#there is so much horror potential to these two

[twst-hottest-takes]

Tweel Anatomy Discussion!

Part 2.

(Finally getting around to this! Link to part 1 here: https://www.tumblr.com/twst-hottest-takes/759029788153446400/tweel-anatomy-discussion?source=share )

And first off a big "Thank You" to everyone who encouraged me to write the first part and who seemed to have enjoyed it. I'm happy my pseudo-scientific ramblings about fantasy anatomy make you happy!

As always: The following post will be almost purely conjecture based off of a combination of reality and fiction. None of what I say should be taken as law, but rather a fun series of hypotheticals, as that is what the game gives us to work with.

Before getting to the promised screed on "throat teeth" I'll be addressing a couple of subjects people asked about in the comments of the first post! I'll be paraphrasing, but if the people who asked wish to be credited directly, let me know and I will tag you!

First: What does Floyd mean when he threatens to "squeeze" people?

As the comment pointed out, eels (moray or not) don't seem to constrict their prey. The word "constrict" is often associated with how many species of snakes trap and suffocate their prey before swallowing it whole. In this manner, morays do not constrict anything to speak of, BUT THEY DO TIE THEMSELVES INTO KNOTS!

Commonly this behavior is used when an eel has a piece of prey that is too big to swallow all at once, so they tie themselves into a knot to get a better "grip" on their prey and tear it into more manageable pieces! A knot can also be a defensive measure to hide or protect an eel's head from potential enemies. (Looking up "Moray Eel knots" should give you a much better idea of this behavior.) In the case of Floyd Leech, I think that the term "squeeze" is meant to reference Flotsam and Jetsam's behavior in The Little Mermaid. They "squeeze" Flounder and Sebastain to prevent them from stopping Ariel from making her deal with Ursula, and also wrap around Ariel's arms to restrain her later in the movie when the deal is up. These are pretty cartoonish behaviors that wouldn't be seen in real eels as they appear in the movie which seems to treat them a lot like "sea snakes" in this way. I think Floyd's "squeeze" is meant to be a serious threat when considering what eels do to things they tie up in their knots, but it does seem to evoke a mental image of a python rather than an eel.

Secondly, the user questions how Floyd would manage to build up his arm muscles so much.

Simply speaking, Floyd's bare arms are only a matter of fanservice. He's not really "buff."

The muscles are just very well-toned. While Floyd's "mercurial moods" don't allow him to commit to things like workout routines, he's still more active than not. Doing things like basketball, dancing, or parkour with any kind of regularity will give his arms that toned look, at least as far as his human form goes. In regards to his merman form, Floyd probably did similar things that shaped his muscles this way, but didn't build them up much past average.

Thirdly, another user asked me to touch on the boys' habitat as them being residents of the apparently cold and dark Coral Sea doesn't line up with the natural habitats of moray eels in real life that live in tropical waters.

Unfortunately, I don't have any particularly fun insights into this topic because I think that's just something added to better suit the part of the game based off of The Little Mermaid. Azul and the twins are meant to be intimidating and a little mysterious, so they come from a deep, dark, cold part of the ocean that holds scary and mysterious things. Bearing in mind that merfolk are fantasy creatures, I don't find the contradiction of where you would find eels versus where the twins are from to be especially bad in terms of world building. It may not be entirely thought through, but they are taking inspiration from the Disney movie, and keeping true to it's inspiration probably came first.

(Honestly, the thing that gets me is how they said they couldn't go home because the sea froze over. As if the mirror couldn't transport them directly into the ocean underneath all the ice! I swear the writing in this game sometimes.)

And now, the moment you've all been waiting for: LET'S TALK ABOUT PHARYNGEAL JAWS!

Quick explanation: Pharyngeal jaws are a second set of teeth in the back of a fish's throat. They are notable on moray eels, but they aren't the only fish that have them. The function of the throat teeth is for them to jut forward and grab onto whatever food the fish has bitten into and then retract and drag the food down the esophagus far enough for peristalsis to take over and continue the swallowing normally. (Yes, I used the first picture that showed up on the web search. It's from Wikipedia)

Do I think the Leech Twins have pharyngeal jaws?

The short answer is unfortunately: "NO."

The long answer involves more of our favorite subject: Discussing how realistic anatomy and fantasy physiology can coexist. (Spoiler alert: The long answer is still unfortunately: "NO.")

Logically and anatomically speaking it makes no sense for Floyd and Jade to have them. First and foremost, even if they did somehow have them in their merforms (which is far more plausible) they wouldn't have them in their every day human forms. The shortcoming of human anatomy is that we have a windpipe, and a second set of teeth back in our throats would suffocate us any time they would need to be used. Instead, we, like most of the animal kingdom, have tongues that push food back to be swallowed and have no need for extra jaws to crawl up and pull food down. Likewise, the twins clearly have tongues, and although they keep their primary teeth in tact between their two forms, have no need for a secondary set. Furthermore, I would posit that pharyngeal jaws in their human forms would be just plain dangerous as in the case of accidentally crushing your own windpipe. They breathe air, therefore they don't have gills, therefore they have lungs and a trachea for gas exchange, and therefore no room for throat teeth.

If the twins were to have pharyngeal jaws, it would make the most sense for them to have them exclusively in their aquatic forms. Because they breathe through gills around their ribs (see part 1) there would be much more room for a second set of teeth and the accompanying anatomical equipment. However, again, I am forced by my own logic to concede that they would still be unnecessary. Between all of the visual proof and the fact that the twins speak the common language fluently enough to have no communication issues with the land dwellers, we know for a fact that they have tongues--much like in their human forms--and that would negate the need or use for pharyngeal jaws. Moreover the humanoid head and neck structure on them in both forms would make the use of pharyngeal jaws pointless, if not explicitly dangerous (having a curved esophagus, as opposed to a straight line as in fish).

In conclusion; as much as this is a disappointment to admit, it would seem that the twins do in fact only require and as a result have a single set of teeth.

However, I will end this particular essay off with one sliver of hope.

It is implied in the text of the game that the twins were hatched from eggs. If their formation from egg to "adult" merman is anything similar to a fish's then it is possible that they once had a second set of jaws. Perhaps in an earlier stage of their development their bodies and mouths were positioned differently and they hadn't quite grown tongues yet, so a pair of extra jaws would have been particularly handy. As they became fully developed these jaws would have been lost, reabsorbed, or simply become vestigial remains as a result of no longer being of use. So while it's not logical to imagine that the twins currently have pharyngeal jaws, there's nothing that says we can't imagine that they did at some point.

(A small consolation to those of us who really would have liked that addition to their characters because we just think it would have been really really cool. Logic be darned, I still love to see fanart that depicts the two of them having throat teeth.)

Thank you for reading! I hope you enjoyed a bit more of my obsessive ramblings regarding fantasy anatomy!

This one took a while to put together because I wanted to make sure I had a visual representation of what I was talking about regarding the placement and effect of pharyngeal jaws in a humanoid form. . .so you guys get to see a very rough drawing of what I was talking about (along with a sample of my awful handwriting). I hope that was helpful and not too difficult to understand. I have been very tired lately and ended up putting a few ask responses on hold because I REALLY wanted to get this part out. A good number of people have apparently been looking forward to this, and I felt bad for making everyone wait for so long.

Will there be a third part?

Well as of right now I don't have one planned. But if some fun conversations start regarding what I've said here, there may end up being enough stuff to include in a third post. I didn't have much to say regarding things like warm or cold-bloodedness, or coloration and bioluminescence. However, if people want to talk about those kinds of things I will gladly delve more into them as long as there are people to talk to about it. But for now, that'll be all for this subject!

Now we can get back to the inbox!

(Once again going to sleep thinking about how awesome these mer-eel designs are and how I love all the sparkles!)

[illiaccrest]

🐠 ✨ 🌊 🐉💖

[1pcii]

my fave alabasta shipping dynamics is pre-established zolu playing matchmaker (how successful they are? eehhhh) for pining namivivi

[volfoss]

i think honestly what irritates me about yoshidas work SO much is that people will tell you that banana fish is THE gay manga (ignoring the many things that came before it and were more groundbreaking, ie MW literally having on screen (or like. on panel but still.) gay sex in it and that came out like a decade before BF did) when there really isn't barely any gay rep outside of the pedophiles and the one time ash drops the f slur. like im sorry but somehow yasha, a work she wrote in 1996, has more gay rep in it but also has the same issues.

i truly do not get how people can enjoy banana fish with the rampant racism every 2 pages or the rampant sexual assault plotlines (on women and ash bc he is just... written like how yoshida writes women lmao) that are handled IMPOSSIBLY bad and sincerely i hoped yasha would be better because it had been like a decade or so between works. and then it proceeds to continue with the heres our blonde genius protagonist who everyone is weird as fuck to and will sexually harrass and everyone finds it a VERY funny joke to point out how feminine he is when theres barely any women in the work (if you exclude the ones that are being raped/killed/creepy to minors. which to be fair yasha has toned down the sa a LOT) and that its funny that hes kind of gay except not really!! and its just absurd to me how it just persists in all of her stuff because she is not an author that handles gay stuff well. like the scene in banana fish where ash is completely ok getting gang raped and did it solely to get into the hospital when its been SHOWN that he has a lot of trauma with that. and then right after his friend makes a joke at ash's expense about that. like sincerely and genuinely is this what we are hyping up as the old retro gay manga. go read some tezuka and stop reading shit that the most the main characters do is share a kiss in a nonromantic sense and is obsessed w making every gay person be evil!!

[sysig]

You’re gonna die if you keep that up (Patreon)

[waitineedaname]

what is hlvrai and please tell me more about this svsss crossover?

hlvrai is Half-Life VR but the AI is Self-Aware and it is a series that made me absolutely bonkers for a solid two years, which is not something most hyperfixations of mine can claim

basically the premise is that a streamer got a special copy of Half-Life VR where the NPCs are self-aware! in reality, it was a streamer and his friend role-playing in gmod and it spiralled rapidly out of control, but oh my god I cannot emphasize enough how funny this series is. there are lines in this series that I still quote because they have wormed their way into my permanent speech pattern. the characters that they managed to come up with basically on the fly are so good, and the ending is absolutely insane

I'm still deciding which direction the crossover should go. I think maybe I should put svsss characters into hlvrai because I do not think hlvrai!gordon would not do well if put in shen qingqiu's shoes. he's so highstrung, I do not think he could pull off the wise master role sqq finds himself in. he would get killed so quickly

shen yuan, however, would be perfect as a streamer slowly being driven insane by his NPC companions. the other characters are trickier to figure out, but I think if I just change which ones of them are aware they're in a video game, it would work. binghe being benrey is too good to pass up, but I think shang qinghua could be tommy, if tommy figured out they were in a game but just chose not to tell anyone. I kinda wanna make mobei-jun into forzen simply because that's funny to me. coomer and bubby.... uh...... get back to me on that. liu qingge could be bubby maybe, and yue qingyuan could be coomer. idk. instead of talking to the system, shen yuan is bitching at his chat, and binghe is like Who Are You Talking To 👁👁 and shen yuan has a heart attack

[time-is-restored]

more whinging bc i got negative hours of sleep last night and i need to stay awake somehow lol

cw: discussions of misogyny + abuse

god the more i think abt it the more exhausted i get by the gender politics of ted lasso.

like god i do genuinely think that rebecca's arc in s1 is one of the best depictions of a mean + cruel woman ive ever seen on TV specifically bc it manages to thread the needle so well? like they never tilt her balance too much and doom her to being either totally fucked up + evil OR totally soft and sweet and harmless. and ted's 'divorce makes u crazy' response to her apology STILL makes me crazy wrt the sheer. understanding and empathy there, and she's just. given so much more depth than ive come to expect, especially for an ensemble cast sitcom w a (then) p short run time.

but my fucking god. we literally don't learn a fucking thing about michelle. im pretty sure the one (1) concrete thing we know about her comes in the fucking finale, and it's that she's a teacher for... something. the two most important people in ted's life and we don't know anything abt them! they're literally just empty symbols representing the importance of Family™, and that vacancy does nothing but weigh ted's storyline down!

like, i liked michelle's episode/storyline in s1, bc the blinding novelty of a woman instigating a divorce not being the Actual Devil, as well as a just. generally very empathetic + nuanced take on how divorce shakes out between two ppl who really care for each other, was so 'WAIT TV CAN DO THIS??' that i felt satisfied with that being Her Arc™. divorce happens, life happens, people fall out of love, and it hurts but its ultimately okay. the show, at the time, was ultimately abt a football club and how caring abt that football club helped everyone around it.

but then the show sticks around, and her continued absence just... raises a lot of questions? how did the conversation abt ted going overseas happen? what conversations did they have abt henry? how long term was it intended to be? did money really not factor into it all? like it's one thing for a character's backstory to be vague when it's not really the focus of attention (s1 was ultimately rebecca's story before anyone else's), but when it's the load bearing stone of their '''''''arc''''''' in s3...????

like. god. and then it fucking infects every other woman on the show!

sassy + nora? well sure we'll give you a softball - you can have one (1) scene where a woman is able to resolutely and firmly reject a man asking her out without immediately being seen as cruel or gameplayey (not that the audience will see it that way! she's already a lecherous temptress for them!), but neither of them will ever be able to speak to rebecca onscreen again, even after the heart-wrenching scenes in s1 CLEARLY establishing them as a beating heart of rebecca's arc.

shandy? nope, don't even think abt her motivations/drives, just forget her. simi? LMAOOO imagine a black woman getting a personality beyond righteous anger. jack? three-four episodes, and we learn so little abt her that her conflict with keeley - which SHOULD'VE have been a huge emotional beat - just feels like a kick in the teeth (and while, yes, i absolutely agree that in a real world context, jack's rejection of keeley would be largely motivated by class, in Ted Lasso Land™ rebecca is just as rich - if not richer? - and we're never once encouraged to interrogate her priorities).

barbara's the one that really makes me miserable, bc i feel like on a show with less run time, she could've played REALLY well. she's a great contrast to keeley, has an amazing delivery, and the scene where keeley + her first discuss the snowglobes shows that she has the potential for some really moving vulnerability + pathos. but instead they give SO many of keeley's scenes to characters who ultimately get written out, so when barbara stays it's like... okay? sure? like, i was so stoked that barbara survived the Mass Exodus of side characters that i didn't wanna look the gift horse in the mouth but... wasn't the last thing we saw of her and keeley's relationship like. general resentment + distrust abt the shandy debacle? when did that improve? how???

i don't think i'll ever have enough mental real estate to explain how disappointed keeley + rebecca's 'arcs' in s3 made me, and at least there's the saving grace that. virtually no one other than jamie got a coherent arc this season, so at least it was on some levels an egalitarian screw up. but fuck dude. keeley was just forced to react to bad things that were happening to her, and we got to see her do her job (which, unbelievably, does actually involve things other than being an awkward manager!) precisely one (1) time.

i even like rebecca's arc on paper - i think it's really cool to see a character backslide so intensely in terms of obsessing over and struggling to come to terms w a past relationship, especially an abusive one, bc like. yeah! that shit sticks with you for longer than a season! and beyond that, seeing her regain her sense of self and what SHE actually gives a shit about was oftentimes just as sweet as s1. but her scenes were poorly connected, and she had to carry WAY too much of a burden as the Resident Speech Giver for any of her internal characterisation to make sense. like, sorry, but it's kind of hard to believe a character's Going Through It™ when they have to spent near 100% of their screen time giving Take It From Me, Kid, speeches. and then she's not even given a real opportunity TO fuck up + sabotage her relationships, even when she starts getting really weird w ted! it's all just so meaningless and like nothing that she does is ever going to matter. she never speaks to zava again, we don't get to see her interact w bex or kate, her pleas to ted get COMPLETELY shut down...

but the thing that REALLY makes me sick is this complete lack of interiority absolutely butchers the characters of jade + jane, who are otherwise RIFE with potential. like, jade is a completely unflinching, unapologetic asshole to nate + his family, and that's never interrogated. even in Sitcom Land™, it's more than reasonable to view jade's actions as racist, especially when she doesn't give the same treatment to others (at least not as i recall? honestly i usually watch the taste of athens scenes while peeking out behind my hands, so i could 100% be wrong here). and yet, suddenly, and completely inexplicably, she's charmed by nate. she wants to give him the time of day. she finds him attractive, and wants to date him, and generally take control of his life and force him into a decision that is literally the exact opposite of what he expressed wanting to do. except even that LAST thing isn't allowed to be interrogated, bc god FORBID a woman is enough of a fully realised creation to actually be culpable of the terrible shit they do!

and fucking jane??? beard's so head-over-heels for this woman that the emotional abuse + extremely controlling tendencies don't even make him bat an eye, and we don't get to know anything about her? she's literally just the suggestion of an alluring woman! good at sex! good at chess! fuck you if you wanna know more, even though the show ENDLESSLY hits you over the head with how painful their relationship is for beard - beard who is given virtually no other storyline. like, i literally can't read brendan's refusal to label jane as abusive as anything other than like. that bio-essentialism shit where ppl 'women are better than men <3' so hard that they end up genuinely and wholeheartedly arguing that someone's sex defines their morals - or worse, that their sex is a deciding factor in determining whether someone's actions are good or bad. not context, but a legitimate 'add points if woman, take away points if man' variable.

like that's so feminism 101 it's legitimately almost worse than nothing. that's like getting as far as 'hey so you know how we're all inundated with both implicit + explicit messaging abt what is Valued and Good for women vs men to-' before shoving ur earplugs in and going 'if you are oppressed by society we'll automatically stamp a 'good person' label on ur head and now we don't have to think abt any of our biases + internalised beliefs ever again <333'. the most useless and fucking pointless stand against the patriarchy ever, especially coming from the same show that ENDLESSLY slots characters into the 'loving gf/wife' archetype and then give them Literally Nothing Else. my comrades you have literally just done madonna/whore 2: oops all madonnas! this is not liberation!!!! this is a miserable cage!!!!!!!!!

im just. higgins' wife. mae. trent's daughter and anonymous 'her'. the women at the hotel and the restaurants and the firm and the fucking physios, fuck - dani's gfs! who are they? what do they want? where do they go when the camera stops rolling? can anyone hear me?? hello??? hello???? brendan hunt i am OUTSIDE YOUR HOUUUUUUSE

[triglycercule]

Do you have any headcanons for murder trio sexualities and or genders?

hmmm hmm ngl in my head the genders for the trio doesn't matter. like to me they're just living skeletons. a bunch of agender little shits and besides to me the gender doesn't matter much in their stories nor in the stories i imagine in my head or in any of my interpretations so unless otherwise specified (like in jk fashion au. theyre girls there solely because i love women and i want my trio to wear cute clothes that they wouldn't canonically wear. theres just a sweet charm to girls wearing cute clothes loving and laughing with other fellow girls. jk fashion au my beloved) theyre just a bunch of skeleton freaks. they COULD use any pronouns but i only use he him for all three because of sheer convinence. the trio would use any pronouns wear any sort of clothes and do whatever the fuck they want with gender and i would support them like the worlds biggest ally because i simply love them so

amd then sexuality uhhhh i think horror would be bi. because i saw that one horrortale wedding soriel art and even though i dont quite care for soriel SAS art is SAS art. so bi horror it is. also i dont think he'd give two flying fucks about romance and stuff like that. he simply would not look at dust and be like "let's go on a date beautiful". because he just wouldn't thats not who he is. horror would instead drag dust to a shooting range with no warning and they do that with no mentions of it being a date. thats what makes more sense to me. and with the way that his body is probably totally brittle and frail and SOMEHOW skinny for a skeleton (??????) he'd probably take a long ass time to ever warm up to someone to do the do. demisexual because i said so. dust on the other hand is the reverse for me. there is NO WAY in my head i can imagine dust looking at like killer or something (and not just because he hates him) and think smash. he just absolutely would never never never never dust is a hardcore asexual. HARD(like me)core ace. and then like horror with all his bullshit insecurities and fears and mental issues he'd take a long time to ever accept romance from anyone or be romantically interested in anyone. all of the mtt on the ace spectrum because i said so. and killer? you just be killer. just kidding i dont think he would give a shit either way. killer is the most neutral neutral when it comes to romance or intimacy since like. neither of them provide ANYTHING for him. there is no point to him. he just goes with the flow of whatever horror and dust want because he's a follower like that (LOSER!!!!)

anyways my opinions on this topic have not changed in forever. all sanses ngl are agender to me (unless gender plays a big role in their lore or something but i dont think stuff like that does in any of the majorly popular ones) and i blast the mtt with the aroace ray because i can and because i want to and because i feel like they would. all my opinions on this can literally just be taken from the top 1/4 of this one ship chart i filled out like a month or two ago

[white-weasel]

I am staring DIRECTLY at Film Reroll Luke Skywalker watching and anticipating his next move

[trainingdummyrabbit]

ouhhhg. why r we all here. jsust to suffer. every day i shuffle things around in my silly aus

[camping-with-monsters]

I don’t think I ever posted them but :)) I made this DST oc a while back and absolutely adore these two so much :)) but uhhhhh rant incoming—

They’re sorta meant to be like. A revisiting of a lot of other old Don’t Starve OCs I made when I was way younger (we’re talking maybe 10-12, can barely remember) and just took various concepts and twisted them into one— or two— existing characters! I don’t have a lot on what their play style would be and frankly I sorta created them more for fun anyway :)

Willabelle is the name of the parasitic mushroom that has taken over the body. The host’s name is Warna. She’s pretty much mostly sickly and drools a lot from the parasite, but they’d sort of accidentally came into contact not meant to be like how Webber’s backstory is. Admittedly, Willabelle was basically born from Warna’s body before they’d even entered the constant (likely pulled in by Charlie due to the stir it would have caused in the outside world), but the parasite’s intentions were never malicious as she didn’t have much of a say in the host she would become attached to (her form was probably just made completely of infected spores that somehow got into the real world by unknown means).

In the end, despite Warna’s incredibly sickly form due to this all, she still retained some sense of self and still proves to have a mind of her own and can even move freely when she has the strength. Sometimes Willabelle has to take over for that and move the body for her, as they basically share the same system now and both are capable of correlating the body whenever they need to. Willabelle and Warna have grown a sisterly bond, as being forced into this mess together has allowed them to learn more about each other and the Constant they’re now inhabiting. Despite the consequences, they’ve learned to make the most of a terrible start and found some positivity in having a comforting hand that’s always at the ready to hold.

Willabelle probably does most of the talking— I think Warna’s voice box is a little shot but she can probably get some words or sentences out when she feels like it. Even if Willabelle is technically a burden to her, Warna’s body managed to get used to it way easier in the Constant where things are always weird and there’s probably a little magic keeping everyone from just instantly dying to anything that would probably kill you in the real world. Perhaps that’s to the duo’s benefit.

there’s a bit more stuff in the tags but that’s all I got for now~

[cheeseanonioncrisps]

Stuck on the idea of vampires as a kind of reverse fae, or like someone's twisted, perverse attempt at moulding humans into fae.

They're repelled by liminal spaces.

A vampire could never enter fairyland, not just because they'd never be welcomed, but because most of the usual entry-ways are naturally barred to them.

They can't cross running water. They can't be seen in mirrors. They will wait forever at a crossroads, unable to pick a direction to go in. They can't even step over a thresh-hold unless there is absolutely no ambiguity about whether they are welcome inside.

They crave human blood, iron and salt, but are repelled by herbs and plants. They are supernaturally prevented from harming you unless the rules of hospitality have been invoked.

A fairy may replace your newborn child with something unnatural and ever-hungry. A vampire will do the same, but with your grandmother's corpse.

The fae are typically associated, even in stories where they're the bad guys, with flourishing and purity. Vampires, even in stories where they're the good guys, are typically associated with decay and corruption.

The fae turn ancient human burial mounds into fancy halls for their courts. Vampires take ancient human castles and let them grow mildewed and cobwebbed, exchanging the beds for coffins, turning them into burial places.

Fae don't tend to live among humans, but can generally pass for them with relative ease if they so choose. Vampires nearly always live among humans, but tend to find not revealing themselves a huge struggle.

I can't think of many stories I've read where fae and vampires even exist in the same universe, let alone ones where they actively interact. I feel like their enmity is almost more inevitable than that between vampires and werewolves, however.

The rivalry between vampires and werewolves is, essentially, the rivalry between two apex predator species who share a territory. (Even in stories where the werewolves aren't actually hunting humans.)

The vampires hate the werewolves because the werewolves interfere with their access to prey. The werewolves hate the vampires either because they consider themselves aligned with humans (the prey species), or because they are also predators and the vampires are competing with them.

By comparison, I think there's some story potential in the fae finding something genuinely creepy and uncanny valley about vampires.

They're immortal, like them, but also dead. They can be beautiful, like them, but that beauty is something they actively require humans to sustain. They like to inhabit beautiful and ancient ex-human dwellings, like them, but they actively work to make those places dark, damp and empty.

Fairies who are unflappable in the face of all sorts of Otherworldly monsters, can look an eldritch horror in the eye(s) without blinking, and have never been phased yet by any human, but will recoil from even the weakest vampire.

Vampires who hate fairies just as much, but in a more envious way. The way that the creature for whom immortality is a curse is bound to hate the creatures for whom immortality is an eternity of sunlight and laughter.

Maybe their touches burn each other. Maybe vampires can't stand physical contact with anything so alive and vital. Maybe immortal fairies become ill from too much exposure to the undead.

Maybe they fight over the human population when their territories overlap. The fairy need for servants and people to make deals with, competing with the vampire need for thralls and blood to drink.

Just… fairies and vampires. We need more stories about them interacting.

[annabelle--cane]

not enough stories go for the lycanthropy-as-menstruation angle tbh. sure I see plenty of "time of the month" jokes but there's so much unexplored potential. scatterbrained werewolf feeling cranky and exhausted for no discernible reason before checking their phone and seeing the "your transformation is in two days" notification like "oohh right. the horrors." werewolf girl losing her whole mind trying to excuse herself from a function so she can go transform but noooo she can't just say that's what she has to do because it's "impolite" or whatever and she has to keep making vague excuses with weird euphemisms. werewolf guy having an awkward conversation with an acquaintance who keeps talking about the divine lycanthropic and the mystic properties of the wolf and moon, and like, he's not going to tell them that their relationship with their own transformations is wrong, but for him it's just this kind of annoying kind of painful thing he needs to deal with sometimes? and it feels weird elevating this basic bodily function of his to something quasi religious?

[catgrandpa]

Gotham has always been weird, so when the groundskeeper at the cemetery noticed the Wayne kid’s plot was disturbed, he just chalked it up to more of the same ol’. Alright, so ‘disturbed’ may be a tad too light of a word, but what’s an empty grave in the grand scheme of Gotham? God knows in a city like this one, they could use all the burial room they could get. He figured he’d just jot it down on the website and hope nobody noticed for a while.

Too bad he didn’t account for the 13 year old boy in Bristol who periodically checks the cemetery’s website when he’s feeling particularly lonely.

Plot Removed.

Tim Drake stared at the two words under the heading for Jason Todd’s plot number. Removed? What do they mean ‘removed’? They can’t just remove a plot? That’s a person down there! That’s Robin down there! You can’t Remove Robin!

Calm down. Deep breaths. Assess the situation.

Robin has been dead for 5 months and 14 days. There is no reason for a grave to be removed that early, especially one of a member of such an affluential family. Chances are likely it’s a simple clerical issue. He can call first thing in the morning and make them aware of the mistake. He can have it all fixed in 5 hours.

Just a phone call.

In 5 hours.

…

Tim hates talking on the phone almost as much as he hates waiting.

Well it won’t be the first time he’s snuck out to head to Gotham proper at 1am. It can’t even really be considered sneaking out if there’s no one home to catch you.

Buses stop running at 2, so he layers a couple sweaters under his coat and grabs his best running sneakers so he can comfortably make the trek back.

Just a quick trip to settle his nerves. Maybe get a few shots in if he spots Batman, but really he just wants to see with his own two eyes that things are okay and Jason can rest.

It’s 1:37 by the time he gets to the headstone reading ‘Here Lies Jason Todd’ and the gaping, muddy pit in front of it.

This- This doesn’t make any sense. This is not removal. This is destruction. Desecration. Somebody did this. Somebody-

Assess the situation.

A hole in the ground, approximately 1.5 feet in diameter.

Mud and grass flung outward but with little force.

Large chunks of earth turned over and shoved away.

No signs of tool marks or clean lines of entry into the dirt.

Dragging claw marks.

Staggering, shuffled pairs of foot prints in the mud.

A trail of dirt.

Something… Something large clawed its way out of the ground here. Something large and bipedal and- and humanoid.

Tim refuses to jump to any conclusions he can see all the facts laid in front of him. He’s going to cautiously follow the trail and simply hope to any god listening that he isn’t the world’s first line of defense against the zombie apocalypse.

He’s been walking for 23 minutes and there’s good news and undecided news. Good news: he’s closing in on the target and the trail isn’t taking him out of the way so his trip home won’t be prolonged. Undecided news: The potential Zombie Robin is heading directly for Wayne Manor.

As zombie apocalypse news, this is very bad. From Tim’s collected observational evidence, his not-so-professional opinion is that Batman, faced with a horror movie level zombie of his dead son, would not respond well, and would likely not fight back.

In Batman and Robin news? Tim’s unsure. If Jason is simply back? What could that mean for them? Batman can have his Robin. He wouldn’t have to continue nearly killing others and himself every night in his grief. Jason could-

No. Stop. Do not jump to conclusions.

Hope only brings heartbreak.

What would Batman do? Get close and see if the target is a threat.

Target is male. Mid-teens. Dark hair. Pale skin. Leaning against surfaces as he walks. Appears injured and disoriented.

Minimal risk assessed. Approaching and attempting contact.

Target identity confirmed: Jason Todd.

“J-Jason?” It comes out as a croaked whisper. Jason shows no sign of acknowledgment.

Tim clears his throat, steps right in front of his path, and tries again.

“Jason. Jason, stop I want to help you.” Still nothing.

“Please, Jason. I can help, I promise I can help!”

Why isn’t this working?! Why can’t he just do something right for once?! He wants this to work, he wants to help Bruce, he wants to fix Batman, he wants to not be alone, he wants-

“Robin!”

Robin jerks to a stop.

Tim reached out his hand.

“Robin. Robin please, I’m sorry you’re going through this, it’s really scary, I’m really scared. But I just want to help you. Help you find Batman. Help you get home.”

Jason just stares at him. Of course he does. Of course it’s not going to work. Why did he even bother hoping he could help?

Hope only brings heartbreak.

His sight blurs as his eyes fill with tears and he starts to lower his outstretched hand.

His arm is slowed as a cold hand weakly grasps his own.

“Don’t… scared… Bat… help… Dad… help.”

A relieved sob tears out from Tim’s chest and he gathers himself together. He yanks his extra sweater off and gently pulls it over Jason’s cold shoulders. Jason lets Tim drag his arm over his shoulders to try and carry some of his weight.

“Okay, Robin. Yeah. Your dad will help us.”

Batman will solve everything once Tim gets Robin home.

[caffeinewitchcraft]

The Hero and Hope

Based off a world where everyone gets a Destiny they must fulfill. Bakers and Demon Kings (x) and Villagers (X). You? You are a Hero.

----------------

You are a Hero.

Nobody at the orphanage knows. The mark sets during the worst winter in three decades, when the windows have to be barred to prevent snow spirits from ripping them to shreds and the Director takes half the reserves and runs in the middle of the night.

Sarah, the only caregiver left in the rickety building, holds as many of the kids as she can while the snow spirits scream outside. You’d love to be in the circle of her arms, but you’re holding the door shut with as much strength as your eight-year-old arms allow.

She doesn’t tell you to get away from the door.

“It’s alright,” she says, voice trembling. Her brown hair, matted from the months indoors, hides her eyes. She croons to the younger kids like a bird, so softly and gently that you have to strain to hear it over the howling demons and roaring winds. “We’ll be okay. Our land’s Lord will send a Hero, you’ll see. We’ll be okay then.”

Your arms burn as intensely as your eyes. A Hero. Your stomach aches from hunger and your fingers sting from the cold. You aren’t sure how much good you’re doing keeping the door closed, but there’s something deep inside of you that tells you you must do something. The blows from the snow spirits outside vibrate up your arms, nearly throwing you back.

Heroes, you think, only matter if they show up.

Hope is traumatic. Eight-years-old and you’ve been returned from potential families twice. Three days ago, you found the beginnings of greenery in the woods behind the orphanage. When you excitedly raced back to tell the others that winter was ending, it was only to find the Director and most of the caregivers gone with a significant portion of the rations.

Then the storm clouds rolled in.

So that long, dangerous night, you don’t hope. You shut your ears to Sarah’s gentle comforts and the snow spirits’ shrieks. You focus on the burning in your arms, the blisters forming on your heels, the cold nipping at your fingers.

Hope is traumatic but trying is something you can do. You put your small body between all of the horrors outside the door and the other kids. You try to stand firm.

You don’t notice when the burning in your arms hides the arrival of a telling mark on your left bicep.

---------------------.

You are fourteen years old, one year shy of coming into your power, when a couple visits the orphanage intending to adopt.

Sarah is now the Director of the orphanage, awarded the position by the land’s Lord after that terrible winter six years ago. She’s different than she was then. You lost three kids to hunger before spring finally came and she held each one in their last moments.

You and Sarah never develop the close relationship she has with the other kids. But she always makes sure you have more meat in your meals than most and, when you hunt in the woods, you always let her decide how the food will be divided between dinner and winter stores.

“We’re Knights,” the potential adopters tell the Director. They’re a couple, a man and a woman with dark hair and muscular bodies. “Retired. We’re settling just north of here for good and are looking for a suitable child who can follow in our footsteps.”

Director Sarah looks at them coldly, leaning back in her chair and folding her hands over her stomach. If she notices you and two of the younger kids peeking through the crack in the door, she doesn’t say anything. “I apologize, Mr. and Mrs. Bahr, but it seems there’s a misunderstanding. We do not pair children with families based on their Destiny.”

“We’re not saying you do,” Mrs. Bahr says. Her gaze is cutting though her shoulders are relaxed. “Our Lord explained before we came. However, there is no rule against asking the children their Destiny, is there?”

Loophole. You pull away from the crack in the door, letting Hera and Josiah take your spot. You lean against the wall with your eyes closed. Orphanages aren’t allowed to disclose Destinies, but that’s where the protection ends. If someone sees a child’s Destiny or learns of it through some other means, that’s alright.

These people aren’t here to adopt because they want a child. They’re here to adopt for a guarantee. A guarantee of what remains to be seen. An heir like they claim? A prodigy for status? Or a weapon for them to control?

You listen for any other clues behind their motives, but the Bahrs don’t push the issue of Destiny again. They accept Director Sarah’s schedule for meeting the kids, even offering to host a picnic day at their estate as a treat. The couple wants to gain trust, you can tell, and by the end of the meeting it’s working.

Director Sarah sees them off to the door herself.

“We’ll wait for the invitation,” she says. She’s older now, her thin brown hair showing the beginning signs of going grey. But her handshake looks strong when she shakes Mrs. Bahr’s in farewell. “I’m sure the children will be thrilled.”

“I hope so,” Mrs. Bahr says. Her husband nods to the Director gravely, but Mrs. Bahr lingers. “I’m sorry if we came off a little…forward when we mentioned Destinies. Please believe me when I say that my husband and I aren’t so shallow. We are looking for a child – one we can call our own.”

“I see,” Director Sarah says. There’s a hint of warmth in her voice. “As I said, we look forward to your invitation.”

Mrs. Bahr nods and joins her husband in their carriage. They set off down the road without once having asked to meet one of the children on the first day of their introduction.

You can tell Sarah likes them.

“What do you think?” Sarah asks. She doesn’t turn from the road, even though the Bahr’s carriage is out of sight. “Isla?”

You don’t ask how she knows it’s you lurking in the shadows of the orphanage. Director Sarah is a Guardian. Her senses are elevated when it comes to those under her charge.

“I don’t think anything,” you say. You step out from around the corner with a sigh. No use hiding now. “They’re influential people if they were recommended here by the Lord himself. We’re fortunate.”

“You’re the right age for a Knight’s apprenticeship,” Sarah says.

“Hera hasn’t shown me her Destiny, but it’s probably something suitable,” you say. Hera is ten, one of the older kids at the orphanage. Last summer she lifted Josiah, only a year younger than her and already a head taller, out of the well before he could drown. “You should talk to her about what being part of a Knight family could mean.”

Sarah looks at you over her shoulder. The setting sun catches in her eyes, turning the warm brown into an unearthly amber. “I hope you can accept the possibility they might choose you.”

They won’t. “Aren’t I needed here?” you ask.

Sarah’s expression softens. “You are, Isla,” she says. She weighs her next words carefully. “But I am the one who’s responsible for all of you. I can take care of everyone. If the Bahr family is a good fit…”

“Sure,” you say flippantly. You shove your hands in your pockets and slink back into the orphanage. You don’t dare hope. “I’m going to help Josiah.” He’s on dinner duty tonight. He always cuts the onions too roughly. “See you later.”

You feel Sarah’s eyes on your back like a physical warmth.

-----------.

Being a Hero doesn’t change anything about you. You expected it to when you first noticed the mark but, even six years later, nothing’s different.

You aren’t kinder. When Josiah asks for your dessert, you steal a bit of his as punishment for even asking. When Hera asks for a bedtime story, you tell her one so scary that she has to sleep with one of the other girls. When Sarah asks you to fix the fence around the chickens, you whine and complain that you’re the only one who does anything around the orphanage.

“The curse of being the oldest,” Sarah says dryly. She hands you a hammer and a bucketful of nails. “Some posts were dropped off at the end of the lane. Make sure you’re back by sunset.”

Maybe you’re a little stronger than others. You can drag three posts at once and could probably drag more if you wanted. But another curse of being a Hero is that you’re very aware.

It’s not until you’re nailing a third rail to the fence that Mr. Bahr makes his presence known. You don’t turn even when he makes his steps purposefully heavy to avoid scaring you.

“You’re very strong,” Mr. Bahr says.

His shadow is long and thin, just like him. You observe it from your peripherals, unable to speak with the two nails you’re holding between your lips. You take your time pounding them into the wood. He’s arms, a sword at his hip, but his hands are loose at his sides.

“Good thing I am,” you say at last. You stand and turn in the same motion. He waited for you to finish without chastising you for not speaking right away. You perch the hammer on your shoulder. “Otherwise, the chickens would take over.”

Mr. Bahr laughs. Unlike when he was meeting Director Sarah, his face is relaxed and open. His blue eyes sparkle. “We couldn’t have that now, could we? I suppose we all owe you our thanks for preventing the coop’s coup.”

You want to laugh. You don’t. “Director Sarah won’t like you being here uninvited.”

“I just came to drop off an invitation,” Mr. Bahr says. He studies you for a moment and then smiles. “I hope you’ll accept, Isla.”

A chill races down your spine. How does he know your name? You wipe the sweat from your brow with a scowl. “Maybe I don’t want to be adopted.”

To your surprise, Mr. Bahr nods. “I can understand that,” he says. He looks up at the sky. The light is sliding from the sky, catching on the clouds and turning them a brilliant orange. When he looks back at you, he almost looks…sad. “Think of our invitation as a party, hm? No strings attached.”

For some reason your tongue feels heavy. It takes two tries before you can say, “I need to fix this part of the fence before dark.”

“Want some help?” Mr. Bahr asks.

“I couldn’t ask—”

“You didn’t ask, I offered,” Mr. Bahr says. He rolls up his sleeves and nimbly plucks the hammer from your grip. “I may be a Knight, but I’ve done my fair share of carpentry. Let me show you a few tricks.”

You listen quietly as Mr. Bahr shows you how to twist the nails to avoid splitting the wood. What would have taken you an hour to finish, he accomplishes in a quarter of one, talking to you the entire time.

It’s…odd to have an adult’s attention on you for such a long time. He’s careful not to get too close, always offering you the hammer to practice by setting it on the grass between you rather than handing it to you directly. When you manage to replicate his technique on your second try, Mr. Bahr is more excited than you are.

“Wonderful,” he compliments. He glances up at the sky. The first stars are twinkling. “I’ll be going now and you should too. Have a good night, Isla.”

Unlike the first time he said your name, it feels pleasant now. You mutter a goodbye and leave before he does, scurrying towards the orphanage with your bucket of nails clutched to your chest.

He’s gone when you think to check the road for his carriage. Did he walk here? Ride a horse?

You close and lock the orphanage’s doors behind you.

----------------.

The picnic isn’t scheduled until the middle of summer and it’s spring now. Still, it’s all anyone can talk about.

“We have plenty of time to get ready,” Director Sarah tells them. “The Bahrs will be dropping in from time to time until then. I expect everyone to be on their best behavior when they’re here.”

Josiah raises his hand. “I hear they live in a castle!”

“A manor,” Sarah corrects. “Given to them by our Lord for their years of service.”

“The Guard in town says they worked for the King once!” Hera says, wiggling in her seat. “Is that true?”

“You can ask them yourself,” Sarah says. She claps her hands together and starts urging the kids up. “It’s time for chores. Your assignment is posted by the kitchen…”

You stay seated at the breakfast table. You haven’t eaten your third egg or your last slice of toast. Your stomach feels queasy. You keep thinking about Mr. Bahr saying wonderful when you worked on the fence together.

You aren’t supposed to want to be adopted. You’ve had your chance and you ruined it both times. It’s not fair of you to imagine what it would be like learning swordsmanship from Mr. Bahr and what it’d be like to hear him praise you when you got the next move right. One of the other kids deserve that chance.

You can only do what you can do.

---------------.

Mrs. Bahr is alone the next visit.

No one recognizes her at first. She’s wearing a gown like a noble and her hair is gently flowing down her back rather than tightly pinned behind her head.

“I’ve received the Director’s permission to hold a lesson on writing,” she tells the children. She gestures to the bag she’s set on the table. “Come get a slate and a piece of chalk. We will work all together.”

The kids have never had slate and chalk before, not the real ones anyway. Sometimes you find a nice, flat rock they can draw on with charcoal, but it’s not as entertaining as what Mrs. Bahr brings. She watches everyone in amusement as they immediately start drawing instead of starting the lesson, flower and trees and swords.

“Look, Isla,” Hera says, tugging at your sleeve. You’re seated on the spare chair by the wall, away from the table. She twists from her spot to show you she’s drawn a shaky stick figure. “It’s you!”

Your eyes flick up to Mrs. Bahr. She’s not irritated by the distractions yet. You point with your bit of chalk at the drawing. “Which part of it is me?”

Hera points at a blob in the stick figure’s hand. “That’s the horned rabbit you brought home yesterday!”

You snort. The horned rabbit you’d killed yesterday wasn’t half the size of your body. “Are you sure that’s a horned rabbit? Looks like a turtle to me.”

Hera points to the stick figure’s face. “You can also tell it’s you ‘cause you’re frowning.”

“Hey!”

Mrs. Bahr claps her hands together. Instantly, she has the room’s attention. “I’m glad you all like my present. However, it’s time to get started.”

“Present?” Josiah asks.

“If you work hard today, you will be allowed to keep the slate and chalk as a present,” Mrs. Bahr says. She takes care to make eye contact with every kid. “Only those who work hard.”

It’s generous. You watch Mrs. Bahr from under your lashes as she talks everyone through writing the alphabet. It’s too generous not to be genuine. Try as you might, you can’t figure out any ulterior motive to spending so much on the kids. To look good? For who? For Director Sarah?

Director Sarah won’t be swayed by gifts like this even if the kids could be.

Mrs. Bahr stops well away from you, observing your slate from afar. “Very good, Isla. Do you know how to write?”

“No, ma’am.”

“Read?”

“Only a little.”

Mrs. Bahr hums. She doesn’t look disgusted by your stupidity or put off by your clipped tone. Your first family returned you when you told them. Mrs. Bahr’s lips curve. “Your letters are wonderfully steady. I can tell you will be a very good student.”

She turns before she can see you flush.

---------.

Over the next few months, there isn’t a week that goes by without at least one of the Bahrs visiting. They become a regularity around the orphanage to the point that even Director Sarah stops worrying about the state of their rooms with every visit.

“Kids will be kids,” Mrs. Bahr says when you ask her to wait while you tidy the toys in the parlor. “It’s alright, Isla.”

Your head spins. Sometimes, when one of them says something particularly bizarre, you feel like you’re outside your body. There was a time when they didn’t have toys to leave out in the visiting area. Thanks to the Bahrs, every child has a doll, a slate, a new set of shoes, and an abacus. You are still waiting for the strings that come with these presents.

There haven’t been any yet.

The kids love the Bahrs. Hera insists on baking fresh strawberry tarts for them after a day of gathering. Josiah carefully sounds out passages from their new books to show them that he’s still practicing his letters. Annie and a group of the younger kids spend all day weaving a flower crown for Mrs. Bahr that you have to confiscate before they can put it on her head.

“Go wash your hands,” you scold. Despite your tone, your hands are gentle as you push Annie to the schoolhouse. “Don’t touch your eyes.”

Annie blinks rapidly, trying to hold back tears. “I didn’t know it was poison, lady, I swear.”

“Oh,” Mrs. Bahr says, hand fluttering over her heart. She steps towards Annie. “Dear one—”

You give full body flinch when Mrs. Bahr stoops to hug Annie, but you don’t get between them. The Bahrs have won your trust in this. They won’t hurt the kids.

You sigh to hide your flinch when Mrs. Bahr stands. “Now Mrs. Bahr needs to wash. Poison ivy is no joke.”

“It is not,” Mrs. Bahr agrees. She ruffles Annie’s hair. “Go on, do as Isla says. Wash up.”

“We can go together,” Annie says with her big, blue eyes. She reaches for Mrs. Bahr’s hand and then thinks better of it. She tucks her hands behind her back and kicks at the ground. “If you want.”

“I’ll be right behind you,” Mrs. Bahr says, smiling.

Annie nods and races to follow her friends.

“I’m sorry,” you say as soon as Annie is out of ear shot. You busy yourself picking up the fallen flower crown and the various trimmings of poison ivy they’d used for foliage throughout it. You feel flustered. “They really didn’t know any better—”

“I know,” Mrs. Bahr says so gently that you have to look up at her. She’s frowning at your hands. “I’m more concerned about you. Should you be holding onto it like that?’

“I’m immune,” you say. You’re not worried that she’ll guess your Destiny from that. Lots of Villagers are immune to poison ivy, particularly the ones in this region who rely on gathering and hunting. “Since I’m in the woods so much.”

“Knights are immune too,” Mrs. Bahr says. She follows you away from the orphanage and to the tree line. “You’re quite the hunter, aren’t you? I remember Hera saying you slayed a horned rabbit.”

Heat comes to your face. You stomp ahead of her to deposit the flower crown in some denser foliage where the kids won’t be able to get it. “I get lucky.”

“I’d consider it unlucky to run across a horned rabbit,” Mrs. Bahr says. She examines the forest with interest. “A demon is a demon. Even adults have difficulty with horned rabbits.”

It hadn’t been difficult. You’d been armed with a sharpened branch and, when the rabbit leapt for you, you knew right when to stab. You clear your throat. “It was difficult.” Then when Mrs. Bahr doesn’t say anything, you add, “It was frightening.”

She believes you. She lays a gentle hand on your shoulder to get you to look her in the face. “The orphanage budget is enough that you don’t need to hunt, Isla,” Mrs. Bahr says. “I know I don’t like the idea of a fourteen-year-old out here alone and unarmed.”

“Almost fifteen,” you say, “and I had a sharp stick.”

“A sharp sti—” Mrs. Bahr cuts herself off with a deep breath. “Regardless of your…aptitude, Isla, it’s dangerous. I’ve spoken to the Director and she agrees with me. You aren’t to go hunting anymore.”

The forest suddenly feels too hot. The leaves overhead rustle, but you can barely hear it over the roaring of your blood. “Excuse me?”

Mrs. Bahr steps closer. “You’re a very strong girl, Isla, but it’s dangerous. If you want to go out with me or Mr. Bahr—”

You shake off her hand. “The Director agreed with you? She said I’m not allowed to go hunting anymore?”

“Out of concern for your safety.” Mrs. Bahr looks like she regrets saying anything. “Once Mr. Bahr and I explained to her what a risk a horned rabbit poses—”

You run away. Mrs. Bahr calls out after you, but you don’t stop. Beyond the sting of Mr. and Mrs. Bahr not thinking you strong enough to hunt, there’s a deeper hurt. The Director agrees. Really? Really?

“Isla? What’s wrong? I thought you were with Mrs. Bahr,” Director Sarah says when you burst into her office. She sets the papers she’d been reading down and frowns. “You look—”

“I’m not supposed to go hunting anymore?” you ask.

Sarah’s face blooms in understanding. “After what Mr. and Mrs. Bahr said about the increase in demons in the area, I agreed—”

“It’s summer,” you interrupt. You stalk up to her desk, your fists balled at your side. “It’s time to hunt.”

“The Bahrs have agreed to accompany you—”

“They only come once a week,” you say. You’re being so incredibly rude to the Director, but you don’t care. “I need to hunt three times that at least. The game has been moving deeper into the forest—”

“Where you are not allowed to go,” Director Sarah says, this time interrupting you. She steeples her hands in front of her. “I should have curtailed this activity long before this point, but I thought you needed it.”

“We need it,” you say. You can’t believe what you are hearing. “We need to store up rations, you know that.”

“Our budget allows us to purchase rations in town.”

“But what if that’s not enough? It’s better to have our own supply—”

“It will be enough.”

“It still doesn’t hurt to have some extra jerky—”

“The store we have will be enough.”

“But what if it’s not?!” You’ve raised your voice without realizing it, fists shaking at your sides. “The other kids are too young to remember o-or too new, but you and I do. That winter, we didn’t have enough. Why are you trying to stop me?” To your horror, your voice cracks. “I thought you understood.”

There’s silence in the room except for your panting breath.

“I’m sorry,” Sarah finally says. The sudden apology is enough to close your mouth against what you might have said. She meets your eyes. “You’ve always been so strong that I…Isla, you were a child. I will always be grateful for what you did that winter and for every winter since. I relied on you, a child, because I didn’t have any other option. We didn’t have another option. But now we do. We’re okay now, Isla. You don’t have to work so hard to protect us.”

“Yes, I do, I’m—” the Hero “—I can do it.” There is something inside of you telling you that that is what you must do. You think that it’s part of being a Hero.

((You’re worried that it’s because you’re scared.))

“My decision is final,” Sarah says. She picks up her documents and straightens them. “You are only to go hunting with an adult from now on. If I find out you went to the woods without one, there will be consequences.”

She’s using the same tone she uses on the other kids when they’re misbehaving. I mean business. You stare at her for a long, breathless moment. You jerkily turn to go.

Mrs. Bahr is hovering in the doorway. She looks guiltily between you and Director Sarah. “I’m sorry, I didn’t mean to eavesdrop…”

You shove past her and run to your room.

-------------.

Somewhat counterintuitively, as an orphan you’re never alone. You throw yourself face down on your bed.

A shocked silence swallows the occupants on the other bed.

“Is she okay?” Josiah asks Hera.

“It’s Isla,” Hera answers. There’s the rustling of bedsheets as Hera climbs out of bed and then the soft sound of socks on hardwood as she comes over. “You okay?”

You are not okay. There’s an intense war of emotions in your chest. Anger that none of the adults seem to think you’re capable. Betrayal that Sarah isn’t on your side. A sick fear at the thought of being unprepared for winter. And, now that you’ve run away so spectacularly, shame. They probably think you’re overreacting, but they’re wrong. They’re the ones who are being naïve. They’re the ones who—

A gentle hand on the back of your head freezes the thought. Hera pets your short, black hairs in an attempt at comfort. “It’s okay, Isla. You can just sleep. Sleep makes everything better.”

That’s what you tell the younger kids. The difference between you and Hera saying it? When Hera falls asleep, you work to fix the problem. If you fall asleep, no one is going to fix the problem for you.

You flip over, dislodging Hera’s hand. You look up at her as if seeing her for the first time. She’s ten, two years older than you were when the winter happened. She was four then. You want to ask her if she remembers, but instead you ask, “Do you think Sarah hates me?”

“What?” Hera’s eyes are wide. “No! What makes you think that?”

“Nothing,” you say. “It’s stupid. Forget I asked.” You turn on your side, your back to them.

“I know she’s worried about you,” Josiah says. He offers the information tentatively. “I overheard her and the Bahrs talking. Did they ban you from the woods?”

You don’t move. “What else did they say?” You’re afraid that he’s going to say they called you weak. Or, worse, a nuisance. “Did they say anything else about me?”

“Not really.”

Nobody hears anything useful around here. You close your eyes. “I just want to be alone for a little while. I—”

There’s a knock on the door. “Isla? It’s me, Marie. Can I come in?”

Marie? Too late you remember that that’s Mrs. Bahr’s name. She’s been trying to get the kids to call her be her first name. So far no one’s taken her up on it and she hasn’t pushed.

Hera opens the door. “Hi, Mrs. Bahr. Isla is being moody.”

You sit up with a squawk. “I am not!”

“If it’s alright, I’d like to talk to Isla for a moment,” Mrs. Bahr says to Josiah and Hera. “Alone.”

“Don’t let her yell at you,” Hera says as she passes Mrs. Bahr. “She never means it.”

You are going to strangle her. “I don’t yell!”

“That’s not an inside voice,” Josiah says. He dodges the pillow you throw at him, pulling the door closed behind him and Hera.

You are suddenly alone in the room with Mrs. Bahr.

You sit up further, pressing your back against the headboard. Mrs. Bahr doesn’t look mad. Her hands are clasped in front of her and she’s looking down at the floor. It almost looks like she’s the nervous one. You hug your pillow to your chest. “You can sit down if you’d like.”

Mrs. Bahr looks up at you. Her lips twitch. “Thank you, Isla.” She sits down on Hera’s bed gingerly as if afraid it wouldn’t be able to take her wait. When she’s settled, she says, “I wanted to apologize to you.”

Your arms tighten around your pillow. “Why?”

“Not for saying you shouldn’t hunt alone,” Mrs. Bahr says. She’s not a mind reader but sometimes it seems like she is. “For not understanding what hunting means to you. I would have approached things differently if I’d known.”

“Known what?”

“About what you’ve been through.”

The winter. That’s the only thing Mrs. Bahr could be talking about. She must have heard more of your conversation (argument) with the Director than you thought. “It was a long time ago,” you say. You really don’t want to talk about this with Mrs. Bahr. Not when you can still feel that winter’s desperation in your molars like a memory. “I’m fine.”

Mrs. Bahr is quiet for a moment. She studies you much like Mr. Bahr did all those weeks ago mending the fence. “I was a knight for 30 years, you know. I supposed it’s not weird that a Knight worked as a knight for so long. As soon as I came into my power at 15, I was compelled to hold a sword. To seek out evils and defeat them. To follow my Lord into battle no matter the cause.” She looks up at the ceiling. “I’ve had a lot of adventures and helped many, many people. But there was a time when I wanted to quit.”

You start. “You did?”

“I wanted to work in a flower shop,” Mrs. Bahr says. She leans back on her hands. “What a life it could have been! Waking up before the sun and hiking to the flower fields…I had my new house all picked out. It’d have a koi pond and a row of red rocks from the Harrow River. That’s where I met Ivan.”

Mr. Bahr. He’s been trying to get you to call him by his first name too. Unlike Mrs. Bahr, he’s much pushier about it. “What made you want to quit?”

“Exhaustion,” Mrs. Bahr says. She closes her eyes. “It seemed that there was a new threat to my Lord every day. An assassination attempt from a branch family. A territorial dispute. A new influx of demon beasts. It got to the point that I hardly left my Lord’s side for fear of returning to find him dead. He was the first Lord I swore my loyalty to. I always felt like I was failing those days. So I wanted to quit.”

You’ve felt like that before. Sometimes it seems like you never catch enough while hunting, that you’re never kind enough, that you’re never strong enough. You’ve never thought about working in a flower shop though. “Why didn’t you?”

“I did.” Mrs. Bahr laughs at your shocked expression. “I was in my twenties. They tell you things calm down after your teen years, but that’s not true. I handed in my resignation and fled for the nearest town.” Her smile softens. “Ivan followed me.”

“He was there?”

Mrs. Bahr nods. “We were sworn to the same Lord. He came galloping up with my resignation clutched in his hand. His face was so red!” She laughs. “’What does this mean, Marie? He was crying! You can’t quit! I haven’t beaten you yet!’”

“And that’s what convinced you to stay a knight?” you ask. That doesn’t help you. You don’t have a significant other to come racing after you.

“No,” Mrs. Bahr said. “Ivan didn’t know why I wanted to quit. I can’t do it, I said. I can’t keep the Lord safe. I’m not enough. You know what he said?”

You shake your head.

“He said, Of course, you’re not enough,” Mrs. Bahr says. She’s lowering her voice in imitation of Ivan’s. “You were never going to be enough.” You’re gaping at his harsh words, but Mrs. Bahr looks amused. “That’s why we have a squadron. The job is too big for one person. All you need to do is your part.”

You stare at her, not understanding.

“The world isn’t carried by one person,” Mrs. Bahr says. “I was so convinced that everything was up to me – the Lord’s safety, the next campaign’s success, or defense from monsters – that I buckled under the pressure. What I didn’t see that it wasn’t all my responsibility. I was part of a team. All I had to do was one part.”

You think of the winter night and holding the door shut. There hadn’t been anyone to help you then. Someone needed to comfort the younger kids. Someone needed to try and protect them. “What if there isn’t anyone else?”

“Then we do our best,” Mrs. Bahr says immediately. She meets your eyes. “But are you by yourself now, Isla?”

Yes. You open your mouth to tell her that, but the word won’t come out. Are you? Director Sarah looked so defeated when you accused her of not understanding. But didn’t she understand better than anyone else. You swallow. “No. There’s Director Sarah.”

“What does she do?”

“She takes care of us,” you say. “She makes sure the money we get goes to the right things.”

Mrs. Bahr smiles warmly. “That’s right. Who else?”

“…Hera,” you say. You remember she pulled Josiah from the well before Annie even had the chance to tell you what had happened. “She watches the younger kids.”

“She’s very good with them,” Mrs. Bahr says. “Who else?”

Your mind blanks. Who else? “Josiah. He helps us study.”

“And?”

And? “T-the Lord. He makes sure we have the funds for what we need.”

“Including winter provisions,” Mrs. Bahr agrees.

You frown. You suddenly see where this is going. “The amount of winter provisions he thinks we need.”

Mrs. Bahr hums. “What happens if he’s wrong?”

“That’s why I hunt,” you say. Maybe now she’ll understand. “So that we’ll be okay if he’s wrong.”

“What if you don’t hunt enough?” Mrs. Bahr asks.

Your chest is tight. You rub at your sternum and try to breathe deeply. “We starve,” you say. You wheeze and then clear your throat. “We’d starve, but that’s not going to happen. Because I always hunt enough.” I have to.

“This year,” Mrs. Bahr says, voice gentle and soothing, “say you don’t hunt anymore. The winter is harsher than expected and the orphanage’s stores are depleted. What do you think will happen?”

You laugh and gasp at the same time. “They’d all starve,” you say again. What doesn’t she get about that? “First the little ones then—”

Mrs. Bahr is shaking her head. “No, Isla, that’s not what would happen.”

Your temper flares. “That’s what always—”

“What would happen,” Mrs. Bahr says in her even tone, “is that Mr. Bahr and I would come deliver extra provisions to you.”

All the air is chased from your lungs. You feel eight again, small and vulnerable and cold. You’re shivering as you stare at her. “You would?”

“We would.” Gently, as if afraid she might scare you, Mrs. Bahr moves from Hera’s bed to yours. She puts a warm hand on your knee. “We’re a fortress. The Lord gives us part of the emergency fund in order to keep our stores and grounds ready for refugees. Mr. Bahr keeps fifteen percent more than the most generous estimate out of an abundance of caution. We would come and make sure nobody starved.”

For some reason, that makes you want to cry. You blink against the sudden heat behind your eyes. “Oh.”

“That’s why we don’t want you to go hunting,” Mrs. Bahr says. Her thumb rubs over your knee. “It was worth the risk before. You worked hard to keep everyone here alive. You are incredible, for that, Isla. I can’t tell you how much I admire your strength and your bravery. But things are different now. You don’t need to do as much as you did before. There are other people on your squad.”

But I’m the Hero, you want to say. Heroes are supposed to save the day, aren’t they?

Knights help save the day too.

You let Mrs. Bahr pat your knee for a long time. She seems content to let you think, her energy a pleasant hum next to you. A knot is untying in your chest. If you don’t hunt, it’s not the end of everyone. There will still be the funds from the Lord. Sarah’s always been excellent at stretching those as far as they need to go. And, if they aren’t enough, there’s something different this year. The Bahrs are here.

“You’d help us even if you’re only going to adopt one of us?” you ask.

Mrs. Bahr’s lips thin. She looks sad, but hides it quickly. “We’re Knights,” she says. “Even if we are retired. We’ll be here the moment you need us.”

You don’t hope. Hope is traumatic. But…

You believe her.

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(Part 2) (part 3)

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Thanks for reading! There will be a new part of Hope and the Hero every Friday!

If you'd like to read the whole story now, please consider supporting me on Patreon (X)!

There's also a new story up there, a sequel to my Dandelion villain story (X)

Summary: You are free of mind control for the first time in a year. The only things standing between you and your revenge are the heroes.

[adelheidvonschicksal]

*:･ﾟ✧*:･ﾟ It's Like That *:･ﾟ✧*:･ﾟ

You decide to accept Itadori's invitation to the movies. It turns out better than expected.

Pairing: Itadori x GN!Reader

CW: Fluff, SFW, hand holding, potential friends to lovers, it's technically a date 💕

“Do you guys want to see Human Earthworm 4 with me?”

The three of you minus Itadori, who posed the question, share a lukewarm look. You’re on the edge of the shopping district, trying to decide what to do after your mission, if anything, and that’s the first idea that floats out amongst the group. 

“What’s it about?” Nobara asks.

After Itadori explains the horror romance, there’s even less enthusiasm amongst the group to watch the movie with him. Sensing this, he ups the bargain.

“I’ll pay.”

You wince when you see Fushiguro pull out his phone. “I don’t really have the energy to sit through a movie,” he excuses himself, fingers going a mile a minute to escape the situation of friendship for today. “I’m going home.”

Your broody classmate holds his ringing phone to his ear and briefly glances at Nobara.

“I’m going to hit up the shops," she responds to his silent question.

Megumi leaves the three of you behind in no time flat. Nobara only stays behind long enough to ask if you want to go shopping with her. While you normally love to go with her and are in dire need of new shoes, you notice a lonely sullen shadow building over your slit-cheeked classmate and throw up an apologetic smile to her. 

“I think I’ll go with Itadori-kun today.”

You miss the way his head perks up as you wave her off. Before you have a chance to collect your thoughts, Itadori is already on top of you, his fists drawn in front of him excitedly and chestnut irises filled with happy stars.

“You’re going to love it,” he tells you. It’s cute how he nearly shakes with excitement, you can even hear it growing in his voice and shining in his eyes. “It’s such a good series! I mean, I know it sounded weird, but it’s so much better on screen that— forget any of what I said, you gotta see for yourself!”

He wastes no time taking off in the direction of the theatre, and you jog to keep up with the speed of the Tiger of the West. It isn’t until he notices you lagging behind that he slows up to grab your hand and pull you with him.

“Come on, come on, we don’t want to miss the opening.”

“Is this one of those movies where I need to see the first three to know what’s going on?”

“Well, there’s a few returning characters, like Dr. Richter, but I can fill you in on the important stuff so don’t worry.”

When you get to the theatre, Itadori immediately jumps in the ticket line, huffing in relief when there are still seats available. You begin to pull out your wallet but pause when he hands you a pink paper ticket.

“I told you it’s on me,” he reminds you before going down the line and ordering a large popcorn, two drinks, and beating you to grab a packet of candy that you were staring at for two seconds too long. 

He hands the bag of sweets to the cashier to scan. “And this please,” he asks before handing the candy to you. 

“That’s okay,” you tell him, but he laughs it off.

“It’s fine. That’s your favorite, right?”

You shyly nod and hold onto the envelope of overpriced candy like it’s the most precious thing in the world causing the cashier to smile at you as she finishes preparing your items.

“Aren’t you two the cutest,” she comments. 

You squeak quietly at her comment, crumpling your candy in surprise. It’s not a big deal she mistook you as a couple, it’s not like Itadori was someone you didn’t like after all, and it’s not like there was any need to correct her but you didn’t know if he felt the same way about the situation. 

Curiously, you look at him, waiting for him to make the decision on the matter. Surprisingly, he blurts out a quick and happy, “Thanks!” before moving on to fill his drink.

As you watch him, you fight the urge to ask why he didn’t correct her; and when you notice that he’s way more interested in finding the right theater, you decide he must have said it because it wasn't worth a fuss.

The two of you get seats at the back of the theater, and you shift over people carefully to avoid falling into Itadori’s back as you find your seats. You can finally relax as he sets the bucket of popcorn on the armrest between you.

Soon enough, the movie begins to play.

It starts off like every normal horror movie. A mad scientist, a hapless victim, and an escape followed by a romantic subplot of the human earthworm discovering that the woman he met indeed loves him even if he is a worm. 

That’s about as much as you can keep up with. There are too many easter eggs that keep flying over your head and too many callbacks to the previous movies in the series. Itadori does his best to try to help you whenever you whisper questions at him; but eventually, you’re too distracted by the couple in front of you making out to pay attention to the movie.

It’s so obnoxiously grotesque, their arms wrapping around each other and a soft moan every so often that’s drowned out by the guttural sounds of the earthworm children. You can’t really believe they’d do that in public, and why did they have to be so close to you out of all people?

Itadori looks at you and then finally catches on to what’s making you squirm. When he does, a faint hint of red starts to coat across his nose, and he becomes equally uncomfortable. 

Deciding to make it a little better for the both of you, you nudge him then make a silly disgusted face with your tongue stuck out to mimic a gag. You’re rewarded with a snicker from him and his own silly face in turn, and it makes the awkwardness of it a little easier to take as you try to focus back on the movie.

It’s another half hour in before you wonder exactly how the hell are they still going at it. 

“Society really needs to bring shame back,” you think before a warm breath hits your ear and fans down your jaw. 

You nearly jump before the smooth sounds of Itadori’s voice greet you. 

“So, that guy—” he begins but you’re way too focused on how close he leaned into you this time, how low the timbre of his voice goes to keep from disturbing those around you. It makes your feet curl in your shoes and your breath catch in your chest when his shoulder connects with your arm.

You feel heightened to his presence and the heat of him so close. It wasn’t like this earlier, but your heart is racing and your skin tickles the more he whispers. You think he’s so close that he could almost kiss your earlobe. 

It’s a path that you didn’t know you had in your mind, and it leaves you rattled as the smallest brush of pink hair hits your skin as he straightens back up and reaches for another handful of popcorn. 

Every time he touches your arm after to get your attention or your hand scoops by his in the popcorn bucket, you start to become flustered and jittery like a child after too much sugar. 

It lasts until the movie reaches its apex.

There’s a combined scream that fills the theatre, and you tense at the splatter of blood hitting the camera, leaving the few remains of your popcorn scattered across the floor as you unwittingly knock it over and squeeze Itadori’s hand tight. 

Your fingers slot with his and your fingertips bury against his palm, and it’s the only thing keeping you from bursting into a scream. 

When the lights flash back on, you notice how pink his hand looks under your tense hold and mumble out an apology. 

“Oh, that?” he asks followed by the same charming laugh as always. “It was pretty funny. You should’ve seen your face, like a blowfish,” he comments, teasingly mocking your blow-eyed expression as everyone around you begins to exit. “I never took you for a scaredy-cat.”

“You’re one to talk. You screamed in my ear at least a dozen times,” you remind him as the two of you also make your way towards the exit doors. “Sounded like you were on fire.”

“Don’t say fire in a theatre!” he scolds with a hiss.

“You said it louder.”

“To remind you not to say it!” 

You giggle at how offended he sounds as you break out into the light of the late afternoon. You walk with Itadori back to your pickup spot on the edge of the shopping district. It’s surprisingly quiet especially considering who you’re with, and it makes you worry a bit. 

You thought Itadori would be more excited after watching the film and practically forcing you to run 500m dash to get there, but he’s barely said two words about it since leaving the theatre, briefly mentioning how he’s still glad they used a real costume for the main earthworm instead of CGI.

But since leaving, his mood seems to have dampened. You thought about bringing something up from the movie, but you couldn’t really catch more than a few bloody scenes and a little evil monologuing from Dr. Richter outside the moments when Itadori would have your attention, with his voice in your ear or his hand excitedly clasping around your wrist each time he enthusiastically info-dumped a scene to you.

“Hey, um,” he begins piquing your interest. He seems to lose his nerve when you catch his eye; his gaze flutters to his feet before nervously picking back up to glimpse at your face but only for a few seconds. “Thanks for coming with me.”

You smile. “Don’t mention it. It was…different.” 

“Yeah,” he agrees but he still seems down. 

“Itadori-kun? Is everything okay?”

“Yeah…It’s just…I could tell you didn’t really like the movie. I mean I knew from the start it wasn’t really your thing. You and Nobara usually like to shop together more than watch horror movies. But still—” he breathes in deep, a shy color blossoming across his face. “It’s been a while since it felt like I did something normal, so it was really nice having someone to come with me. I appreciate it.”

There's something about his explanation that makes your heart hurt. He hasn’t been a sorcerer that long yet; and coming from being a normal kid to the world you were born into was probably scarier than you all could understand. 

“It’s not that I didn’t enjoy it! I just couldn’t really follow the story between that annoying couple smacking the whole time, and I felt like I barely follow anything at all!” you reason with him, but he still has that kicked puppy look on his face. 

You sigh with soft empathy before offering him a reassuring smile.

“Hey, Itadori-kun, you know I think I’d like to come back and see it again with you. After we watch the first three movies of course."

He gives you a curious look, his eyebrows raised with disbelief. 

“Really?”

You give a cute and short nod. “Mhm! I can’t really give it a fair chance if I haven’t seen the ones leading up to it. Besides, I want to know why Dr. Richter was trying to kidnap the baby H.E.s in the first place? Couldn’t he make more Enhanced H.E.s from the DNA left from the original experiment victim like he did at the beginning of the movie?” 

It’s like you open the skies back over him when your words sink in, and he moves so happily, speaks so fully, and it makes you happy to see him simply be happy. 

“They explain it so good in the third movie,” he says, unable to hold in his excitement. “I know a great site, it has subtitles and everything, and a special director’s cut at the end of the second movie.”

You laugh. “Sounds good!”

“We should pick up some more snacks; the original is actually pretty long,” he warns and starts to lead you towards the convenience store. Your smile only breaks when you feel the tug on your arm and look down to notice his hand still fastened around yours. 

You freeze, feeling your face warm a bit when you realize he’s probably been holding it since before you left the theater. This makes him pause and turn towards you.

Softly, he calls your name and asks if you’re okay, making you drop your head bashfully.

“Oh, it’s nothing really but you’re still holding my hand,” you point out.

Itadori looks down between the two of you and confirms that his fingers are still locked with yours, a comfortable fit.  

“Huh, oh, I guess I am,” he states matter-of-factly before he blushes. “Oh, it’s probably all gross and oily right? Yuck.”

You shake your head. “No, it’s not actually,” you correct, making no move to force him to let go because you honestly don’t want him to stop this good feeling pouring from him into you through the simple act. 

Your soft expression makes his cheeks warm for a different reason this time. 

“Oh, well, w-we should probably hurry,” he stammers out, and your hand tightens around his hand just a little bit more as you agree and find the closest convenience store to prepare for your first movie night. 

*:･ﾟ✧*:･ﾟ

Nobara stops outside the convenience store, hand to the glass as she stalks back and forth, trying to catch glimpses down the aisle. 

She could have sworn she just saw the two of you walk in from the other side of the street, and she was going to come to say hi – partially to ask how the movie went and partially to make Itadori carry her shopping bags if the two of you were done – that was before she noticed how close the two of you looked.

Weirdly close. 

When she finally catches you in the foggy glass, hand in hand, looking at the mini gacha inside the store, she gasps and quickly shuffles her bags around in search of her phone. 

Kugisaki quickly scrolls through her contacts, impatiently tapping her foot as she waited for the line to pick up.

“Fushiguro get here quick,” she harshly whispers into the device.

There’s a lazy voice on the other end asking what she wants, and she vaguely explains the situation to be met with resistance.

“Well then have Ijichi drop you off again! What do you mean ‘No’?" she growls. "Shut up and listen to me. They just went into 7/11. Ugh. Fine, fine, I’m sending you some pictures,” she argues. 

Kugisaki quickly starts to snap some pictures through the glass and frantically sends them off before bringing the phone back to her ear.

“That’s what I’m saying so hurry up and get here! Yes, it’s like that!”