked up emotionally or too “we can’t talk about things” to like. Clear up the issues they were having, means that they just. Became a tragedy.

And it is especially beautiful because Eurylochus and Polites bring this weight of friendship and loss to Odysseus in Epic, despite their existence in the Odyssey fully lacking that characterization. Though I think it is part of the miscommunication at times because like. Perspective. And if you try to look up extra information from the source text to give more context, Eurylochus is so different in that source text that like… it will back up arguments in favour of Odysseus more easily. But modern sensibilities side with Eurylochus more easily due to monarchs and tyrants like… heavily falling out of favour. So things like kings, gods, princes, captains, status, and rank are like… they exist but they aren’t seen the same.

Like the Odyssey is set in the Mycenaean age, late Bronze Age. This was a tale of ancient times when Homer was telling it. So by modern standards things can’t help but be archaic in ways. Especially given that The Iliad and Odyssey have so much to do with colonization and war and just like. Contemplating it. Existing in it and the aftermaths of it, and being conscious that it is being told to a world of people who are still acting and living in a unifying country due to colonization, that is expanding and growing its power with war and language and colonization. And the stories of the past wars are both glorious and tragic because of the necessity for glory to the heroes of the past but caution and understanding that…

Like Troy was once favoured by Zeus, that favour can be lost or swayed. Only the gods can count on their power lasting for eternity, men must know that a grudge can bloom anywhere and topple the mightiest kingdom if he does not mind his actions carefully.

The Aeneid, by Virgil which is written much later and I admit I have only read a summary, refers to Odysseus (through his Roman name Ulysses) really negatively, but that’s partially because the Romans kinda saw themselves as refugees and survivors of Troy. So like. By the time the Aeneid was being written, it was kinda the story of “those bastards who burnt our home down” from what I understand.

“Who lives, who dies, who tells your story?” For realsies. Looking things up apparently the Aeneid was the most popular version of both the Odyssey and the Iliad for a while and it wasn’t until the World Wars that Homer’s versions came back into fashion. Part of that was translation issues but still, damn.

This has become the most unhinged ramble, I’m sorry. I don’t know what any of this is even about. Translation? Perspective? Adaptation? The power of storytelling? All of it? Honestly the fact of the matter is that Eurylochus has been adapted to a new character for Epic, but he fits the narrative of the Odyssey especially as far as we need it to be told today because of how power structures work, but it’s been executed extremely well.

It keeps the technicalities of the traits of the poem “cowardice” and “mutiny” and creates a character with insecurity and missing sense of self who is afraid in a reasonable way and in order to overcome that fear reacts with aggression or violence. But in a way that is encouraged, acceptable or rewarded for a soldier. However, as a second in command, he is accustomed to having a role where he checks Odysseus’ plans for flaws. This is a good position to have him in when you’re plotting a battle action, it’s a bad position to have him in when you need him to provide a united front to keep the crew from panicking.

His position as both one of the crew and Odysseus’ Right Hand Man puts him in a position where he gets part of Odysseus’ picture, and is used to a relationship where he can be comfortable and doubtful and easy with Odysseus, however Odysseus as the Captain and the King cannot be fallible in the eyes of his men, because his men need to be able to follow his orders without question in the case of a crisis or it will be a serious issue.

Honestly the whole “I need you to be able to trust me and follow my orders in a crisis” is… part of general insubordination going on into modern day practice in crisis response and military as far as I understand it so like. I do get that. Though like. They are… two deeply damaged and traumatized men who just… cannot have a proper conversation with each other.

And also I am of the opinion that Odysseus in Puppeteer, when he brushes off Eurylochys’ attempted confession with his

“There's only so much left we can endure”

I am pretty sure that is not just brushing off, that is fully Odysseus admitting to Eurylochus like “I can’t handle anything else, please.” Like. My brain is making parallels to FMA “terrible day for rain” and Eurylochus drops it because he’s looking at a man on the verge of breaking down, and grants him some dignity or peace.

I mean Mutiny calls back to Puppeteer when Odysseus calls Eurylochus out, he would have done the same. Eurylochus wanted to cut and run on Circe’s island, leaving the men she had to their fate. But since Odysseus has all the power he carries all the blame, which makes it easier when any of the others make a mistake or something goes wrong. And it’s part of the reason Ody goes back to being Captain as soon as the crew is in trouble again. If they’ve angered a god, it’s better and easier to have Odysseus deal with it.

Unfortunately for everyone Odysseus has now crossed the Despair Event Horizon and all that matters is Penelope, Telemachus, and Ithaca. Everyone else can go fuck themselves.

Which, you know. Bodes well for all the fucked up dweebs who’ve been harassing his family for years. That’s probably gonna go great for them considering all the last shreds of his humanity he sacrificed to get home and see them safe.

#seph listens to epic #epic the thunder saga #eurylochus epic the musical #odysseus epic the musical #epic spoilers #wild speculation #honestly just rambling??? I don’t know if I have a point #just yappin and feeling things??? like idk man #i just have so many feelings

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creature-wizard · 11 months ago

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how is she (Lilith) closed when she exists in Swedish folklore with a different name (Her name is Lucia but it developed into the Saint Lucia tradition to be exact but in northern Swedish folklore she has a darker past where she was adams first wife and her story is very similar to Jewish Lilith).

Edit to add: It's extremely likely that this story about Lucia being the first wife of Adam is more of a modern Internet tale than an old Swedish folktale. I can find no reputable sources to back it up, and people who have familiarity with Saint Lucia/Lussi have informed me that they've heard nothing of this kind, either. That said, my point that similarity between figures does not justify appropriation still stands.

The uniqueness of figures has nothing to do with whether they're open or closed. Your argument is like saying, "well how can this storm god from an African traditional religion be closed when Thor exists?"

The ATR god is closed because the people who whom that tradition belongs said so. If you want to worship a storm god, Thor is right there. Likewise, you are free to work with this folkloric version of Saint Lucy.

Lilith isn't closed because she's supposedly unique. That never had anything to do with it. In fact, "oh but this open figure and that closed figure are basically the same though, that means I'm entitled to the one you're claiming is closed" is the rhetoric of spiritual colonialism, used to justify the misrepresentation and commodification of spiritual figures from marginalized groups, to that group's detriment.

Now, not every Jew agrees that Lilith is closed, because Jews aren't a monolith. But I have seen no shortage of Jews arguing for Lilith as a closed figure, and I find their arguments pretty damn compelling

So, Christians have spent centuries digging into Jewish traditions to find something they could weaponize against Jews; EG, getting into Kabbalah to try and find places they could project Jesus so they could try and convince Jews to convert to Christianity. Something very similar is absolutely happening with the gentile Lilith worshipers. There's a strong tendency toward antisemitic conspiracy theory among them; EG, believing that patriarchy was a Jewish conspiracy that was later expressed through Christianity.

These people often claim that Lilith was this ancient mother goddess who was demonized by the Jews. They try to claim that these old mentions of lilitu are somehow evidence. In reality, ancient cultures in the Near East worshiped a number of mother goddesses (EG, Ninhursag), and none of whom were Lilith.

Many deities did get demonized at some point (EG, Astarte became Ashtoreth, and Baal became Bael), but this had nothing to do with a patriarchal conspiracy; rather it was a generalized demonization of rival gods. And Lilith was not among them, because Lilith was never a goddess.

In fact, I have yet to see a single gentile Lilith worshiper who isn't deep into conspiracy theories and doesn't quote pseudohistory of some kind. Not a single one. So yeah, I will continue taking the side of the Jews who say that Lilith should be closed, because I've seen the bullshit gentiles are pulling with her.

#answered #lilith #antisemitism #cultural appropriation #conspirituality #conspiracy theories #conspiracism #pseudohistory

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imahinatjon · 4 months ago

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Vampires and their Spawn

Dazai, Nikolai and Jouno.

It's been a while since I've written anything, I'll put my notes on that at the end, for now, enjoy some Vampire Lords while you play the part of their lovely vampire spawn.

Some dark themes at some point I guess.

Dazai

• I can imagine that, as a vampire, he's kinda useless in terms of being a vampire lord. Like, he's still Dazai, so he's still intelligent and sort of charming in his own way, quick thinker, all the usual, I won't drown you with the details.

• But I imagine his ability - no longer human - translates over to vampirism.

• If he were a spawn, this would be great! He couldn't be compelled like others. But he's not, he's a vampire lord, he cannot magically compel others, he can't change forms, he can't... anything cool or dangerous is off the table really.

• Expect for turning people - he can still turn others into his vampire spawn, not that he's really felt the need.

• Being a vampire means being able to roam freely only during the night, or sometimes on a particularly cloudy day.

• But that's probably the only reason he met you. His damned curse let him meet the most beautiful warm blooded, living person he'd ever seen.

• Your life wasn't difficult to infiltrate, for dazai anyway. Any other person might have had a hard time. But not this guy!

• The how's and the whys are all irrelevant now- facts of the past. All that's necessary to know, is that you became his vampire spawn.

• Not the first, but the only one at current. You never asked what happened to the one or ones before you, and he never told you (but you could probably guess)

• He doesn't treat you any differently from normal just because your now his spawn.

• Your in a relationship as healthy as a relationship with Dazai can be.

• He can't compell you and has no actual control over anything you do, so he has no need to worry that your not genuine, doesn't have to worry that your staying around against your own free will. He's content.

• Just worried.

• More for your safety than anything, you may be undead and permenantly by his side, but you could still die.

• As a result, he perfers you stay away from him in areas that are too public.

• If it's like a dark quiet park with barely any people there, or a really obscure unheard of restaurant, or even a tiny only movie theatre that no one goes to anymore - then its great! He likes having dates and stuff in places like these.

• He just won't take you anywhere with a lot of people incase someone spots you and connects the dots

• Overall - he's not controlling, obsessive, scary or even remotely threatening, he's just a little cautious.

• This... is not a pleasant experience. At first anyway.

Nikolai

• Nikolai is a not so busy, busy guy. And isn't interested in serious romantic relationships, he's a vampire lord with no spawn and no intention to take any spawn.

• Claims he has no need for them. And he doesn't, I mean, his ability is pretty damn cool, and super useful, so that's that.

• How you became his spawn though? Totally an accident.

• You were someone he thought was hot, and someone he occasionally engaged in acrivities with. It was a mutually beneficial thing no harm was being done.

• Until he got a little too adventurous and bit you. It happened on occasion, and was typically fine, but he went too far and ended up turning you instead of just taking a little blood.

• He doesn't know how because that isn't what he intended, he didn't even recognise he was doing it until he realised you felt cold, but was very much still alive and moving about.

• It lead to a whole fight and everything - a massive argument and you didn't see eachother for months. You were understandably annoyed that he turned you.

• He just thought it was funny.

• I mean - he wasn't thrilled either, but like, it was kinda funny.

• Then he realised that he could essentially feel where you were all the time. That got old after a while though, as did avoiding you (technically you were avoiding him)

• So he approaches you. He's not really into the whole serious conversation, but indulges you nonetheless and listens to what you have to say.

• And in turn he tells you it was an accident.

• You leave on slightly better terms and go back to your old routine. Though now it feels slightly different.

• He doesn't realise he's doing it until its too late and he's talking you out on nice dates and looking out for you more often and asking how your day was - and of course, seeing you for more than just the benefits.

• The realisation was not a good one for him and he 100% tried to kill you over it.

• News flash - you survived and begun avoiding him again. Which honestly hurt him way more than killing you would have.

• Don't worry for too long though, after about a year or so, he'll settle down, it's just a matter of wether or not your willing to let him back into your life and potentially have a more serious relationship with him after everything he did.

• If you choose a relationship, he's actually sweet - doesn't use his powers on you unless your in imminent danger of literal death. Also very attentive and gives you basically anything you ask for, even if he has to steal it.

Jouno

• If you'd rather not, we'll now you have an insane stalker who can literally sniff you out like a bloodhound. It's not fun, and the only assurance you really have is that he won't hurt you and will always keep a distance.

• He'd be a scary vampire.

• He's scary enough as a normal human, as a member of the hunting dogs.

• But a vampire lord?

• He's not knowingly a bad guy - let's put it like that.

• Teruko is the only reason the two of you met. It took her a lot of convincing to even get him to agree to date anyone (he seemed tense and was being annoying. She thought he could do with going out and having a good time, a little relaxation, a little distraction, and thought a date was the perfect idea, but ovbiously she wasnt gonna go)

• When he meets you, he's all smiles, extremely pleasant, seemingly caring, AND he has some sort of job in law enforcement? He doesn't tell you what he does at said job, bit he presents as the perfect guy.

• If perhaps a little distant. See, he's good at putting up that act, but if you pay just the right amount of attention, and look closely enough, he's not entirely genuine. Not honest.

• You personally think it's because he's not interested, and your more than happy to leave it at that. It was still a pleasant time. And you weren't really looking for anything particular anyway.

• So it surprised you when he called and arranged to meet you again. He didn't really ask, more so just told you where he was gonna be.

• Still, you turned up.

• It's like this for a while. He's just enjoying your life presence, and it buds from there. He never tells you he's a vampire, he wants you to figure it out for yourself.

• He leaves little hints.

• He makes sure you notice how cold his skin is, he ensures that at some point (probably after a few months) he lays with you and has your head resting on his chest precisely where you should hear a heartbeat - your not going to hear anything, and it will all leave you questioning.

• Especially when his teeth, that are just that tad bit too sharp brush across your neck, surprising you and worrying you a little - why are his teeth so sharp?

• You don't believe in vampires, or didn't anyway. They couldn't have been real. But then he bit you, not enough to actually draw blood, but enough to let you know that he could, if he wanted.

• Of course it scared you, but he'd worked your trust at this point, so you weren't necessarily afraid of him.

• You looked to him, and though he couldn't see you, he could hear your heart rate pick up rapidly, before slowing back down to, only a slightly worried pace.

• And then you let him drink from you.

• That's how it was, for years. He cared about you, sure, he was more than happy to be in some sort of relationship with you, definitely, but it wasn't ever meant to go that far. It was just... well, your blood was not the only thing about you he found thoroughly enticing.

• Still, he kept you around, alive, for a few years until he eventually asked if you'll spend an Eternity with him, if you'll become his spawn.

• If you didn't agree - then the relationship was over. He wanted something more permenant with you than the fleeting moment that was a simple humans life time.

• If you agreed - well, he was quick to turn you. He told you about all the drawbacks, and made sure you understood - you were stronger and better, but you couldn't go out in direct sunlight, and would need to feed on blood.

• And then you were his for an Eternity.

• He was definitely controlling, definitely wanted to know where you were all the time. And definately used his powers on you.

• Granted that was on a very rare occasion and only happened when you put yourself in danger or someone else put you in danger.

• He hadn't noticed as much before, but he definatly noticed a lot more about you after he turned you, and ultimately determined you weren't safe on your own - he was wrong, and you can convince him to give you breathing space, because a bump against the side of a table is not a life threatening injury.

• So, after getting used to having you around permenantly and being his first 'spawn' and by extension serious relationship, he does calm down and leaves you to your own devices most of the time.

• ...by the way, he still never told you what his job was.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

I am seriously out of practice. I've been ill for over 3 months now and still am currently ill 😅 it'll get better eventually but, there's been that.

That and baldurs gate 3 took over my life

I'll try and get back into writing. This was a warm up.

This hasn't been spell checked! Yet

#imagine #fanfic #bungou stray dogs #x reader #bsd dazai #dazai x reader #bsd nikolai #nikolai x reader #bsd jouno #jouno x reader

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thesublemon · 7 months ago

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best picture

For the first time in a long time, I watched all of the movies nominated for Best Picture at the Oscars this year. Partly on a whim, partly for a piece I’ve been working on for a while about what is going wrong in contemporary artmarking. I cannot say that the experience made me feel any better or worse about contemporary movies than I already felt, which was pretty bad. But sometimes to write about a hot stove, you gotta put your hand on one. So. The nominees for coldest stove are:

Poor Things. Did not like enough to finish. I always want to like something that is making an effort at originality, strangeness, or style. Unfortunately, the execution of those things in this movie felt somehow dull and thin. Hard to explain how. Maybe the movie’s motif of things mashed together (baby-woman, duck-dog, etc) is representative. People have been mashing things together since griffins, medleys, Avatar the Last Airbender’s animals, Nickelodeon’s Catdog, etc. Thing + thing is elementary-level weird. And while there’s nothing wrong with a simple, or well-worn premise, there is a greater burden on an artist to do something interesting with it, if they go that route. And Poor Things does not. Its themes are obvious and belabored (the difficulty of self-actualization in a world that violently infantilizes you) and do not elevate the premise. There’s a fine line between the archetypal and the hackish, and this movie falls on the wrong side of it. It made me miss Crimes of the Future (2022), a recent Cronenberg that was authentically original and strange, with the execution to match.

Anatomy of a Fall. Solid, but not stunning. The baseline level of what a ‘good’ movie should be. It was written coherently and economically, despite its length. It told a story that drew you along. I wanted to know what happened, which is the least you can ask from storytelling. It had some compelling scenes that required a command of character and drama to write—particularly the big argument scene. The cinematography was not interesting, but it was not annoying either. It did its job. This was not, however, a transcendent movie.

Oppenheimer. Did not like enough to finish. But later forced myself to, just so no one could accuse me of not knowing what I was talking about when I said I disliked it. I felt like I was being pranked. The Marvel idea of what a prestige biopic should be. Like Poor Things, it telegraphed its artsiness and themes and has raked in accolades for its trouble. But obviousness is not the same as goodness and this movie is not good. The imagery is painfully literal. A character mentions something? Cut to a shot of it! No irony or nuance added by such images—just the artistry of a book report. The dialogue pathologically tells instead of shows. It constantly, cutely references things you might have heard of, the kind of desperate audience fellation you see in soulless franchise movies. Which is a particularly jarring choice given the movie’s subject matter. ‘Why didn’t you get Einstein for the Manhattan project’ Strauss asks, as if he’s saying ‘Why didn’t you get Superman for the Avengers?’ If any of this referentiality was an attempt to say something about mythologization, it failed—badly. The movie is stuffed with famous and talented actors, but it might as well not have been, given how fake every word out of their mouths sounded. Every scene felt like it had been written to sound good in a trailer, rather than to tell a damn story. All climax and no cattle.

Barbie. Did not like enough to finish. It had slightly more solidity in its execution than I was afraid it would have, so I will give it that. If people want this to be their entertainment I will let them have it. But if they want this to be their high cinema I will have to kill myself. Barbie being on this list reminds me of the midcentury decades of annual movie musical nominations for Best Picture. Sometimes deservingly. Other times, less so. The Music Man is great, but it’s not better than 8 1/2 or The Great Escape, neither of which were nominated in 1963. Musicals tend to appeal to more popular emotions, which ticket-buyers and award-givers tend to like, and critics tend to dislike. I remember how much Pauline Kael and Joan Didion hated The Sound of Music (which won in 1966), and have to ask myself if in twenty years I’ll think of my reaction to Barbie the same way that I think of those reviews: justified, but perhaps beside the point of other merits. Thing is. Say what you want about musicals, but that genre was alive back then. It was vital. Bursting with creativity. For all Kael’s bile, even she acknowledged that The Sound of Music was “well done for what it is.” [1] Contemporary cinema lacks such vitality, and Barbie is laden with symptoms of the malaise. It repeatedly falls back on references to past aesthetic successes (2001: A Space Odyssey, Singin’ in the Rain, etc) in order to have aesthetic heft. It has a car commercial in the middle. It’s about a toy from 60 years ago and politics from 10 years ago. It tries to wring some energy and meaning from all of that but not enough to cover the stench of death. I’d prefer an old musical any day.

American Fiction. Was okay. It tried to be clever about politics, but ended up being clomping about politics. At the end of the day, it just wasn’t any more interesting than any other ‘intellectual has a mid-life crisis’ story, even with the ‘twist’ of it being from a black American perspective. Even with it being somewhat self-aware of this. But it could have been a worse mid-life crisis story. The cinematography was terrible. It was shot like a sitcom. Much of the dialogue was sitcom-y too. I liked the soundtrack, what I could hear of it. The attempts at style and meta (the characters coming to life, the multiple endings) felt underdeveloped. Mostly because they were only used a couple times. In all, it felt like a first draft of a potentially more interesting movie.

The Zone of Interest.Wanted to like it more than I did. Unfortunately, you get the point within about five minutes. If you’ve seen the promotional image of the people in the garden, backgrounded by the walls of Auschwitz, then you’ve already seen the movie. Which means that all the rest of the movie ends up feeling like pretentious excess instead of moving elaboration. It seemed very aware of itself as an Important Movie and rested on those laurels, cinematically speaking, in a frustrating way. It reminded me of video art. I felt like I had stepped through a black velvet drape into the side room of a gallery, wondering at what point the video started over. And video art has its place, but it is a different medium. Moreover video art at its best, like a movie at its best, takes only the time it needs to say what it needs to say.

Past Lives. I’m a human being, and I respond to romance. I appreciate the pathos of sweet yearning and missed chances. And I understand how the romance in this movie is a synecdoche for ambivalent feelings about many kinds of life choices, particularly the choice to be an immigrant and choose one culture over another. The immigrant experience framing literalizes the way any choice can make one foreign to a past version of oneself, or the people one used to know, even if in another sense one is still the same person. So, I appreciate the emotional core of what (I believe) this movie was going for, and do think it succeeded in some respects. And yet…I was very irritated by most of its artistic choices. I found the three principal characters bland and therefore difficult to care about, sketched with only basic traits besides things like Striving and Being In Love. Why care who they’d be in another life if they have no personalities in this one? It’s fine to make characters symbols instead of humans if the symbolic tapestry of a movie is interesting and rich, but the symbolic tapestry of this movie was quite simple and straightforward. Not that that last sentence even matters much, since the movie clearly wanted you to feel for the characters as human beings, not just symbols. Visually, the cinematography was dull and diffuse, with composition that was either boring or as subtle as a hammer to the head.

Maestro. Did not like enough to finish. Something strange and wrong about this movie. It attempts to perform aesthetic mimicry with impressive precision—age makeup, accents, period cinematography—but this does not make the movie a better movie. At most it creates spectacle, at worst it creates uncanny valleys. It puts one on the lookout for irregularities, instead of allowing one to disappear into whatever the movie is doing. Something amateurishly pretentious in the execution. And not in the fun, respectable way, like a good student film. (My go-to example for a movie that has an art-school vibe in a pleasant way is The Reflecting Skin). There’s something desperate about it instead. It has the same disease as Oppenheimer, of attempting to do a biopic in a ‘stylish’ way without working on the basics first. Fat Man and Little Boy is a less overtly stylish rendition of the same subject as Oppenheimer, but far more cinematically successful to me, because it understands those basics. I would prefer to see the Fat Man and Little Boy of Leonard Bernstein’s life unless a filmmaker proves that they can do something with style beyond mimicry and flash.

The Holdovers. Did not like enough to finish. It tries to be vintage, but outside of a few moments, it does not succeed either at capturing what was good about the aesthetic it references, or at using the aesthetic in some other interesting way. The cinematography apes the tropes of movies and TV from the story’s time period, but doesn't have interesting composition in its own right. It lacks the solidity that comes from original seeing. (Contrast with something like Planet Terror, in which joyous pastiche complements the original elements.) The acting is badly directed. Too much actorliness is permitted. Much fakeness in general between the acting, writing, and visual language. If a movie with this same premise was made in the UK in the 60’s or 70's it would probably be good. As-is the movie just serves to make me sad that the ability to make such movies is apparently lost and can only be hollowly gestured at. That said, the woman who won best supporting actress did a good job. She was the only one who seemed to be actually acting.

Killers of the Flower Moon. The only possible winner. It is not my favorite of Scorsese’s movies, but compared to the rest of the lineup it wins simply by virtue of being a movie at all. How to define ‘being a movie’? Lots of things I could say that Killers of the Flower Moon has and does would also be superficially true of other movies in this cohort. Things like: it tells a story, with developed characters who drive that story. Or: it uses its medium (visuals, sound) to support its story and its themes. The difference comes down to richness, specificity, control, and a je ne sais quois that is beyond me to describe at the moment. Compare the way Killers of the Flower Moon uses a bygone cinematic style (the silent movie) to the way that Maestro and The Holdovers do. Killers of the Flower Moon uses a newsreel in its opening briefly and specifically. The sequence sets the scene historically, and gives you the necessary background with the added panache of confident cuts and music. It’s useful to the story and it’s satisfying to watch. Basics. But the movie doesn’t limit itself to that, because it’s a good movie. The sequence also sets up ideas that will be continuously developed over the course of the movie.* And here’s the kicker—the movie doesn’t linger on this sequence. You get the idea, and it moves on to even more ideas. Also compare this kind of ideating to American Fiction’s. When I said that American Fiction’s moments of style felt underdeveloped, I was thinking of movies like Killers of the Flower Moon, which weave and evolve their stylistic ideas throughout the entire runtime.

*(Visually, it places the Osage within a historical medium that the audience probably does not associate with Native Americans, or the Osage in particular. Which has a couple of different effects. First, it acts as a continuation of the gushing oil from the previous scene. It’s an interruption. A false promise. Seeming belonging and power, but framed all the while by a foreign culture. Meanwhile potentially from the perspective of that culture, it’s an intrusion on ‘their’ medium. And of course, this promise quickly decays into tragedy and death. The energy of the sequence isn’t just for its own sake—it sets up a contrast. But on a second, meta level it establishes the movie’s complicated relationship to media and storytelling. Newsreels, photos, myths, histories, police interviews, and a radio play all occur over the course of the movie. And there’s the movie Killers of the Flower Moon itself. Other people’s frames are contrasted with Mollie’s narration. There’s a repeated tension between communication as a method of knowing others and a method of controlling them—or the narrative of them—which plays out in both history and personal relationships.)

Or here’s another example: When Mollie and Ernest meet and he drives her home for the first time, we see their conversation via the car’s rearview mirrors. This is a bit of cinematic language that has its origins in mystery and paranoia. You see it in things like Hitchcock or The X-Files or film noir. By framing the scene with this convention, the movie turns what is superficially a romantic meet-cute (to quote a friend) into something bubbling with uneasiness and dread. This is not nostalgia—this is just using visuals to create effects. It doesn’t matter if you’ve seen anything that uses the convention before, although knowing the pedigree might add to your enjoyment. The watchfulness suggested by the mirrors and Ernest’s cut-off face will still add an ominous effect. It works for the same reason it works in those other things. Like the newsreel, it is a specific and concise stylistic choice, and it results in a scene that is doing more than just one thing.

In general, the common thread I noticed as I watched these nominees, was the tendency to have the ‘idea’ of theme or style, and then stop there. It’s not that the movies had nothing in them. There were ideas, there was use of the medium, there was meaning to extract. There were lots of individually good moments. But they tended to feel singular, or repetitive, or tacked on. Meanwhile contemporary viewers are apparently so impressed by the mere existence of theme or style, that being able to identify it in a movie is enough to convince many that the movie is also good at those things. The problem with this tendency—in both artists and audiences—is that theme and style are not actually some extra, remarkable, inherently rarifying property of art. Theme emerges naturally from a story with any kind of coherence or perspective. And style emerges naturally from any kind of artistic attitude. They are as native as script, or narrative, or character. A movie’s theme and style might not be interesting, just like its story or dialogue might not be interesting, but if the movie is at all decent, they should exist. What makes a movie good or bad, then, is how it executes its component parts—including theme and style—in service of the whole. When theme is well-executed it is well-developed. Contemporary movies, unfortunately, seem to have confused ‘well-developed’ with ‘screamingly obvious.’ A theme does not become well-developed by repetition. It becomes well-developed by iterationand integration. Theme is like a melody. Simply repeating a single melody over and over does not result in the song becoming more interesting or entertaining. It becomes tedious. However, if you modify the melody each time you play it, or diverge from the melody and then return to it, that can get exciting. It results in different angles on the same idea, such that the idea becomes more complex over time, instead of simply louder.

Oppenheimer wasprobably the worst offender in this regard. Just repeat your water drops, crescendoing noise, or a line about ‘destroying the world’, and that’s the same as nuance, right? Split scenes into color and black and white and that’s the same as structure, right? That’s the same as actually conveying a difference between objectivity and interiority (or another dichotomy) via the drama or visual composition contained in the scenes, right? When I watched many of these movies, I kept thinking of a behind-the-scenes story from Buffy the Vampire Slayer. The story goes that Joss Whedon was directing Sarah Michelle Gellar in some scene, and when the take was over he told her how great she was, and that he could see right where the music would come in. And Gellar replied that if he was thinking about the music, he clearly wasn’t getting enough from her acting alone. This conversation then supposedly informed Whedon’s approach to “The Body,” a depiction of the immediate aftermath of death that is considered one of the best episodes of television ever made, and which has no non-diegetic music whatsoever. Not to imply that music is necessarily a crutch, or to pretend that “The Body” is lacking in other forms of stylization (it is a very style-ish episode). But more to illustrate the way that it is easy to forget to make the most of all aspects of a medium, particularly the most fundamental ones, once one has gotten used to what a final product is supposed to feel like.

And that’s why most of these movies don’t feel like movies. They create the gestalt of a movie or a ‘cinematic’ moment—often literally through direct vintage imitation—without a sense of the first principles. Or demonstrating a sense of them, anyway. Who needs AI when the supposedly highest level of human filmmakers are already cannibalistically cargo-culting the medium just fine.

[1] “The Sound of Money (The Sound of Music and The Singing Nun).” The Pauline Kael Reader. (This book contains the full text of the original review, rather than the abbreviated review that I linked earlier.)

#posts: art #movies #am rusty at blogging and don't have all the virtuous nuance i would like in this but we will go with it

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asraindarkness · 4 days ago

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vent time! i have to disrespectfully disagree with people who are now suddenly saying "it was clear from the start that bucktommy was just a short-term thing". the whole issue with the argument is this: 911 has never been the best written show, and especially everything after s4 has been capital R Rough. this is no succession, the bear, arcane. you know, tv shows that have incredibly story continuity, character writing, and pacing. people say that bucktommy was not written "well enough" as if that is a valid sign in the 911 universe that the breakup was a sure thing. i call bullshit. when was the last time that the show has wrapped up even the simplest storyline in a satisfying and serious way? when was the last time character development happened and was take seriously? when was the last time the main characters didn't feel stagnant and the stories didn't feel repetitive? when was the last time the show didn't go in circles and choose the easy or sometimes most offensive way out? 911 had enough meat to tell compelling stories for 3 seasons, afterwards it went noticibly downhill. people who say that the "bad writing" of bucktommy should have been a clear sign are talking complete nonsense imo. tommy was the first ever love interest who checked all the boxes, who got verbal approval of bobby (who has watched buck grow and knows him incredibly well and who did notice a positive difference in buck!), who had everything that we have been told buck needs in a partner for 6 seasons. the canon text spelled out: this could be the one.

we were not delusional for that because, once again, i have to point out: the wonky writing is not a bucktommy problem. it has been and still is a general 911 problem. if they butcheted the bucktommy writing while they did great with everything else, yes, then i would agree the signs were there. for 911 standards of writing, which are very low in comparison to good tv shows, bucktommy has actually been done pretty damn great until that fucked up breakup. people say "they didn't even know each other after 6 months" and i retort "athena first admitted that she had a fiance before michael to michael and bobby like 30 years (?) after the fact". this show has been fucking up storylines left and right for years, and most characters and dynamics had many moments that were terribly written and poorly handled and were only enjoyable when you ignored the idiocy of it all. this show doesn't care about timelines, doesn't care about logic, doesn't care to base the drama within the constraints of a realistic depiction of society and laws. it retcons things for shits and giggles. the mains only get through it all thanks to plot convenience and plot armor. like please. we try to find logical solutions (e.g. tommy lands the plane) and the show will choose whatever is the most ridiculous idea (12 yo lands it).

looking at the bigger picuture, bucktommy had incredible potential for 911 standards and could have easily worked long-term if only the writers wanted to do so. the simple problem is: they apparently don't want to put any more work into it. it is as easy as that. many things in this show never lived up to their full potential and got wrapped up in the most ridiculous ways that nobody could have ever predicted. like, my bad for expecting some leftover common sensen and logic in the weewoo show! at this point, it feels like a skit starring clowns that will do the most random shit. rinse and repeat.

in that context and thinking back to all the butchered storylines, bucktommy had actually been a fucking masterpiece so far. now, it unfortunately just joins a looong row of things that could have been impactful and meaningful if only the show had good storytelling.

how could i have ever knew a breakup is coming when the writing literally said i wrote them for 8.05 as an stablished couple who where doing ok just so the breakup could hurt more!!! hurt who??? cuz most of their fandom were queers, so there is that.

and yes i agree with you. i dropped the show after s6 and came back to it ONLY bcz my friend told me buck came out bi and start this season only bcz i was invested in buck and his relationship journey cuz i knew for a fact the other part of this show is not gonna get any better and the fucked that up to.

they only claim they KNEW they’re gonna break up cuz they were saying it since 7.06 lol

and it piss me off when they say there was no chemistry (which i disagree) cuz this is so stupid. lacking chemistry is something WE see as audiences it is not a thing for characters in the story, they don’t see it and they don’t feel it so it can not be a reason for them to breakup, like??????

all and all bddie shippers has been dancing this dance for 7 years now and yk what? i hope they do get what they want cuz 911 is not gonna change the writing so i hope they do get bddie in this exact writing they seem to loooove cuz i know it’s not gonna be all fair dust and unicorns lol

(i still love buck and i hope hope hope they handle his sexuality better at least from now on but im not optimistic)

#bucktommy #911 abc #asra answers

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dustedmagazine · 3 months ago

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Los Campesinos! — All Hell (Heart Swells)

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In a way, 2013’s NO BLUES was the end of a particular version of Los Campesinos! and for reasons that had little to do with their personnel changes over the years since 2006. The septet is far from the first (or last) band to experience the music industry leaving them for dead in a ditch for a lack of profit, and sadly also not the only ones to get one of their best albums caught up in that moment. So, everyone returned to (or got) day jobs and although they never exactly split up, it took some time to determine that, yes, Los Campesinos! was still really going to keep going. But if 2017’s excellent Sick Scenes was proof of concept of Los Campesinos!’s vitality and potential, the new, even more self-motivated ethos has led to both the longest break between albums yet and (recency bias be damned) their strongest LP.

Readers of Dusted don’t need to be reminded that financial success does not necessarily correlate with any particular merit, but that the entirely in house All Hell (self-financed, self-produced, on their own label) wound up as their first UK top 40 record (14 with a bullet!) is at the very least a testament to how many people were waiting for this record and how satisfying they found it. In Kieron Gillen and Jamie McKelvie’s classic music-as-magic comic book Phonogram, one of the main characters describes Los Campesinos! (before they’d even put out a record) to another as “They’re never going to be big big. But they’re going to be big to some people.” Increasingly, it seems that those people have found them. If you go to an LC! show in 2024 fully half or more of the crowd are kids who were not listening to records when Hold on Now, Youngster… came out in 2008, a delightful product of the band just resolutely doing what they do for close to 20 years now.

All Hell is a stirring reminder of what that is, exactly. Their Bandcamp page still describes them as “The UK’s first and only emo band,” and that fine blend of sarcasm, sincerity, standoffishness, insight, and a certain love of starting an argument still sums up some of frontman Gareth David’s authorial voice (although it doesn’t include his incredibly vivid and compelling way with both political and romantic heartache and longing). Guitarist and (here) producer Tom Bromley continues to write incredible songs for David to drop punchlines and emotional haymakers over, and has also burnished this into easily the best sounding Los Campesinos record to date. At this point these seven members have been playing together since 2014 and can turn on a dime and nail pretty much any melodic/emotional register they need to, harsh or comforting, anthemic or plangent.

Fans are likely to draw comparisons to 2010’s Romance Is Boring, often considered a high-water mark. The last three records followed the same straightforward format: 10-11 songs, 40-42 minutes. Romance Is Boring was their most complex, lengthy, and interconnected record, and there’s an ambition here that makes them feel like siblings (possibly partly the result of having more time to build up material). The 15 songs here in just under 50 minutes, with three numbered tracks splitting the record into rough sections, feels sprawling and expansive after the tighter organization of the last few.

You can really feel that extra decade-plus in the structures, songwriting, and sonics of All Hell, but the polish and compositional sophistication here don’t belie a lack of fire. “The Coin-Op Guillotine” is easily the gentlest opener they’ve ever done; there’s bleakness there (“I think I’m right, I don’t think it matters”) but the refrain still centers on the kind of community and solidarity that they’ve been trying to practice from business/concert practices on down: “if you’ve got a cross to bear/call my name, I’ll see you there.” And even there it’s still about our current dystopia, and the title clearly refers to more than just the arcade game.

And sure enough, the following “Holy Smoke (2005)” immediately snarks that “nowadays it’s Live Laugh Love and Listen to Death From Above” over a headlong sprint (one of many places here where drummer Jason Adelinia is a crucial force). Even the magnificent “Feast of Tongues” (which arguably boasts a couple of the band’s best choruses to date), which swells from pensive backing “ooh”s and strings to one of the biggest, hardest hitting climaxes here, specifies that the title refers to when “we will feast on the tongues of the last bootlickers.”

As always, one of the challenges of writing about Los Campesinos! (as well as one of the joys of listening to them) is there are simply too many quotable lines, especially if you’re interested in the ways they refer back to their own history (dropping the “please” from the Romance Is Boring-era “can we all please just calm the fuck down?” as a teeth-gritted acknowledgment of how much less reasonable those they’re addressing have gotten since then) or just a good joke (if, say, “do you still have that one tattoo?/that’s how they work, of course you do” doesn’t work for you, another one will be along soon). And as much as All Hell is rich in the band’s traditional strengths, there are still moments of expansion. The crunching switchbacks of “Clown Blood/Orpheus’ Bobbing Head” are maybe the most aggro they’ve ever been, and the sweetly gloomy “kms” features Kim Paisey taking lead vocals for the first time.

Given the way the last two records have ended with some of their heaviest, weightiest songs, as they kick into the room-levelling angst of “0898 HEARTACHE” it feels like just that sort of crescendo. Instead, All Hell actually ends with the humbler melancholy of “Adult Acne Stigmata.” It’s the closest Los Campesinos! have come to an acoustic ballad, with multi-tracked Gareths sighing “it’s all hell, we know too well/it’s all hell” in the background. From another band, it might risk pathos or bathos; from Los Campesinos, it’s practically comforting. In the midst of inferno, we can all sing, and thrash, along.

Ian Mathers

#los campesinos!#all hell #heart swells #ian mathers #albumreview #dusted magazine #indie #emo #lyrics

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samsflannel · 2 years ago

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i love the idea that Castiel learned everything he knows about brothers by watching the winchesters so he's just like yeah, this is what a normal brotherly relationship looks like. this is pretty standard if you ask me. what the fuck does he think when he sees actual normal brothers? "damn that guy is an asshole because his brother got hit by a car and he didn't sell his soul to save him." Dean trying to actively kill Sam is on par with a normal sibling argument over borrowing someone's shirt without asking in Castiel's mind. he's like yea no worries on that one.

It's actually wicked compelling to assume that Castiel's only schema of sibling relationships is a dichotomy between Sam/Dean and their antipode Lucifer/Michael, prairie-fields away from one another in morality but connected by the thread of paternalism and betrayal. Who is the father? Who is the betrayer and the betrayed? God is the father who instructed Michael to betray his brother for defying humanity, but Dean chose to defy humanity for his brother in spite of his father. "Dad said I might have to kill you..." but then Dean died for him instead. Dean's storied purpose was to vessel God's perfect son and Sam's storied purpose was to vessel God's greatest failure, but Dean's unyielding will to make sacrifices abound allowed Sam to overpower that story. It makes sense why Castiel was so fascinated by them; they were an absolute improbability.

#have u ever had a dream that u w- u cou- u ha- u woul- uh- you wan- you w-#sam winchester #dean winchester #supernatural #spn meta

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needle-thread-thimble-spear · 17 days ago

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So I am seeing much argument about magic on the dash these days mostly about UB, and I feel compelled to say that I think it is kind of funny how Hasbro really has boilt the community like a frog. I haven't played mtg or bought mtg product in any meaningful amounts since about 2018 for time/money/mental-health-problems/pandemic reasons, but I really enjoy playing TCGs so theres been a few times since then (including now) that I've considered getting back into magic. Each time I do there's some grand scandal, and great outcry, and vows that the game is dead or that this is the last line in the sand. Cutting the online story posts and the introduction of secret lairs was the big talk last I was playing I think, and since then its been the introduction of licensed material, then uniquely printed licensed material (which im pretty sure went back on a promise?), then whole UB sets, and then half of all sets are UB. Its been nebulous AI gamedev announcements. Its been incredible product volume, and attendant product fatigue and rushed design (such as companions). Its been modern and pioneer becoming too-fast, uninteractive formats. Its been the slow takeover of commander, which has finally been completed. Its been the damn pinkertons showing up to some guys house because a product showed up too early someplace. I dont think any of these things are going to kill magic, because its clear that people will put up with just about anything already! Anyway. Anyone wanna play pokes? I just put together this really sick gardy list an- *I am instantaneously killed by a turn 2 double dusknoir into briar combo*

#mtg #magic the gathering #pokemon #pokemon tcg #spinning #tcg

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wil-o-wispy · 8 months ago

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The Wife, the Lover and the Bastard Son - Part 3

Pairing: Chris Redfield x FM! Reader (but not in this part)

Part 1 | Part 2 | Part 3 (You are here) | Part 4 | Part 5

Summary: One year after running from your feelings for Chris Redfield, an oddly familiar face emerges from the shadows.

Contents: Small spoilers for RE6, mentions of vomitting from seasickness, canon typical violence/swearing, Jake banter, canon typical puzzle bullshit, LORE. Reader is referred to as 'Doc' and is the wife of (dead) Albert Wesker and is a former Umbrella scientist.

a/n: Jake is literally one of the best characters in RE6 it is CRIMINAL that he's not in more fics. Be the change you want to see in the world. The plot is plotting in this part and I got a little carried away with descriptions but we're rolling with it. Also many thanks for 100+ likes on this series already. Enjoy!

w/c: 7.1k

1 Year Later:

Don’t puke. Don’t puke. Don’t puke.

That’s all you can think of under the black hood. The last thing you need right now is to puke on yourself. You should be thinking of ways to escape your current predicament, but your stomach lurching with the irregular rise and fall of the boat you’re handcuffed to, the indiscernible shouting of your kidnappers, the sweat all over your body from the unbearable heat and seasickness, and the sickeningly strong scent of fish and salty air is making that near impossible.

How the hell do I keep getting caught up in this shit? Don’t fucking puke. Breathe in through the mouth, out through the nose.

You’d had terrible seasickness since Albert kept you on that tanker for so long until Africa happened. After the second time trying to escape him and being mildly successful, he wanted to make damn sure that it didn’t happen again. Therefore: boat timeout. A boat prison meant it would be more difficult to escape. More resources needed, more planning required for a chance at walking on dry land. The chronic seasickness was an unintended side effect you’re sure, but it only gave another weakness for Albert to leverage against you. ‘The sickness will cease if you listen to me dearheart,’ didn’t sound like a compelling argument on its own to inject Uroboros in your veins, but presented as a solution to vomiting constantly because of the ocean’s movement for four years, it was pretty damn tempting some days. If you didn’t already know that virus was a death sentence, you might have given it a shot.

You’d even insisted that any transportation involving sea travel be explicitly prohibited while you were consulting/in protective custody with the B.S.A.A. Travel by air and car were far more convenient anyway, or at least that’s what Chris assured you. The man witnessed you puking your guts out the day he rescued you from that tanker. Of course he’d back up your request.

I wonder if he knows I’m gone yet. Deep breaths. Don’t puke.

It’s likely, considering it’s been some hours. Even though you’re considered part of B.S.A.A Europe now, you’re still willing to bet that Chris still got important updates about you considering your history. Higher-ups wouldn’t think twice about their favorite soldier wanting updates about the widow of Albert Wesker.

You know better.

His interest is much more personal than that.

As much as you would like to entertain a relationship, you can’t bring yourself to finding out what the aftermath of Chris’ professional life would be if you did. You felt guilty about leaving so quickly and not even telling him, but you figured if you had told him before you left, he might have convinced you to stay. You’d sent him a text wishing him well when you got to your new apartment an ocean away, which is better than nothing you suppose.

You hope he’d get a kick out of the security footage at least. You managed to aggressively elbow one of your kidnappers in the jaw and make them stagger back before you were overwhelmed, restrained and thrown in the back seat of a car. Surprisingly, there weren’t any physical consequences to that besides a mildly sore elbow. Whoever wanted to take you wants you all in one piece, which can either be really good or really bad. It’s the world’s most shitty game of roulette; is it a job offer to work for a terrorist organization? Or is it one of Albert’s disgruntled business partners wanting to use you as a test subject for revenge? Both were unpleasant in their own ways.

With all the circumstances surrounding your transfer to the Germany B.S.A.A. lab, everything was going surprisingly well. Too well. You should have known it wouldn’t last forever. Nothing good ever does in your life. Chris had tried to reach out a few times wanting to talk, but you always dodged his calls blaming the time difference, your workload, or the near-constant stream of outbreaks that always required your professional attention. You didn’t mind. Keeping busy meant less time to think about Chris’ wounded expression the last time you saw him. The attempts at contact eventually slowed in frequency and you only saw him in the occasional group video call regarding major outbreaks. The North American branch rarely had a reason to visit your particular station with it only being a lab and having nothing to do with the B.S.A.A.’s military operations. A small blessing in your eyes.

Germany was a far away dream at this point. There’s light piercing through the fabric of your hood, so you know it’s the next day. It was night when you were taken. You didn’t get a good look at your kidnappers, but you heard them speaking some sort of Asiatic-related language before they bagged you, as well as throughout your journey to wherever ‘here’ is. All you know for sure is that you were in a car for a long time, a plane for an even longer amount of time (that you somehow slept through most of), and this boat for what feels like an eternity.

Mercifully, your hear shouts from the shore and the movement of the boat changes from a straight choppy line to a diagonal jerky tug and pull. They’re docking the boat. You hear an announcement from an old-sounding speaker in that same unfamiliar language close by, followed by an ear grating buzzer. The words from the speaker echo around the space, giving you the impression of a rocky and unforgiveable terrain.

You still feel wobbly when you’re practically dragged from the boat by your handcuffed wrists, but you manage to walk in what you think is a straight line towards wherever your destination is. The hollow echo of walking on wood underneath your feet turns into the gravely sound of small pebbles, then morphs into solid concrete. The overwhelming fish smell also grows weaker the farther you walk inland, although you can still barely smell it if you focus on your kidnappers. They’re talking boisterously and laughing. You can hear them on either side of you, in front of you, and behind you. The desire to rip off your hood, bodycheck the goons next to you, and run off into God-knows-where was strong, but it was also a rash, stupid decision.

Don’t lash out immediately, know the enemy first.

You’d always been told to comply with kidnappers until the B.S.A.A. could get to you, but on the other hand you’re just too proud to blindly do everything they tell you. You always operate on the assumption they won’t find you in time. Hope for the best, prepare for the worst. So, you do what’s become natural at this point: observe and take mental notes.

After a few more paces and a comment from the leader in front of you that the other three belly laugh at, you hear a metallic click, then the metal on metal symphony of a large factory sized door slowly opening a few yards in front of you. There’s a moment of silence between your kidnappers. Then, the ringleader in front of you tugs on your cuffs so hard that you nearly stumble to the ground, but you manage to barely keep your balance. He says words where he sounds like he’s smiling. A joke like before? But the other three aren’t laughing this time. The one on your back right says something quietly, and the ringleader holding your cuffs barks something back angrily.

Then it hits you: these guys are nervous. They haven’t been here before. They’re hesitating to go into the unknown entrance in front of you. These guys are probably a hired third party. The man holding your cuffs shouts something else, startling you and breaking your train of thought. He pulls the cuffs forward as he walks and you’re forced to follow. You hear three pairs of hesitant footsteps behind you.

It only takes a few seconds for you to realize why three of the four men got cold feet at the door. It’s dark in here. The sunlight that was able to pierce through the dark fabric of the hood lessens in intensity the further you’re dragged into the room. As the sounds of the ocean outside get further and further away and you’re questioning what kind of building could possibly be this large.

There’s nervous dissent among the three kidnappers behind you when the big metal door starts closing, but another angry remark from the leader shuts them up. You’re led further and further into the room. You hear yours and your kidnapper’s footsteps echoing around the cavernous room, but the sound gradually reverberates less and less the closer you’re led to bright lights on the other end of the room. The darkness under your hood lessens and grows surprisingly brighter until you’re forced to stop. The ringleader in front of you clears his throat, and pushes you forward slightly. He speaks like a game show host presenting the grand prize, the forced showmanship feeling out of place in the empty environment. A higher pitched, lilting male voice responds over a speaker overhead. Unimpressed. The ringleader tries to keep up the act, but is quickly shut down again.

You hear the higher pitched voice bark out something that sounds like an order, you hear a huff from the leader next to you, then the black hood is ripped off your head. Your eyes are immediately assaulted with bright, military grade lights pointing in your direction. You try to blink away the blindness, but even after getting used to not being in almost complete darkness, you can only make out the silhouette of a wiry man and a bulkier man with some kind of rifle standing next to him in an observation chamber above you. You see the wiry man nod his head in approval. He leans forward and you hear a polite, lightly accented higher pitched voice over the speaker.

“Welcome Doctor. It’s truly a pleasure to meet you.”

You don’t recognize the voice, so you elect keep your expression neutral. “It’s a pleasure to be here.” You reply flatly, clearly wanting to be anywhere else.

“I do apologize for your long journey. But some things just can’t be helped. These kind gentlemen will show you to your accommodations.”

At first, you think he’s referring to your kidnappers, but then you see two soldiers walk out from the darkness in front of you. They’re dressed in black, military style gear and wear something similar to a gas mask on their faces. They’re also holding electric batons. You look around. Your kidnappers are dressed in street clothes and appear close to middle age. Maybe you should have taken your chances with them outside. As the soldiers walk out of the shadows, the lead kidnapper holding you by your cuffs, the oldest by the looks of him, gestures to the wiry man above you all and starts almost shouting in a firm tone while alternating between rubbing his fingertips together and an ‘okay’ symbol. Payment.

The wiry man’s silhouette presses a button on the console in front of him in the booth, and more lights come on to your left. Crates. Lots of them. You don’t know what’s inside from this distance, but judging by the smile on the lead kidnapper’s face the payment is more than satisfactory. The previous nervous tension among the four men is completely eradicated. The nervous one that spoke before tosses a small set of keys to one of the soldiers, the lead kidnapper pushes you forward towards the other soldier, and all four of the men head over to the crates to check out their bounty.

You see the soldier with the key place it in one of the pockets on the front of his uniform and walk back towards the darkness, while the other places you in front of him with a firm hand on your shoulder and walks you forward. You’re in complete darkness for a few paces before you’re blinded again by a pair of industrial elevator doors opening and shadows walking towards you.

You realize the two escorting you are guards at best, not soldiers. The squad in front of you is armed with much more deadly weapons; you recognize pistols and semi-automatic TMP’s as the group marches past you back into the warehouse-type room with your original kidnappers. You don’t have long to wonder why they’re marching back into the room. Just as the doors to the elevator are closing, you hear the confused shouts of your kidnappers get cut short by rapid gunfire.

No witnesses. That’s never good.

You’re not in the elevator for long. The doors open to reveal a long hallway with more industrial style architecture. The guard in front of you starts walking forward and the guard behind you lightly pushes you to follow. His presence behind you makes the hairs on the back of your neck stand up.

As you’re ushered forward, it feels like you’re walking through a cross between an old factory and one of the old Umbrella labs. Some things appear to be 40 years old or more, and other things, such as the doors, have been updated to be futuristic sliding electric doors with keypads for additional security. The wheels are turning in your head on what this place of operations could possibly be, but you don’t have enough information to make any solid conclusions yet.

The guard in front of you scans a key card on the panel next to the door, it beeps, then the door gracefully slides open to reveal another hallway similar to the last one, but completely renovated; bright white and futuristic. The architect clearly took inspiration from the old Umbrella labs.

About halfway down the new hallway, you realize you don’t feel the presence of the guard behind you anymore. You look over your shoulder and stop in your tracks when you see the guard unconscious on the ground a few feet away.

Huh. How’d that happen?

When you stop walking, the guard in front of you turns around, probably to get you to keep moving to whatever cell these people have prepared for you. But as soon as the guard turns around, you see a gray blur drop from the ceiling out of the corner of your eye. The gray blur, a ginger headed man, punches the guard, which makes the guard stumble but he regains his footing quickly. They exchange a few attempts at hitting each other; the guard tries to swing the electric baton but the mystery man dodges the attempted strike. The mystery man gets a few good punches in and successfully disarms the guard, but the guard is able to catch the man’s wrist, the guard then uses his forearm as leverage to pin the man to the wall. It looks the guard is trying to cut off the mystery man’s air circulation, but the man has enough strength and fighting know-how to not get knocked out.

For a moment, you don’t know what to do. You don’t recognize the new man. The only thing you know is that he’s a skilled fighter, and the other guard isn’t going down easy. You also know you can’t escape by yourself, and the B.S.A.A. doesn’t know where you are.

Help the stranger it is.

You run over to the unconscious guard and grab his electric baton and grip it the best you can with your hands bound together. The mystery man is still pinned to the wall by the guard and is trying to wiggle free.

You sprint down the hall, wind up the prod, and smack the guard on the side of the head. The guard doesn’t go down like you hoped, but the shock of you hitting him with the baton gives the mystery man enough time to grab the guard with both hands and ram him into the wall, knocking him out cold.

“You good?” You ask, somewhat out of breath.

The man stretches his neck and arms, nodding his head. “Never better. Thanks for that.”

Now that the man isn’t brawling with the guards, you get a better look at him.

A nagging sense of familiarity emerges in the back of your mind. You’re positive you haven’t met this man before. You couldn’t have. You would have remembered the large diagonal scar on the left side of his face that stretches from the junction of his cheek and nose all the way down to his jaw, or the buzzed ginger hair. Those features aren’t exactly forgettable, yet some detail that you can’t put your finger on in the moment keeps tugging at your memory.

You shake off the feeling. You can sort that out later, but right now you have more binding things to focus on. You hold out your wrists, still bound in the cuffs.

“No problem. Mind returning the favor? The key’s in his chest pocket.” You point your chin to the guard that you shocked.

“Sure thing.”

Jake saunters over to the guard, rolls the unconscious body over to unzip the front pocket to grab the key, then walks back over to you to start undoing the locks on your cuffs. Jake’s eyes flicker between the lock and your face as he does so.

“So… you’re the hot shot scientist.”

It’s more of a statement than a question. You narrow your eyes. Jake easily unlocks the first cuff and begins to work on the second one.

“That depends… who’s asking?”

“Name’s Jake.”

Knowing his name doesn’t help you place this man’s face. You stay silent and wait for Jake to keep going and give you a last name or the company he works for, but instead he unlocks the second cuff and tosses them away, looking at you expectantly with an easy smirk.

“This is the part where you tell me your name.”

“Not before you tell me why you’re here.” When in doubt, be on the side of caution. Just because this man helped you, doesn’t mean he’s on your side. You rub your wrists, trying to get rid of the sting of the cuffs being on your wrists for so long.

“Just a little… preventative maintenance for a friend. You got a name?”

You purse your lips, trying to get a read on what Jake means by ‘preventative maintenance.’ He took out the guards, so unless he’s going for a long con, he doesn’t work for the people who took you. Most mercenaries wouldn’t rescue someone on a job unless it’s in their contract, although any good murder for hire would know what their target looked like before accepting the job. You’re willing to bet his intentions are most likely in line with your own. You relax your shoulders.

“Just call me Doc. And yeah, I’m the virologist.”

The cavalier attitude Jake is exuding shifts slightly and for a moment you think he’s connected the dots on who you are, but instead Jake’s attitude morphs into optimistic determination.

“You know the periodic table?”

You stand there, confused and trying to figure out why he’s thinking about something so out of left field, but coming up with nothing. You answer honestly. “Uh… yes?”

A satisfied smirk stretches across his face. “Good. I could use your help. C’mon.”

Jake strides over to a specific section of wall and presses an unassuming panel on it. A keypad pops out and Jake starts to type on it while you stay in your spot processing what just happened.

“Excuse you, I don’t remember volunteering my expertise!”

“What’s the hold up Doc?” Jake finishes inputting the number sequence and you hear a hiss, something metal releasing, the panel of wall that you now realize is a hidden door sliding back a couple inches, then the wall panel sliding to the left to reveal an industrial staircase winding downward. Jake turns back to you, a cavalier expression on his face. “You got something planned already with sleeping beauty over there? Or are you coming with me?”

Jake gestures to the guard you electrocuted on the floor. You look at the guard, then the other one further down the hall, then back to Jake. “Lucky for you, my plans just got canceled. Let’s go.”

It only takes a few minutes to figure out that Jake knows his way around this place. The staircase leads to another series of dingy hallways that Jake saunters through with confidence. Either he’d already figured out these sections weren’t closely guarded, or he’d taken measures to make sure he wouldn’t have to worry about surveillance. Either way, you’re relieved to be in the presence of someone who knows what they’re doing and isn’t trying to hold you hostage.

“So… you didn’t say who you work for.”

Jake thinks about his answer, then shrugs and keeps walking. “I consider myself an independent contractor. But right now, I’m on the B.S.A.A.’s payroll.”

“Really? You don’t strike me as B.S.A.A.” You know for a fact that the B.S.A.A. recruits almost exclusively from armies around the world. Army life causes soldiers to have a certain disposition. A certain disciplined way of carrying oneself resulting from years of drills and training. Jake’s body language felt much too relaxed for that lifestyle.

“I’m consulting.”

You give the man a half smile hearing that. The way Jake said that made it sound like he wasn’t exactly happy about it, but accepted the job nonetheless. Something you could easily relate to. “What a coincidence, so am I.”

“For viruses? You some kind of expert on bioweapons?”

You shrug and keep following Jake. “I’ve got a good amount of practical experience.” It’s a true but vague statement. Jake doesn’t need to know the details of why you know so much. Any mention of your past with Umbrella or Wesker never ends well with strangers.

Jake looks over his shoulder with an eyebrow raised. “Don’t give me that humble bullshit.”

You scoff and smile. Definitely not army. “Okay. You’d be hard pressed to find someone who knew more. Better? What do you need to know?”

“Give me a rundown of the G-Virus.”

You don't answer for a long moment, stunned. “The G? These guys went through the trouble to get me here for that?” Your tone is incredulous.

“What?” Jake doesn’t sound confused at your reaction. Only curious.

“It’s just… unstable and obsolete compared to other bioweapons. It’s not exactly competitive against strains nowadays where infected can tell the difference between enemy and ally.”

“Obsolete huh? What’s your theory on why they have it all the way out here then?”

“They’re… low on funding and have limited options? Or they didn’t care what they’re buying.”

You pause, realizing Jake can fill in some missing information for you. “And who are ‘they’ and what is ‘here?’ I didn’t get a good look at anything on my way in.”

Jake chuckles and shakes his head. “You must piss off a lot of people.”

You roll your eyes at Jake’s comment and keep following him. “You don’t have to be an ass about it.”

“Not judging, I respect it. I’m on a fair share of shit lists myself.”

“If you don’t know the answers, you can just be honest about it.”

“Alright alright. Technically, we’re in Japan, but it’s more of a small as shit island in the Pacific. I was told this was a former Umbrella research outpost.”

You scrunch your brows in confusion. “I didn’t know they had labs this far out from the mainland.”

“Neither did I, but ya learn something new every day.”

Eventually, the dingy hallways and platforms lead to another mechanical door that reveals another white hallway not unlike the ones you remember from Umbrella’s previous headquarters in Raccoon City. You don’t have much time to reminisce as you follow Jake to a door at the end of the hall.

The room you enter is somewhat dated. The equipment here looks like it came straight out of the 90’s, but with some modern updates in a few choice sections. Jake ignores all of that in favor of leading you to the other side of the room where a mechanical door and a keypad are waiting. The door is notably one of the only things in the room that’s been updated.

“Mind taking a crack at this Doc?”

Jake hands you a note with an Umbrella header on it:

Pierre if you’re reading this, I’ve changed the password to the specimen room. I know it impedes business to change it so frequently, but the boss insists on the highest level of security due to the nature of the special project. The new password is your namesake element on the periodic table. Just type in the atomic number and weight in that order. Don’t mess it up again. That damn alarm will lock everything down and Aimi nearly blew a gasket the last time I had to get the security key to disable it again.

“You brought me here for this? Seriously?” You look at Jake like a disappointed mother. Do schools not teach the manmade elements in chemistry anymore? In your mind, you think that Jake went a little overboard bringing someone with a PHD to solve a periodic table puzzle. Jake doesn’t react to your question. He just keeps up the cavalier attitude.

“So you can solve it.”

“You know Google exists, right?” You reply, deadpan.

“No service in the middle of the ocean. Are you going to help me out or not?”

You scoff at the comment, then hand the note back to him and stride to one of the bookshelves. “Yes. It’s Curium.” You thumb through the spines trying to find a chemistry book of some kind.

“But his name’s Pierre. You sure?”

You find a ratty chemistry book with university library stickers all over the spine. Bingo. You pull it out and flip through the back pages, finally finding what you were looking for: a periodic table.

“Pierre Curie and Marie Curie discovered the element. That’s the answer. Type in 96247.”

You snap the book shut and you hear Jake typing in the code on the door. Now that Jake’s errand is almost done, it’s time to get the hell out of Dodge. Or the ocean in this case.

“After you run your maintenance we need to find a radio, or a ride out of here. I don’t want to be in the middle of nowhere longer than I need to be.”

“I’m no travel agent, but I think that can be arranged.”

You turn to join him, but a logo on some papers scattered around on the desk by the bookshelf catches your eye; a Tricell logo. Your eyebrows scrunch together. Albert partnered with Tricell for the Uroboros project and the company has been defunct since Africa happened four years prior. Why is that logo here of all places?

You hear a beep behind you and a mechanical door sliding open with a soft hiss as you pour over the documents. They’re copies of internal documents relating to the development of the Africa strain of Plaga parasites with yellow highlights all over them. A large label that reads ‘G – U’ stuck on a keycard is blocking one of the notes so you move it to the side. More concerningly, the only things you see highlighted are locations of labs and sites of infection with handwritten margin notes in Kanji that you don’t understand.

“Hey uh, Doc?” Jake is calling you from inside the room that was unlocked.

“Hm?” You respond, still half-focusing on the Tricell documents.

“I don’t think these guys had limited options.”

A sense of dread starts to form in the back of your mind when Jake says that. You speed walk over to the now accessible room. It’s a large, white room with rows of what look like display cases. You see Jake looking through the glass and into display on the other side of it. You walk up next to him to look for yourself and your heart drops to your stomach when you see what he’s talking about.

On the other side of the glass, you see a complete family of Plaga parasite strains. As you walk down the aisle, you see the original strain from Spain, all the way to the newest strain that popped up in Edonia a couple years back. Although to your relief, you see that the Amber strain which allows the infected to have both strength and free will isn’t displayed.

You glance at the aisle behind the Plaga parasite display. You immediately recognize the familiar T-Virus series. It’s concerning how thorough the collection is. Even without reading the placards underneath each sample, you recognize the strain that caused the outbreak at the Spencer Mansion, the T-Abyss virus from a few years ago, a few different failed strands from the Marcus-Birkin projects, among dozens more. You feel your heart skip a beat when you see the T-VERONICA placard, but you relax when you see that the sample holder is empty.

“Doc? Talk to me what’re you thinking?”

Even with the display cases missing a few of the more powerful specimens, it was still the most comprehensive collection of viruses and parasites in a single place that you’d seen in your career.

“They nearly have the whole damn catalogue in here.” Your tone is grim. Samples as comprehensive as this can only spell something bad on the horizon, but you’re not too sure what.

“I don’t understand what their play is here.” You state, still walking along the T-Strain aisle and examining each sample. Your footsteps echo around the room from the grate flooring. Based on the setup, each one appears to be a live sample.

“I think I do. They’re trying to be a one stop shop for bioweapons and this is the showroom.” Jake spits in disgust.

At first glance, Jake’s observation appears correct. But upon closer examination, that conclusion doesn’t quite fit. You slowly walk along the aisle and look at Jake through the glass in the aisle opposite. He’s examining the strains in the G-Sample section, looking back and forth from the samples in front of him and his phone.

“I want to agree with you, but I don’t think that’s it.”

Jake stops and looks at you confused. “Why?”

“They don’t have nearly enough inventory. These are samples. An unusually comprehensive collection of samples, but there’s only one of each.”

Jake shrugs. “Maybe it’s somewhere else.”

Again, a logical conclusion that doesn’t quite fit. “Outside of this facility? Possible. Here? There would have to be at least a few dozen rooms like this to store everything properly.”

You stop walking.

“And logistically, it just doesn’t make sense. We’re practically in the middle of nowhere. Why would a business owner put their showroom in one of the most difficult to reach places on the planet? You would think they’d want to make it easy for the buyer to review product, as well as convenient for the owner to ship out that product. Someone wanting to be a one-stop-shop would be on the mainland.“

You pause, an icy feeling washing over you. The bag on your head during your transport here and the execution of your kidnappers suddenly makes a lot more sense.

“These people don’t want to be found.”

Jake’s eyes flick from his phone to your face. “So they’re working on something big. A new G-virus?”

You shift on your feet shaking your head while looking over the G-Virus samples. “Yes to the big project, no to the G. Whatever it is, it’s not down here.”

“You sure about that? This one’s missing.” Jake holds his phone up to the glass so you can see on the other side of the G-Sample row. Jake’s correct this time: this specific strain isn’t displayed. You tilt your head in confusion.

“That’s not a strand I recognize.” At first glance, you know it's an unusual strand of G-Virus. G-Viruses are normally green in color, but this one is a sickly pink.

Jake grunts, shaking his head and pocketing the phone. “It’s never that simple. Is it? An all-inclusive virus buffet and one of the only one that's missing is the one I need.”

Jake pulls out a pistol you didn’t know he had, checks the clip to make sure it’s fully loaded, then holds it down by his side as he strides out of the room.

“Where you headed?” You call after him.

“Main lab upstairs. I’ll come get ya after I’ve got the G-sample.” He answers over his shoulder.

“Absolutely not!” You reply in disbelief and Jake stops walking, sighing in annoyance. He can’t seriously think he can take on the army upstairs with just a pistol. You try to talk some sense into him.

“We need to find a radio and get the B.S.A.A. here. These people will kill you no questions asked if they see you. Plus, that handgun of yours isn’t going to cut it against their hardware.”

Jake shrugs his shoulders, unconcerned. “I’ve had worse odds.”

“That doesn’t make lone wolfing this any less stupid! There’s a base in Tokyo, we just need to find a way to contact them-”

You stop talking abruptly when you catch a glimpse of a dangerously familiar sample. The one that changed the course of your life for the worse. The one that your dead husband tried and failed to infect the planet with. The name UROBOROS is proudly displayed at the end of the G-Virus aisle in the back, nearly drowned out by the sheer number of G-Virus samples.

You hear Jake saying something to the effect of ‘I’ll be back before they even know I’m there’ but you’re not registering what he’s saying. Your vision has tunneled to only focus on that devil sample. All it takes is one slip up by a careless scientist to infect this whole place. You think back to the keycard in the other room by the Tricell papers; ‘G – U.’ G-Virus to Uroboros. This time can be different. You have the power and knowledge to stop this.

“Hey? Earth to Doc? You still with me over there?”

“That needs to be destroyed.” Your voice is barely above a whisper as you stare at the Uroboros sample. You keep your eyes on the sample for a few steps, then brush past Jake to rush into the other room to find supplies; some kind of glass beaker, metal garbage can, something to contain the damned thing when you burn it to ash.

As you begin nearly tearing the lab apart in your barely controlled frenzy, Jake steps back into the sample room to look at what has you so distressed.

“Uroboros? That’s the uh… it’s not a G-Virus is it?”

You open a cabinet and find a large glass beaker. You grab it and set it on the counter and keep looking for more supplies.

“Yes! Now less talking and more helping. There’s Bunsen burners here, so there has to be some matches-”

“Can't this wait? Is it really any worse than the other ones?”

You aggressively close some drawers as you turn back to Jake with a serious glare.

“Albert Wesker. Heard of him?” Your voice is low and controlled.

Jake’s face melts into a barely hidden look of disdain. “Yeah, I have.”

“He tried to use it to cleanse the world, as he put it. He spent years injecting innocent people with that and he was the only one who didn’t turn into a flesh-eating worm thing.”

You open more drawers and find a cleaning cabinet with a half full container of rubbing alcohol. You grab it, along with a pair of cleaning gloves, and set them next to the beaker. You start soaking random bits of scrap paper with the liquid and stuff it into the beaker.

“Not only that, he tried to launch that shit into the atmosphere with a deranged smile on his face. It nearly ended the world once and that’s not something I, or anyone, needs to deal with again.”

You put another splash of rubbing alcohol into the beaker for good measure then forcefully put the bottle on the table causing it to spill some of the liquid on the table. It doesn’t slow you down. You quickly put on the cleaning gloves and dig through the drawers around the lab looking for a lighter or matches. Smoking isn’t rare in Japan so one of those items must be here somewhere.

“So Wesker had special blood?” If you were paying closer attention to the way Jake said that, you would have easily picked up that he knew more than he was letting on. But you don’t. You’re too busy trying to get rid of a dormant threat sitting in the other room. You answer without thinking while opening more drawers by the bookshelf.

“Genetically, he was one in a trillion. But even with that, he still had to take doses of the virus periodically to keep it stable. All the more reason to nip this in the bud before it becomes a problem again.”

“You know a lot about this.” A statement of fact, not a question.

“Yeah, I do!” You exclaim dramatically as you slam a cabinet shut when there, once again, aren’t any matches. You’re so frustrated that Jake is asking so many questions and won’t just help you.

“You knew him.” Another statement of fact, not a question. His eyes are dissecting your every move now. The look vaguely reminds you of Albert and you feel the hairs on the back of your neck stand up. Albert used to look at you like that when he wanted to know if you were lying or gauging your reaction to something he told you. You shake off the feeling. The Uroboros discovery is making you paranoid.

You sigh and shift on your feet, leaning back against the cabinet with your eyes on the ceiling. The scent of rubbing alcohol is strong in the silent room. You shift your eyes to Jake’s after a long moment. His expression is nearly unreadable, but there’s an underlying edge in his posture now. He knows. Not everything, but he’s catching on to why you’re so passionate about this. There’s no use lying about it.

“I knew him…well, okay? At least I thought I did before all the crazy. But right now we have more important things to do than rehash my history.”

You force yourself to tear away from Jake’s calculating gaze and resume your search.

“I nee-… we need matches. Can you just help me look please?”

You don’t hear a response behind you, and you think that Jake is going to keep asking you questions. But after you open a few more drawers you hear a rustle of fabric and a metallic tink.

“Use this.”

Your head whips over to Jake and a wave of relief washes over you. Then annoyance.

He’s holding a lighter.

He had that the whole damn time you were tearing through the lab looking for matches.

You decide it’s best to hold off on scolding him until after you get rid of the Uroboros sample. Instead, you take the lighter with a gruff thank you. You grab your supplies along with the ‘G - U’ keycard and head back into the sample room.

You enter the room with newfound determination. You couldn’t stop Uroboros on your own all those years ago, but this time it’s different. You’re stopping a disaster before it has a chance to start. You place your supplies on the floor next to the case, preparing to immediately plop the Uroboros sample into the beaker. In your peripheral vision, you notice Jake leaning against the doorframe, watching your every move.

You scan the card.

Instead of the glass sliding down into the base like you expected, it stops a quarter of the way down when a deafening alarm sounds overhead and Jake is forced off of the mechanical door when it reels shut. Before you can even call out to him, gas starts pouring into the room from the grates on the floor.

All senses of self-preservation leave you in this moment. Thousands of years of survival instinct telling you to run and claw at the door and scream for help is ignored because, once again, your thoughts are only consumed by the existence of the Uroboros sample. Possessed by only one thought: you can’t fail to stop this again. You couldn’t justify something as trivial as your own survival if it meant there was a sliver of a chance of something like Africa happening again.

You force yourself to focus, even though it’s getting so much more difficult with your mind starting to cloud from the gas. You hold your breath to prolong consciousness. There’s enough space between the glass and the edge of the case that you can squeeze your arm in and grab the damned sample. You can hear Jake banging on the door shouting your name, but his voice sounds so far away as you force the sample from its display rod and gracelessly sink to your knees.

Your hand feels unwieldy and heavy as you drop the sample into the glass beaker. Even more so as you try and fail to roll the lighter wheel fast enough to make a flame. You rip off a cleaning glove to get a better grip and you keep trying. You have to. This needs to work. You can’t fail again. You won’t fail again.

You pause to finally take a breath and force yourself not to cough from the downright bone numbing gas that’s still filling the room. Your vision is starting to blacken at the edges and your body slumps so much that you’re resting on your stomach, so you make a conscious effort to tighten your grip as hard as you can on the lighter and roll the wheel. A small flame erupts from the lighter. With a shaking hand you thrust it into the beaker and the alcohol-soaked kindling erupts into flame. You barely notice the sting of the flames against your hand when you retract it.

Everything feels heavy. You finally let your body resign to the gas and let your head rest on the ground. With each shallow breath, the darkness at the edge of your vision grows more and more prominent. You don’t hear Jake anymore, but you do hear indiscernible voices on the other side of the wall getting farther and farther away and loud pops. Gunfire? Or Jake banging on the door?

The last thing you remember seeing before the darkness overtakes your vision are blackened remains in a glass beaker and a pair of unfamiliar, polished shoes slowly walking towards you.

__________________________________

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Tag List: @killerwendigo

a/n 2: I really hate doing filler/transition chapters as a principle, but I promise that it's very necessary for what's coming. Chris x Reader is going to be on the backburner for a couple parts but I assure you he's coming back and it will feel rewarding when he does.

AO3 link for this part.

#resident evil fanfiction #jake muller #resident evil 6 #resident evil 6 spoilers #chris redfield x reader #not in this chapter though because PLOT #fanfiction #slow burn #no beta we die like men #The Wife the Lover and the Bastard Son

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