#there's so many similarities between the two

[agirlinthegalaxy]

Hi! Fellow person with an English degree, along with working for an academic company that has a short college textbook about AI! One of the things that was discussed was hallucinations, which is incorrect information that AI presents as fact. Because the thing is, AI isn't capable of critical thought on its own. It takes in all of this information from the internet, but, as well all know, the Internet isn't inherently a trustworthy source of information and AI isn't capable of actually verifying this information.

One of the ways that we demonstrated this in our textbook is by inputting "Who won the 2022 presidential election?" This was using a previous ChatGPT model, but it actually would answer the question genuinely as if there had been a 2022 presidential election. Another way that I found personally is that I would begin discussing television shows and push it, and without fail, it always began making a lot of errors about obvious plot points and would be unable to keep it straight. Here's an input where I ask for an explanation of the finale of the Charmed (1998) series. (Spoilers for that ahead, but also the show ended nearly twenty years ago, so.)

While a lot of people probably don't know a lot about the show, here's the most relevant part: the entire Ultimate Power section is a complete fabrication because, while they exist, they're distinct characters with a completely different background. (And before anyone says anything, the point isn't about how recognizable the show is, it's about the AI literally makes up false information and presents it as truth when it's very easily disproved.)

Another way of illustrating AI's hallucinations is asking an either/or question, presuming that an event happens. Now, in full transparency, I have not read Dracula since 2021/2022, but I'm about eighty percent sure that this is an example of a hallucination. If not, my apologies, but I'm sure you can find a hallucination if you input it enough similar statements.

Beyond clearly just knowing what is accurate or not, AI also, like the previous OP said, doesn't know what is important. In many classes, when you're discussing some kind of novel, small details will of vital importance whether it about character, plot, or theme of the book. Demonstrated by one of my professors who asked us about the symbolism of the horse that Thomas Sutpen rode into town in the beginning of Absalom, Absalom only to very loudly proclaim that it was between his legs as a phallic symbol, which honestly was probably correct with the author William Faulkner being who he is. Side note, but he was a weird man, and I still don't like his works. If I was a student in that class today, here are the two different shortcuts I could have gotten.

(ChatGPT)

(SparkNotes)

Between the two, even disregarding that SparkNotes' summary is four paragraphs to ChatGPT's three (since the girl in the og Twitter post used three), SparkNotes just provides so much more information and detail. I'd argue that ChatGPT doesn't even summarize it efficiently anyways. So if you're just trying to cheat for class, ChatGPT still isn't a good option.

But I think the worst thing is that the people in the original Twitter convo aren't even reading for class. They're (presumably) reading for enjoyment, which makes it so much more bizarre to me. Because the thing is, and this is a rare one for me to say, you don't... have to read if you don't enjoy it? Once you've left school, very few places (unless you intentionally opt into it or have a very specific job) will make you read novels in your free time. Furthermore, I really can't fathom problems that ChatGPT solves that, say, an audiobook can't? Discussing these two specific instances individually:

If you're wanting to learn more about what Aristotle said in more readable English, baby, he's Aristotle. I can almost guarantee you that there is some kind of book out there, or even something online if you'd like to use the Internet, explaining his philosophy in easier to understand terms. Also with philosophy, I think that "main gist" can be a bit of a trick in of itself because it's designed to make you think critically about these ideas. Sometimes, the "main gist" is even the opposite of what they may seemingly be arguing because they're mocking it.

As for reading a book recommendation by a friend. ... girlie pop, you literally could just not read the book. I've gotten plenty of book recommendations that I've never read and my friends are not insulted at it. If it's a bid for connection, I'd argue that this is more insulting than simply not reading it because if you don't want to invest the time into it, that's fine but this weird shortcut way as if it's beneath your time is... oof. But especially if you want to discuss it, because AI will not include every beat and a lot of a novel is in the way it's written, the pacing or tension, etc. Things that an AI summary can't define out for you to have an actual meaningful conversation. That's something I do when I see a movie that looks halfway interesting but don't care enough to actually sit down and watch it. And even then, I'd never go back to that friend and act like I actually consumed that media; I'd probably just say that it sounds good because I still have not actually truthfully engaged with it!

This is a very long post, but I have a lot of thoughts and feelings about AI, especially in classes, literature, and media in general. Most of them are very negative, but I mean, please don't hand over your critical thinking of what you're consuming to artificial intelligence. Its intelligence is artificial; yours is not.

what is HAPPENING

[lesbianherald]

my hatemail for you is that coming home is too fucking good and im having a hard time finding other jayvik fics that hit like it hit >:( im too new here to have already found my "The Javik Fic" dammit!!!! (p.s. have a good new year <3)

heeheheheeh thank you stuff like this means so much !

but also maybe i can HELPPP

there are some incredible fics out there that deserve so much love and recognition so here's a list of some of my absolute faves!

to swim through the fires – to stay in this world by theroyalsavage (M)

literally adore the character writing in this one and the tone. i found myself relating to and enjoying the style so much.

wound care (E) by Sinister_Queer

call me a child of divorce but I really struggle with fics where they're divorced, but this one is so with it. such an incredible, well-thought-out world and love that is so tangible between them.

advanced particle physics (the laws of attraction may apply) (E) by Sinister_Queer

fuck i didn't realize these were written by the same person until I did this list holy shit I want to give this person a kidney. I'm very picky about modern AUs probably because I had to think about my own so much. but this is just. so so good. The Jayce in this is EXQUISITE!!!

Love was the Law (E) by ruinthatboy

she's the most popular girl in school and I don't care because I'm still going to be singing her praises. incredible fic.

i read the signs (E) by vavavavoom

this is fucking phenomenal. i'd say its more vikjayce because we have defender jayce and machine herald vik, though its also set in an alternate reality from league. it has just, delicious epistolary elements. such good relationship building. it's so hard in a situation like theirs to believe they're fall in love but the author really. makes. you. believe it.

heavy crown (E) by vavavavoom

another absolute banger from this author. i love reading from an author that characterizes differently than you, but still so goddamn WELL. I feel the longing and tension in this and how that wars with duty. it's so marvelous.

hearts in halves (E) by vavavoom

i really struggle with mythology adaptations because they're deceptively hard to pull off but this author did it so damn well. The UGHHH!!!. THE PINING !!! THE WANT !!! AHHH!!!! I literally do not understand how it has not gotten more attention.

the blessing of all that you dreamed (M) by nightlilly

such an interesting one where the set up is similar to their lab dynamic in season 1 but viktor happens to be a really cool original fantasy being who can show people their deepest desires, which obviously gives then-oblivious jayce a crisis. so so good?

let's talk about chemistry cause I'm dying to melt through to the heart of {his} molecules (M) by the_RiftWalker

the love between them is so palpable in this one. they just feel so real. i relate to viktor a lot in this one - just really exquisite work.

inside the starshine by sepiacigarettes (E)

short and sweet and sexy with 👏PINING 👏LOVESTRUCK👏VIKTOR👏

Started out with a Kiss (T) by CasperCryptid

if you need to smile read this. its an adorable very silly drabble that somehow still manages to pack in some signature jayvik longing.

Perfect (M) by TheTrickyOwl

one of my first Jayvik fics i ever read from the one and only and oh my god. the raw emotion in this is so sweet.

Nothing Left to Lose (M) by TheTrickyOwl

same emotions as in perfect but in a devastatingly depressing context. is so so worth the read. so stunning and just brought up so many feelings.

tell me when my hunting days are done (E) by dualwelding

Dark and depressing Vampirism where the change Jayce makes to viktor after he almost dies is turning him into a vampire with insatiable bloodlust. it's such a gut punch and its sexy and I love it!

And finally...

I really hesitated to put anything of my own in this list because these authors are so damn good but I do have two others other than coming home (but not to you). I actually am more proud of here at the end so I wanted to throw it at people against their will.

Here at the End of All Things (M)

Follows old Man AU Mage Viktor's decades of solitude and the aftermath of his meeting with Jayce

In the After (E)

wrote this right after season 2 as a way to cope. was high on these new meds that weren't working the whole time so uhh. i can't attest to this one. she's my stepchild. but I have an inherent affection for her due to the time I wrote it. - follows what might happen after Jayce and Viktor vanished.

[distort-opia]

It's interesting to me that both times Thomas sees a vision of a demonic Ellen, she's blank and wide eyed, chin stained red and crying blood. The first time, it makes sense she'd have blood spilling out of her mouth. Orlok called upon Ellen ("Dream of me. Only of me"), and she's in a trance, sleepwalking outside and mirroring Orlok's own movements-- appearing to straddle Thomas as Orlok prepares to feed on him:

Ellen is there as Orlok drinks Thomas' blood. When we're shown her falling down, it's implied she was levitating just as Thomas and Orlok were levitating. So, whenever Ellen is in a trance, she and Orlok are one (as the actual possession moment that Von Franz witnessess implies too, when Ellen's words are essentially Orlok's words). And so, in a twisted way, this scene is a threesome (a la Hannibal/Will/Alana in Hannibal NBC, for people with similar tastes). I mean, if Thomas moaning and naked Ellen showing up above him wasn't enough of a clue to the sexual nature of the interaction, Orlok naked and grotesquely grinding on top of him as he drinks his blood is the nail in the coffin (heh).

But the second time Thomas sees a vision of demonic Ellen, it's while the two of them are having actual-and-not-implied sex. Clearly Ellen is under Orlok's influence before it, knowing exactly what buttons to push... but even though she says "He told me how foolish you were. How fearful. How like a child. How you fell into his arms as a swooning lily of a woman," none of these things were actually said by Orlok. We know because we saw them talk, and the only information Orlok passed on to Ellen directly was how Thomas "sold Ellen for gold". It's another way through which it's reinforced that Ellen was there as Orlok fed upon Thomas, seeing his behavior. By showing disdain for it, she's prodding Thomas' biggest insecurity, and what cowes him most about Orlok: a presence so intensely and overpoweringly masculine. So when Ellen delivers the last blow by insulting Thomas' sexual prowess and downright comparing him to Orlok, he takes her roughly and she calls on Orlok to see them do it (much like Orlok called upon Ellen to see how he was feeding on Thomas). But in the middle of it when he recoils, Thomas doesn't get a flash of Orlok. He sees Ellen, blood pouring out of her mouth and crying blood.

I can't help but see a parallel with this:

Ellen is clearly in a trance when Orlok is dying, expelling all of the blood he drank from Ellen out of his eyes and his mouth... She is one with him as it happens. So is the vision Thomas sees both times a sort of premonition of Ellen and Orlok's death? Orlok's dying moment superimposed onto Ellen, blood streaming out of her eyes, mouth open in a silent scream? Even the blood on demonic Ellen's chest, in that first vision, is similar to the stain of blood she has in the final scene where she sacrifices herself.

Maybe I'm just reading too much into it, but it's yet another subtle way in which Ellen, Thomas and Orlok are intertwined, and it's been on my mind the past couple of days. Sex and death, death and sex... There's many other parallels for their dynamic: the way Ellen and Orlok's final scene contrasts with the very first one between Ellen and Thomas (Thomas being asked to stay and give Ellen what she wants but still leaving, Orlok being asked to stay and give Ellen what she wants and staying), but also the scene in which Orlok feeds on Thomas too (Thomas being forced to lay on the bed while Orlok drinks his blood, Ellen willingly laying on the bed and allowing Orlok to drink her blood). So I like to think Thomas saw those glimpses of demonic Ellen in that specific form because she and Orlok were dying as Thomas held her hand-- a truly powerful psychic, broadcasting her shared destiny with Orlok to the one person they'd both loved and hated, cared for and terrified in turn.

[knight-a3]

Hazbin Hotel Sketchbook 2: Part 2

Masterpost

Morningstars

I will have some design notes under the cut, so stay tuned.

Charlie and Lilith's snakes are all named.

Notes under the cut to minimize clutter. I'll try to keep it brief since I've talked about a lot of this before, and plan to go into more detail in dedicated character posts later.

Between dolls, snakes, apples, circuses, ducks, etc, there were just too many motifs/thematic elements to shove onto just Lucifer. So, I streamlined and distributed. Lucifer is goat themed, Lilith is snake themed. Charlie is a mix of the two. I also use this to partly to imply that "the Devil" is not solely Lucifer. But humans mistake various different demons as one character.

Charlie:

Her goat traits were inherited from Lucifer. Hooves, ears, etc. Also the tail. Her hair is designed to look like a goat tail.

Snake traits were inherited from Lilith. Vertically slitted eyes, hair snake, etc. Also doll cheeks and pale skin.

I had considered having her hair be totally made of snakes like Medusa, but that seemed annoying to draw, so I just did one. His name is Hugh, short for Hubris, which is a synonym for pride.

Lucifer:

He has far too many motifs in general. He needed streamlining.

Apples- I reduced this because I think it would be more fitting for Adam and Eve. Eve as the first to eat the fruit, and Adam because... Adam's apple, I guess.

Doll- I know Charlie is meant to resemble a porcelain doll. And in-universe gets it from her dad. But I don't really understand why, so I took it away from him and gave it to Lilith.

King- He does not have any real authority. It's a prison, and even Lucifer is caged. Nobody bothers to respect him. So the "crown" on his hat resembles a gate or cell bars

Ducks- I never understood the choice to associate Lucifer with ducks. And thematically, I can't really justify it. So...um... sorry, but no rubber duckies.

Goat- From what I understand, goats as a demonic symbol comes more from pagan influences rather than the Bible. Overall, Lucifer is a goat because he's been assigned the blame for all the evil in the world. He's the scapegoat. Placing sin on Scapegoats was a Jewish practice during Yom Kipper.

Lightbringer- the word lucifer is used once in some translations of the Bible to describe the arrogance of the King of Babylon in the book of Isaiah, but not as a name. Instead of directly translating the Hebrew word that meant "light bringer," "morning star," "dawn bringer," or "shining one," the Latin term was used. Lucifer often referred to the "star" that is the planet we now call Venus. It would be used to represent pride because it rose and fell before the sun. So the instance of lucifer in the Bible isn't even used as a name, and didn't even refer to the Devil. I say all this because I think it fits the scapegoat theme, and it's why I put a star on his tail.

Wings- Seraphim are described as having 3 sets of wings. Rather than deal with all that or even try to figure out the anatomy of that, I just gave them three sets of primary feathers, which sort of imitates the 6-winged look but is easier for me to draw.

Speaking of his wings. He lost them when he fell. So he does not have wings at all anymore. If he did, they'd be more like dragon wings.

Lilith:

Lilith is not a biblical figure. The word lilith was used once in just some English translations of the Bible. And it's referring to a type of demon, and not used as a name. Other translations change the term to shriek-hawk or similar terms, and is listed with various other night creatures. Lilith as a character appeared in Jewish lore, and was likely satirical. But away from theology and onto hazbin lore...

Because Lilith was originally created as a wife for Adam, she felt treated like an object or plaything rather than a person. So when she fell, she picked up a little bit of a doll motif that isn't prominent in these drawings. I essentially traded the doll features instead of horns. I'm still workshopping specifics.

She was just as involved(if not more so) with offering the fruit to Eve. Thus, she gets the motif of the snake. I didn't want to make her hair entirely snakes, because the long flowing hair seemed like a prominent design feature for her. So I opted to give her 7 hair snakes, one to represent each deadly sin/ring of hell. They're all named.

Pride= Vani (Vanity), she's the one on the top of her head.

Greed= Ava (Avarice)

Lust= Libby (Libido)

Envy= Desi (Desire)

Gluttony= Tony

Wrath= Irene (Ire/Irate)

Sloth= Sloth (too lazy for an actual name). He's the one coiled around her neck, usually sleeping. He also comes from the left side of her head.

Vaggie:

I leaned into the moth elements in her design. I think it was the Columbian Silk moth that I used as as my main reference.

When she fell, she was transformed into a demon like everyone else. So she isn't really an angel anymore and bleeds the same as the other sinners. Not even Lucifer really counts as an angel anymore, due to the corrupting nature of hell.

When Vaggie regains her wings, they are no longer angel wings but are instead moth wings to match the rest of her. They actually double as her hair via magic logic because I like it that way, and it lets me reference some of her older designs.

[withahappyrefrain]

First off, this was beautiful. The relationship between Bradley and Smart Aleck is so amazing but also so realistic. Like their conversations are similar to ones I've had with my own husband. The chemistry is off the charts and I simply cannot get enough of them.

Also them being domestic?!?! Getting ready for a vacation?!?! My heart my heart!!

And now for my ramblings below:

But honestly it's so realistic that he fell asleep I don't blame him

Home - where he could finally wake up next to you and have you be right here - not an ocean apart. Bradley already dreaded the next time he’d have to leave you. 

IM ALREADY CRYING 😭

But later? He’d slap your pussy so hard you’d be begging for his cock in no time - in fact, maybe he should time you? See how long it took you to break, to babble, to beg. 

SIRRRRRR THE SWITCH??? from needing to cuddle her to THIS? Deceased.

“But I woke up beside you, so I can’t be too angry.” You leaned in to kiss him. “It’d be impossible to be angry now, actually.” 

I love them so much they're too cute your honor 😭😭😭

That tattoo gets me Everytime my heart breaks every time

He groaned. Fuck. He couldn’t believe he had a girlfriend who said stuff like that. It was like something out of a wet dream. “You seriously only took your fingers the entire time I was gone?” You nodded. “Good girl.”

😵‍💫😵‍💫😵‍💫😵‍💫😵‍💫

Him making her an audiobook I'm dead. Not just because that's hot as hell, but also the fact he wants to do research into the dynamic and make it right/good for her????? Like???! Bradley Bradshaw, the man that you are!!!

God, he would love missionary for how close it lets him be. A romantic at heart! I love him. Also love how he's obsessed with her tits like yes girl, get it!

This fic is making me feel much better about gaining some weight, thank you for your service

She's dimming the light?! Baby girl he loves you, he loves your body!!! 😭😭 I feel for her, I feel her so hard. Also I really love that you gave her a struggle that so many of us have gone through. Like your insecurities don't just magically vanish when you're in a loving relationship, it takes time and work and I know Smart Aleck will get there!

Stop shaking the thought away Bradley! God, he's so close, so freaking close to figuring it out!!! And in a way I like that it takes him time because that's realistic but I still want to shake them both

Her not knowing what to wear 😭😭 God this is hitting me so hard. And Bradley is just trying to be supportive!! Honestly surprised I haven't cried yet because I feel her so much

You've also convinced me that yes, Maverick is Bradley's dad. I love that smart Aleck has a relationship with him as well!

Bradley's right, if I met a 30 year old man who went by Teddy, it would be an immediate red flag. Also the way he's so protective of her and Amelia?! My heart can't take much more Jordan 😭😭

THE PHONE SEX?!?!?! JORDAN ELIZABETH (idk your middle name, I'm just inserting one bc holy shit that was hot and entirely too short God, do they need a third??? Asking for a friend).

“Yeah?” Granted, if you kept rutting against each other like this, he’d probably cum in his shorts - there really wasn’t a lot of substance to the running shorts he was wearing - but god. He needed to sink inside you. 

THE WAY HE IS SO DESPERATE AND NEEDY FOR HER JORDAN I AM FERAL. FERAL!

Good. Then he wasn’t going to apologize for what he was about to do. Because Bradley had to fuck you, he had to be inside you right now. Something about you and being off and those tights and that dress and his run and the subsequent endorphin rush. 

OH MY GOD ITS THIS SCENE THE ONE YOU TALKED ABOUT

Idly, he recalled the jibe he had ignored from Hangman the other day regarding his leave: not all of us have rich girlfriends to take us on two week vacations.

Jake, that sounds like a personal problem my dude.

Hi, can I personally slap her mom?? Smart Aleck, Bradley loves your curves!! 😭😭I need the next part, I need Bradley to remind her she is more than her body, that he loves her no matter what size she is!!

rocketman: part iii - Some things Cosmic

Summary: finally back home, bradley can focus on all the things he's missed while he's been gone. there's someone there to properly welcome him home, frantic reunion sex, prepping for an amazing vacation, family dinners, and the casual intimacy he's come to love between the two of you. but there's still something up with you and he can't quite figure it out. it'll be fine, right? catch up with [part 1] and [part 2]

OR sex, s'mores, and secrets

Pairing: Rooster x Fem!Reader 18.5k

Warnings: 18+, explicit language, body insecurity, suggestive dialogue, suggestive content, and sexual content (oral (f + m receiving), vaginal fingering, p in v, dom/sub influence, and praise, rank, and degradation kink). also on ao3!

i want to be naked, i don’t mean my body, i don’t need my body i’m floating away

Bradley startled awake sometime later. It happened sometimes. He had these dreams were it felt like he was falling. Out of his plane, out of the sky, out of your arms. Falling and falling - with no end in sight. 

That wasn’t to say that they were necessarily nightmares or anything. (Because the distinction between the two was glaringly obvious.) 

They just unnerved him a bit. Left him unsettled, untethered. 

He rolled over and stretched his arm out across the bed, until his fingers brushed against something silky. Something warm and silky. He turned his head to find you sprawled out next to him.

You had changed between now and when Bradley had last seen you - he glanced at the clock on his nightstand - seven hours ago. 

Fuck. 

He had fallen asleep before you had even gotten upstairs. 

Goddammit, he felt like an asshole. He rubbed his hands over his face, sighing. This was the last thing he had wanted to happen, especially after what you two talked about earlier that evening. 

You’d give us your wild? Of course. Of course, of course, of course he would. 

Like you knew he was thinking about you, you shifted your hips, inching closer towards him. Your body was only half under the thick duvet cover and top sheet, so even in the early morning light he could still see the navy nightie you were wearing. 

Bradley liked to think that you had stowed it away someplace and changed downstairs in order to surprise him in bed. Except now he’d never know because he had fallen asleep on you. God, he was the worst boyfriend. 

Tonight, the night three months in the making, he had missed cuddling and kissing and all the best parts of getting cozy in bed with you because he had fallen asleep before you had even gotten upstairs. And sure, he had gotten a taste of what was to come on the couch while you laid underneath him and drew imaginary shapes across his chest with your finger and he held you tight and counted your heartbeats. 

But this was supposed to have been a big deal. It was the first time you both went to bed in the same room without the fear that you’d be leaving in the morning or later in the week to go back to your highrise. You were both home. Really, truly home. 

Home - where he could finally wake up next to you and have you be right here - not an ocean apart. Bradley already dreaded the next time he’d have to leave you. 

There was a future with you. There was that little boy - or little girl - from your dream. The perfect mix of you and Bradley. 

(Don’t ever be a Rocket Man. I mean it. 

When you’re out there you want to be here, and when you’re here you want to be out there. 

Promise me you won’t be like me.)

Suddenly, there was this overwhelming urge inside him that if he didn’t touch you and have you in his arms, that he’d slip away, back to space. Untethered. 

You kept him on the ground. You kept him safe. 

Bradley scooted over towards your side of the bed and wrapped his arms around you, unable to bear another moment untethered. There, that was better. You were soft and warm and felt so precious in his arms. And with your nightie rucked up around your hips and one leg extended out and the other hiked up, your body was on full display. 

Easy access.

Your thighs were so fucking soft and curvy and he desperately wanted to slot himself right between them. Have them bracket his head, while his tongue lapped at your pretty pussy. 

Would he start there? Eat you out until you were begging for his cock? Have you grind on his lap…until you were begging for his cock? Or…just generally begging for his cock? 

They all seemed appealing, but admittedly kissing you until you were breathless and then rocking his body above yours until you were both tumbling over the edge had plenty of merit, too. Bradley wanted to treat you like you were precious first. 

But later? He’d slap your pussy so hard you’d be begging for his cock in no time - in fact, maybe he should time you? See how long it took you to break, to babble, to beg. 

But that brought him back to the present. Could he wake you up, now? Bradley knew you’d been stressed and busy ever since your mom had come to town and because of all you’d confessed earlier; so, would it be fair to wake you? You hadn’t woken him up, afterall.

After an indeterminate amount of time of just holding you and watching you breathe, you rolled your bare ass against Bradley’s crotch and let out a pleased hum. He gave your hip a squeeze and you burrowed even deeper in his arms. Your skin was softer than the silk nightie you were wearing and he could feel the heat pouring off your body.

He slipped his hand down to knead your ass and you sighed. “Hmm, da-dley? Bubba?”

“Hey, kid.” He kissed your neck. 

Once you were a little more lucid and opened your eyes, you pulled your nightie down to cover your ass, though that didn’t stop Bradley from playing with the lace hem. 

You rolled over so you were now face to face and wrapped your right leg around his left. 

“Why didn’t you wake me earlier?”

You cupped his cheek. “Wanted you to sleep, you looked so tired. Pretty too.” 

It was dark in the room at five thirty-eight, but not completely pitch black, so Bradley could still make out your soft features. You had somehow gotten even more beautiful in the three months he had been gone. It wasn’t obvious, not at first, and not to anyone who wasn’t really paying attention. 

But it was obvious to Bradley because Bradley always paid attention.

“Well,” he kissed your forehead then your nose, “I’m still sorry, especially after what we talked about earlier, should’ve stayed up for you.” 

“But I woke up beside you, so I can’t be too angry.” You leaned in to kiss him. “It’d be impossible to be angry now, actually.” 

He hitched your right leg higher over his hip and groaned when he could feel your core through his joggers. You squirmed against him, cheeky little thing. But with his joggers and t-shirt still on, Bradley was definitely overheated and the sweat was building at the back of his neck, to say nothing about the heat your body was giving off. 

As if reading his mind, you grabbed the hem of his t-shirt and slowly dragged your fingers up his stomach, stopping at both his happy trail and then the patch of hair in the middle of his chest, before taking the t-shirt off completely. A soft thud rang out when you’d thrown it across the room and it presumably landed on the floor. 

“You gonna take these off, too?” He slipped a finger under the waistband of his joggers. 

“Been dying to all night - hips up, Bradshaw.” 

Bradley arched his back and helped you slide his joggers down his legs, taking his boxer briefs with them. Your gaze lingered on his body for a long moment, but you just gave him a coy little smile. 

“Fuck,” he sighed in relief, “How’d you let me sleep in those?” 

“How’d you fall asleep on me?”

“You got me drunk!” 

“Not my fault you’re suddenly a lightweight - Bradley!” 

He pinched your side and you wiggled away from him with a shriek. “Uh uh, not so fast.” 

Bradley pulled you close again, desperate to be nearer to you. You tangled your legs together and pointed your torso towards his, but remained perched on your elbow, while he was laying down flat.  

Suddenly somber, your eyes were drawn back to his body and he just let you look - drink him in and see what you had missed over the last few months. Every new freckle, scar, bruise, age line. 

Bradley couldn’t wait to do the same. What had he missed? What was different?

He could feel your eyes lingering on his abs. Normally, you remarked on his thighs and shoulders, but tonight it seemed you had a different focus. You appeared hesitant, biting your lip, as you dragged your finger across his stomach. 

Did you like how he looked - how he had changed in your time apart?

“You’re so handsome,” you whispered, almost to yourself. 

Bradley kissed you and returned the compliment. “And you’ve gotten even more beautiful since I’ve been gone.” 

You appeared bashful at the comment, which just let Bradley know he’d have to give you more of them over the next few weeks. “Come ‘ere.” Without waiting for a response, Bradley started pressing kisses all over your face, your cheeks, your neck, your lips. If it was possible at this point, he drew your body even closer.

“Bra-adley! We have an entire bed here, you know?” You giggled when he rubbed his nose into your neck.

“Mmmm, but it’s nice and warm here.”

You scooched down on the bed on your stomach so you were looking up at him. With a smile, you began to press languid kisses across his chest, starting just above his belly-button and creeping up to his pecs, heart, and shoulders. You loved his shoulders, you always managed to notch your head there during sex and press little kisses to the scars dotting them and his neck. Bites, too - marks to prove he was yours.

But tonight, it seemed you had a different path in mind and, while you still nipped at his shoulder, you didn’t stop there and instead went straight to the small tattoo on his bicep. You traced your fingers across the roman numerals:

x x x i x

Thirty-nine. 

As in thirty-nine years old. An age neither of his parents ever got to see. 

Bradley had gotten the tattoo when he was in flight school and a bit of a shit with self destructive tendencies. People never really asked what it meant and he never really wanted to tell anyone. 

He’d told Ezra, right around the time when they first started talking about moving in together, before that spectacularly failed. He also told Nat. However, the latter was only because he was drunk and pissed and he had just made lieutenant, once again surpassing his father in something.

Maverick had seen it about a year ago. He had never asked Bradley what it meant and probably never wanted to have it confirmed what it meant. But to anyone who really knew Bradley, it was easy to put together.

Bradley had told you about it on your fourth date. 

It was the second time you’d slept together. Because while your first time had been frantic and had taken you both by surprise (you, in particular, were freaked out that you’d slept with someone on the first date without a condom), the second time was much slower - softer. 

You had planned the date this time. Bradley had picked you up at your apartment - he even had come upstairs to get you - with flowers - and the two of you had dinner at Callie, followed by a performance at the San Diego Symphony. It was actually thanks to one of Bradley’s fun facts about playing the piano that you had gotten the idea. 

Both of you had gotten dressed up (a big departure from your third date hike in Torrey Pines), the food and drinks had been plentiful and delicious, and listening to Ravel’s Piano Concerto in G Major and Rachmaninoff’s Piano Concerto No. 2 was made all the more romantic by the way Bradley held your hand for the entire first piece and had his hand on your thigh for the entire second.

So, after eating you out on your kitchen counter and going two rounds in bed, Bradley had told you what the tattoo meant and about his parents and Maverick and you had told him about your mom and your accident during your junior year of high school. 

And if you had asked Bradley, it was after that date that he knew he was going to fall in love with you. 

It hadn’t felt scary to tell you any of it. It felt right and natural. Like you wouldn’t judge him or get scared when things got hard. Like he wanted to protect you at all costs. 

And because he had told you what the tattoo meant, it made the moments since when you’d really focus and hone in on it all the more sweeter. During this last deployment, Bradley had often felt like the ink was burning into his skin under his flight-suit. It kept reminding him that he had once thought he had a timeline or a stopwatch on his bicep, slowly ticking down. But with you, it was something to strive towards, to reach beyond and be there for LIX, LXXXIX, and even XCIX. 

“What’s it like flying at night?” Your question snapped him out of his thoughts and you pressed another kiss to his tattoo to calm him. “I kept thinking about it on my flight to London. And how you must see this all the time, is it still a big deal? Can you even stop and think about it? Just endless night with thousands of stars to guide you? Being in the middle of the ocean, nothing around for hundreds of miles.”

(What’s it like, out in space?

It’s the best thing in a lifetime of best things - oh, it’s really nothing at all. 

But you always go back.)

“You’d never thought about it before?” his voice came out thick, hoarse. 

You shrugged a shoulder. “Not in that way, I guess? I couldn’t sleep on the way to London, so I pulled up the shade in the middle of the night. I’ve never really thought to do it before, don’t know why - but then I saw all those stars, endless stars, thousands of them. I’ve never seen anything like it.” Your finger stopped tracing patterns on his arm for a moment before it started again. “And I though to myself this is what Bradley sees. This is why he loves it and for that brief blip in time I got it. I understood. Makes me love you even more in some way.” 

Bradley felt like he was going to cry, the feeling swept over him so suddenly. “I uhh - fuck.” 

“You don’t have to say anything,” you sounded contrite, “I just wanted you to know.”

Could he tell you? Could he tell you that flying at night with all the stars in the sky simultaneously made him feel closer to and yet farther away from his parents? It was like they were right there, but also so far out of reach. But he didn’t say any of that. He couldn’t say any of that, not now. The words couldn’t come.

Instead, he pulled you closer, putting your face at level with his own. “I love you.”

You smiled and he could’ve sworn there were tears in your eyes, but it was hard to make out in the darkness. “I love you, too. Now please kiss me.”

Bradley let out a chuckle, but leaned in to kiss you without another word. The kiss was sweet, but still had an underlying desperation attached to it that came with being away for months. But unlike every other kiss you’d shared since Bradley had gotten home, there was no need to stop or to prevent it from going further. No, now you were his. He could have you however he wanted.

Not breaking the kiss, you shifted and bracketed your thighs on either side of his hips, allowing him to slide his hands up your body. He’d never get tired of thinking it, but god, you were so fucking soft. Your hips, your thighs, your breasts, your hands, your lips - actually…

His next words were grunted against your neck. “Your lips are really soft - softer than normal,” he finished when you went to interrupt him. 

“Must be my lip mask. I put it on after I saw that you fell asleep on me…”

“Hey, hey,” he tickled your sides and you collapsed on his chest amidst your giggles, “I said you should’ve woken me up!”

“Would you have woken me up?” You had him there. “See? This way I could stare at you uninterrupted and get all moony over you. Plus, now isn’t this better? No more sleepy bubs.”

No. He was definitely awake now. And from where your core was laid on his bare stomach, he could already feel how wet your were and couldn’t wait to slip inside you. 

“‘Could kiss you for hours,” you said against his lips. You kissed him - once, twice, ten times, smiling all the while. He never wanted you to stop. “Bradley,” you whined, “Need you inside me. Gotta get used to you again. ‘m so tight.” You nipped his earlobe. 

He groaned. Fuck. He couldn’t believe he had a girlfriend who said stuff like that. It was like something out of a wet dream. “You seriously only took your fingers the entire time I was gone?” You nodded. “Good girl.”

You preened under the praise. Because it surely had to have been a bit of a challenge. “Yours are so much bigger, though.” Bradley rolled his eyes at your cheeky tone. “What’re you gonna think up for me to do next time you’re gone? Like what you talked about earlier?” You didn’t linger too much on the next time part of your question, so he didn’t either.

“Hmmm. What about tasks?”

“Oh? Like what?”

“Well, I’d have to do more research, but like you have to wear xyz or send me a picture of you doing something? Whatever we want.”

You nuzzled his neck. “Mmmmm, I like that. Wish we could really talk when you’re gone, though. I’m not sure I could handle every comms officer hearing what I need from you again…”

An idea suddenly struck Bradley. It was amazing he hadn’t thought of it before. “Maybe I can make you an audiobook?”

Your jaw dropped and you contorted your body to look up at him. “You’d do that? Seriously?”

His cheeks colored. “I mean, not like an actual one, but like a voice memo or something?” The idea didn’t sound nearly as good out loud as it did in his head. “If you wanted…”

“Oh my god, yes! I very much do want.”

Without another word, Bradley rolled you both over so now he was on top, knees bracketing your hips so as to not put his full weight on you. Your nightie was still covering your stomach and breasts, but that didn’t stop him from snaking his hands underneath the navy silk to play with them. They felt fuller than normal - not that he was complaining, but he hadn’t noticed earlier and now -

His cock brushed against your stomach in a way that had you bucking up against him, so desperate, so keen, so fucking good. Good girl. Your lips were eager against his as you poured every thought, every email, every Facetime call into your kiss. 

God, it had been so long. Fooling around on the couch earlier in the evening paled in comparison to how plump your lips felt and how keenly your body reacted to his. Because you felt so good. Months, weeks, days had passed and Bradley had never felt anything as good as your body beneath his. 

You sighed and squirmed up the bed so your head was laid across the pillows, all the while Bradley made his way down the bed. 

“More, bubs, please.” 

How could he refuse, especially when you had asked so nicely? He bent forward to give you a sloppy kiss on the lips before working his way down your body, from your neck and collarbones, to your breasts through your nightie, and finally to right below your belly-button. From there, you readily allowed him to bend your knees so your feet were planted firmly on the bed and your core was completely exposed to him. 

Even in the early morning light it was exquisite. You had the prettiest pussy Bradley had ever seen - and it was his, all his.

“Fucking gorgeous.” 

You startled at the first touch of his lips on your thighs, but let out the prettiest little sigh when he sucked on the skin by your birthmark. There was another as he licked along one of your lightning lines. And another as he kissed the hood of your clit. 

God, you smelled so fucking good and were groomed just the way he liked it -  like the perfect, obedient, good girl that you were. And perfect, obedient, good girls got their pussy played with until they were babbling like dumb little sluts.

“- Would have thought this would be your first stop?”

Bradley chuckled, but didn’t stop dragging his fingers across your inner thighs and lower lips. “Yeah? What, d’you think I’d do? Just dive right in? Take you on the kitchen table?”

“I would’ve let you.”

Once the words had sunk in, he stopped teasing you. His elbows gave out beneath him and he groaned with his face pressed against the sheets. Fuck. That was a conversation for another time, but just the thought of you letting Bradley basically use you had him grinding his hips into the mattress.

You were so good. 

He popped his head back up and slapped you - lightly - across your pussy. “You keep saying shit like that and next time I just might.”

In response, you arched your back and tried to close your legs around his head, but Bradley just tutted and spread them further.

“Uh-uh, need to have a look at her, I've gone three months without her.” Your hips jumped off the mattress as his fingers started playing with you, tracing circles over and dipping in and out of your cunt. “‘pretty pussy. She took such good care of you while I was gone, didn’t she? Look at you dripping for me, huh?”

His fingers scissored inside of you, dragging against your walls, while his thumb needled your clit. Your wetness spread across his fingers and he, in turn, spread it across your folds and inner thighs. He liked when you were messy. He liked to feel you all over his face.

“Bradley,” you whined. “Stop teasing.”

Neither of you really wanted that, so it didn’t even merit a response from him. Instead, he kept sliding his fingers inside you in and out, in and out and crooked them ever so slightly before he added a third. Above him, you gasped and jolted. 

“‘Atta girl, arch your back, just like that.” You whimpered at his praise and kept rocking your hips in tandem with his fingers. Fucking glorious, such a good girl for da -

“- Bradley…” He peered up to see that you had one arm over your eyes, while the other was pawing at your breasts through your nightie.

“God, you’re sucking on my fingers so tight, I would believe you’ve taken anything up this pretty pussy in months.”

“‘Want your mouth, please, please…” 

“Where?” his voice was muffled. Bradley sucked his lips around your thigh, right by your labia, but refrained from kissing you were you wanted him most. He wanted to mark you up everywhere, have your thighs and breasts and neck covered in little bites and bruises. 

Mine. Mine. Mine. 

Good. Good. Good. 

You whined. It sounded pathetic and he had barely even started. “My pussy. Please, Bradley? Please?”

Who was he to deny you? Because, god, you tasted so fucking good. It was hard not to absolutely devour you, especially after going for so long without you. Bradley slid his hands down from your hips to grab your ass and rut your cunt deeper against his face. As a reward, he got a slew of pretty little whimpers out of you.

He continued at a steady pace, alternating between probing your clit and slipping his tongue inside you. Above him, you arched your back and he pressed a firm hand on your stomach to keep you down. 

“Bradley,” you cried as you rode his face. 

God, you sounded so pretty now, he couldn’t wait to get you on his cock later. 

Pretty girl. 

Smart girl. 

Good girl. 

His girl with a body like Aphrodite. 

“Ahhh - fuc - ahhh.” You made that sound and he knew, without even looking up, that your head was tipped back in pleasure and you were close. “Bubs,” your voice came out small, “want you - inside me, now.”

“Uh-uh.” Bradley pulled his head back, but continued fingering you. “You need to come first.” 

Come on his face. 

You shook your head frantically against the pillow. “No.” You gasped when he purposely plunged his fingers deeper. “‘wanna with you - ahh inside me.”

Somehow you grabbed the hand he had pressed on your stomach and you dragged it up your body. His knuckles brushed against the silk of your nightie until you eventually pressed sloppy, open mouthed kisses to your interlocked fingers. And all Bradley could do was say your name in censure, which ultimately came out heavy with need.

“Please? Want it to be together our first time back.” You whined pitifully. “Haven’t touched myself in days.”

All you had to do was pout and he was gone. 

“Fine,” he smacked your thigh, “but I’m gonna make you come again after I finish inside you.”

“Yes, yes, anything, Bradley.”

You would be spent and whiny by then, it wouldn’t be hard. 

After swirling his fingers once more around in your cum, Bradley held his fingers up to your mouth for you to clean them off. “That good?” You hummed around the digits before he retracted them and tapped your cheek twice. “Atta girl.”

Next, he shifted up on the bed so his knees were straddling your waist. He was achingly hard at this point and bit back a smile as you made grabby hands for his cock. It pulsed in your grasp and you swiped your thumb over the slit to rub his pre-cum over the head. Fuck, that felt divine. While you may have relished how much larger his fingers were than yours, Bradley loved how large his cock looked in your smaller hands. However, he’d already let your tender touches go on long enough - another minute and he’d come all over that silk nightie you hadn’t taken off yet.

“You gonna be a good girl for me?” Your eyes were wide and you nodded. 

Trusting, needy, desperate. Such a perfect girl for him. 

“Wanna be full.”

He brushed the head of his cock against your pussy lips, making sure it was nice and wet and, god, you were fucking soaked and practically sucked him in. You whimpered and muttered something indistinguishable, but wrapped your arms around his shoulders and canted your hips up for more. Then, once Bradley slipped just the tip of his cock inside you, you gasped, but brought him closer. Your nails dug into his shoulders, hopefully pressing little crescents into the skin. He pulled back and slid in again, inch by inch, earning a breathy gasp from you every time. 

Holyfuckingshit. You were so tight. So fucking tight, even after prepping you with his tongue and fingers. 

Yours are so much bigger, though your voice echoed through his head. 

You were so fucking soft and warm and wet and felt perfect around him. With each thrust he’d grunt out your name and you in turn would give a whiny Bradley and eventually wrapped your legs around his hips. And then you were also clenching down on him like you’d spent the entire three months doing kegel exercises. 

“Fuck, you made me so hard - thinking about how much of a good girl you were while I was away, keeping this nice and tight for me,” he barely got the words out. 

“‘do anything for - for you. ‘d let you do anything to - mmhmm - me,” you finished with a whimper. 

Fuck. Your unwavering trust in Bradley always took him aback. Because you meant it. You really would let him do anything to you. If you had the slightest inclination that it would please him, you would do it. He had never had someone who trusted him that much. And that wasn’t something he took lightly. 

With that thought in mind, he snapped his hips against yours in a particularly hard thrust that had you crying out. 

“Mmm harder.”

He bent down to suck on your neck. This - the closeness - was why he liked missionary so much. It was perfect for this exact moment. There was plenty of time to take you hard and fast later.

“Oh, god. Feel so full - Bradley, Bra - Bradley!” With every utterance of his name, he drove deeper inside you. Harder inside you. You’d ride him next time, he’d make sure of it. But for now, breathing each other’s air, gasping against each other’s mouth, and feeling the sweat on each other’s brow, being so impossibly close to each other, it was hard to say where Bradley’s soul ended and yours started. 

Yours and mine are the same. 

He groaned your name and you opened your eyes to gaze up at him with an almost dazed expression. Grabbing the back of your knee, Bradley went in at a different angle, trying to get deeper. “Feel how much your little hole’s dripping? Just needed me to stretch you out again.”

“Mmmmm yes, yes, da-dley - ahhhh,” you cried out, “can I come? Please, please?”

Oh, you were such a good girl for him. Asking so nicely, so prettily. So properly. Thank god he had prepped you, he wasn’t going to last much longer, himself. It was kind of pathetic. Both of you were, to be frank. Obviously, you more than him in this instance, but -

“‘Course. There you go, sweetheart, come on my cock like a good girl.”

When you finally came a few moments later, it was with a strangled cry of his name that Bradley swore was the most beautiful sound he’d heard in months. As the shudder of pleasure swept over you and you tightened your core around him, Bradley hastened to find his own release. The slew of cries and whimpers against his lips as you tried to settle down only spurred him on further. He drove into you again and again and again. 

He had to get there with you - had to. You clung to him and notched your head by his neck, only to graze your lips along the tender skin there and bite. 

“Fuck,” he grunted. “‘You ready for me to come inside you, sweetheart? Know how much you missed it.”

You nodded against his neck. “Yes,” you whispered, “Bradley, please…”

He groaned your name. It sounded so good like that, so perfect. He had to say it again and again and again. With each stroke, your overstimulated pussy fluttered around him, pulling him towards his own orgasm. His jaw clenched and his back muscles tightened and Bradley could barely support his own weight over you for another moment - 

“‘s good, bubs, feel so full.”

Oh fuck. Fuck, fuck, fuck. That was it. That did it. 

With a final moan of your name, Bradley came inside you, painting your pussy with his cum. His cocked twitched one final time as the last streams of cum filled you up. He notched his head against your shoulder and he breathed in your sweet scent. 

Goddamn. 

Once he settled down and caught his breath sometime later, he moved to pull out, knowing that when he did so, both your cum would drip down your thighs. Your gorgeous, thick thighs. He already needed to get lost in them again. And wasn’t that just the thing? Bradley was obsessed with you. He could never get enough of you.

“No, no, not yet,” you whimpered. 

He stopped and pulled you closer, but slightly changed your position. There was some perverse part of him that wanted to make a comment about keeping you on his cock for the rest of the morning so you could get used to him again, but he refrained after thinking about the tone of your voice. You sounded so fucking good and docile and submissive. Such a good girl. 

“Pretty sure you owe me another one…” You burrowed your head against his neck and moaned when he shifted. “How ‘bout I stay inside you? ‘That okay?” You nodded and your pussy tightened against him. “Good girl.”

Keeping you close, Bradley slid one hand in between your bodies to play with your throbbing clit. You arched your back up towards him, trying in vain to get closer, though that was nigh impossible - the two of you were already as close as two people could be. 

Yours and mine are the same.

He needled your clit between his thumb and forefinger, rolling it back and forth, trying to get some moans and whines out of you. God, your body felt unreal. Still so warm around him, still so wet for him. All for him. 

Mine, mine, mine. 

As your body shifted, your pebbled nipples brushed against his bare chest and Bradley was remiss for not playing more attention to them earlier. But that could’ve been because you were still wearing that goddamn nightie. You were flustered and warm and your skin was glistening with the slightest sheen of sweat. 

He bent his head down and mouthed at your breasts through the midnight blue silk. They were already hardened to peaks, desperate to be suckled on, especially after noting their new size. There would be time for that later, he had to remind himself. 

For now, he nipped at the top of your cleavage and kept playing with your clit. You were so oversensitive, you were practically shaking in his arms. And in response, you raked your hands through Bradley’s hair, pulling on the strands. Fuck him. That felt divine, especially as he felt you tighten around him. 

“Brad-ley,” you whimpered, “’s too much.”

“Shhh, easy, easy, there’s no rush.” He tipped your chin up. “You want me to stop?” You shook your head. “Take a deep breath. That's it. Good girl.”

Little whimpers kept escaping your mouth, but you burrowed your face against his neck and trusted him to take care of you. You nipped at the skin there and he hoped it would leave a mark; let everyone know that he was yours and only yours for the next few weeks. 

Mine, mine, mine.

“I’ve got to take care of you, you were such a good girl while I was gone. My best girl, huh?”

“Mmmm.”

“So beautiful, so smart. Took such good care of things for me, huh?” He could feel as well as hear your breath hitching, letting him know that you were close. “‘gorgeous girl, so proud of you, sweet g -”

And that did it. 

So proud of you.

You came with a cry and your walls fluttered around his cock once again. A sudden gush of wetness coated both yours and Bradley’s thighs. God, it was beautiful. You were beautiful. Your name kept running through his mind and Bradley realized he was actually muttering it against your lips through kisses. There were tears in your eyes and he thumbed them away before they could slide down your beautiful face.

“Hey, too much?” He kissed your cheeks, which unfortunately only made more tears spring from your eyes. “I didn’t hurt you, right?” 

“No, no,” you shook your head, “I just missed you so much, think I’m overwhelmed,” you finished sheepishly. 

The tension in Bradley’s shoulders eased and he smiled down at you. “Now you’re gonna make me cry, kid.”

“I love you.” The words came out quietly, but it was like they’d only just come out of your mouth before Bradley was saying them back. 

“Love you, too.” The smile he got out of you warmed his heart and he pecked your lips before tucking your head under his chin.

The two of you laid there for some time with Bradley still inside you. In fact, he was pretty certain you may have dozed off at one point, but he didn’t want you to be too uncomfortable when you woke up later. With that in mind, he slowly pulled out and settled you on the bed beside him. You fussed a little, but Bradley kissed your forehead, heading it off. 

He started with your name, “I’ll be right back, okay? Going to the bathroom.” You nodded at him, your eyes wide and trusting. 

It was chilly out of bed, away from you, and Bradley only paused for a brief moment to slip on a pair of his sleep shorts from the dresser, before heading off to the bathroom to get a damp towel for you. He hastened back to the bedroom, now almost fully lit in the early morning light. You made such a pretty picture all tucked under the thick, white duvet. 

“Bradley?” You stretched out underneath the covers and let out a little whimper. “‘m sore.”

“Shit, sorry,” he said with your special nickname tacked on the end. “Come ‘ere.” Despite his words, he came to you and dutifully cleaned you up with the warm cloth. 

“‘s not your fault,” you slurred, “need to get used to it again. Missed you.”

The cloth passed over your thighs once, twice, three times, before Bradley brushed it against your core once, twice, three times. You sighed and gave him a lazy smile, which he easily returned. 

He leaned down and pressed a kiss to the inside of your knee. “Be right back,” he whispered. 

You’d barely managed to get back under the covers by the time he came back from the bathroom. And then, with all the care and love you deserved at the moment, he bundled you up in his arms. You were so warm and smelled so pretty and your nightie felt so soft against his rough fingers. Everything about that moment was perfect. You were so precious. You pressed your cheek against his chest and he hoped you could tell how fast his heart was beating. 

“I missed being with you like this, missed holding you.”

You pressed lazy kisses to his chest for a moment before you eventually tipped your head up to meet his eyes. “Can we stay like this? Just for a while? Don’t wanna get up yet.”

“‘Course,” he pressed a kiss to your forehead, “go back to sleep, I’ll be here when you wake up.”

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

When Bradley woke hours later, he did so slowly. He was pleasantly warm, he was finally sleeping on a true mattress, and you were slotted between his legs sucking his cock. 

Surely, there were few better ways to wake up than to have your sweet lips wrapped around him. It wasn’t something you did often, at least in terms of waking Bradley up this way, but he loved whenever you took the initiative. It showed how eager you were - how desperate. Really, the only thing that could top it would be your pussy sunk deep on his cock as you rode him.

You had to have been at it for a while, for he was achingly hard by this point. His hips bucked up, thrusting his cock deeper into your mouth and you let out a surprised moan, no doubt having thought he was still sleeping, before taking him further. Your tight grip on his thighs left him relatively grounded, else he would have set off a round of those gagging noises from you that he liked so much. That wet mouth that he liked so much - fuck. 

Bradley groaned your name. You peered up at him with those wide, innocent eyes like you weren’t getting him off while he slept. Like your pussy wasn’t soaking. Like you hadn’t been grinding it against his bare thigh for the last however many minutes. 

And you kept at it with Bradley’s hand grabbing your hair and guiding you. You kept working him, forcing him deeper down your throat. He moaned and you responded back in kind. Such a good mouth, such a good girl, taking care of him like this. It took him a moment to realize he was doing it, but he was mumbling your name, almost nonsensically. 

But then he felt, rather than saw, you remove one of your hands from his thighs to presumably put it between your legs to play with your needy pussy. And that just wouldn’t do.

“Fuck. Get up here,” he said and then punctuated it with a growl of your name when you stayed down. The whimper you let out had him bucking his hips up off the mattress. “I’m serious.”

Almost begrudgingly, you eased him out of your mouth and the resulting, wet pop echoed throughout the bedroom. You looked far too pleased with yourself as you sucked on your finger - the one that had definitely been shoved up your pussy only moments ago - and hummed in response. 

“Get up here - now.”

You braced yourself on either side of Bradley’s hips and teasingly brushed your pussy against his aching cock a couple times, practically begging for him to sink inside you. It would be so easy for you to ride him right now, but that wasn’t what he wanted.

“Bossy, bossy,” you teased and crept up his body, pressing kisses to his happy trail and chest along the way. But just as you were about to kiss him on the lips, he stopped you.

“Uh uh.” He stuck his finger in the air and mimed a circle. “Turn around.” 

Your jaw dropped. “Are you…” Again, just Bradley twirled his finger around and smiled. “F-fine.” 

“But,” at this you relaxed your thighs to press more of your weight on his stomach, “you have to take this off,” he finished by thumbing the navy fabric of your nightie. 

It only took a moment for the smile to creep across your face, but you didn’t take your eyes off Bradley’s as you slid the dainty straps off your shoulders, one at a time. You didn’t take the nightie off, it still covered all of your stomach, but it let Bradley ogle your breasts unimpeded for a moment. 

“Will that be all, lieutenant commander?”

He just shook his head in disbelief. “Cheeky little slut.” 

And then you smiled, looking so proud of yourself for rattling him that he had no choice but to slap the top of your ass. Hard. You huffed.

“Now turn around.” 

You rolled your eyes, but managed to turn around with Bradley’s assistance. The brief awkwardness of limbs strewn about was easily forgotten as soon as you got into position and he was rewarded with the sight of your glistening pussy in front of his face.

Bradley didn’t bother holding back a moan and started kneading your ass and running his fingers along your lower spine. Meanwhile, you wiggled down his body, dragging your breasts against his bare skin for the first time all morning. They were so soft, but your nipples were pebbled as they brushed against his stomach. He hissed when you lingered there for a moment to tease him.

Not one to let you get the upper hand, Bradley grabbed your hips to draw you close to his face and inhaled your sweet scent. Fuck. You were so good. You let out a mewl and startled when he first made contact with his tongue and then attempted to nose at your clit. That always got you going. Same with his mustache against the tender skin at the apex of your thighs. Maybe he would abstain from shaving on vacation, if only you’d ask.

“Fucking gorgeous,” he groaned your name against your skin and then he feasted. 

Meanwhile, the way your hands were playing with his balls right now had him already teetering towards an orgasm. After only being able to fantasize about having your hands on him - your sweet, delicate hands on him - for the last three months, this felt divine. And then you put your mouth on him and he was well and truly done for.

“Fuck.” 

Neither of you lasted much longer after that.

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

After your depravity filled wake up call, the rest of the morning took on a decidedly more chaste tone. The room was filled with giggles and the sounds of kissing as Bradley told you some of the more entertaining stories from the carrier and Australia, while you revealed that you had watched his 60 Minutes segment at least nine times. When he asked you why you’d watched it nine times, you just ducked your head and bashfully said it was because you sounded really smart.

It was finally around noon when Bradley said you two needed a shower and to have breakfast before embarking on the rest of the day’s activities, which included a tour of the house, complete with all the little goodies you’d amassed for him over the last couple months that he had glossed over last night, and getting ready for drinks with Nat, Caroline, and Max at six-thirty. Granted, the latter was six hours away, but Bradley had a feeling you both would be pretty slow to the take that afternoon. Probably would get a little distracted, too.

“‘m gonna take a shower,” his lips brushed kisses up and down your arms and over your once again silk clad breasts and he was rewarded with giggles, “you wanna come with me?”

“Oh!? Uhh - yeah, we could take a shower.” You pecked him on the lips. “Can you warm it up first, please?”

The pout worked - it always did - but Bradley still groaned, totally hamming it up. “Mmmm, I suppose...”

With one final kiss, he dragged himself out of bed and made his way into the bathroom. He flicked the lights on with a snap, going for full brightness on the dimmer, and turned around to give you a cheeky wink, only to see you worrying your lip between your teeth and staring intently down at your clasped hands on top of the duvet. He called your name and your eyes snapped up to meet his gaze.

“You good?”

You nodded and put a smile on your face. “Yeah, be right in.”

Odd. But then again, Bradley could’ve been reading too much into it. He hadn’t seen you since before Christmas, afterall. You were probably just tired. Yesterday had been a long day. And he had run you pretty ragged this morning. 

The water had warmed up while he was going to the bathroom and was the perfect temperature by the time he finally got under the spray. Just as he was about to call out to you again, he heard you enter the bathroom - and promptly dim the lights. 

“Woah, woah - hey!”

“Sorry!” you called out from behind the shower curtain. “I uhh - I just have a headache, don’t want the lights too bright too early in the morning.”

It was twelve-fifteen. 

Bradley frowned and looked at your shadow moving on the other side of the curtain. You were standing up straight - he would almost call it stiff. It was an odd request, to say the least, but it wasn’t exactly pitch black in the bathroom now, just a little darker, especially from the waist down. 

“Okay, just be careful when you get in - here,” he pulled the curtain back and held his hand out for you to step over the lip of the tub. You startled, but nevertheless took his hand. “There you go.”

The two of you stood face to face for a moment, allowing you both to get your fill of the other. It was definitely darker in the shower now, but Bradley could still make out your ample curves. Streams of water dripped down your chest as you tipped your head under the faucet and it was impossible for him to not watch as the droplets cascaded over your breasts. 

They looked fucking glorious by the way - he was slightly put out that he hadn’t gotten a chance to really play with them in bed earlier - you had only given him a glimpse of them for a few moments - but there was always later. Or now? Now was also good.

“Did these get bigger?” The words were out before he could think twice and he cupped a breast in each hand. Your nipples pebbled as his thumbs passed over them, back and forth, back and forth.  

Your eyes flew up to his face before glancing right back down at your breasts. “What? No, I don’t think - no.”

Bradley leaned back to catch your eye. “Sorry, I didn’t mean it in a bad way. They look great, feel even better, they’re just…”

“Oh! I guess I hadn’t noticed.” You turned your back to him. “Here, do you want to do my hair? Or I can do yours? Why don’t I do yours?”

Before he could even process what was happening, you spun back around and grabbed the shampoo bottle from behind Bradley and squirted some Ouai into your hands. He leaned forward so you could lather his hair up with the suds and appreciated your care in keeping them out of his eyes. For someone normally so dominant and in control, Bradley really did love when you fussed over him. He knew it wasn’t something you were comfortable with in every aspect of your relationship - taking charge like that - but it was nice in settings like this. Once the shampoo had set, he crouched down for you to rinse and then repeat the process with the conditioner.  

“I think we need a bench in here.”

“Yeah?” 

You hummed. “Just a little bump out, enough for someone to sit. You’re getting older, I wouldn’t want you to fall or hurt yourself during any rigorous shower activity.”

“Rigorous shower activity?” Bradley chuckled and nudged you with his shoulder before wetting your hair under the faucet. “You know, if I took all my showers with you, I wouldn’t have to worry about that, kid. Here, turn around, ‘s your turn.”

Gently, Bradley lathered up your hair and made sure to massage your scalp the same way you had done for him. You let out a pleased hum and then he repeated the process with the conditioner, though he might’ve used a bit too much. 

Once you were both back under the spray, you rested your palms on his chest and peered up at him with wide eyes. You looked like you were about to cry and he pulled you closer in comfort.

“I haven’t stayed here at the house too much while you were gone, just a night or two - like that night…with the email,” you confessed, “it didn’t feel right. I kept thinking you’d come home any minute.” Bradley pressed a kiss to the side of your head. “But I’d drop stuff off slowly, a couple boxes a week and whatnot.”

You both stood in the silence of the falling water for a few moments before you spoke again. 

“It just doesn’t feel real - all of this. I keep worrying that you’re gonna disappear again tomorrow. Or that I’m going to wake up or something. I don’t know what I’d do without you.”

And that was just the thing: Bradley didn’t know what he’d do without you either. He had never felt this way before; that there was someone else tied to him, someone else living for him, while he in turn lived for them. 

“Hey,” he tipped your chin up, “you’re not the only one worried about that. But I have you with me now and I’m always gonna do my damndest to come home to you, alright, kid?”

“Alright.” You wrapped your arms around his waist, keeping him close, and pressed a kiss to his chest. “Love you, bubs.”

Bradley instantly tightened his arms around you. “Love you, too.” 

I’ve never loved anyone the way I love you.

Before long, your kiss on his chest turned into a kiss on the mouth and your hands roved over each other’s bodies as you shared the loofah and soap. “So broad, so strong,” you said in wonder as you roved your hands over his chest and thighs and chased away the bubbles. 

And then, after multiple passes over your breasts at Bradley’s hands - it was unfair how good your breasts looked all sudsed up - it was time for a final rinse. He hopped out of the shower first and had a towel waiting for you when you got out, before you ultimately changed into your fluffy white robe. 

The two of you completed your morning routines side by side in comfortable silence until Bradley went back to the bedroom to put on some running shorts and a t-shirt. 

“You want breakfast?” He snuck up behind you at the bathroom counter and kissed your cheek. 

You smiled at him in the mirror. “Yes, please.”

“Anything in particular.” He kissed you again. “Pancakes? French toast? Ooooo maybe hash browns and bacon, too? The works?”

You had been giggling while he had been kissing your neck, but you suddenly turned sober as he rattled off your options. “Oh, uhh - maybe some eggs?”

Bradley frowned. “Like scrambled?” 

“Or poached? I’ve been eating a lot of egg whites lately…” With the way you were bundled up in your robe and with your hair still wet from the shower, you looked small - young. Egg whites?

“Oh, uh, yeah. Sure, I can do some egg whites for you.” 

Egg whites? Since when did you like egg whites? You had always liked your eggs scrambled and a little runny - with ketchup. Idly, Bradley remembered Max eating egg whites and low carb toast for the entire month of May to get in shape for yacht week in Croatia. He shook the thought away.

“Anything you want, kid.”

“Thank you.” You gave him a soft smile and a kiss on the check. “I’ll be down in a bit, okay?”

And with that smile and a promise, Bradley headed off downstairs to make breakfast. 

Egg whites, really?

-----------

Bradley’s homecoming weekend extravaganza - your words - could only be considered truly complete with a family dinner at Maverick and Penny’s on Sunday evening. Penny wouldn’t hear of you two bringing anything to dinner, so all that was needed to do upon returning from a morning hike in Torrey Pines was shower and change. 

You didn’t have to be there until six thirty, but it was already five forty-five and at least a 20 minute drive, so you were both a little more hurried than you were after yesterday’s shower. In fact, when Bradley got out of the shower, he was surprised to see that you were still in your bathrobe and staring at your half of the closet like it contained all of life’s mysteries. Granted, your hair and makeup were done, but you just stood there with your arms crossed over your chest, absentmindedly biting your thumb nail. 

How long had you been standing there?

“If it makes it any easier,” you startled at Bradley’s voice, “I’m sure Mav will just be wearing a t-shirt and jeans.” Barely looking at the shirt he grabbed to go with his chino shorts, Bradley fell into your line of sight. “You good?”

You relaxed your shoulders. “Yeah, just…not sure what to wear.” 

The two of you stood side by side to take in the full array of clothes in the closet. While not all of your clothes - some bulkier items and more formal dresses were in the guest bedroom - there were still dozens of options in front of the two of you. You took a hesitant step forward and eventually took a pair of boyfriend jeans off a shelf and held them to your chest. Just as you were about to grab a boxy oxford, Bradley snatched up a brightly patterned, tiered, sleeveless dress that would hit at the middle of your thighs. The empty hanger rattled against the rod, but it stopped you in your tracks, the oxford momentarily forgotten. 

“This would look nice.” 

Even to Bradley’s own ears, his voice sounded lame, almost a little desperate. But there was something about you choosing an oxford to wear after staring at your closet for ten minutes that gave him pause. You had such pretty clothes, it would be a shame for you not to wear them. 

“It’s not too much?” Bradley shook his head and held the dress up to your body. “I bought it to bring on our trip, but now I’m not sure…”

“It’s perfect, trust me, you’ll look gorgeous. And you better pack it for Mexico, too, okay?”

“Okay.” You appeared a little flustered, but had lost the sad look in your eyes from moments ago, so Bradley considered it a win. 

With a kiss to the side of your head, he told you to finish getting ready and that he would be downstairs when you were done. 

After getting his wallet and car keys together, Bradley made his way to the mudroom to put on his new sneakers. Though you wouldn’t admit it, you had definitely ordered them for Bradley during one of your many Ted Lasso rewatches while he was away. He reminds me of you sometimes, you would demure when pressed. It was cute. 

With one foot propped up on the bench to tie his shoes, Bradley noticed the row of jackets in front of him. He called your name. “You want a jacket?”

“Yes, please,” your voice carried from upstairs.

So, he grabbed your jean jacket, figuring it would look good with your dress, and got himself his oversized grey Navy crewneck sweatshirt. Maverick and Penny always liked to have drinks and dessert out on the back patio, and though it had been a relatively warm day for March, Bradley knew the breeze off the ocean would make it chilly later. Maybe they’d light the firepit and have s’mores? You loved s’mores even more than Bradley did, if you could believe it. 

Just as he had gotten the jackets and threw his sweatshirt on, you appeared beside him. And just like Bradley had thought, the dress looked perfect on you.

“See? You look gorgeous.” You ducked your head and muttered thanks. “Here.” Bradley held your jean jacket open and helped you slip it on while you put on your sandals. And then you set off for Coronado in the Bronco. 

-----------

After a lovely dinner filled with much chatter and laughter, Amelia and Penny dragged you upstairs to show you her dress for the sophomore semi-formal next week. This left Bradley and Maverick to clean up the dinner plates and get things situated outside on the patio.

It was completely beyond Bradley’s comprehension how to get Penny’s fancy fire pit started, but Maverick had a flame roaring in no time. The two sat across from each other - Maverick on one of the cushioned, wicker swivel chairs with Bradley on the matching loveseat - and sipped their beers in comfortable silence for a few moments. The sun had set about fifteen minutes ago, but the sky was still a kaleidoscope of pinks, purples, and oranges. 

“So, how’re you really doing?” Though the question has been asked at dinner already, Bradley had just given a vague answer. But now that it was just him and Maverick, he felt he could be honest.

“Fine, I guess.” Bradley made a face. “‘s always weird doing some stuff again. We went to the store earlier; always takes me back that first time.”

“It’s the cereal. Too many choices.” 

“Yes, thank you!” Bradley exclaimed, glad he had someone who could relate. Every time he brought it up with Nat or the guys, they just looked at him like he had seven heads. They went from having few choices on the carrier, to endless when on land. “And the chips. Too many options and sizes.” Maverick chuckled. “We went on the way back from Torrey Pines to get more Diet Coke and I wandered off like three times just to stare at the oversized boxes of Lucky Charms.”

Maverick smiled wryly and took a sip of his beer. “You don’t look as tired as you did Friday afternoon, that’s for certain.” Though the way he’d said it had been completely innocent, Bradley still blushed.

“Yeah, it’s been amazing. You should’ve seen her Friday night, she was so excited to make dinner and the house just -” he broke off, “it felt nice coming home to someone like that, I guess.”

Nice? I guess? Bradley sounded like an idiot. It had felt more than nice coming home to you. Coming home this time made him never want to leave again. But the real test would come tomorrow when you went to work. And Bradley would be alone for the first time in three months. Alone in your big, quiet, house. It hadn’t been quiet in three months. There was always something else going on around him. But not tomorrow. Tomorrow, he could do things on his own time and make his own food and pick his own clothes. He could have choices. Luckily, Maverick didn’t seem to notice his sudden unease.

“That was all she talked about last week.” 

It took a concerted effort on Bradley’s part not to be jealous that you’d talked to Maverick so much last week when all Bradley had gotten were emails. Beautiful, heartfelt, smutty emails, but emails nonetheless. Before Friday, Bradley hadn’t heard your voice in weeks.

“She did a really good job. The cake was unreal, I had a piece for breakfast this morning.” That got a chuckle out of them both. “It’s nice to see her comfortable doing something outside of her wheelhouse. She kept sending me pictures from her lessons and even cooked for me on Facetime once.”

Just as Maverick appeared to be gearing up for a follow up, probably about how he’d gotten the leftovers from those cooking lessons, Bradley rushed out: “But we really talked Friday night - about a lot of things. It was good, though.”

“What about?” 

“Kids,” the word slipped out before Bradley could think better of it, “family, that kind of stuff.”

Maverick pondered this and took a sip of his beer. “And you didn’t mind talking about that right when you got back? Seems like a lot.”

“No, it was good.” Not looking at Maverick while he was talking made it easier for Bradley. That way he couldn’t see his pity. He shifted in his seat. “I’d rather we talk about it now anyway, that way it isn’t hanging over our heads on vacation and whatnot.” 

The fact that Bradley thought you were keeping something else from him didn’t need to be brought up yet. He wouldn’t even be able to put it into words, it was just a gut feeling at this point. You just seemed a little off. The egg whites, the boxy oxfords, the chocolate cake.

There was hesitancy in Mav’s voice when he spoke next. “So, you looking to get engaged soon? It’s been what? A year?”

“Almost, yeah. But uhh no, no.” The denial was firm in his voice. “Probably still a year off at least. It’s gonna happen - we both want it to - but there’s no need to rush it. I’m excited for it to be just the two of us for a little while, you know in the house and everything.”

“Good, good,” he sounded pleased, “you two have a good thing going, I wouldn’t want -”

“- We’re not going to have kids until I’m out of the Navy.” Bradley said the words in a rush and he really hoped Maverick would ignore how thick his voice sounded. 

But of course he didn’t. Maverick snapped his eyes over to meet Bradley’s, but he was suddenly focused on a loose thread on the upholstery. Shit. Why had he said that?

“Oh.” It was a long time before either of them spoke again. Bradley finished half his beer. “Is that your idea or hers?”

“It’s both of ours.” Bradley winced realizing how defensive he sounded. “Well, I kind of brought it up first, but she was the one who said we’d wait.”

“And you’re okay with that?” Bradley nodded. “Jesus, Bradley, you’ll be at least forty by the time -”

“- Forty-two.” 

Maverick looked sad and Bradley hated it. Because he knew, without Bradley even having to spell it out why you were going to wait. Because Maverick had been there. Because Maverick had held Bradley’s mom as she cried on too many occasions to count. Because Maverick had taken Bradley to all the father/son events in the place of his own father. Because Bradley realized, as he had gotten older, that Maverick thought it was his fault that Bradley grew up without a father. 

“Listen, we both know that a million things can happen between now and then and maybe the timing will be all wrong, but we want to wait. If it gives either of us the slightest peace of mind, we’re going to try and wait.”

The silence was heavy this time around. 

“Well, I guess it’s good you’re talking about it now - even if I don’t entirely agree with it. You should be enjoying your life together, not waiting around…” Maverick seemed to think better of what he was saying and took a sip of his beer. A beat passed until he spoke again. “Also reminds me of some stuff I wanted to talk to you about.”

“Oh?”

Maverick waved him off. “It can wait until after your trip. Just some estate planning and whatnot, I know the four of us are in a really good place, so figured it was a good time.”

Estate planning? The four of us? The whole family was involved? Bradley’s curiosity was most definitely piqued. 

“Oh, err yeah, sounds good -”

“It’s nothing bad - promise!” he quickly backpedaled, “More paperwork than anything -”

“What’re you ladies gossiping about?” Amelia breezed onto the patio and messed up Bradley’s hair before she plopped down on the other end of the sofa. Naturally, he in turn had to elbow her in the side. Not hard, mind you, but hard enough for her to kick him back. 

“We were actually just talking about the dance coming up next Friday,” Maverick replied smoothly and Bradley stifled a snort. Since when had he become such a good liar? Regardless, Amelia preened. “I was just about to tell Bradley about your date…”

“What?!” Bradley exclaimed.

Amelia pouted, clearly put off that it had been brought up in front of him. He liked Amelia, he was protective of her, fucking shoot him. “Mav likes him!”

Maverick slightly cowed under Bradley and Amelia’s stares. “He’s nice, they’re on the debate team together.”

“Debate team?!” Alright, now he was putting it on a little bit, but as someone who had also been on the debate team in high school, Bradley knew that those guys were also smart, which generally meant they were way more trouble than the typical jocks.

Clearly misconstruing his comment, Amelia frowned. “Listen, I know you were rocking the middle part and puka shell necklace when you were on the debate team, but it’s cool now…”

“Puka shell necklace?” your voice chimed in from the doorway. “Pete never mentioned that when he was telling me of your high school heroics.”

Bradley’s cheeks colored. “Yeah, well, it was the late 90s and I thought Pacey Witter was cool.”

“The 1990s!” Amelia feigned hysterics and got a chuckle out of you and Maverick. “Next you’re going to be talking about where you were on 9/11 -”

“I was in kindergarten, we couldn’t go outside for recess,” you teased.

You sat yourself between Bradley and Amelia on the sofa and he threw his arm over your shoulders, pulling you closer. He knew you’d get cold soon, but didn’t want you to run inside to get your jacket or a sweatshirt just yet - he just wanted you beside him. Plus, there was also the fear that you’d get one of Maverick’s sweatshirts from inside if you forwent your jean jacket and that just wouldn’t do.

Amelia groaned, but still turned her attention back on you. “Okay, but you were definitely Joey Potter, breaking hearts left and right. No debate captains for you.” She stuck her tongue out at Bradley for good measure.

“Ha, I wish. No, I was actually kind of lame in high school, very angsty.” Bradley knew why, but Maverick and the Benjamins were still in the dark.

“Really?” Amelia frowned. 

It was easy to understand her confusion since you were just about the coolest person she knew - her words. Amelia had told Bradley so the first night he’d brought you over for dinner. Can you ask her where she got her sneakers? A couple weeks later, you and Bradley had gotten Amelia the very same sneakers for her birthday. She always blushed when you wore them at the same time.

So, the next words out of your mouth clearly surprised her. “Oh, yeah, I was knee deep in Mazzy Star and Vampire Weekend. The dark preppy vibe, if that’s even a thing?”

“Jesus, I wasn’t even that bad.” Bradley squeezed your shoulder and got a smile out of you with his teasing.

Maverick and Penny were talking off on their own, so you turned your full attention towards Amelia. “I was in a car accident my junior year of high school. Kind of set me back with school and then - well, private school kids are kind of vicious so…” 

“What happened? Sorry - that was -”

“- It’s oka -,” you started to say, then seemed to think better of it. Because nothing about that night had been okay. “I was in a car with someone and we got t-boned. I got pretty banged up, broke my right arm and leg. It seemed like I had a perpetual concussion for the next six months. He just broke his arm,” you finished wryly. 

He. 

He just broke his arm.

Bradley pursed his lips at the mention of Teddy Cavanaugh. Fucking prick. To say you’d gotten pretty banged up was putting it way too mildly. Thinking about it again made him just as upset as it had that night all those months ago on your fourth date when you’d told him the entire story. 

And more recently, Bradley had had the unfortunate experience of meeting Teddy over Thanksgiving when Bradley had played golf with your dad one afternoon up in Berkeley. As a rule, Bradley tried not to hate people on sight - at least not anymore. 

But god, he really fucking hated Teddy Cavanaugh. He wanted to fucking deck him on the first tee at Claremont Country Club. He wanted to slam his nine-iron into the Porsche 911 he was driving. And Bradley was pretty sure your dad did too. 

It was such a cunty move to get the same car.

Plus, what self respecting twenty-nine year old still went by Teddy anyway?

But the truth of what happened that night wasn’t exactly appropriate for a post dinner conversation, nevermind the fact that Amelia was only a year younger than you had been that night. 

The realization made Bradley freeze. 

You had only been a year older than Amelia when it happened. Amelia, who still slept with the stuffed cow her grandparents had gotten her for her sixth birthday. Amelia, who still played with her American Girl Dolls when she didn’t get invited to a friend’s house on Friday nights. Amelia, who still made Bradley a new welcome home banner after every deployment. Amelia, who still huffed whenever Bradley ruffled her hair as a hello. Amelia, who Bradley promised he’d teach how to drive that spring.

You were Amelia. You had been that young, that sweet, that trusting and Teddy Cavanaugh had thrown it all back in your face.

Bradley could feel his chest tighten, even as he ignored the chatter around him. Maverick and Penny had joined in whatever conversation you were now having with Amelia, but all Bradley could do was sit there. 

Without a word, he pulled you closer, so you were bundled up in his arms. It was still proper enough in front of his family, but he needed to have you close. Your legs were plastered together alongside Bradley’s right side and you burrowed yourself under the arm he draped across your shoulders. 

Everything was right as it should be. Bradley was with his family, Bradley was with you, here. Not on a carrier in the middle of the Pacific or the passenger seat of Mr. Cavanaugh’s Porsche. 

Here. And nothing bad was going to happen here.  

Soon, the conversation changed to whichever HBO show Amelia and Maverick were excited to watch later that night, while Penny went inside to get the dessert: s’mores. 

“‘You need any help?”

Penny waved you off. “I’m all set, everything’s already measured out.”

Once she was gone, Bradley pressed a light kiss to your shoulder and you shivered. “‘You getting cold, kid?” You nodded. “‘You want my sweatshirt?” 

“Please?”

“I’ve got one in the mudroom if -” 

“No, it’s fine,” Bradley cut off Maverick, “she can have mine.”

Quickly taking off his own sweatshirt and putting it over your head, Bradley didn’t even have the time to linger on how pathetic he sounded. Who did Maverick think he was, offering to let Bradley’s girlfriend borrow a sweatshirt? Didn’t he realize Bradley was more than capable of taking care of you?

“Thanks.” You smiled at him, now cozy and wrapped up in the still warm sweatshirt and Bradley nearly forgot why he had gotten so huffy in the first place. Nearly. 

“So,” Penny popped back out onto the patio with a heaping tray of marshmallows, a bowl of chocolate squares, and stacks of graham crackers, “who wants s’mores?”

“Me, me!” Amelia called, pushing her way towards the tray and subsequently dishing out the marshmallow sticks. 

Little shit gave Bradley the worst one, even knowing Maverick wouldn’t have any and therefore didn’t need one. As payback, he kept putting his marshmallow wherever Amelia’s was. It meant that he didn’t roast a single good marshmallow, but the glare she kept sending him was too funny to make him stop. 

Eventually, after Bradley had to blow out yet another marshmallow - Oh, shit! Not again! - you took over s’more duties. Just as well, really; yours were the best. You turned marshmallow roasting into an art form - a perfectly golden, gooey art form. While you didn’t eat any with graham crackers, you did have one you roasted over the fire with the chocolate already stuffed in the marshmallow. You smiled at Bradley’s shocked expression and then wordlessly made him three exactly like it.

All the while, you answered Penny’s questions about how your dad and Mary were doing and when they were next coming down to San Diego and if they would want to get dinner with her and Pete, just the four of them? But when you started nodding off against Bradley’s shoulder, he knew it was time for you both to head home. 

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

Mon, March 22, 1:43pm

How was your meeting? 

it was fine, but ran over and i didn’t get to have lunch before my one o’clock ☹️

At least have a snack or something, don’t want you wasting away on me, kid. 

i won’t! what’re you up to?

Stopped by the base for a bit, saw the guys and then went to the gym.

I might get a haircut later. 

you can’t get a haircut without me! i don’t trust you not to get it too short! plus i like it a little longer 

Oh yeah? 

i like when it gets curly at the ends, it’s always really soft too. can you wait till after the trip?  please bradley please?

Fine, but only because you begged me…

i’ll make it up to you later, promise and i did not beg you…

Or you could make it up to me now?

Is the office busy today?

no  it’s pretty quiet

You wore that navy skirt, right?

yeah with my white silk blouse 

What’d you wear underneath it?

bradley! i don’t know, boring underwear? 

You wanna show me? Just to check?

you can see when i get home, i’ll even try and sneak out a little early 

Wanna see now

Show me

fine, just give me a sec. i’ll go to the bathroom 

No

At your desk

Now

bradley!

Sweetheart I’m aching

[image: Mr. 7.5 Gs]

fuck holy shit bubs what were you doing before you texted me?

Jerking off, I’m bored

charming

Wanna be inside you

fuck bradley wish i was home to take care of you god you’re so pretty hold on

Keep thinking about you in your office, acting all proper and then I’d barge in and fuck you on that fancy desk of yours

[image: miss ‘the one day i’m wearing plain underwear’]

God such a good girl for me

Are you wet

mmmm  getting there this is so hot unless i get fired

I’d bend you over

Take you from behind

You’re always tighter that way

[Sent with Siri]

bradley

Need your mouth on me

I’d make you get on your knees and suck me off in front of the window

Fuck your throat

[Sent with Siri] 

bradley you’re not playing fair

No you’re not

Need more pictures of you

[Sent with Siri]

What do you want me to do? [Sent with Siri]

Shove your fingers up your cunt

Knuckle deep

[Sent with Siri]

I’d have to use three to feel like yours [Sent with Siri]

Need a video need to hear you too

[Sent with Siri]

[for bradley’s eyes only.mov]

Fuck you’re fucking gorgeous like that 

Always do just what I ask 

Fuck I need you so bad 

[Sent with Siri]

Need you too fuck [Sent with Siri] i can’t believe you got me to do that at work

When are you coming home? 

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

There was something up with you. The thought kept running through Bradley’s head Tuesday evening while he was on his run.

Bradley would never have described you as skittish, but that’s how you had been acting over the last couple days. You were still affectionate and kind and you. And had told him countless times how much you loved him and how happy you were that he was home. 

So, it had to be a physical thing. You were guarded whenever he touched you - whether you were being sexually intimate or he had just grabbed your waist to cuddle you closer on the couch or in bed. It was always your waist or stomach area, really. That was the hot spot.

At first, Bradley thought he’d been too rough with you that first time back, but he knew you trusted him enough to tell him if that was the case, so that was out. Plus, later that morning when you were riding him, you’d asked him to grab your hips so hard he’d leave behind marks. You liked whenever he marked you - and he liked whenever you marked him. And you weren’t shying away from sex with him, not at all. In fact, you were pretty insatiable.

Then, he’d thought you might have hurt yourself while he had been gone and had a scar or something that you hadn’t wanted him to see? But your skin was free of new blemishes, baring the zit on your cheek you’d been complaining about since Saturday night. 

At one point, Bradley had even contemplated that you might be pregnant. He had been gone for three months, an entire first trimester. But something about the theory didn’t sit right with him. 

First, you would’ve fucking told him on Friday night, especially after you both talked about waiting to have kids and how you were on the same page. Because Bradley wasn’t dying in an F-18 with a family at home. 

Then, there was the fact that you had an IUD and the possibility of getting pregnant on an IUD was even less than on the pill (<1% a year - he’d looked it up). And finally, you’d be showing by now, even if only a little bump. But now that he thought about it, in all the days that he’d been home and all the times you’d had sex, Bradley had only seen you completely naked once. One or both of you were always partially clothed. And he would have noticed - right? Your boobs were definitely bigger, but it wasn’t - that wasn’t it, no, he was sure you weren’t pregnant.

It had to be something about your body, your stomach in particular. Because you were still affectionate, still wanted him, were still relatively yourself, your boobs looked great, and you loved him. So, why did you practically jump out of your skin whenever Bradley’s hand grazed your stomach? 

He would give you until Friday to tell him on your own before he asked. That would be a week from when he’d gotten home, more than enough time. Plus, maybe being on vacation would get you to open up a bit? 

Because this just wasn’t you. You didn’t really keep any secrets from Bradley. He wouldn’t be so naive to say that he knew everything about you, but in general you were honest with him. Was there a hint in one of your emails? Some little detail he had glossed over in his haste to read any scrap of news from you, in your voice? Bradley had read all of them at least three times, some even more, but maybe he had missed something?

The run he’d gone on to clear his head left the problem no more clear than when he’d set off forty-five minutes ago. He ran up the back steps to the mudroom and toed off his sneakers before heading to the kitchen for a glass of water. You’d be home soon, he needed to start dinner.

Last night, you’d marinated some steak tips and made some rice pilaf, while Bradley roasted some vegetables. There was plenty of leftover steak for dinner tonight, he just had to decide what to make with it. Taking a peek in the fridge, he took a quick inventory of anything you’d need to finish before leaving Thursday morning. A couple peppers laid in the crisper along with an eggplant, which stumped him as neither of you liked eggplant. He could do steak fajitas with those? There were always fresh tortillas around. Content with his plan, Bradley grabbed a bottle of Pellegrino from the side door and poured himself a glass. 

As he put the bottle back, his eyes landed on the chocolate cake, perfectly ensconced in glass snapware, on the top shelf. How the hell was there still leftover chocolate cake? In addition to what you’d had Friday night, the two of you had had some for breakfast Sunday morning - well, Bradley had had some for breakfast Sunday morning and you’d let him feed you a couple bites. He shut the fridge door with a little more force than necessary and started prepping the peppers and onions. 

You loved chocolate cake. And you’d worked so hard on it. Why the fuck weren’t you eating it? Plus, now that he really thought about it, you’d barely had a s’more at Maverick and Penny’s and instead kept yourself occupied by lovingly making Bradley’s for him. And then there were the egg whites.

It would be a lie to say that none of it had seemed off at the time, but looking at all the incidents together just showed how truly off things were. And then coupled with how off you were with other things like your clothes and stomach - oh. 

No way. No fucking way. That could not be it. 

No, no. You couldn’t be worried about how - 

Just as he was finishing up the peppers to go along with the onions he’d already prepped, Bradley heard the back door open.

“Bubs?” you called out, “I’m home!”

“Hey!” 

“How was your run?”

Bradley quickly washed his hands and went over to meet you in the mudroom. And there you were, looking polished and professional in a black tweed, sleeveless dress that he hadn’t gotten a glimpse at before you’d left for work that morning, thanks to the blazer you’d thrown over it. The bodice of the dress was decorated with what he hoped were functional gold buttons that were just begging to be ripped open. And to top it off, you were wearing semi sheer black tights and those black slingbacks he liked so much. 

Actually, you were leaning against the wall trying to unbuckle those slingbacks he liked so much. But all Bradley could focus on as you asked him about his afternoon was the curve of your hip and the fact that your breasts looked unreal in that dress.

His pretty girlfriend. His pretty girlfriend who looked so smart and absolutely fuckable right now. His. His. His. His -

You stopped trying to take off your shoes and shot him a questioning look as you approached. “Bradley?”

“Sorry, I uhh - yeah, it was fine. Saw the Thompsons finished their patio - is that a new dress?” His fingers idly brushed against the fabric and you froze. 

“Oh, uh, no. I’ve had it for a while. Since the move, I’ve been going through my clothes trying to see what I actually wear and - I know it’s a little small now, it keeps riding up my hips a bit, but I still think it looks nice on top…” You ventured out of the mudroom. “Does it look bad?”

No, it very much did not look bad on you. It was definitely tighter than anything you normally wore to work, but it looked good. And weary from the work day with your hair a little mussed and the dress a bit askew from when you tried to take off your shoes, you looked absolutely divine and Bradley had to have you immediately. 

“No! I’m just,” he goaded you further into the kitchen, “surprised you wore it to work - in a good way!” 

The shy look on your face gradually slipped away and you crowded into Bradley’s space. “In a good way, huh?”

His hands found their way to your waist and he waited for a reaction from you. Getting nothing but a smile, his thumbs rubbed circles along your hips and he brought you chest to chest. 

“I gotta ask, though?” You hummed. “Do these really work?” He dragged his fingers up and down the front of your dress, spending the slightest bit more time along the square neckline and your breasts.

“And what if they did?”

Bradley groaned your name and rested his forehead against yours. “Then I’d have to unbutton every last one of them right now.”

You kissed his neck, paying no mind to the stubble he had been growing since Friday night. If you’d asked, he would shave it in a second, but you loved the roughness against your neck and inner thighs. As your lips kept up their targeted attack on his neck and jawline, your right hand slid between your bodies to palm his cock through his athletic shorts. 

“But if you did that, then you’d have to take me right here…”

Barely a beat passed before Bradley grabbed your hips and plopped you down on the kitchen table. It shook under your weight. Your chest was heaving at the sudden action, in turn drawing his attention to your breasts and those tempting buttons. They reminded him of the ones on his old Naval dress coat from Oceana. 

“Lemme help you out there.” 

His nimble fingers made quick work of the four brass buttons that revealed your black lace bra. Out of the corner of his eye, he could tell you were pleased he didn’t tear off any of the buttons. Knowing you, his spoiled, prissy girlfriend, the dress was probably expensive. Good.

Next, Bradley pushed the wide straps over your shoulders, leaving your black lace bra as his final impediment. “So pretty,” he muttered into your chest. Your head tipped back and you pulled him closer, deeper.

“You didn’t send me any texts today,” you barely got the words out as Bradley made quick work popping one of your breasts, then the other, out of your bra. It was technically a lie; he had texted you, but it had been a do you know where my Theragun is text, not a show me your pussy right now text. “I even wore pretty underwear for you.”

Bradley tutted against your left breast. “Guess I have to make it up to you now.” 

His mouth latched onto your nipple and he needled the little nub with his tongue. You carded your fingers through his hair and gave the ends the slightest little tug. 

“Thought about you all day, bubs,” you whispered the words against Bradley’s ear before nipping at the lobe. 

“Yeah?” Granted, if you kept rutting against each other like this, he’d probably cum in his shorts - there really wasn’t a lot of substance to the running shorts he was wearing - but god. He needed to sink inside you. 

Today was the first time since he’d gotten home that you hadn’t fucked in the morning. You had had to hustle out of the house for an early meeting and even Bradley had an eight-thirty physical at the Naval Medical Center. There had barely been time for a heated makeout against the refrigerator - to say nothing of a good fuck - before you’d left with your lip gloss slightly mussed.

“Would’ve come home sooner if I knew you were wearing these fucking shorts.” You slipped your hand under the waistband of his compression shorts that were borderline painful at this point and grabbed his cock with an expert touch. 

“Fuck…” Bradley allowed your touches to go on for a few more moments before he pulled back, knowing he’d spend in your hand if you kept this up. “Hold on.” You pulled your hand back and he yanked his t-shirt off over his head and threw it on the breakfast bench. Your hands crept across his chest before they eventually rested on his shoulders. 

But now it was Bradley’s turn to touch you. Your tights felt particularly soft beneath his hands as he inched higher and higher up your thighs. He loved when you wore stuff like this, so prim and proper. Especially when you got all squirmy beneath him. Cheeky little thing. The heat was pouring off you where Bradley was touching you between your thighs, even though your underwear and tights. Your arms wound around his neck to pull him closer and press your lips to his in a bruising kiss. God, he could kiss you for hours; he never tired of it.

“Bradley…” you sighed through his ministrations. “More, bubs.” 

He smiled, of course, anything for you. Anything to be inside you. But first, he had to ask: “These the thick ones?” You froze under him. “The tights? The thick tights? Like from Thanksgiving?” 

They had a more formal name, but he was focused on other things at the moment, namely if he could rip a hole in them to get to you faster. Over Thanksgiving, he’d found out the hard way that your tights were often rip resistant. Which really put a damper on a portion of your wine cellar escapades. 

“Oh?” The furrow between your eyebrows disappeared. “Oh! The tights! No, no, they’re cheap ones from J Crew or something.”

Good. Then he wasn’t going to apologize for what he was about to do. Because Bradley had to fuck you, he had to be inside you right now. Something about you and being off and those tights and that dress and his run and the subsequent endorphin rush. 

He had to have you.

Before he could talk himself out of it, Bradley tugged at the seam of your tights and ripped a hole in them large enough for his hands - and his dick - to poke through. You sighed when he broke through the nylon and slid your panties to the side to circle your clit with his thumb.

“So good,” he muttered reverently. 

God, what a pretty picture you made. Dress rucked up around your stomach, chest bare, and pretty pussy on display just for him. 

“More, please, Bradley.” You whimpered while he teased you with one finger, then two. “Anything. Need it - you.”

“You get stressed out at work today?” You nodded and then burrowed your head against his neck, rubbing against him like a cat in heat. “Poor thing, da - I’ll take care of you, yeah. Make you forget.” 

Bradley thrusted his fingers deeper inside you, crooking them just slightly so you’d buck up against him. You bit his neck when he tweaked his fingers just right. There you go, just a little more and you’d be ready for him. God, he was aching. He couldn’t fathom teasing you anymore. He needed you, now. 

“Just need to slip inside you, sweetheart. You made it so perfect for me.” Wet. Hot. Tight. Perfect. His. “There we go, just like that, good girl.” Bradley took a moment to line his cock up and slid inside you in one motion. “Fuck,” he punctuated the word with your name, “good?”

“Yes, yes.” 

You got into a steady rhythm that kept increasing. The table creaked under your combined weight and had anything been on it, it surely would’ve toppled over by now. 

You tightened around his cock and met his hips thrust for thrust. A wave of heat swept over Bradley’s body and he could feel you slipping deeper into a lustful haze. Knowing he was also close and would be near useless in moments, he hiked your left leg higher up on his hip so your heel was digging into the back of his thigh, anchoring you to him. 

“That’s it, that’s it,” Bradley said mindlessly. 

Your faces were so close, you were breathing each other’s air, stealing the word’s off the other’s lips. Yours and mine are the same. You cried out suddenly and snapped your eyes up to meet Bradley’s brown ones. God, you were beautiful. You both were beautiful. This was beautiful. Being together like this was beautiful. It was wet and loud and messy, but it was beautiful. 

Everything about it.

“‘m so close,” he finished with your name on his lips like a plea. “Wanna wait for you.”

“Don’t, ‘ll be right there.”

His thrusts eventually got sloppier and slower, but he could still feel you clenching around him as he spent himself inside you. 

“Fuck,” he panted your name. “That’s it, that’s it.”

“‘s full, bubs.” Your nails dug into his shoulder, centering him so he could turn the focus back on you.

All he needed was a few more shallow thrusts and a punch of your clit to get you there alongside him. You came with a cry, utterly spent, but sated. 

Your legs relaxed their hold against his thighs, but you didn’t totally release him. Meanwhile, he pressed kisses across your cheeks and lips, before finding himself notched along your neck. 

“There you go, good girl. Did such a good job, huh. So beautiful.”

It was quiet between the two of you for a few moments, all Bradley could hear was your breaths panting against his cheek, while your index finger moved lazily across his shoulder blade. But then you started shaking. 

And at first he thought it was from being overstimulated until he realized you were shaking from silent giggles. Bradley picked his head up from where it was buried in your neck and leveled you with a look that had you properly bursting into laughter. He wanted to make some smart comment, something cheeky, but the gorgeous smile on your face had him losing his feigned stoicism and he started laughing right alongside you. 

“So,” you said after your laughter subsided, “what’s for dinner, bubs?”

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

The following morning, Bradley poked his head into the dining room where you’d made up your office for the day. It was on the tip of his tongue to ask why you weren’t using the office upstairs, but he held back. He liked that you were downstairs, he liked that you were close to him. 

Of course he’d seen you work from home before. But there was something about seeing you holding meetings and taking calls for the first time in your home that made him smile. 

And though you were taking a half day to prepare for leaving tomorrow, Bradley knew you’d be checking your email and Slack for the rest of the afternoon before officially logging off for the next 10 days. 

10 days in Punta Mita - just the two of you, no distractions, no emails, no training runs, nothing but the sun, sea, sustenance, sleep, and sex. 

Just you and me, kid.

Bradley inched further into the room and leaned against the doorframe. “I’m gonna go for a run, but should be back for lunch.”

You took out your Airpods before responding. “Sounds good, how much are you thinking?”

“Probably a quick 10k?” It had been ages since Bradley had run his usual route through Balboa Park, so these last few days had been a treat.

“‘A quick 10k,’ he says. I should be done by the time you get back?” He nodded. “We can have lunch and then I’ll head out on my errands.”

Errands? “Oh? I didn’t know you were going out?”

You sat up straighter and fully focused on him. “Yeah, I have to get my nails done and then have to pick up a couple things - like your special sunscreen...”

“Can I come?” he asked, completely ignoring the sunscreen comment. It wasn’t special per se, it was just high SPF since he burned easily. 

“Really?” You sounded surprised. “It’ll be pretty boring.”

“No, I wanna come with you.” I wanna spend time with you. 

A bashful smile appeared on your face. “Okay, I’m trying a new salon.”

“Ditching your old stomping grounds?” Bradley asked, referencing your old neighborhood near Gaslamp. 

You nodded your head. “Figured I’d try someplace around here, but the only one that looks promising is way up on 30th?”

“I think we can make due with that,” he pecked your cheek, “alright, I’ll see you in a bit, kid. Don’t work too hard.”

“Har, har, see you soon.”

Bradley shot you a wink and set off. Who knew, maybe he’d set a new PR in his haste to get back home to you?

And sure enough, after his quick 10k through Balboa Park and the surrounding neighborhood, Bradley bounded up the back steps and quickly disposed of his sneakers and his sweat stained grey t-shirt on the mudroom floor. It had been stupid to even wear one in the first place, he’d had to tuck it into his waistband before he hit the first half mile. 

“New personal record!” 

Your face lit up with a smile as Bradley came into the dining room. “See, now, how do I know you just didn’t milk a 3 mile run or something?”

He rolled his eyes and gestured down at his torso, which was gleaming with sweat, even in the soft mid-day lighting currently cloaking the dining room, and showed you his running app for good measure. “Does this look like I milked it?”

“Come ‘ere.” You held your arms out.

“I’m all sweaty, kid…”

“Nope, don’t care, please?”

Hey, if you weren’t going to complain that Bradley was too sweaty or smelled, then he wasn’t about to put you off. He wrapped his arms around you over the back of the chair and put his chin on the top of your head.

“You know, if you like the scent of someone’s sweat that means you’re soulmates…” 

“Is that right?” You sounded amused.

Bradley burrowed his face in your neck, forcing a giggle out of you even before he pressed butterfly kisses everywhere. “Mmmhhmm, yup. You always smell perfect.” 

“That’s just my perfume!” 

“Nope, just you kid.” 

Bradley could feel you relax and let out a sigh. The two of you sat there in silence for a moment, content to just be with each other, until your Mac dinged with an Outlook notification. You stretched your arms out in front of you to reply to the email, but Bradley didn’t let you go. As he watched you type out a response to your coworker about if ESG investments were just virtue signaling or not, his eyes caught a glint of gold on your wrist.

“You really wear that bracelet everyday, huh?”

You turned your head to look up at him and he was pleased to note you looked incredibly flustered. “Of course I do. You got it for me.”

The matter of fact way you responded had him blushing. “Guess I’ll have to get you the necklace for your birthday…”

“You better not!” He just kissed your cheek. “Bradley, I’m serious! That’s too much - especially for just a birthday.”

“Then I’ll get it for you for our anniversary.”

“Bubs…” You were pouting now and it only made him want to get you the necklace more. “It’s too expensive for something like that; I looked it up online.”

“You’re no fun.” 

And so he would continue to be denied the pleasure of seeing you in the matching jewelry - at least until he wore you down. You did have a point, though - the necklace was almost twice as much as the bracelet. But then again, you bought Bradley little (and not so little) things all the time?

Idly, he recalled the jibe he had ignored from Hangman the other day regarding his leave: not all of us have rich girlfriends to take us on two week vacations. Bradley’s reply that it was only for ten days, not two weeks hadn’t exactly done him any favors. 

But it was a points game! It was practically free. (He knew it wasn’t, but…) And you were going dutch for all the incidentals and room charges. It was going to be perfect. Absolutely fucking perfect. 

Ten glorious days of no work, no distractions, just the two of you. 

You turned around in your chair so you were properly facing him. “Do you want to get lunch out? Make an afternoon of it? We don’t really have much in the fridge, so it’s either lunch or dinner out and I know you still have to pack.”

A smile crept across his face and he kissed your nose. “I’d love to go to lunch with you. You sure you won’t get sick of me? All this one on one time?”

You just shook your head. “Nope, not that easily. Well, unless you sit next to me at the salon, I’m not very chatty while I’m getting a pedicure.”

“Woah, woah.” Bradley held his hands up and you grabbed one to examine it. “Since when am I getting my nails done?”

“You’re getting a pedicure at the very least. I don’t want to have to look at your weird feet on the beach all week.” 

“Oh-ho, now you’ve done it.” 

He bundled you up in his arms and started tickling your sides. That was your sweet spot. And hopefully if he was tickling you, you’d forget to be jumpy when he touched you there. He hadn’t forgotten about that.

“Bradley! Bradley,” you giggled. “Okay, okay, I’m kidding, I’m kidding. No pedicure.”

But Bradley did end up getting a pedicure, even if it only entailed getting his feet buffed. If pressed, he would say it was because he wanted to sit in the massage chair and the nail tech told him he could only sit in the chair if he was getting his nails done. That was the only reason why. It wasn’t because of how pretty you looked while you were smiling at him out of the corner of his eye, like you couldn’t believe he was really there.  

Absolutely not.

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

“Do you need any help packing?” 

Bradley nodded, he hoped he didn’t look too sheepish. At thirty-six years old, he absolutely could pack his own clothes, but he liked when you fussed over him and made sure your clothing was complementary to each other. It was sweet. Plus, you always packed stuff he hadn’t thought to bring or wear together.

The two of you were a well oiled machine. Bradley would roll his underwear, pajamas, and gym clothes into his packing cubes while you helped pick out his bathing suits and later his dinner and day clothes. To his great surprise, you managed to fit all his clothes - for ten days, mind you - into his Samsonite carryon. His toiletries and extra pair of shoes and other incidentals would go in his backpack.

Once his suitcase was zipped up and ready to go, Bradley nodded towards your Rimowa stashed by the bedroom door. “‘You need any help? You don’t normally check?”

You normally lived by the carry-on rule, so it seemed out of character for you to check a full-size bag. Which, of course, wasn’t the first thing that seemed out of character for you since Bradley had gotten home. But he promised himself he’d wait until you came to him with your problem. Or till Friday.

“Oh, uhh, yeah, I guess I just have more stuff this time.” You shook your head. “I packed earlier while you were taking a nap, but thanks.”

He clicked his tongue. “Guess it’ll be a surprise then.”

“Hmmm, I’ll let you see my shoes?”

Bradley sat on the edge of the bed and leaned back on his elbows. “You’d do that? For me?”

You giggled and then mimicked his pose on the bed, except you made sure to snuggle up next to him, all earlier awkwardness gone. “I’d do anything for you actually.”

“Sap.” He kissed you. 

“Nerd.” You kissed him. 

“See, now you’re killing the vibe,” he teased. You giggled and kissed his shoulder through his t-shirt. “You ready for tomorrow?” You nodded. “You’re not gonna get sick of me, right?”

You shook your head. “Never, even if you are a nerd who gets pedicures -”

“- I was coerced! The massage chair!” You giggled. “Alright, alright, walk me through tomorrow.”

At this point, Bradley was laying on his back, staring up at the ceiling, while you were tucked under his arm, peering up at him. 

“We should leave by six if our flight’s at eight forty-five, especially if we want to go to the lounge beforehand. It’s spring break-ish and I’m not sure if it’ll be crazy in the terminal, so the lounge might be a good idea.”

“Got it, United lounge for breakfast, good.” 

“Flight’s like three hours.”

“Mmmmm, perfect for a nap.”

You chuckled. “I think we get in around one o’clock with the time difference and everything. The hotel’s sending a car and then it’s like an hour drive to Punta Mita.”

“So, if we play our cards right, we could be on the beach by three-o-one?”

“Oh, for sure,” you feigned seriousness, “If anyone can, it’s the two of us.”

And ain’t that the truth? Bradley held his hand up for a high five, which you heartily returned. “Nice job, kid. It’s gonna be great.”

Ten days. You and Bradley at some tony resort in Mexico. No cares, no worries for ten whole days. Fucking perfect. 

Everything was going to be perfect.

-----------

If at all possible, in the three months that he had been gone, Bradley had gotten even more handsome. 

Sure, you’d seen a grainy image of him every two or so weeks over Facetime and had noticed him mentioning going to the gym a lot on the carrier. You’d known he was going to look different. His hair was going to be longer and blonder and his skin darker. He was still your Bradley and you loved him all the same. 

But seeing him on the 16 inch screen of your Macbook compared to all six foot one inches of Bradley Bradshaw in person was an eye opener. 

Because you hadn’t been prepared for how it made you feel in comparison. Because he was so strong and fit and beautiful - and you didn’t think you were any of those things. Not anymore at least. Not after what happened.

Not after how often you’d been skipping pilates to spend some extra time in the office or all the meals you’d eaten on the go or out with clients. You should have taken your mother’s words to heart at lunch two weeks ago when she had told you to watch your figure, boys like Bradley are used to certain standards. 

That afternoon when you’d gotten back to your apartment, you’d gone straight to your walk-in closet and scrutinized every inch of your body in the full length mirror. 

Certain standards.

Why did you let her get in your head? Why did you let any of it get in your head? It wasn’t true, it wasn’t true. None of it was true. 

Certain standards. 

And then, when you finally picked Bradley up on that cloudy, late March day, you wore an oxford of his and a pair of baggy jeans. You still looked cute, you still looked like you put in an effort, but you didn’t look as dolled up as some of the other wives and girlfriends and partners and maybe you should have? Maybe you should have worn a cute little sundress and forgotten your underwear or some other ridiculous thing? Let him fuck you in the back of the car right in the middle of the parking lot? 

That wasn’t you, though. That wasn’t either of you.

But Bradley loved you. He had told you in about 159 different ways (re. emails) while he was gone. He loved you, he wanted you, he was going to live with you, build a life with you. You knew he loved you no matter what you looked like. 

Certain standards.

But when he fucked you softly and slowly that first morning back - only after originally falling asleep on you, which you tried not to be too upset about - and you told him how much you loved him and missed him, you did so with the lights completely off and with your chemise on before snuggling in his arms. 

It was stupid. The entire thing was stupid. You knew that. And you knew you’d feel this way until you confronted Bradley and he ultimately proved you wrong. But doing that wouldn’t fully stop those feelings from brewing inside you either. 

And yeah, for the first few days you’d been too caught up in the ecstasy of him finally being home - in the home that you two finally shared - to really give it much thought. But tomorrow you were going on a ten day long beach vacation to Mexico and you couldn’t help but toss and turn all night wondering if you were up to certain standards. 

-----------

a/n: oops! this was super long, sorry! but there's such an interesting story here and i'm so excited to show how it'll unfold in the next chapter when they're in mexico!

tagging a couple people: @sometimesanalice @withahappyrefrain @cherrycola27 @notroosterbradshaw @gigisimsonmars @pisupsala @dissonannce @laracrofted @heartsofminds @briseisgone

[lu-is-not-ok]

I rember my friend group once discussed if the wound cleirid event/abno fits Hong Lu

What's your opinion on this?

Hm... Let me see.

The main theme I can see in the abno is fear, sorrow, and the images the mind conjures because of them. Notably, the way the coffin turns out to be empty if the check to open it succeeds, but full of wailing people if it fails. The text in the successful check mentions feeling sympathy for whoever might be trapped and how each undone knot accompanies some sort of negative emotion, none of which happens upon failure.

This similar theme can also be seen in the removed third option for the event, where on failure the arm that grabs the Sinner and the undone knot both disappear "like mirages".

Another theme is entrapment and abandonment. There's a lot of focus put on the fact that the reason the coffin is bound up is to keep whatever is inside from escaping, and that whatever is inside is "trapped". The successful skill check text also puts an emphasis on the being inside, the one that persumably is the owner of the arms, pleading to not be left behind, yet also being thankful for being left alone.

There is also the whole thing with there being multiple people trapped inside the coffin, and how it grabbing someone upon failing the check to leave it be appears to steal their voice, with the victim being described as "speechless" and what happens being that "A familiar note is added to the coffin's wailing". In a similar vein, succeeding at undoing the knot causes the one doing so to weep alongside the wailing. A theme of one's voice joining the multitude, whether by choice or by force.

So....

There's definitely some things you could connect to Hong Lu here. The themes of entrapment, the confusion between what is real and what isn't, even the idea of many being trapped in one coffin could be connected to two in one if you fancy the theory. The bit with the arms pleading to not be left behind but at the same time being thankful for it especially resonated with him I think, the way he appears to want to reach out for help by alluding to his horrible homelife, but also constantly deflecting any attempts by others to dig deeper. Plus, there's also the jewel motif with the beetle found inside the coffin.

That being said....

I honestly feel like Wailing Coffin might be an Abno that represents the Sinners as a whole. The arms reaching out of the coffin are very reminiscent of the arms that reach out from the gates of hell when we see Dante revive Sinners for the first time proper in Canto 1. The way one's voice is taken in by the wailing could represent the way Dante's voice was not only literally taken, but also the way their ticking guides the Sinners down the right path, out of their suffering. The only way the wailings within the coffin are freed is through feeling their suffering, again, very reminiscent of Dante's role with regards to the Sinners.

There's always a level of vagueness when it comes to Abnormalities that only have a Mirror Dungeon event, but I think that's my final take on it all until we learn more.

[glitter-covered-bodybag]

I don't think we talk about how awful the Dubai penthouse really is. I mean look at the dining room.

HUGE table that encourages distance (especially as there's only 2 of them living here). When it's only Louis with his little bowls of blood he's gonna sit there alone with the heaps of space available at this table and no one else sat at it and be reminded that he really is alone. The bland walls with only a painting or two. The crisp and cleaners of everything. No warmth.

Then there's Louis's (supposedly) relaxation room with Armand's magnolia tree and Armand's library. A library that book-obsessed Louis cannot access. He's wholly dependent on Armand to retrieve things from it. "Please daddy Armand, may I have a book?" 😒 We literally see this when Louis asks to see the removed pages. Those belonged to Claudia, Louis's companion/sister/daughter. Why should that be something he has to ask for? Bare, grey walls like concrete. Like a prison. White stones in the zen garden the same as those Louis was buried in.

Then the bedroom. LOOK AT THIS BED. ITS MADE OF ROCKS. You CANNOT convince me this is comfortable to sleep in. The width of it meaning Louis and Armand can sleep entirely separately. The coffins, padded as they were look so much more comfortable and we know Louis likes laying in his coffin more than a bed from when he was recovering from the full body burns and asked to be put in his coffin even though the room was sun-proof and he would have been safe on the bed. Then the bars surrounding the bedroom. He's sleeping in a cell. (I've seen other people point out the similarity between the bars over the arches and the turning of Louis which is a detail I LOVE for reasons unrelated to this post. Here's a visual)

Everything is controlled through Armand's iPad. Armand controls the lighting. Armand controls the window shades. It just shows this unequal dynamic between Louis and Armand. "Armand protects my happiness"?? No, Armand is the one with the power here. You're his pet. You're his ward. Armand is an owner, a parent, almost a jailer (I'm not saying Louis can't leave or Armand is Evil, at all, just that the power dynamic is heavily tipped towards Armand as he tries to prevent a repeat of San Francisco. I wholeheartedly think he's just so overprotective that it tips into unhealthy territory). Louis doesn't do anything for himself. This is not how romantic relationships work. This is the first clue that their relationship is not what it seems, the first sign that Armand is trying to keep control of the narrative.

There is not one thing that shows me that Louis enjoys his space. Nothing to show it's lived in. It's cold and plain and boring. Compare to Daniel's apartment, a man who has had a long successful career and also lives alone.

Warm. A little messy. Lived in. An apartment of Daniel's size is hardly cheap either. But you can feel that Daniel's space is Daniel's space. The Dubai penthouse has no identity. I know this is just a modern, high-value aesthetic but there are so many other 'rich person' aesthetics that could be adopted that would be comfortable. Even keeping the clean lines. Look at these...

Still clean, still modern but warm. Everything about the penthouse is depressing to me.

[cosmic-giraffe]

PLEASE make that post about reducing hasemura and hirojima down to just their ships im desperate to see people complain about this please i hate it so much

Ask anon, and you shall receive

First of all, I touched on this issue a few weeks ago, as you can read here, so I'll try and explain my thought process better! Secondly, this less of a complaint, and more of a study in fandom etiquette and the like.

I think people narrowing down the characters of Ken, Kazutoshi, Ojima and Hiroaki to their respective ships isn't an issue solely in the Tetro fandom, or Danganronpa as a whole. It's an issue in any media that includes queer ships, or ships in general (which is literally any media ever). As a gay person, I'll be speaking from my experience with this problem in fandom.

First of all, Hasemura. Both Ken and Kazutoshi are very interesting characters on their own, and their chemistry is undeniable. I'm a sucker for these two; for somebody as shy and socially awkward as Ken to befriend a brooding, jaded guy like Kazutoshi makes for some very fun and insightful interactions. Their contrasting lives and personalities are one of the draws for their dynamic. There was obviously something going on between the two of them, even if they never got the chance to vocalize or even understand the feelings they had. But this will-they-won't-they aspect of their dynamic isn't all that's to them.

Kazutoshi was a very depressed individual. He'd faced many hardships in his life, from losing his family at a young age to his myriad of health issues, to his mental illnesses resulting in multiple failed suicide attempts. But outside of his trauma, Kazutoshi was a very smart person. He was a forensic crime scene cleaner for God's sake, which definitely isn't an easy profession, mentally or physically. He wanted to study, he wanted to move past his hardships and flourish, he wanted to live. Just like everybody else in the killing game. But Kazutoshi was a total asshole, which I love. He didn't hold his tongue and kept people at arm's length out of fear of being hurt again.

Ken is the inverse of that. He has a supportive family, he has wealth, he has a support system in place. He might not be the loudest personality in the room, and he might stumble over his words more often than he can get a full sentence out, but Ken is a very kind and considerate individual.

For people to reduce all the intricacies and nuance of their characters and writing to their ship is doing them both a huge disservice. There's so much more to them than that. It's so much more interesting to view Kazutoshi and Ken's potential for a relationship as a small piece in the puzzle of their lives, instead of it being all-encompassing.

Going back to Kazutoshi, it is very sad to see the main takeaway from his death being "He never got to tell Ken that he loved him!" Which, yes, is undeniably tragic. In media, there's a sad trope called "Bury your gays", in which gay characters are killed off before they can ever have a happy ending.

I'm definitely not accusing Von of this, as Danganronpa has plenty of queer characters that die off (Chihiro, Mondo, Taka, Ibuki, Nagito, Tenko, etc.). But for people to look over all the missed opportunities Kazutoshi will never get the chance to experience because of his brutal death in favour of making his loss about Ken again is not the best look.

Now, onto Ojima and Hiroaki, because BOY do I have thoughts about these two, mainly Hiroaki (the little shit he is, I love him so much lmao).

These two suffer the same issue as Hasemura, that being all their characterization being boiled down to their shipping potential. Which isn't unsurprising, as they're two skinny pale twinks in an anime art style, which is like crack for teenage fujoshis lmao

But on a serious note, Ojima and Nakamigawa are more similar to each other than Ken and Kazutoshi are. Both have tense relationships with their families and their reputation, both have unresolved trauma, and both of them have an interest and career in the arts.

But that's where they differ. Ojima is an illustrator, and has a very intense crunchtime to navigate under in his profession. The stress of having to create art for countless projects definitely has its toll on him, but he still retains the passion that got him into this sector in the first place. Ojima doesn't have a bombastic personality, but he is stern when he needs to be, and is definitely one of the more mature students in the killing game. His bouts of disassociation are also an integral aspect of his character, and they are intermittent and uncomfortable.

And Hiroaki is one of the most annoying students ever and I love him. He's crass, pompous, has an irritating holier-than-thou attitude to anybody he deems to be beneath him, and can't take what he dishes out. He constantly picks fights and insults people, and then acts surprised when nobody wants to be around him. But underneath all that veneer of flashy designer clothes and bad boy image, Hiroaki is a very insecure boy that needs somebody to reel him in and let him know that being open, honest, and in touch with his feelings isn't at all a bad thing to be. He's shown his more sensitive side when he thinks Ojima is dissociating, when Tsuno was upset and she sought comfort from him out of all the other students in the school, and when he helped Hama and Wada grieve the loss of Isono, Chiba and Harada.

Hiroaki has the capability to grow and become a better person, and due to recent events, he is starting to do so. I hope he stays on this path and doesn't backtrack when things get tough.

Now, onto their dynamic. Ojima and Hiroaki obviously contrast and compliment each other well. This is all thanks to Von's writing. When Hiroaki shoots his mouth off, it's almost always Ojima that reels him in. When Ojima is in one of his lapses, it's usually Hiroaki who keeps him company by simply staying in the room, drawing, while he patiently waits for him to come back. They share dorm rooms to the point they're basically one room, they share clothes, they even share beds sometimes. The chemistry between them is undeniable, and that's why they're such a good pairing.

But what irks me is when people make their personalities completely revolve around the other. Hiroaki this, Ojima that, Hiroaki this, Ojima that. No mention of their interesting dynamics with other students, like how Ojima and Wada bonded over their respective histories with trauma, nor how Hiroaki and Tsuno confide their problems in each other so as to not burden anybody else with them (I'll take any opportunity to bring up Tsuno lmao).

And this is never more prevalent with Hiroaki's coming out scene.

It doesn't take a genius to know that being closeted is a very stressful time in a queer person's life. It's hiding a huge aspect of your life for fear of being judged by outsiders, or from being judged by yourself. That's why some people never come out of their closet, and are unable to accept and be their true selves. Which happens all too often.

Hiroaki's internalized homophobia kept him closeted for years of his life, which definitely wouldn't have helped his self-image issues. Being thrust into the public eye as the Ultimate Fashion Designer definitely wouldn't have helped, either, as now he had thousands of eyes on him. Due to this pressure, he played up his bad boy image by dating and sleeping with girls he had no attachment to, just to cover up for his own crippling insecurities and inability to accept himself.

When Hiroaki does come out of the closet for the very first time, when he finally accepts an aspect of his life he'd been repressing for years, he says it to Yanagi. Not Ojima. Yanagi. Yanagi, the guy who almost sold them all down the river during the first trial when he covered up for Sasaki (who they also both had very differing views on). Yanagi, the guy who beat the shit out of him and broke his nose, dislodged his tooth, and bruised up the face that he'd kept in immaculate condition for the public constantly watching his every move.

Out of all the people in the killing game, Hiroaki told Yanagi, and it was excellent writing for that to be the case. There was no judgement, no criticism, just acceptance, which is what Hiroaki has been seeking his entire life. But was forced to wear a costume that wasn't really him, just to avoid the pain of rejection or judgement.

And for some people to take this monumental step in Hiroaki's journey of self-acceptance and make it all about Ojima is INSANELY insulting. It's obvious that Hiroaki has feelings for Ojima, which definitely added to the mounting pressure of him being closeted, but in that moment, it was about Hiroaki and loving himself.

Now, in summary, I'm not saying shippers can't ship Hasemura or Hirojima. Quite the opposite. Be unapologetically gay!! But also keep in mind the harm they're doing when they reduce the participants down to their attraction to the other, as it is a disservice to Tetro's excellent character writing, and also perpetuates the issue that has been prevalent in fandom spaces for way too long now.

This was a very long post and I didn't realize just how much I had to say about this subject, but here we are!! Tetro has definitely wormed its way into my heart, and its characters are constantly rotating in my brain like a microwave lmaooo

[evesedenramblings]

Damon and Diana: Design Comparison

Gear up everyone because this is a LONG post. The parallels between Damon and Diana are plentiful, so this post just sticks to just their design elements or else it would never end. Spoilers beneath the cut.

1. Names

The name Diana in Hebrew means “giving light”, “shining one” and “luminous”, but also is associated with leadership. While Diana already acts as a light for many of her classmates, Damon included, I think her leadership role will begin to bloom in Chapter 2.

Meanwhile, the name Damon means “to overpower”, “to conquer”, “one who subdues” and “to tame”, which associates him with power and control as he displayed in the courtroom. Additionally, these terms can be associated with leadership qualities. Damon can also be associated with “guardian spirit” and “loyal friend”.

When comparing the two names to each other, the parallels become clear. Each represent a different approach for how they want to lead the killing game. Diana represents a light/faith-filled and optimistic approach while Damon leads with a more cautious and pessimistic approach. Diana protects everyone while Damon protects those he needs to. Diana is unable to accuse anyone of being capable of murder, as she’s still to inwrapped in light while Damon has the swift execution of power capable to make the decisions to find the culprit, and even turn on those he trusted if needed. Both need each other- Diana’s strength lays in faith and charisma while Damon’s lays in doubt and decision making.

As of Chapter 1, the two embody each other’s weaknesses. If that will change, it could go either way! In an ideal world, the two could grow and learn from each other (a balance if you will), but I think due to Diana’s idolized version of Wolfgang, and Eva’s betrayal of Damon, the two are going to go further down their own paths, convinced that they’re right and the other is wrong.

2. Appearance

Diana’s main colour palette is primary colours, given the red is substituted with the diluted shade of pink. Additionally, the neutral colour she’s paired with is white, which again aligns her with that idea of light, or brightness.

Meanwhile, Damon’s main colour is green, a secondary colour! First and foremost, it’s outside the primary wheel entirely, creating contrast with Diana’s design. It’s also worth noting that the only yellow in Diana’s design is her bowtie above her blue shirt, right where Damon’s green tie goes. Additionally, whereas Damon’s eyes are green, Diana’s are a lighter magenta, which are opposing colours on the colour wheel. The same applies to their hair colours, as Damon is blond and Diana’s hair is a darker shade of magenta than her eyes, pushing it closer to purple, which are also opposite colours on the colour wheel. For those unfamiliar with the wheel, that means the colours, though opposite, compliment each other when paired together!

The same opposing pattern can be found with Damon’s neutral colour scheme, as a majority of his design is dark neutral colours like grey, black, or brown, which opposes Diana’s prominent neutral colour of white. However, they both do have a white undershirt which is a nice similarity between the two, and both are even wearing vests though of different styles

3. Ultimate Talents I would also argue their talents parallel each other! If Damon’s talent is to convince people of something via words (telling), I would say Diana’s talent is to convince people of something via appearance (showing), both two different ways of conveying information. Damon’s talent is pretty self explanatory. He is the Ultimate Debater, responsible for convincing action through words. Diana’s talent though, as the Ultimate Cosmologist, I don’t think has had enough spotlight. Diana’s talent is good enough to convince people she’d never been sliced with a knife- what is that if not convincing via appearance, showing rather than telling? Damon’s talent embodies telling, while Diana’s embodies showing.

Additionally, there's how the two perceive their talents and others. Where Damon is confident in his own talent but thinks everyone else's talent is useless, Diana has the opposite ideology where she downplays her own talent but uplifts everyone else's.

I think it’s really interesting how much their designs compliment each other and I absolutely cannot wait for Chapter 2 to see them interact as protagonist and antagonist.

[causticsodaa]

Your threads are very interesting.! Do you believe Sakura and suo will have conflict or rivalry? Or their dynamic will be kinda similar to killua and gon for example!

Hello! I’m very thankful you find my threads interesting, I put a lot of thought behind them, so this means a lot :)

To answer your question: I definitely think they will have some sort of conflict at a later point of the story. Specifically, one that will lead to a physical confrontation between the two.

As I’ve pointed out in my main Suo and Sakura analysis, the two are close; however their relationship feels disjointed compared to WBKs other dynamics since they cannot bring themselves to be properly vulnerable with people, much less with each other. It’s only in the unexpected moments where Suo reveals parts of his hidden self to Sakura (and the audience).

And whats the only way that they can properly learn to understand each other? Well, Umemiya says it himself during Shishitoren:

Heck, a potential fight between them has been hinted in that very same arc!

Sakura being the one to challenge a fight with Suo and the latter denying his request is very telling of their characters. Nii Satoru is a master at [subtle] foreshadowing through character dialogues and [visual] symbolism, so I believe this exchange was written with deliberate intent. After all, Sakura doesn’t go picking fights with people who haven’t done anything unjust. Though the extent of Suo’s mistreatment towards Kanuma can be debated…

I’m aware Nii sensei has stated in their interview given in Thailand that the trio wouldn’t get into a physical fight if they ever fell into conflict, but they never said anything about it’s individual dynamics >:)

About the possible Killua and Gon type dynamic: You’ll have to forgive me for any misinterpretations. It’s been a very long time since I’ve watched Hunter x Hunter (been due for a big catchup + rewatch), so I’m only basing my next thoughts from what I’ve seen so far.

From what I’ve understood and remember, Gon has a lack of self worth and Killua is a bit too eager to throw his life away (ie. they just dont have much self worth lol)—these two aspects of their characters interfere with their friendship even though their bond is very strong.

Their relationship is pretty different from Suo and Sakura’s, so I’m not sure who’d fit whom. I can see Suo being [somewhat] self-sacrificial as Sakura was in Noroshi. Or maybe Sakura (and Nirei too!) were Suo’s first real friends.

I can’t really say much right now because I’ve forgotten so many things that had happened in HxH (also im pretty behind on the story) . Sorry about that. Maybe when their relationship develops more, they’ll grow to be as close as Killua and Gon, just without the emotional angst :’)

[wonderfulwitchwillow]

So like, when anyone thinks Ravenloft you probably think of Curse of Strahd. Or hell Curse of Strahd as a standalone thing. Like its one of the most popular modules of all time. But Curse of Strahd is an adaptation. One of many adaptations of 1st edition's I6: Ravenloft.

It got me wondering, how many people have actually taken time to look at this module who weren't playing in the 80s. I wasn't even alive in the 80s, and when this module came out my father was in high school playing D&D. So I doubt alot of people go back and really look at some of these older modules. And I happen to be a collector/lore nerd for all things Ravenloft. So what exactly is different? I have somewhat compiled my thoughts into a semi-cohesive analysis of I6 and Curse of Strahd.

Alot, and I do mean alot, of the module is similar to the opening and the castle in Curse of Strahd so this is your warning for spoilers for the module. I intend to talk about every major (and some minor) changes between 1st editions Ravenloft and 5th editions Curse of Strahd and give some of my commentary on what I have found, and some notes about random related facts. I am not going to discuss the overall narrative of I6 or Curse of Strahd since the only major narrative differences is in the Castle, which I do discuss in detail in that section of the post. I also know there are other adapations of I6 Ravenloft, 2nd edition has House of Ravenloft and 3rd edition has Expedition to Castle Ravenloft, but I am analyzing 1st edition and 5th edition's design choices; if I focused on all the editions, I would need more than just 1 super long post; plus Expedition to Castle Ravenloft really deserves its own post since its canon is separate from the greater ravenloft canon of second and third edition. Forgive me if my photos suck, I am using my phone and my shadows keep showing up. I have several things I want to say before I get started proper; I6 uses some derogatory words for the Vistani people, a ethnic group in Ravenloft not subtly based on the Romani people. These words may appear in some of my images but I am going to do my best to avoid showing them and the slurs will not appear in my text. I make mention of this because the Vistani are not refereed to as the Vistani in I6 but in all other versions of the module and the setting as a whole, they are called the Vistani. This is something that is an issue in second and third edition when it comes to the Ravenloft setting. It is at times, very racist. And I would not be doing justice to those who are harmed without mentioning the use of slurs or racial caricatures for a real ethnic group in this module. I am not going to talk more about them in the module since their presence outside of Madam Eva is small and racist; serving as minions of Strahd with a neutral evil alignment; which this alone is incredibly disgusting by making a real group of people evil. The harm started with this module and it is something that everyone who interacts with Ravenloft, regardless of canon, take caution and care with handling. I added IDs to each photo to help as well. I shall be discussing the module under the cut.

Part 0 - extra bits and forward

This post is incredibly long, I have tried to add mini-headers for each major subsection of this post because as I was working on it, it somewhat ballooned in scope and I want it to be fairly readable for those who are interested.

Onto the module discussion

Part 1 - Cover and maps

Forgive me for having a section just dedicated to the maps but as you would soon find out, its quite extensive in detail.

[ID]

A cardboard outer sleeve with the words Advanced Dungeons & Dragons Official Game Adventure Ravenloft. Below the title is a landscape image in a gothic horror art style.

The image is of the vampire count Strahd von Zarovich standing on his castle's walled balcony overlooking a misty cliff side. On the railing of the balcony sits two gargoyle statues. The castle itself is behind Strahd with a gateway being directly behind him. There are two castle spires, one in the foreground cut off by the artwork, one in the background with the spire's peak nearly visible. The castle's battlements are behind the right spire and go from the upper center of the artwork to the edge on the right. There is a lightning strike in the upper right corner along with bats flying out of the right spire into the night. Mist fills the lower right corner, obscuring the spire.

Below the artwork is a line of marketing text- "The master of Ravenloft is having guests for dinner - and you are invited. Ravenloft is an adventure for 6 to 8 players of levels 5 to 7." Below this is the TSR logo, which is an outline of the letters "T" "S" and "R". Below the logo is the copyright information "TSR, Inc. Products of your imagination. Advanced Dungeons & Dragons and Products of your imagination are trademarks of TSR. Inc."

[End ID]

I think I am not alone in saying but the first edition module covers are iconic. It is this generic fantasy style now but like that style is timeless to me. Its Strahd looking menacing over the chapel outlook's balcony. Its incredibly imposing. Its a different vibe and I don't think the other modules ever nail the vibe that Strahd is menacing on the cover art. He is waiting to strike or overlooking his lands. Though Curse of Strahd cover is probably my second favorite because he is less of a monster and more of a noble playing a game which is far closer to how he is played as a villian. Strahd always changing his appearance to fit in with what we consider "fantasy" for the era. I am fascinated with older editions of D&D so it makes sense why I would love this art so much. It is absolutely my taste and I am biased.

[ID]

The image contains two documents on a wooden table. The document on the left is the same document as the first image, cardboard outer sleeve On the top of the sleeve above this title is an orange header with "I6" on the left corner and "9075" on the right corner which wasn't visible in the first image.

The second document is a map folded in half showing only the right potion of the map. The map has a white margin surrounding the entire map as a a border. The top of the map has a repeating pattern lining the edge of the map invoking a gothic crown molding. The right edge of the map has a marble pillar going from the top to the bottom of the map, serving as a border. The map's legend is in the right corner. The contents of the legend are in a white box. The words Ravenloft stylized in bold font are above the rest of the legend. The Letters R and T in Ravenloft have gargoyle heads extending outwards to face the edges of the the legend. The legend is organized into 4 rows with 3 columns. The legend shows off several colors with associated elevations: Light green is associated with Elevation 0-49 feet", Dark Green is Elevation 50-99 feet. Blue Green is Elevation 100-999 feet. Purple is Elevation 1000-1499 FT. and is the end of the first column. At the start of the second column is the last color, a Reddish Purple is Elevation 1500+ feet. Continuing down the second column there are shapes to indicate map elements. Lines repeating next to each other vertically indicate a cliff wall, two parallel lines that complete indicate a road, and two parallel lines that are dashed indicate a trail. The third column shows more colors to represent buildings that are occupied: A brown rectangle indicates an occupied house. A light brown rectangle indicates an unoccupied house. A small light brown square indicates an unoccupied store. The last icon on the legend is a red rectangle indicating an Encounter Building. Bellow the columns and the width of the rows is text "Scale: 1 hex = 200 feet". Bellow the legend is a title. "Map 1. Lands of Barovia"

The map starts at the right and flows left following a white road. The maps elevation up to the city remains light green with the northern portion of the city, near a point labeled E7, becoming dark green. North and south of the road is a woods. The road starts near the letter A passing through what appears to be a gate labeled B Continuing we see two hexes with the letters C on the map on the left and right adjacent hexes. Following the road is the village of barovia, with houses indicating occupancy. There are several red houses each labeled with corresponding letters. The center has E1 and E2. South is E3, E5, and E4. North is E6 and E7. The road heads south west from the village, passing E and ending at a gate before the fold cuts off the map. Below the village is a river labeled D.

[End ID]

Moving to the actual contents for a moment - how many folks know that these sleeves/covers are not attached at all? I store my older books in comic book sleeves with backs. I don't know if this was a cost cutting measure or if comic book storage was the original intention since I could see the same communities overlapping in the 80s but like, if someone knows why, please let me know. I am so curious. I know they made comics that were released around the same time, made by DC in the 80s and 90s, so its not a stretch to say that it was expected to store modules like comic books.

[ID]

A folded out display of several maps for Castle Ravenloft as isometric cross sections. The sleeve contains Map 2. Walls of Ravenloft, Map 5. Rooms of weeping. Map 6, Map 7, Map 8, Map 9 and Map 10 all of which are associated with the Spires of Ravenloft. In the bottom left corner is a front facing image of the entire castle with size guide displaying the full height of the castle including the spire. The total height of the castle is 360 ft. The break points shown along the way up to the total height are associated with floor sizes for each of the associated maps. The maps 5 through 10 are stacked on top of each other such that 10 is at the top and 5 is at the bottom of the sleeve.

Map 5 contains a hallway with a stairwell leading down labeled K46, a bedroom labeled K42, additional rooms labeled K41, K43, K44, K45, K36, and K37 along with several corridors labeled K39, K38, and K40. There are additional stairways labeled K21, K18, and K20. Map 5 is 40 feet from floor to ceiling.

Map 6 contains roof tops labeled K53, a chimney labeled K52, 4 interconnected rooms labeled K51, K50, K49 and K47, the same stairways from Map 5 labeled K18, K20 and the top of K21 which ends in room K47, and a new stairway labeled K48 which is connected to room K47. Map 6 is 40 feet from floor to ceiling.

Map 7 contains the Straiways K20, K18, and K48. Three rooms are attached to each other. K55 is attached to both K54 and K56. K54 is attached to the stairwell K48. Map 7 is 40 feet from floor to ceiling.

Map 8 has the stairway K48 end as it reaches a spire's battlements, labeled K57. There is a stone bridge linking to the stairway K20 labeled K58. K20 continues to ascend to map 9 but depected on Map 8 is a heart. K18 continues to climb and will reach its peak in map 10. Map 8 is 20 feet higher than map 7.

Map 9 starts 50 feet from map 8 with a spire's battlements as the ending for the stairs. This room is labeled K60.

Map 10 is the peak for the stairs K18. It is spire with a pointed roof. The room is labeled 59 while the enter of the stairs is now accessible, a fall of 380 feet, labeled K18a.

Returning to the left side of the sleeve, above the front facing image is Map 2. This map is the courtyard of the castle along with some ground floor elements. The front yard entrance is labeled K1, the side gates to the back of courtyard are labeled K2, the carriage house is labeled K4, the chapel is k5 and the outlook is K6. The gate leading into the courtyard is labeled J

Above map 2 is a full 3d side view of the castle. It has the spires indicated in Map 8, 9, and 10 along with the rooftops from map 7. The walls are also clearly visible along with the chapel. The stable house is also visible but the outlook is just a flat floor.

[End ID]

Back to the sleeve, if we open it, its a map of Castle Ravenloft! Its isometric and how in the hell do you keep this hidden from your players if you ever need to refer to it while in session? You probably have to grab it out and review it as you draw on some kind of graphing paper and attach it with tape together or something or just draw it out before the game starts and come to your weekly game night with it all prepared, like how we do it now. Its also wild that this sleeve isn't attached in anyway. If you lose either this outer sleeve or inner sleeve with even more maps, you just lose all the maps. I did not grow up in the 80s or 90s when this was the way you would play, 5th edition was my first edition, so again, was this ever a problem? I could see it being a problem since cardboard is not sturdy at all and I am terrified in tearing it accidently. The pricing was also around $7 to $9 in the 80s which would be about $22 to $28, which is cheaper than modules are now but no where near cheap enough to justify the cardboard and the paper quality.

Anyway, the castle itself is 360 feet tall which is massive for an actual castle. Though most of the height is the main spire with the Heart of Sorrow like we all know all love, referred to as the Guardian of Sorrow in I6. If you did the math with all the heights for maps shown, it wouldn't be 360 ft. That is because the rest of the maps are on the inner sleeve, which is two sided. The other side has the map of Barovia, which you have gotten a sneak peak at. Lets finish up on the outer sleeve before moving to the inner sleeve with more maps.

[ID]

An outer cardboard sleeve with the following words: "Advanced Dungeons & Dragons" "Official Game Adventure" "Ravenloft" "by Tracey and Laura Hickman"

"Under raging stormclouds, a lone figure stands silhouetted against the ancient walls of castle Ravenloft. Count Strahd von Zarovich stares down a sheer cliff at the village below. A cold, bitter wind spins dead leave about him, billowing his cape in the darkness."

"Lightning splits the clouds overhead, casting stark white light across him. Strahd turns to the sky, revealing the angular muscles of his face and hands. He has a look of power - and of madness. His once-handsome face is contorted by a tragedy darker than the night itself."

"Rumbling thunder pounds the castle spires. The wind's howling increases as Strahd turns his gaze back to the village. Far below, yet not beyond his keen eyesight, a part of adventurers has just entered his domain. Strahd's face forms a twisted smile as his dark plan unfolds. He knew they were coming, and he knows why they came. All according to his plan. He, the master of Ravenloft, will attend to them."

"Another lightning flash rips through the darkness, its thunder echoing through the castle's towers. But Strahd is gone. Only the howling of the wind - or perhaps a lone wolf - fills the midnight air. The master of Ravenloft is having guests for dinner. And you are invited. "

"1983 TSR, Inc. All Rights Reserved. Printed in U.S.A"

"ISBN 0-88038-942-X" "394-53465-4TSR0600" Below this text is a logo for TSR. Beneith the logo is additional text: "TSR, Inc. Products of your Imagination" On the left margin of the sleeve is a barcode within a white box with the number 0 at the start of the barcode and the number 3 at the end. Beneath the barcode but within the white box is the following string of numbers "46363 09075"

[End ID]

On the reverse of the outer sleeve, its a bunch of information on the module itself. I'll use this time to talk a bit about the creators - though I'll admit I don't know as much as I should. Tracey and Laura Hickman are iconic authors and module designers for the early years of D&D and especially Dragonlance. They also created the second edition version of I6, House of Strahd, Ravenloft 2 House on Griffin Hill (A story for another day) and so many more works. If you see their names on something, its going to be good from my experience. Its also why Dragonlance is so interconnect to Ravenloft to an extent or that's what I think atleast. Though Ravenloft is interconnected to every major setting TSR had at the time (Greyhawk, Forgotten Realms, Dragonlance, and Dark Sun all have characters and dread domains from their universes). Anyway back to the Hickmans. Their works are considered what made D&D jump from just dungeon crawling to more narrative experiences and Ravenloft absolutely shows this. This culminated when Tracy pushed forward on his work in creating Dragonlance, which is one of the biggest settings for D&D. I am sadly not super knowledgably about Dragonlance but we can really feel this shift in module design moving from I6 onward. I6 has a lot of notable steps in module design, the biggest being the maps!

[ID] An image of a map. The map has a white margin surrounding the entire map as a a border. The top of the map has a repeating pattern lining the edge of the map invoking a gothic crown molding. The right and left edge of the map has a marble pillar going from the top to the bottom of the map, serving as the maps' border.

The map's legend is in the right corner. The contents of the legend are in a white box. The words Ravenloft stylized in bold font are above the rest of the legend. The Letters R and T in Ravenloft have gargoyle heads extending outwards to face the edges of the the legend. The legend is organized into 4 rows with 3 columns. The legend shows off several colors with associated elevations: Light green is associated with "Elevation 0-49 feet", Dark Green is Elevation 50-99 feet. Blue Green is Elevation 100-999 feet. Purple is Elevation 1000-1499 FT. and is the end of the first column. At the start of the second column is the last color, a Reddish Purple is Elevation 1500+ feet. Continuing down the second column there are shapes to indicate map elements. Lines repeating next to each other vertically indicate a cliff wall, two parallel lines that complete indicate a road, and two parallel lines that are dashed indicate a trail. The third column shows more colors to represent buildings that are occupied: A brown rectangle indicates an occupied house. A light brown rectangle indicates an unoccupied house. A small light brown square indicates an unoccupied store. The last icon on the legend is a red rectangle indicating an Encounter Building. Bellow the columns and the width of the rows is text "Scale: 1 hex = 200 feet". Bellow the legend is a title. "Map 1. Lands of Barovia"

The map starts at the right and flows left following a white road. The maps elevation up to the city remains light green with the northern portion of the city, near a point labeled E7, becoming dark green. North west of the village the color shifts to being blue green before shifting to purple and sections of redish purple representing mountain peaks. Continuing west, the map remains purple with reddish purple mount peaks scattered throughout.

North and south of the road is a woods. The road starts near the letter A passing through what appears to be a gate labeled B . Continuing we see two hexes we see the letters C on the map on the left and right adjacent hexes. Following the road is the village of barovia, with houses indicating occupancy. There are several red houses each labeled with a corresponding letters. The center has E1 and E2. South is E3, E5, and E4. North is E6 and E7. The road heads south west from the village, passing E continuing to a branching path marked by the letter F.

The northern branch flows north before becoming a trail passing landmarks G1 and G before meeting back up with the main road at a bridge. The southern branch flows around woods and turns north before bending south east around a mountain. The road continues to follow this mountain until the road bends north to meet a bridge, labeled H. The road flows around another mountain before going north and reaching a fork in the road, indicated by the letter I. The fork heading north is blocked by a gate, indicated by the letter B. The road continuing north and west off of the map. The fork flowing east winds through the mountains until it reaches a drawbridge gate indicated by the letter J. The road ends at a castle indicated by the letter K. Following the entire road is a river that flows through the first bridge, meeting up with the trail with G and G1, passing under bridge H, then continuing west before the river is off the map

[End ID]

There is an inner sleeve with more maps and the map of Barovia itself which is very familiar to those who know the map from 5th edition. It looks like you could just place it out and play right on it using a token to represent the players because its gorgeous and heavily colorized. Each color meaning different elevations since Barovia is so mountainous and hilly. The map only goes up to Castle Ravenloft, that is because Barovia would be expanded when Ravenloft itself gets expaded in second edition with its AD&D box set, modules, and lorebooks. The whole story we know with "I, Strahd" would be years later. The village of Barovia looks much larger than we would assume but the general town's make up and people don't change much on the way to 5th edition. WotC did a good job on preserving the setup for Curse of Strahd.

On the Reverse of this inner sleeve we see more maps of Castle Ravenloft and again, its very similar to what we know in 5e.

[ID]

A folded out display of several maps for Castle Ravenloft as isometric cross sections. The display contains the following maps: Map 4. Court of the Count, Map 3. Main Floor, Map 11. Larders of Ill Omen, and Map 12. Dungeon and Catacombs. Above Map 12 is a compass. In the bottom left of the display is the following text "1983 TSR, Inc. All Rights Reserved. 119-I-9075". Along the left of the maps is the height from floor to ceiling for each map. To the left of the maps is a key for the maps. This key is two columns and 21 rows. The first column uses flat 2d images; the second column represents the image from the first row in an isometric view, mirroring the maps.

The first row represents doors with a square and a thick line extending from the center of the left and right sides. The second row represents double doors with rectangle divided in half by a vertical line with a thick line extending from the center of the left and right sides. The third row represents secret and standard doors with a square missing one side, the letter S being placed inside this incomplete square, with a thick line extending from center of the left and right sides. The fourth row represents secret doors with the letter S with a thick line in the left and right side of the letter. The fifth row represents one way secret doors with the letter S with an arrow passing through the letter with a thick line on the top and bottom of the letter. The sixth row represents teleport traps using several small staggered inverted Vs. The seventh row represents trap doors in the floor using the letter T in a solid circle. The eight row represents trap doors in the ceiling with the letter T surrounded with a dashed circle. The ninth row represents windows with a white rectangle surrounded with a black rectangle while the isometric view shows a white trapezoid instead in the rectangle. The tenth row represents arrow slits using a black rectangle with a white triangle in the middle. The eleventh row represents bars and portcullises with sequential circles. The twelfth row represents brazier with a circle with an inner ring while the isometric view shows a brazier. The thirteenth row represents ladders with a ladder. The fourteenth row represents stairs with lines reducing in size making a shape of a triangle from left to right while the isometric depiction is a set of stairs. The fifteenth row represents spiral stairs with lines that reduce in size and curve inward while the isometric view is a spiral staircase. The sixteenth row represents a bed with a bed. The seventeenth row represents a chair and thrown with a top down cube with the isometric view is a chair. The eighteenth row represents railing with 4 black dots connected with a line, while the isometric view displays a railing. The nineteenth row represents a statue with a circle containing a black star. The twentieth row represents a curtain using a thick black squiggly line with 4 humps. Lastly, the twenty-first row represents water with repeating waves as rows while isometric view is a wavy layer on top of a white square with scattered dots. Below the key is the text: Scale: 1 Square = 10 feet.

Map 12, labeled Dungeon and Catacombs, is the largest of the maps in the image. K84 is the largest room in the map with several small one square rooms labeled 2 through 40. 1 represents a door connected to room K81. North and south of K84 are the rooms K85 and K86. Both of these rooms are mirrors of each other. East of K84 is a hallway labeled K87 with a room at the end labeled K88. Opposite of this hallway attached to K84 on the west is a stairwell labeled K18a and a stairway labeled K18. Continuing from K81 there is a trap on the floor that leads into K82, a slide that leads into K74. Across the trap is the hallway labeled K80. A staircase is attached K80 leading to the room K78. K78 has a brazier along with two statues. There are three staircases leading out of K78: the left most stairwell is K72 with the associated text "Up 70 feet to Map 11, K72", the center is K80, and the right stairwell is K83. The door out of K78 leads to room K77 which is divided by a Curtain with two chairs overlooking another room, labeled K76. K76 is flooded with water and to east is a hallway Labeled K73. K73 is also flooded which has two rooms branching north labeled K74 and south labeled K75. Both K74 and K75 are prisons with cells labeled A through H and are flooded. Attached at the end of the K73 is a staircase labeled K21. The height from floor to ceiling of map 12 is 50 ft

Map 11, labeled Larders of Ill Omen, has two stairwells that are not attached to the main map, both K18 and K831. K18A is a empty cylinder that the stairs of K18 wrap around. K18 has the following associated text "Up 30 feet to rubble blockage then 10 feet past rubble to map 3, K18". Starting in the top left corner of the map, the stairway K79 leads up to a secret door attached to K72. K72 leads into a the K70. K70 has two attached rooms, K71 to the east and K67 to the south. K71 features a stairway K20a with the following associated text: "Up 40 Feet to Map 3". K67 is a room with a double door leading to K62 to the east and K68 to the south. K68 is a hallway with the room K69 attached to the west and the stairway K64 to the south with the following associated text " Up 40 feet to map 3". K69 has 10 sections divided by walls, 5 on the north and south walls of the rooms. Room K62 has 4 rooms attached to the hallway, K66 to the north, K65 to the north but east of K66, a unnumbered room with the staircase K21, and K63 to the east behind bars. K62 has a stairway to the north, east of K65 with the following associated text "up 40 feet to map 3". In the room containing K21 there is a trapdoor between the staircase and the door to K62. The staircase K21 has the following associated text "Up 40 feet to Map 3". The height from floor to ceiling of map 11 is 40 ft.

Map 3, labeled Main Floor, contains a entry hall out to the courtyard of the castle, labeled K7. Next to K7, unattached to any of the rooms in Map 3, is the staircase K83. K7 is attached to one room, K8. K8 is attached three rooms, K14 to the east, K9 to the south, and K19 by a staircase to the north with the following text "Up 30 feet". K19 leads to another staircase with the text "Up 20 feet to map 4". K9 is connected to the staircase K21 to the east and the room K10 to the west. K21 leads up to Map 4. In the wall north of K21 is a hole labeled K31a. K10 is a large room with a secret door the the east, leading to K11. K11 leads to the a hallway, K13. K13 is attached to K11 with a northern hall and attached to the room K12 to the west. At the end of hall k13 is the staircase K64 with the following text "Up 50 feet Map 4, Down 40 feet to Map 11". K14 is a hall that leads into K15. K15 is a large room with two passages, K16 to the northwest and K17 to the southwest, which are attached to two separate stairways. K16 is attached to the stairwell K29. K17 is attached to the stairway K18 and the hollow cylinder K18a with the following text: "Down 10 feet to new wall down pas wall 80 feet to map 12". Unattached to the rest of the map and north of K14 is the room K20. K20 contains the stairway K20a and an unlabeled stairway with the associated text "Up 50 feet". A hallway labeled K13 leads into K20. At the west end of K13 is a round room labeled K12. The south end of K12 leads into a small room labeled K22. Connected to the outside and unconnected to the rest of map, east of K20, is the room K23. K23 has a staircase leading down with the associated text "Down 40 feet to map 11". The room to the north of K23 is K24. K24 has a stairway that leads up with the associated words "Up 30 feet to map 4". The height from floor to ceiling of map 3 is 50 ft.

Map 4, labeled Court of the Count, contains a throne room. This throne room, labeled K25, is located in the western half of the map and is connected to two stairwells which lead back to K19. There is a secret door in front of the throne on the south wall of K25 which leads into K13. The eastern end of K13 is a stairwell labeled K64 with the following associated text "Up 40 feet down 50 feet". To the north of K13 is the room K12. To east of K13 is the room K22. K25 has two additional rooms attached, K26 attached with a set of double doors, and K30, attached with a single door. K30 has a set of stairs labeled K21 with the following associated text "Up 40 feet down 50 feet". K26 is a small hallway with a secret door to the north that connects to the room K33 and a double door to the east that connects to K27. K33 connects to room K32 to the west and hallway K13 to the north with a secret door. Similar to the other hallway labeled as K13, to leads to two rooms and a stairwell. The room K12 is in the same location as the previous K12. K22 is to the south of K13. To the west of K13 is a large stairwell labeled K20. The stairwell K20 leads up and down and has a secret door that leads to a ladder with the following text: "Ladder up 20 feet from K34 to K20". The ladder leads to an additional secret door that that leads into the room K34. K34 has a staircase leading down off the map. K27 is a long hallway that leads to another set of double doors connected to K28. A secret door is in the middle of the southern wall connecting K27 to K31. K31 has a hole next to the small room labeled K31a. K28 has two chairs and a outcropping that overlooks the main floor over K15 that is 50 feet in the air. K28 has a stairwell that leads down to Map 3 labeled K29. To the south of K27, to the west of K28 and to the east of K31 is the stairwell K18 and the cylinder K18a. The height from floor to ceiling of map 4 is 40 ft.

[End ID]

I want to say before moving on to the module, that these maps are immaculate. Like now we are spoiled with battlemaps in modules and how they are designed but back in the 80s, they had black and white paper that feels like its a elementary workbook. Its fairly cheap feeling. Where I could describe modern books as more textbook in quality. So imagine then you had these black and white books to use for making maps. These sleeves are so much higher quality and the color is beautiful if you ask me. I can see how a dm could run this dungeon flawlessly. Even know the castle is massive and yet it always goes off without any issues. Its a testament to good dungeon design and displaying information to the dm and players. Its one of those tales that these maps are what made I6 Ravenloft popular; again I don't know any old school ttrpg fans who played this when it was new but I could absolutely see it. During my researching, this is one of the biggest factors in what made Ravenloft popular. That and of course our beloved Strahd von Zarovich.

Now onto the actual module. I am not going to have a photo of each section of the module since there is alot but I will be showing off all the images in the module plus anything of note. The layout of the module itself makes sense from a ease of access but compaired to modern module layouts, it a bit jumpy. First is Strahd's stat block and his personality. It makes sense to put this first since he is the villain and you will need to have ready access to it. Second is the fortune reading, called "Fortunes of Ravenloft". Then onto the actual setup for the module following the similar steps to what we have come to expect from Curse of Strahd: The lands of Barovia, Barovia Village, Tser pool encampment, and Castle Ravenloft. Then statblocks for the rest of the monsters. I am not going to go over the narrative of I6 since there isn't any major differences to Curse of Strahd! I6 is almost beat for beat the same as Curse of Strahd as long as we include only the portions in I6. This makes sense since Curse of Strahd is a remake after all. Now, onto Strahd's statblock!

Part 2: Strahd von Zarovich

[ID]

The image is a black and white page full of text with an image of Strahd von Zarovich in the bottom right corner. The documents text is positioned into two columns. The top of the document has a repeating border that is a shape that is a hollow rounded triangle with two curved arches on the left and right of the shape that meet in the middle under the bottom of the triangle. On the left and right of the triangle is abstract black shapes that meet up at a black thick line the top near of the page. Around these triangles are broken lines that outline the shape. A thin black line creates an outline from the bottom of the triangles around the document.

The image of Strahd von Zarovich in the bottom right corner is of a cloaked figure with a cowl. His hair is pulled back with a strong widow's peak. His eyes are white and luminous. His knows and ears are barely visible, with the rest of his face hidden in the darkness. His right arm appears to be extended but is hidden by his cloak. Behind Strahd is a full moon with three bats casting a shadow on the moon. In the bottom right of the image is the artist mark of Clyde Caldwel, A c like shape that flow into an n like shape with a dot beneath. At the center of the page is the page number, 3

The text of the document starting with the left column is as follows: "Count Strahd Von Zarovich, Vampire.

The entire adventure centers around the vampire. Always keep in mind the motives of the vampire, how he moves about, and what his cunning plot is. You must play Strahd in the same way players play their characters. Study this NPC as carefully as the players study their characters.

Count Strahd Von Zarovich (The First Vampyr) Frequency: Unique Number Appearing: 1 Armor Class: -1 Move: 12"/18" Hit Dice: 10 (55 hit points) % In Lair: 90% Treasure Type F Damage/Attack: 5-10 (1d6+4) Special Attacks: Energy Drain Special Defenses: +1 or better weapon to hit Magical Resistance: See below Intelligence: Genius Alighnment: CE Size: M Psionic Ability: Nil Attack/Defense Modes: Nil

Although Strahd can be encountered in many places, he is always encountered in the plaace indicated by your Fortunes of Ravenloft results (see p.4) unless he has been forced to his tomb. Strahd is slightly above-average vampire. He has the normal 18/76 strength and his blows drain 2 life levels from his opponents. Strahd has the usual vampire abilities. He can only be hit by magical weapons and can regenerate 3 hit points per round He can assume gaseous from at will or shape change into a large bat. He can charm person at will by gazing into a character's eyes, causing the character to make a saving throw vs. spells with a penalty of -2. Strahd is also a 10th level magic user. He learned his magic from studies during his life from subsequent studies over the centuries. His available spells are:

First level: comprehend languages, hold portal, protection from good, sleep. Second level: invisibility, locate objects, mirror image, ESP. Third level: fireball, gust of wind, suggestion Forth level: polymorph other, polymorph self Fifth level: animate dead, distance distortion"

The following text is the right column of the document: "Strahd has a variety of spies and servants. They report to him four times each day (at dawn, noon, dusk, and midnight). There is a 60% chance that Strahd knows the PC's location at these times. If Strahd knows their location, he attacks the OCs -wherever they are -within two hours. Strahd chooses the time and method of his attacks carefully.

Strahd can attack in each of the following ways once.

Strahd attacks a single PC for 5 melee rounds then leaves.

Strahd calls 10-15 Strahd zombies to attack the party. All of the zombies must attack at the same time in the same place.

Strahd calls 3-12 worg wolves to attack the party. All of the wolves must attack at the same time in the same place.

When playing Strahd, above all, keep these three things in mind.

Strahd chooses when he attacks. Strahd is supposed to be a genius, play him as one. Whenever he is aware of the PCs poisitions, he is allowed to make an attack how and where he wants. His attacks must be timed to be most advantageous to him. To do that, Strahd must move around during the adventure. However, he can always be found in the place determined in Fortunes of Ravenloft. It is your responsibility to see that the vampire uses his abilities to his greatest advantage.

Strahd knows when to withdraw. He knows when he is over his head. If he is losing a battle he becomes gaseous, polymorphs into a wolf or bat, and/or summons other creatures to guard his retreat.

Strahd's attacks depend upon his goals. There is a reason why Strahd lured the PCs into his little kingdom. This reason is determined in Fortunes of Ravenloft. Strahd's plans for achieving his goals are listed with his goals."

[End ID]

I don't know 1st edition but if I'm not mistaken (and I could be since my knowledge is based on the 1st/2nd edition dos games), is a roll under system unlike 5e's DC system. Its cool seeing spells remain at spell levels I know like invisibility being second level and fireball being obviously third level; though I feel its common knowledge that fireball was third level in 1st edition. If someone who is far more versed in 1st edition could tell me what his stat block actually means, I would appreciate it immensely.

Something awesome is that Strahd has different goals determined by the module's Fortunes of Ravenloft, something similar to the fortune reading in 5th edition. Strahd is also cunning and plays keepaway with the players, running away when he is losing and ambushing the players at any time. He even has a randomized set encounter location where the Fortunes of Ravenloft says, again just like 5e. The whole intent behind his creation and play style is that he is supposed to be this menacing calculating monster of a man, not a generic monster. This design has lasted to this day which is impressive. I may be spreading more internet nonsense from saying but the idea of the whole module to my knowledge cam from a playtest of a game with players fighting a vampire in a cave and it didn't make narrative sense.

What is also fascinating is his title, The First Vampyr. Was the intent was to set up the villain as well the first vampire in universe? I don't know when TSR started focusing on building out their universes, like Forgotten Realms, but this feels like this is something that would be kept in mind for the future. At the same time, this could just be throwaway flavor text as Strahd is referred to as a "slightly above average vampire". Which feels like they are downplaying his strength as a monster. But he also is a fairly formidable caster though I don't have the context of how formidable, I am just extrapolating using my experience with 5th edition; just 5th level spells feels like alot for any party. He is also immune to any damage not dealt by magical weapons, which would be an issue if the module didn't give the players magical weapons. But it does. We know it has the sunsword but as we will see, the module has other magical weapons as well, making this trait something the players could handle once they are in the castle.

Lastly, Strahd feels like he teleports around quite a bit given what the module is suggesting, that he should be reappearing and fighting the players before the castle. Curse of Strahd does solve this by giving him a teleportation room, a difference I highlight later, here he just has to run around using his powers. I think its fine to handwave this as Strahd can just move quickly due to his ability to polymorph since its so core to this module that he can just show up and scare the players.

Next, the Fortunes of Ravenloft

Part 3: The Fortunes of Ravenloft

[ID] The image is a black and white page full of text with three images of Cards on the top of the page, above the text "Fortunes of Ravenloft", with the first card partially behind the "R" in Ravenloft. The page itself is grey and splits text into two columns that flow similar to the previous document image. At the center of the bottom of the page is the number 4, indicating the page number. The three cards are similar with white playing card like border and an embroidery pattern filling an inner border with text in the center. At the top left of the page is the head of a gargoyle, with a line drawn down from the neck to the bottom of the page, passing behind the left playing card. Under the left most card's left side grouped together is the letter J and a heart written into the book in pen. Further down in pen are the words "Jack spades" crossed out. In text between the two handwritten texts is the text "Deal the top five cards face down". Below the right side of the left most card in pencil are the words "king of spades". Under the center card is the letter K and a diamond in pen. Under the right most card is the letter K and a heart in pen. The text outside of the cards is the following, starting from the left column and omitting slurs: "Fortunes of Ravenloft is an imitation ancient [slur] card reading. It does not resemble any real or mystical fortune telling process. Fortunes of Ravenloft determines Strahd's goals and the placement of important treasures. This card reading can add a great deal of flavor to your game and makes Ravenloft different when you play it again. You must run this card reading before playing the module. If, during the course of the adventure, the PCs have their fortunes read at the [slur] camp, run this card reading again, out loud. Substitute the new results for the old ones. Be sure to write down the results of your card reading, so you can have them when you need them. Find a regular 52-card deck of playing cards. Remove all 2, 4, 6, 8, 9, and joker cards from the deck. Now you have a set of four suits with eight cards in each suit. Shuffle the deck. If you don't have a regular deck of cards, you can get the same results by rolling 1d8 to determine the type of card and 1d4 to determine its suit. Roll again if you get the same card in any suit twice." The following text is a table that starts in the left column and continues on to the right. Around the bottom portion of the text in each row is an enclosed box. "Table 1. Fortunes of Ravenloft Places Card Place 3 Study (K37) It is in a place of tranquility, a harbor for the mighty and powerful. It is in a place of wisdom, warmth, and despair. Great secrets are there. The object is on the mantlepiece just under the portait of the women. If Strahd is there, he is sitting back in the overstuffed chair, staring into the blazing fire. 5 Treasure Room (K41) You should seek for a carefully hidden place of great worldly wealth. I see a blazing fire protecting the place. The object is set prominently atop the other treasures in the room. If Strahd is there, he is counting his ill-gotten gains. 7 Chapel of Ravenloft (K15) You may find this amid the ruins of a place of supplication. The object is on the altar, brightly illuminated by a shaft of light from the ceiling. If Strahd is there, he is standing in the center of the room-a dark shape in the vast hall. 10 High Tower Room (K60) This is a place of dizzying heights that all loathe to travel. The road winds ever upward and the rocks themselves live here! The object is in a locked iron chest. If Strahd is there he is at the window, looking over his lands. Jack Crypt of Sergei von Zarovich (K85) This lies with a fallen prince of old. The brother of dark is light and he rests in this place. The object is lying across Sergei's chest. If Strahd is there, he is lying across the marble slab, weeping. Queen Crypt of Ravenovia (K88) This is in the mother's place The object is lying on top of Ravenovia's coffin. If Strahd is there, he is in a frenzy of rage and despair"

The text in the left most card has a section in a box similar to the table. The box surrounds the middle portion of the card's text. The following is the text of the left most card: "First, determine where the Holy Symbol is (see Treasures and Tomes on Page 30 for a description of the holy symbol). Pick up the first card and read the following boxed text. This card is a symbol of great power. It tells of a powerful force for good and protection against the forces of darkness. To determine where the holy symbol is, find this card in Table 1. to determine the 'to hit' and armor class modifiers to use in that place, find this card's suit in Table 2.

The center card and right most cards' text is similarly laid out as the left most card. The center card's text follows: "Second, determine where the Tome of Strahd is (see Treasures and Tomes on p.31 for a description of the Tome of Strahd). Pick up the second card and read the following boxed text. This card tells of history. Knowledge of the ancient may help you understand a foe. To determine where the Tome is, find this card in Table 1. to determine the 'to hit' and armor class modifiers to use in that place, find this card's suit in Table 2."

The text of right most card follows: "Third, determine where Strahd von Zarovich himself can always be found. Pick up the third card and read the following boxed text This is the object of your search! Ah! I see darkness and evil behind this card! It is a powerful man whose enemy is light and whose powers are beyond mortality! To determine where Strahd can always be found, find this card in Table 1. to find the 'to hit' and armmor class modifiers to use in that place, find this card in Table 2." [End ID]

[ID] The image is a black and white document similar to the previous image. The background is the same color along with the layout of text. The page number is 5. Two cards are above the left column of text. On the right edge of the document is a face of a gargoyle mirroring the previous document. Under the left most card is two sets of text: "Jack" and a diamond are written in pencil and the number 5 and a club written in pen. Under the right most card is two sets of text similar to the left card. The text is the same, just written in pencil and pen: the number 3 and a heart. Under the The left column continues Table 1. The following is the remaining text:

"King Kings Audience Hall (K25) A king's throne is the place to find this The object is lying across the dais behind the throne. If Strahd is there, he is sitting on the throne. Ace Crypt of Strahd (K86) This is a very bad sign. This is in the very heart of darkness: his home, his source. It is his center and his life. It is the one place to which he must return. The object is in a corner of the room. If Strahd is here, he is within his coffin, ready to attack at the first sign of someone opening the lid" Continuing after Table 1 is Table 2. Table 2 is similar to Table 1; the only difference is the location of the box containing text. The box is below a section of text and is the second half of each row. Table 2 contains images of each card suit vertically aligned in the left column of the table. The suites descend in the following order: Heart, Diamond, Clubs, Spades. The suits are solid and are black. The following is the text of the table, including a text replacement of the suit to indicate its location: "Table 2. Fortunes of Ravenloft: Modifiers Suit 'To Hit and Armor Class Modifiers'

Heart The PCs gain a +1 bonus to hit and a -1 bonus to their AC.

There is a very good influence there. If you are there, the power of good will aid you.

Diamond The PCs gain a +1 bonus to hit, but suffer a +1 penalty to their AC.

The diamond blesses your skill there, but bodes poorly for your protection.

Clubs The PCs suffer a -1 penalty to hit, but gain a -1 bonus to their AC

The club sustains your strength here, but holds you from your victory, taking more time than it otherwise would.

Spades The PCs suffer a -1 penalty and a +1 penalty to their AC.

The spade is a dark shadows of evil cast over that place. You fight under its influence here." Table 3 is similar to Table 1, sharing the location of the box containing text in the table. Table 3 is the entirety of the right column. The following is the text of Table 3, ommiting slurs: "Table 3. Fortunes of Ravenloft: Strahd's Goals Card Strahd's Goal

3 or 5 Strahd seeks a new identity.

Not yet, but soon, one who appears to be your friend will become your enemy.

Strahd will try to be alone with a charmed PC. When he is alone with a charmed PC, Strahd casts a polymorph other spell on the PC, turning the PC into a vampire. The spell operates as detailed in the AD&D Players Handbook with the following clarifications. The PC takes the form of a vampire and radiates a magical aura, regardless of whether the PC survives a system shock check or not. A PC that survives a system shock check has all of the abilities of a vampire as detailed in the AD&D Monster Manual, regardless if whether that PC passes a mental check or not. Undead cannot drain levels from undead. Thus, if a polymorphed PC vampire retains his own mind, he and Strahd can fight, but neither can drain levels from the other. They can both, however, drain levels from non-undead. After turning the PC into a vampire, Strahd casts a polymorph self and turns into the likeness of the PC. Strahd puts the new vampire PC into his own coffin and attempts to join the party, masquerading as the PC. Strahd will try to persuade the party that he found a away out of Barovia. Strahd can, after all, open the gates. Strahd wants to move to another country using his new identity. The [slur] will carry dirt from his crypt to his new home.

7 or 10 Strahd wants to make a magical sphere of darkness.

This card tells of a tool of evil. Darkness surrounds and protects this tool, giving comfort to the black hearts and protection from good.

Strahd is trying to assemble a magical item that casts a continuous sphere of darkness. Such an item would greatly extend the range of his travels. Over the centuries he gather the pieces of the sphere one by one, until he is missing only one piece, a black opal. Strahd mistakenly believes that one of the PCs has black opal. Strahd mistakenly believes that one of the PCs has black opal stone. Strahd will use his natural charm person abilities to charm lone PCs. Stahd will send those Charmed Pcs back to the party asking, 'Do you have the black opal?' When Strahd discovers that none of the PCs have a back opal, he will attempt to destroy them.

Jack or Queen Strahd wants to win the love of Ireena Kolyana

The darkness lovesa light and desires it Great subtle plans are in motion about you; plans that the dead may find warmth from the living.

Strahd will attempt to charm all of the PCs, and make them attack Ireena. When they attack, Strahd will swoop down and save her from the PCs. Strahd hopes that the rescue will turn Ireena's heart to him. He wants Ireena to love him willingly rather than by force.

King or Ace Strahd wants the Sunsword.

Here is a high and noble card. One of you carries a weapon that is stronger than any other against the evil in this land. Only one part is missing from this weapon. That part is found in the evil one's lair.

See Treasures and Tomes on p.31 for details about the sunsword. Strahd wants to destroy the sunsword. He believes (correctly) that one of the PCs (a random fighter) has has been unknowingly carrying the sunsword for some time. If the sunsword hilt is found and reunited with the blade, Strahd could be in real trouble."

The text of the left card is the following:

"Fourth, determine where the sunsword hilt is (see Treasures and Tomes on p.31 for a description of the sunsword). Pick up the forth card and read the following boxed text.

This card is good for you. It is a card of power and strength , the victor's card. It tells of a weapon of light, a weapon of vengeance.

To determine where the sunsword is, find this card in table 1. To determine the 'to hit' and armor class modifiers to use in that place, find this card's suit in Table 2."

The text of the right card is the following:

"Last, determine Strahd's goal. Pick up the fifth, and last, card, and read the following boxed text.

And here is the root card. Out of darkness and chaos, this card find the reason and foundation for darkness and chaos. This card shows the purpose of all things. It is the key to life and death and else beyond.

To determine Strahd's goal, find this card on Table 3." [End ID]

My copy is used so it has some writing on it from past fortunes but I think its cute, since the fortunes are still done with playing cards, with the only difference being the reading in Curse of Strahd is far more complex. The objects are the exact same, the Sunsword, the Holy Symbol, and the Tome of Strahd. Similarly, the locations you find these items can also instead be the locations you fight Strahd: the study , his treasure room, the chapel, the top of the high tower, Sergei's crypt, Strahd's crypt, the audience hall with his throne, and Ravenovia's crypt (Strahd's Mother). Taking a step back here to talk about this decision as a whole, I have always loved the randomness. The fact that everyone's experience is always different and unique feels great. It leads to a different narrative expierence each time and gives us a reason to replay the module. I have played Curse of Strahd as a player on three separate occasions with three separate DMs and each experience as a player was unique. Other than each character having that DM's twist or personality, the items were never in the same place so my groups always prioritized different areas. I have also ran my own game of Curse of Strahd and I have felt similar as a DM. I prioritized different characters or locations to add depth to the world. This randomization leads to unique situations that could never be replicated. I think it is one of the most novel ideas that I6 presents and I am so glad all the other adaptations have kept this idea while expanding upon the whole experience.

Jumping back to I6's fortunes, what I found really interesting is that the cards drawn add modifiers to your parties AC and to hit modifier. It feels very odd to me, but also that is because this is something that we do not have an equivalent to in Curse of Strahd. The closest is the ally we get but even then, that is more impactful from a narrative lens than the modifiers. The modifiers feel like a twist that deepens or add to the feeling of struggling against the darkness. It is very mechanical and calls back to more of the dungeon diving elements of early D&D. I don't think that modifiers change the game enough to feel sad that they have disappeared. Then again, we do get something similar with Argyvost's skull in Curse of Strahd so atleast we get some kind of spiritual successor to the modifiers in the reading.

Now I mentioned above Strahd has a goal. He does, its why he grabs the players. In 5th edition, its to toy with them and have amusement more or less and then later he wants them for Ireena. In here he has 4 reasons potentially and I want to talk about each of them. One, to grab Ireena. How he plans this is wild. He will charm the players and make them attack Ireena and he will swoop in and save her since he wants Ireena to love him willingly rather than by force. This is absolutely wild to me that Strahd could play the valiant knight for Ireena. This feels the most vanilla but this is his goal moving forward into Curse of Strahd. I think its smart to make this the "core" goal since he does attack Ireena in the opening of the module and Tatyana is core to Strahd's descent into darkness. Given all the additional material that has come out focused on Strahd, Curse of Strahd made the correct call to make this his focus. I do like that he has other goals as well in Curse of Strahd, but it is a bit of a shame that he doesn't have any of the other goals he has in I6.

The second goal is to steal a player character's identity. He will charm someone, use a spell to turn them into a vampire, shove them in his coffin and then masquerade as the player character using magic. Absolutely amazing. I love this and its also so evil. Like more than most DMs would go evil. "How do you do my fellow player characters". Sadly, this also feels like its retconned with newer Ravenloft lore since Strahd can't actually escape Ravenloft and this ending if he succeeds in stealing someone's identity and convincing the party that he found a way out everyone just leaves Ravenloft. The player who gets turned into a vampire can make checks to be able to fight back and you get this vampire duel which is so cool. Vampires in older versions of D&D can drain levels from players by the way, so the book specifies undead cant drain other undead's levels. Like the set up is amazing, the idea is wild, but there is no way for this to work if we are conforming to the rules of Ravenloft. We kind of get a successor to this goal in Curse of Strahd with Strahd's desire for a consort or successor since he wants to to be able to leave; but the book calls out that Strahd will never find any of the player characters worthy. Again a DM can change this and many have so I feel the spirit of this goal lives on; but we don't really see Strahd becoming a party member only to betray the group. That would be a fun twist however.

The third goal is the only goal where Strahd fails whether the players live or die - he wants to make a magical sphere of darkness. Strahd thinks the players have a black opal stone, which is the last piece he needs to make a big old sphere of darkness to make the world dark and stuff so he can travel more at night. Strahd will charm one player who is alone and have them ask the rest of the players if they have this black opal stone. He is certain they have the stone so when its revealed they don't, he will try to kill the players. Curse of Strahd places Barovia under the magical darkness that he is attempting to create here in this goal, which I think is a perfect way of honoring this goal

The last goal is Strahd wants to destroy the sunsword. So the module recommends the players have a cleric and a fighter as a requirement since the holy symbol is for a cleric and the sunsword is for a fighter. I mention this because Strahd just knows who has the sunsword and if this is rolled, the sword is just magically on this person and not where the fortune says. So Strahd wants to kill them and take the sword and destroy it. This is very boring to me. Like it should be a given rather than an explicit goal. If Strahd has gone out of his way to destory the sword, he should just want to do this regardless if this is a goal. This is the direction Curse of Strahd goes and I think it makes sense. 5th edition focuses more on narrative and less on dungeon crawling so this change is just natural. We even get more lore for the sunsword in 5th edition, it being a sword belonging to Sergei and being sentient. I am not sad to see this goal just disappear and become a background element. It feels like a cop-out to get Strahd to fight the party early. If he knows they have the sword and he knows where they are, why not just kill them? I mean he does like to toy with his prey but if this sword is the biggest threat to his existence, I would expect him to hunt the players down once they near the castle.

Overall, I think the goal's Strahd has in I6 are a mixed bag; some are really novel and some are fairly boring or straightforward. That is my own opinion and I am very curious on how everyone else feels.

Part 4: The lands of Barovia, Barovia Village, and Tser Pool Encampment

I am lumping all of the pre-castle encounters into one section since they are more or less similar to what we know and love from Curse of Strahd.

[ID]

The image is that of a black and white document, with a layout similar to the statblock of Strahd von Zarovich, including the borders of the page. The page number is 6. The following is the text of the left column omitting slurs:

"Lands of Barovia

A perpetual rolling blackness of thunderclouds casts a gray pall over the land. The darker silhouette of Castle Ravenloft looks over the valley from its 1,000 foot pillar of rock.

Castle Ravenloft dominates the small village of Barovia. The castle stads high atop a natural pillar of rock against the cliffs to the north of the village. The dark Svalich woods surround the village and cliffs. Use Map 1 to see the relative locations of the town and Castle Ravenloft.

The road to the village and lands of Barovia goes through ancient iron gates, controlled by the will of Count Strahd. There are only two gates, one east the of village and one west of the castle crossroads up the mountain. The gates open when the PCs arrive but close after they enter Barovia. The gates will not open for the PCs again until Strahd is destroyed.

There is a deathly stillness in the dark Barovian woods. Yet the woods are patrolled constantly by the wolves and serving beasts of Count Strahd.

No one has left Barovia for centuries. This is because of the trapping fog that exists everywhere in Barovia . Once it is breathed, it infuses itself around a character's vital organs as a neutralized poison. the fog does not taste or smell any different than normal fog. It does not harm characters as long as they continue to breathe the air in Barovia. However, when they lave Barovia, the poison becomes active. Characters must save vs. poison or start to choke. Unless choking characters reenter Barovia within 24 hours, they die. The choking stops as soon as they breathe the fog again.

The [slur] were given a potion by Strahd that cancels the effects of the fog. this potion is jealously guarded by Madam Eva, who buried it in a secret place. It is impossible for the PCs to discover the potion. The fog is magically produced by Strahd and disappears entirely upon his destruction.

The poor villagers of Barovia have been terroized for centuries by 'the devil' Strahd. Only the town and the few survivors of the second ruling house of Barovia have the will to offer more than just personal resistance to Strahd. No villager has left Barovia for centuries. Those who tried never returned, dying from the vile snapping teeth of the Barovian wolves and the choking deadly fog.

Every 3 turns, check for na random enoutner. When the PCs are not in castle Ravenloft, during daytime, use Table 4 at the right, during night time, use Table 5 at the right. When the PCs are in Castle Ravenloft, use Table 6 on p.12.

Each night the PCs stay anywhere other than the castle (Area K), Strahd attacks with his wolves and bats. His attacks are intended more to frighten the PCs than to damage them. Strahd mjust toys with them. After 5 melee rounds, Strahd and his creatures withdraw.

If the PCs are indoors, every turn strahd attacks, wolves try to break through a window or door. A roll of 1 or 2 on 1d6 means that a wolf breaks through. Once a wolf gets in, the remainder of the wolves and bats come in. The wolves and Strahd never attack Ireena Kolyana. After 5 melee wounds, all of the creatures flee into the night, leaving only Strahds hollow laughter in the distance.

4-16 (3d6) worg wolves: AC 6; MV 18"; HD 4+4; #AT 1; Dmg 2-8; AL NE.

10-100 (10d10) bats: AC 6; MV 4"/18"; HD 1d4; #AT 0; DMG 0: AL N.

The bats fly into the room, getting into the way of spell casting. Characters must make dexterity checks to cast spells with material components." Some of the text in the right column is cut off. The following is the visible text of the right column including table 4 and table 5 with slurs ommited:

"Strahd may knock at the door, but he cannot enter the building until someone invites him in. Strahd tries to charm characters into inviting him in.

Table 4. Barovia Daytime Random Encounters (Sunup to Sundown)

Roll 1d6. If the result is a 1, the PCs enounter something. Roll 1d6 and us the encounter below with the resulting number.

Roll Encounter

1 2-8 (2d4) worg wolves: AC 6; MV 18"; HD 4+4; #AT 1; Dmg 2-8; AL NE.

2 1-10 [Slur]: AC 6; MV 12"; HD 2; #AT 1; Dmg 1-8; AL NE.

3 1-4 villagers: AC 9; MV 12"; HD 2; #AT 1; Dmg 1-6; AL

4 1-4 worg wolves: AC 6; MV 18"; HD 4+4; #AT 1; Dmg 2-8; AL NE.

5 1-4 [Slur]: AC 6; MV 12"; HD 2; #AT 1; Dmg 1-8; AL NE.

6 1-4 villagers: AC 9; MV 12"; HD 2; #AT 1; Dmg 1-6; AL

Table 5. Barovia Nighttime Random Encounters (Sundown to Dawn)

Roll 1d6. If the result is a 1, the PCs enounter something. Roll 1d12 and us the encounter below with the resulting number.

1-2 1-10 worg wolves: AC 6; MV 18"; HD 4+4; #AT 1; Dmg 2-8; AL NE.

3 2-10 (2d10) worg wolves: AC 6; MV 18"; HD 4+4; #AT 1; Dmg 2-8; AL NE.

4-5 3-12 (3d4) zombies: AC 8; MV 6"; HD 2; #AT 1; Dmg 1-; AL N

6-7 10-100 (10d10) bats: AC 6; MV 4"/18"; HD 1d4; #AT 0; DMG 0: AL N.

8 1 ghost: AC 0/8 if corporeal: MV 9"; HD 10; #AT 1; Dmg 10-40 years; AL LE.

9 3-12 (3d4) ghouls: AC 6; MV 9"; HD 2; #AT 3; Dmg 1-3/1-6; AL CE.

10 1-4 wights: AC 5; MV 12"; HD 4+3; #AT 1; Dmg 1-; AL LE; SA hit drains 1 energy level.

11 1-4 wraiths: AC 4; MV 12"/24"; HD 4+3; #AT 1; Dmg 1-; AL LE; SA hit drains 1 energy level.

12 1 maiden vampire: AC 1; MV 12"/18"; HD 8+3; #AT 1; Dmg 5-10; AL CE; SA hit drains 2 energy level, gaze can charm, become gaseous in same way as Strahd."

[End ID]

The first page of the lands of Barovia is setup for random encounters along with more info on The Mist. It talks about how to handle nighttime, daytime, and indoor encounters.

The encounters will only last 5 melee rounds (again 1st edition stuff, no idea sadly) so the monsters attack the players and then they flee as they serve to scare the players. Similarly for indoors encounters, just that wolves attack with the random encounter and they try to break down the doors and windows (roll a d6, on a 1 or 2 they succeed) and again after 5 rounds, the attack ends.

What is interesting is that you can get attacked by good aligned villagers or atleast encounter them? It is not fully clear but all the other encounters on the table are evil aligned so I imagine its all combats. I say that I am unsure because later on in the castle encounters, the module specifies one encounter as a non-combat. I find it interesting you can just encounter Barovians who will just be silent and treat the players as outsiders. Maybe some will be willing to talk to you? I doubt it but it could serve as a indication to the players that something is not quite right in the land of Barovia.

The night encounters look like they are all combat. My favorite is either the 2-20 wolves (roll 2d10) or the 10 to 100 bats (10d10) bats. Just the sheer number would actually terrify someone. Imagine fighting 50+ bats. That is unforgettable.

Moving on to The Mists, or as the module refers to as the fog, we get some interesting lore elements I want to talk about. The fog here is in fact the mists we think of and the poisoning fog is consistant across second edition; I skimmed through my third edition source book and didn't find a comment, other than Strahd can close the borders and third edition source books tend to play very close to second edition canon. So the poison element is Strahd closing his borders to Barovia and preventing those within Barovia from leaving. You can obtain an antidote to this poison as the Vistani do sell this but second edition calls out that you also need Strahd's permission where in I6 the cure exists but is unobtainable; its just away to explain why the Vistani can come and go. I6's poison is different the Curse of Strahd since players don't start choking in the fog and the fog itself is not poisonous, but rather magical. The fog in Curse of Strahd also gives players exhaustion which is closer to second edition which lowers the players constitution; though unlike I6 or second edition, a player can't leave Barovia even if they succeed on the saving throws.

I want to also talk about the whole decison to add the fog and the consequences to the whole lore of Ravenloft. The fog from a gameplay perspective gives Strahd more power and makes sense as to why the villagers of Barovia have never left, they cant. This whole land is Strahd's lair. In the tome, Strahd calls himself "the land" and being able to control who can enter and leave makes it far more literal. He is quite literally the land, the fog moves when he asks and it bends to his whims. I won't lie and say the early iteration of the fog in I6 is a bit cheesy, like its just a poisonous cloud of fog and the vistani just happen to have the cure so they can come and go but they way it evolves is so interesting. It starts as this trapping force just for the players to becoming the prison that keeps Strahd contained, just that he is literally Barovia itself. He can trap those as part of his curse being the Darklord of Barovia. Its a wonderful role-reversal.

Returning to the module, the next couple pages are the set up for the module and its surprisingly one of the set ups in Curse of Strahd, "Plea for Help"; down to the exact same letter the players receive. It is word for word, only with some minor changes like inserting commas

[ID] The image is a black and white document on a wooden table. It is similar to the previous image. There is text on the page laid out such that there is two boxes containing text with text in the middle separating the boxes. The first box is cutoff in the image; the following is the text starting with a cutoff sentence:

"subdued. The letter is lying before you. Dated yesterday, the ink is still not dry and the parchment is crips. The seal is a crest you don't recognize."

The following is the text between the two boxes:

"If the PCs open the letter, read its content from the following boxed text."

The following is the text in the second box:

"Hail to thee of might and valor:

I, a lowly servant of the township of Barovia, send honor to thee. We plead for thy so desperately needed assistance within our community.

The love of my life, Ireena Kolyana, has been afflicted by an evil so deadly that even the good people of our town cannot protect her. She languishes from her wound and I would have her saved from this menace.

There is much wealth in this community. I offer all that might be had to thee and thy fellows if thou shalt but answer my desperate plea.

Come quickly for her time is at hand! All that I have shall be thine!

Kolyan Indrirovich

Burgomaster

[End ID]

I shouldn't be surprised by this; the "Plea for Help" adventure hook from Curse of Strahd is one of two adventures hooks that don't really need set up or has hard requirements. It also is very organic. Someone comes in and offers your party job, shows off that they are clearly rich by buying the whole tavern drinks for the night, and leaves. The letter is also very forward and offers the party riches for help. Its very simple but effective. I am a bit shocked how the words have not been changed in the 30+ years between the modules; but as I have mentioned earlier Curse of Strahd doesn't take a lot of liberties for the content in I6. The hook also assumes the least about the players which helps with its effectiveness. The hook relies on the party desiring wealth, which in first edition was a guarantee since leveling was associated with gold, and offers some additional motivation for good aligned characters.

Continuing on, as the players enter the Svalich Woods, they also encounter the real letter being sent by the Burgomaster of Barovia village. Again this is the same letter, though some of the words are slightly different, like dropping the words "creature calling its race".

[ID]

The image is a black and white document similar to the previous image. The image has two boxes with text. Between the two boxes is a set of text. The only word legible in the first box is the word: "scream". The following is the text between the two boxed texts:

"Three turns after all the PCs enter the woods, they find a dead villager in the underbrush. He holds an envelope crumpled in his hand. The remains of his clothes are torn and raked with claw marks. Paw prints of many large wolves are pressed into the clay around the body. The man has obviously been dead for several days.

The letter is dated one week ago. It is sealed with a large 'B'. The parchment is worn and flimsy. It reads as follows:"

The following text is contained in the bottom box:

"Hail thee of might and valor:

I, the Burgomaster of Barovia send you honor - with despair.

My adopted daughter, the fair Ireena, has been these past nights bitten by a creature calling its race 'vampyr.' For over 400 years, he has drained this land of the life-blood of its people. Now, my dear Ireena languishes and dies from an unholy wound caused by this vile beast. Yet I fear, too, that the creature has some more cunning plan in mind. He has become too powerful to be fought any longer."

In small text below the box is the following: "Letter continues on next page."

[End ID]

[ID]

The image is a black and white document similar to the previous image. The border of the document is similar to the "Lands of Barovia" image. There are three potions of text in boxes, with third becoming cutoff and unreadable. Between the first and second box is more text. The first box contains the following text:

"So I say to you, give us up for dead and encircle this land with symbols of good. Let holy men call upon their power that the evil one may be contained within the walls of weeeping Barovia. Leave our sorrows to our graves, and save the world from this evil fate of ours.

There is much wealth entrapped in this community. Return for your reward after we are all departed for a better life.

Kolyan Indirovich,

Burgomaster"

The text between the first box and second box is as follows:

"Roll 1d6 every turn the PCs ar ein the woods. If the result is 4 or more, the PCs hear a lone wolf cry in the distance. One more wolf cries each round. If the PCs are still in the woods after 5 rounds of howling, the wolves attack. If the PCs are entering Barovia, only 5 wolves attack; if the PCs are attempting to leave Barovia, 25 wolves attack. The wolves stop their attack if the PCs leave the woods by entering the village.

5 or 25 worg wolves: AC 6; MV 18"; HD 4+4; #AT 1; Dmg 2-8; AL NE. "

The following is the text contained within the second box along with its header: "D. The River Ivlis

The river Ivlis flows as clear as a blue winter sky through the valley."

The following is the text contained within the last box along with its header; part of the text is cutoff and the last word visible is 'wet':

"E. The Village of Barovia

Tall shapes loom out of the dense fog that surrounds everything. The muddy ground underfoot gives way to slick, wet"

[End ID]

Continuing on, the village of Barovia is more or less the same. Ireena is also a 4th level fighter in this module. I find this interesting that she is a level lower than what the players start at (5th level) since Vampires drain levels in 1st edition and this is not so subtle acknowledgement that Ireena was attacked by Strahd and had her blood drank. It also prevents the main npc character from overshadowing the players in fights, though Strahd and the monsters he controls do not target Ireena. Ireena's characterization in I6 and Curse of Strahd is similar, a mild but strong willed fighter. I6 however says she wants to fight and kill Strahd for harming her homeland and killing her father where this only occurs if she is you ally in Curse of Strahd. Ireena is someone who's is fighting for a lost past and a future she can never have. Her life was completely upended several times by Strahd, as both Tatyana and as herself. I6 is a story about Strahd, Tatyana, and Sergei. Strahd's jealously and envy destroying his family and he is cursed to live in a nightmare for eternity as death, the thing Tatyana saw him as. Tatyana is forced to reincarnate endlessly by The Mists to remind Strahd that he can never have her. Sergei can not move on after losing the love of his life and seeing his brother in endless torment. Its a tragedy. Ireena needs to be part of the group who helps kill Strahd. It makes her and Tatyana not some damsel in distress but instead someone who is hurting and who triumphs over their pain to forge a better future; whether or not she ends up with Sergei is left to the DM depending on how the players have interacted with her. Curse of Strahd has some changes, that takes keeps the elements of this story but expands further with the introduction of the randomized ally.

The introduction of a randomized ally frees up that role to be anyone in the cast, with a few exceptions. It allows Curse of Strahd to break away from just a story about Tatyana and Sergei and to be about how Barovia, the country, is suffering at the hands of Strahd and how everyone in the cast has a dark or tragic tale because of this suffering. From Victor hating his homeland and trying to escape to Vasilka, a person who is being made as a wife for Strahd. I don't think you can have both. At the cost of Ireena being the sole focus, we get more depth and re-playability and Curse of Strahd is designed for that in mind. It also lets Ireena free herself as a character from just being Tatyana again. While both have the same ending for Ireena, Curse of Strahd's "Something Blue" special event in Krezk and the optional ending in I6, due to the length of Curse of Strahd, Ireena gets more of a chance to bond with player characters and come to understand the world she lives in and perhaps become more than Tatyana. Again this is up to the DM and the players in roleplay and narrative but I have seen this happen a handful of times. Ireena is allowed to become more unique.

Stepping off of my soapbox and coming back to discussing differences, we come to Donavich; he doesn't have a son in I6. The son is a vampire in the church's basement, that comes from Expedition to Castle Ravenloft, kinda. In Expedition to Castle Ravenloft, Donavich called Danovich, he creates a zombie plague after his son gets killed by Bandits. He hopes to bring him back so he keeps his corpse in the church basement; which yeah that is one hell of a change that gets rolled right back. I am not going to talk about Expedition here, but his personality in Curse of Strahd is much closer to this version than I6's version. In I6, he is close to a generic clerical figure; warm and kind while knowledgeable about evil. Donavich in I6 knows Ireena's whole backstory of being adopted, which Curse of Strahd does stay consistent with. However in I6 he has information on Strahd he is suppose to give the players, mainly info about the tome of Strahd.

He is almost a different character in Curse of Strahd because how much he is hurting from his son being a vampire. The villagers do not trust him in Curse of Strahd and he is losing his grip on reality. He is doing everything he can to save his son and clearly wants to help the players when they meet him. He is also the one to give the players the idea to take Ireena to Krezk and the abbey. And if he is your ally, you have to help him kill his son and give him a proper burrial. Without Doru, Donavich is much more put together and reasonable. He wants to help the heroes just as much but he isn't an actual cleric, he doesn't have magic. And if he were to leave, then the only place of good in Barovia would fall to darkness which gives him a reason to stay behind. I do not have a strong opinion on which version I like more. I think both fit the energy of the Ravenloft as a whole and both serve their purposes well. Doru exists to give Curse of Strahd more darkness in the opening and highlight that the players were not the first to try to kill Strahd. I did go on about the changes for Ireena but making Donavich a potential ally really fits with his I6 counterpart even if he wasn't really a fighter in I6. The reasoning for him join is very clear. He has lost nearly everything, and the only thing he has left to give is himself. A father who wants the devil to pay for killing his son. He gains a conviction, which is something that is missing in I6.

Outside of Ireena and Donavich, there aren't any more major differences until the castle. Once you get to the gate that we know would lead to Villaki, the carriage to Castle Ravenloft appears and it waits for the players to enter to go to the castle. The module breaks if you don't enter the carriage which makes sense. Vallaki, Krezk, and the rest of Barovia don't exist in lore as this is the first module. When all the players arrive at the Castle, the drawbridge drops down and it has one of the funniest and also probably most infuriating ways you can die. Quoting the book "Each time anyone except Strahd crosses the bridge, there is a 5% chance of a cross board breaking. If the cross board breaks. the character on it must make a dexterity check or fall to the bottom of the cliffs, 1000 feet below". In other words, 5% chance you need to make a dex save, on a fail you die. I had to share; first edition is fairly infamous for traps that can just kill you and I6 is no exception. I am so glad we do not design dungeons this way anymore.

[ID]

A black and white document on a wooden table similar to the previous image. The border of document is the same as the previous image. The page number is at the center of the bottom of the page; the page number is 10. The document is a black and white image of a carriage drawn by two horses heading to a large castle. The carriage is in the left corner of the document. The style of the carriage invokes victorian style. The carriage has three accents that divide the carriage into sections horizontally. At the top of the cairrage is a holding area for luggage and other objects. In front of the carriage is a drivers set which is unmanned. On the right of the drivers set is a parking lever. The back of the carriage is additional luggage space, in the shape of an "L". Below this additional luggage space is a seal that is illegible. The carriage has 3 windows each spaced equally apart on the upper half of the right side. Above the the right window is a Victorian styled lantern. The door to the carriage is in the center of the right side of the carriage. The door's hinges are on the right of the door and the door's handle is on the left. On the lower half of the door is a symbol of what appears to be a bird or bat. Three of the carriages wheels are visible: The Front right and both rear wheels. The left rear wheel is cut off by the page. The right rear wheel is cutoff by dust and the page. The front right wheel is obscured by dust. All the wheels are attached to the bottom of the carriage and each other with a bar.

The carriage is being pulled by two large black horses. Their harnesses appear to be uniform in make are similar. The harness attaches near their neck and the middle of the back, and near the hip. The horses are controlled by reins that attach at the horses mouths and face and loop into the harness before becoming no longer visible.

The castle is in the background. The castle is made up of several spires and a drawbridge. The drawbridge has two towers at the end of the bridge. The drawbridge is attached to a large barbican by a chains. The barbican has three visible towers, one at the left corner of the wall, and two towers between the gate of the barbican. Above the gate of the barbican the same symbol that is on the carriage's door. Each tower and the walls between the towers have battlements. Behind the walls is the keep. The keep has 5 visible towers, two on the left and right of the keeps center barely visible, one tower that lacks a spire on the right taller than the keep and is attached to the left tower by a bridge, the left tower is taller than the right tower and has an attached spire, and the tallest tower on the right with a spire at the top. The keep has a chimney under the bridge attaching the two towers.

The foreground has a set of trees obscured by the carriage on the left with a patch of grass in the bottom right corner. The background behind the tower is a set of mountains only illuminated by a large lighting strike. The lightning starts in the top right corner and flows left towards a set of trees in the foreground. The carriage is traveling on a dirt path that leads into the castle.

[End ID]

Part 5 The Castle

Starting of the castle section similar to the previous one with Castle Ravenloft's encounters. You can encounter Strahd randomly but the most interesting encounter is the angry villagers which make you get more encounters because they are making a ton of sound but will help out in a fight. They don't attack the players but I think its a fun bit of story telling to have others who are fed up with Strahd's rule helping the players as they explore the castle.

Before I continue onto the rest of the castle bit by bit, I want to talk about the npcs in the castle. The biggest difference in the castle is Rahadin. Rahadin is actually introduced into 5th edition. The dusk elves don't exist until 4th edition and are introduced in one of the Dungeon Magazine issues, in specifically "Fair Barovia"; side tangent on the side tangent, look into Fair Barovia, it has some really cool similarities to 5th edition and it feels a bit like 5th editions proof of concept for Vallaki. Anyway, Rahadin and the Dusk Elves just don't exist. Nothing about them at all is in the older versions of Ravenloft. The closest thing are the Shadow Fey but the whole Drow/Shadow Fey retcon is a neat topic for its own day. Gosh sorry, Rahadin. He probably is my favorite change to the module full stop. He adds so much more depth to Strahd and his own darkness. Rahadin allows Strahd to be more human. He has someone who is his weakness and vice versa, Rahadin's weakness is his loyalty to Strahd. He can be just as meanacing as Strahd and just as cold while at the same point letting the players feel above him since whenever/if ever the players have dinner with Strahd, Rahadin is forced to be the servant. Yet it feels like there is something more. He takes care of the dirty work for the master of the castle, sometimes its cleaning, sometimes its killing. Overall, I wish the dusk elves were better integrated into the story of Curse of Strahd since other than Rahadin's backstory along with the whole Patrina and Kasamir story line, they don't get a ton of flavor and because they are so recent and it makes me sad, especially since the Dusk Elves are from wherever Barovia is from and some older modules touch on this exactly, mainly the hexad modules (again another time if people want).

Speaking of Patrina - She exists! Wait I just said the dusk elves don't exist. Correct! Both are true statements. She is made into an elf vistani, which is a bit weird. 2nd and 3rd edition make it clear that only humans can be Vistani while 4th and 5th say it doesn't matter (they invent Mother Luba for Tasha's Cauldron of Everything and add her in with Van Richten's Guide to Ravenloft; she is a halfling). So uh, no idea what this means. 1st edition breaking all the rules! 5th edition dropping the Vistani part and making her a Dusk Elf does let Rahadin have more depth as I mentioned. I think this element is just messy lore because Ravenloft was just a module; it wasn't intended to be the start of a setting. Weird things like this happen. Otherwise for Partrina, her backstory is more or less the same. Just Kasamir doesn't exist in I6. Curse of Strahd does a much better job integrating her into the overall setting of Ravenloft, even if it meant inventing a type of elf native to Barovia. I was honestly a bit shocked reading that she existed in I6 since elves don't have a strong place in Barovia when it comes to the greater Ravenloft canon. Patrina's expansion and role in the story along with Rahadin and Kasamir add depth that I would never want to remove and feel almost as if this was something missing from second or third edition. Something that is a one line piece of text and encounter in the crypts became something far more interesting and it makes Curse of Strahd better for it.

The next changes are Strahd's vampire brides (and Escher). They do not exist in I6. I don't have any fun facts on like when they were added or what inspired them; just that they are added in 5th edition. I am curious as to why they were included. Strahd isn't just after Tatyana, given that Patrina is from 1st edition, so it make sense he could have some wives (and someone else) so is that why? I would love to talk to someone who made Curse of Strahd and ask so so many questions but I just don't have the info on why they exist. They give flavor and depth. That's probably it. I feel a bit sad that my extent of knowledge on these characters is what it is. Escher is a fan favorite since he is such a sad man who is now over his head. WotC did a good job in adding them since they feel fundamental to the experience of Castle Ravenloft as well as add some additional encounters that are not in I6.

Moving onto another character, Cyrus is Human in I6. He is the only Belview in the module but he is human. The mongrelfolk aren't from 1st edition Ravenloft. I specify this because one, they do exist in 1st edition and two, they do exist in Ravenloft, just later. The mongrelfolk are similar to another creature in Ravenloft, Broken Ones. Just Mongrelfolk tend to be nicer and more friendly (and also have a much sadder existance in G'henna) than the Broken Ones. It makes sense they would live with the Abbot since he is a kind being (good aligned atleast) and they are outcasts who need to constantly look for a home. Just, they are completely an addition to 5th editions version of the module (and Barovia as a whole). I am not going to go into the changes 5th edition does for Barovia as a setting but I do think it would make for an interesting topic. Making Cyrus a mongrelfolk makes him more friendly and overall adds more horror flavor to the world. Every major character is human, that is so bland. The point does work though, it makes non-human characters outsiders. It works well, but adding a bit of change here or there makes the world more interesting because you get characters your players can relate to. A drow character can relate to the dusk elves for example. The Belviews add that depth and strangeness that wouldn't be there if they weren't mongrelfolk. In 1st edition, Cyrus is just an old man who tells jokes at bad times and tries to lead the players to their rooms. I like 5th edition's change; he stays this old man but is far more likable personally.

News for Pidlwick II fans, he does not exist yet sadly. He was created for 5th edition. I generally like clockwork automatons and while Barovia really isn't clockwork-y compared to other Domains (looking at some of the more advanced domains like Paridon), living dolls are so cool. He has some interesting flavor if you expand him into the greater Ravenloft setting since he could be considered a Dread Construct. The lore around Pidlwick II however, is fairly interesting. I6 and Curse of Strahd disagree on who Pidlwick the first is; well I say I6 disagrees, its more the lore given to him in 3rd edition's source books is different than the lore Curse of Strahd uses. In Curse of Strahd, Pidlwick is a fool of Duchess Dorfniya Dislisyna and Fritz von Weerg made Pidlwick II and Pidlwick II killed Pidlwick. In the second and third edition canon, Pidlwick is the husband of Dorfiya Dilisnya and the "father" of one of the most important characters in all of Ravenloft canon, Leo Dilisnya. Leo deserves his own post as well but if you know "I, Strahd" you know Leo. Anyway Pidlwick's mother gets murdered and he starts an assassination war with the Petrovna families called the War of the Silver Knives. Strahd orders the assassinations to end and Pidlwick grows to despise Strahd since he didn't avenge his mother. Leo takes on this hatred for Strahd when Pidlwick dies. Now why is he called a Fool of Dorfniya? Its assumed its because Leo isn't his son by blood and he was cucked by another character. That is such a wild difference in lore for once character but without it, Pidlwick II wouldn't exist. Yet Leo's remains do exist in Curse of Strahd in Wachterhaus but I am getting off topic.

Lastly on the who's whos of the castle: Helga, Lief, and Gertruda exist and 5th edition leaves them unchanged. They exist, they fill their roles the exact same way. It is still very cool to me to see how much of this module can remain the same over 30+ years across several editions.

Now onto the Castle proper; I will be sprinkling in throughout this section the remaining art in the module as there is only a handful more and the rest is text. Something I think that was interesting when I was looking over the other editions of this module is that they all use the same numbering for the locations in the castle. Like K30 is the Office of the King's Accountant in I6. Curse of Strahd also makes K30 - King's Accountant. Overall. I think this is wonderful and its something most people wouldn't notice and only the dedicated fans like myself would. And I love this. And it makes my life easier since I can refer to each room in the castle by its location number. Now overall, the castle is the same in Curse of Strahd as it is in I6 so I will only mention any notable changes.

The first of which is K15 - Chapel of Ravenloft. We don't actually get the name of the figure who tries to steal the Icon of Ravenloft in I6 and in Curse of Strahd the icon is more powerful. In I6 it just lets you heal any creature 6 to 21 hit points and makes the ability to turn undead stronger while 5th edition adds the Protection from evil and good radius and the augury spell. Its also said to be 10 pounds in 5th edition while 1st edition just says its small; which 10 pounds is not small. Then again its a foot tall silver statuette that is half a food wide, so I think 5th edition is correct in making it fairly heavy. I am curious for the reasoning in making the Icon stronger, the protection from evil and good spell is so useful in this dungeon and the augury spell is just fun flavor.

Next is K20 - Tower Hall of Honor or as 5th edition calls it Heart of Sorrow. Yeah, the biggest change is the name. Its called the Guardian of Sorrow as mentioned earlier in this post. The animated halberds also aren't flying swords or anything but instead how the Guardian of Sorrow attacks. The heart actually makes the players take dexterity saving throws every round or they fall down the stairs since the whole castle is shaking which is cool but annoying. The module does mention explicitly the players can move at 1/4 movement to avoid the saving throws but still awful. Atleast 5th edition had the kindness to just knock you prone when you failed the dexterity save rather than fall down to a lower floor. The heart also doesn't have any kind of life/shield link with Strahd like it does in 5th edition; it just exists. Saying it "exists" underpins the whole thematic reason its here. Like the whole purpose of the heart is to say the castle is alive, and maybe the land is alive even? The whole "I am the land" in his journal seems far more literal now, like this could be his heart! Its so brutal. 5th edition makes the link even more clear; he is hurt when you hurt the heart and the heart takes damage for him. Its a masterful change in 5th edition, it adds flavor and gives the players more reason to explore. I also like "Guardian of Sorrow" far better than "Heart of Sorrow" but that's me.

[ID]

The image is a black and white document of Strahd von Zarovich playing an organ. The organ takes up the majority of the image, being cut off by the left edge of page curving around and ending at the right half of the page. The top left to the top center are the organs pipes in two rows, each topped with a dragon head open as if to breathe fire. Part of the back row of the pipes are cut off by the top of the image. The pipes are then hidden by the organs at their bottom. The organ appears to have 4 rows of keys that make the up center of the organ. Above the top row of keys as well as the left and right of they keys appear to be buttons or knobs to activate additional elements of the organ. Dividng the buttons from the keys appears to be inlays with circles. Bellow the organ is two rows of swell pedals that get hidden behind Strahd and the darkness of the image. In front of the swell pedals is the pedal board of the organ. The right end of the organ is a ornate carving of the dragon. Below the dragon is a post carved to look like the dragon's feet. Below the foot of the dragon is the signature of Clyde Caldwel.

Playing the organ is Strahd von Zarovich. His left hand is on the second row of keys while his right hand is in the air as if to strike the keys dramatically. Both his left and right arms show a visible undershirt sleeve. The left arm has a button near the sleeve. His right hand has nails like claws. Only the left profile of his face is visible. His hair is licked back but fades into the darkness of his clothes. The rest of his clothing is veiled in the darkness and are to obscure to make out.

The chair Strahd is sitting in is mostly obscured by his cloak. The left portion of the chair is visible; the upholstery of the chair along with its front left leg. Keeping the upholstery in place are round staples or buttons. The left leg is carved to look like the foot of a lion or beast.

[End ID]

K30 - Office of the King's Accountant. The biggest difference is 1st edition has less loot and the reason Lief is upset is slightly different. Lief wants access to the hidden treasury. Why he knows this is never explained but he also knows the whole layout of the castle and will give the players a map to the holy symbol like in 5th edition so I assume he knows it exists but Strahd won't let him use it. I don't know when "Manual of Bodily Health" is first created but it doesn't exist in 1st edition's version of the module so I assume it was added as more interesting loot than just money, since 1st edition has the same amount of money but the manual is replaced with 100 books worth 10 gp each. I like this minor but impactful change. If the player characters are just playing Curse of Strahd, the manual is just as impactful as if it was more money but if they go beyond Strahd into another game, this is far more impactful. Either way, its a cool and fun change.

K31 - Trapworks. The only difference here is the damage you take from being on the top of trap. In 1st edition its 3d10 with no save to avoid damage while in 5th edition is a dexterity save taking 8d10 on a failure, which is so much more. I imagine this is because players should be nearing the level cap for the module and that level cap is far higher for Curse of Strahd than Ravenloft but also I have no context for hitpoints in 1st edition, this could be much more damage. Everything else is the same, magical sleep hits the players and then they are trapped. Overall its a really cool trap, I never have seen it in action and I want to here stories about being imprisoned or the elf of the party saving everyone; seems like a really cool narrative moment.

K41 - Treasury. Similarly to Office of the King's Accountant, the 5th editions version just has far more stuff, but also its missing some things. Mainly all the magical weapons. 1st edition has a +2 sword and 3 +3 maces in addition to all the money. It makes sense to give the player a load of magical weapons since in 1st edition, vampires can only be damaged by +1 or more weapons. So this is a solution to a problem that they player will encounter when they go to fight Strahd. It also reinforces the need to explore dungeons and keeps up with 1st editions dungeon diving nature. I think this is kinda cool, I don't think I know of a module that hands players multiple +3 weapons at once. 5th edition swaps those out for the +2 shield, some potions, and the instant fortress along with the helm of brilliance, rod of the pact keeper and alchemy jug. I think both are fun treasure piles but I think 5th edition benefits from having a larger pool to draw magic items from. The shield is also unique to Curse of Strahd since Argynvostholt was added for 5th edition. I think both treasuries fit the version they are in. Like 5th edition does not focus to heavily on better gear as a requirement for fights, it just makes fights easier. So a diverse pool of gear is better than a large amount of magical weapons; especially since a magical weapon isn't needed to hurt Strahd. 1st edition does focus on that sort of progression so magical weapons make a ton of sense and as I mentioned, characters need magical weapons to hurt Strahd at all. The module is designed for six to eight characters in 1st edition; which is larger than most parties are in 5th edition. There is one sunsword but what if there are 3 fighters? This is how you get around the problem.

K46 - Courtyard outlook or Parapets in 5th edition. 5th edition added an encounter here. Neat. You have to linger here to fight Strahd's armor but you can. I don't have much more to say than it surely is an encounter that exists.

K49 - Lounge. I need to share that they changed the book titles here. One of the old ones is a gem in my opinion. "Identifying Blood Types: A Beginner's Handbook". I think it just neat. That's all.

K63 - Wine Cellar. This area is expanded quite a bit, flavor wise, in 5th edition. First off - potential encounter with a slime. Neat. Second, all the wine is explicitly from the Wizard of Wines. I like this, thats all.

[ID]

The document is a black and white image similar to the above image. The image is of Ireena Kolyana standing next to the portrait of Tatyana. Ireena's hair appears to be dark, messy, and long, going past her shoulders. Ireena appears to be wearing lipstick. Ireena's outfit is that of a traditional longsleeve vest and pants with a cloak. Around her neck is a cross with a gemstone in the center of the crucifix. The cloak around her neck is held in place by a clasp with a tassels and a gemstone in the middle of the clasp. Around Ireena's waist is a belt with three buckles, one in the center and one on each side of the middle buckle. The bottom of Ireena's shirt is a repeating pattern of a hollow white diamond with a black square in the center of each diamond and a white dot in the middle of each square. The diamond pattern is on a strip of black fabric. Ireena's pants appear to be dark in color with no discernable features. Ireena casts a shadow on the wall behind her on the left side of the image. In Ireena's left hand is her sword which she is pushing into the ground. The sword appears to be in its hilt and it cut off by the bottom of the image. The hilt has two circular inlays with gem stones. The bottom of the two inlays appears to be in the middle of a cross inlay. Near the top round inlay is a loop that has a strap passing through. Ireena's posture is tall and proud, with her right hand at her waist and her left arm leaning on her sword; clearly poising next to a portrait very similar to her appearance. She is facing the right

The portrait is of Tatyana. Tatyana is sitting in a chair, looking left of the viewer. Tatyana has the same face, hair, and lipstick as Ireena. On Tatyana's head is a crown and 3 strings of pearls from the crowns right end flowing behind her hair. Tatyana is wearing a dress with several sets of jewelry. The first is a large necklace with a round pendent with a inlaid gemstone At the end of the neck of the dress is another piece of jewelry, a diamond shaped button with a gemstone. Tatyana's hands are resting at her lap. Each wrist has a bracelet. At her waist is a cloth belt with circular buckle like piece. The chair she is sitting in has a curved back. The left portion of the chair is hidden and not visible. The right portion shows a carved accented arm that curves round into a spiral. Behind Tatyana is a curtain, that is drawn such that it curves behind her. The portrait's frame is heavily accented. The corners are three leaves facing outward, with the middle leaf being the largest, and a curved bow like accent attacked to the leaves, with the bow's guard or point facing the portait. At the middle of the frame section are additional smaller accents: A circle with a gemstone in the middle cut such that the circle looks to be two portions; from the gemstones are two curved limbs that mirror each other; where the limbs meet the circle are two small spikes pointing away from the portrait. Between all the accents are small circles in the middle of the frame's edges. Below the portait is the signature of Clyde Caldwel.

[End ID]

K67 - Guard's Hall or Hall of Bone in 5th edition. This area is very different. Like not the same area different almost. In 1st edition this is just a hallway. Thats it. Ok, Strahd does still kill is guards here, so there is stained blood still. But 5th edition adds in a whole skeleton/bone art sculpture made by Cyrus because why not honestly. That may come off as mean sounding, I think its actually just amazing. I have a soft spot for Cyrus. This can also be a spot for your treasure or Strahd's encounter which that isn't the case in 1st edition. Lastly, the ossuary has the skull of Argyvost which doesn't exist in 1st edition as I already have mentioned. Taking a step back, its interesting that 5th edition just invented a room. Like original Strahd did not have a bone room. You know, a room for bones of those he murdered. Granted he didn't make this, Cyrus made the bone zone. But is 5th edition Cyrus that much more wild compared to 1st edition then? Or better yet, Strahd just let him do this? That you can fight Strahd here or better find this tome here means he enjoys this room possibly? Like he is sitting at the end of a table in a chair of bone holding the dragon skull; what even? I don't know, there is more to say here than the bone room is cool but I love it. I need to know the reason behind the bone room minus "give the vampire a bone room". If its just that, kudos to the people fighting for this wonderful set piece. Such an amazing addition.

K75- South Dungeon. The real change is giving Emil a character. He does exist in 1st edition but he is unnamed and he just joins the party once freed to help kill Strahd but betrays the party once an opportunity arises. Emil is very similar in 5th edition unless the players know Zuleika (or she is your ally due to the reading) in which case he may join to help kill Strahd or just try to flee instead. I like that they made him a fully fleshed out character along with the werewolves without changing much of his actual role in the story unless you happen to get Zuleika as an ally which makes sense. I am not going into too much about Emil since his story is more related to the werewolves than the castle itself.

K78 - Brazier Room. This is very different/. The purpose of this room in I6 is to block the players from entering into the catacombs or other parts of the castle. Its a puzzle room with no hints other than an hourglass representing time in rounds, the golems each have unique stones their hands that can be thrown into the fire. Each stone has a different associated door and the golems won't attack unless the timer runs out. Other than this puzzle, there is a chest that 5th edition doesn't have for a good reason. First its trapped and if you open it from the front you fall asleep. If you can't be put magically asleep, the chest looks empty due to illusion magic after you open it from the front. So you need to open it from behind. Inside it has some spell scrolls, some potions, and of course a deck of many things. The deck of many things is a wonderful way to end a campaign; though I have no idea what the difference between 1st editions deck and 5th editions. I imagine not much has changed since 5th edition is quite brutal. There is probably a few 5th edition adventures that include the deck of many things somewhere but I don't personally like the item. In older editions where characters feel a bit more disposable, the deck is fine since it can just kill your character, but in 5th edition it can derail a campaign instantly. Anytime the deck has come out, the campaign almost instantly ends or becomes derailed since we now need to save a character because they pulled a card that does something awful to them.

5th edition completely changes this room to be a teleportation room to anywhere in Barovia basically using the same flame color puzzle but with a riddle which is nice and it removes the deck of many things for obvious reasons. I get the changes, it keeps the thematic purpose of the room the same and also removes the deck but also I miss the trap; one more final challenge if you need to get into the catacombs. The change also adds in flavor as to how Strahd can be everywhere in Barovia at any time, he can literally teleport. I think personally, the teleportation puzzle wasn't neccesary but the removal of the chest was. Curse of Strahd is a much longer campaign and to have it get derailed in the 9th hour would be unsatisfying for a lot of players. I6 is probably banking on the players using the deck once Strahd is dead as a treasure and hook for the next story. If you want a story with the Deck of Many Things, you could probably make it work as a way to keep your players in Ravenloft as a continuation but it might take some tweaking.

[ID]

The image is a black and white document of a knight with a sword and shield fighting zombies in water.. The image is similar to the previous image. The knight is on the left side of the image while the fully visible zombie is on the right. There are 3 zombified hands clawing up from the water; two near the knight and one in the background between the knight and zombie. The knight is positioned such that they are about to strike the zombie with their sword. The knight is wearing a helmet, scale mail, a shield, a curved sword, pants, greaves, and gauntlets. Their helmet is ornate with several curved inlays on the forehead of the helm. The top of the helm is spiked. The area of the helmet where the face would be located is open but there is no visible face. The helm curves down to guard the neck as it meets up with the scale mail. There is a strip of metal from the top of the helm to the base in the middle of the back of the helm. the scalemail flows from the neck to the upper thigh of the knight. On the knights shoulders is a set of pauldrons. The section of the scale mail around the neck is curved, suggesting that the helm scale mail section is on top of the body scale mail. The knight's overshirt is ripped apart at the chest, revealing the scale mail underneath. There is a strap from the knight's right shoulder flowing down to the left side of the knights waist with a buckle and gemstone inlay near the shoulder. At the end of the strap is a string of pearls or gemstones. Similarly, there is a mirroring strap that starts on the left should and meets the right side of the knights waist; this strap is thinner than the other strap. The shield is in the knight's left hand. The shield is round with a cross painted on the center of the shield. There is wear around the edges of the shield. In the knight's right hand is the curved sword. The sword appears to be a scimitar or a falchion. The swords guard curves up on both sides. Light creates a visible shine off the sword. The knight has a belt at their waist with six circular inlays each spaced equally. The knight's overshirt continues to the left of their body, covering part of their pants. The knight's pants are dark in color and have wrinkles near the right knee. The knight's right knee is protected by a their greaves. The top of the right boot is just visible above the water. One of the three zombie hands is grabbing at the knights right leg.

The zombie fighting the knight is crouched near the water with its left hand reaching to claw the knight and the right hand in the water. The zombies clothes are torn into rags. These rags barely cover the zombie, with big pieces of cloth dangling off the chest and left arm. The zombie's face is heavily decayed as it makes a gaunt snarl to the knight. The zombie's hair is ratty and short. Across the zombie's body are boils and scars. The zombie's chest is hidden and darkned.

The background of the image is misty on the left which flows down to the center of the image; with chains becoming visible in the right corner. The water of the image contains off colored pools around the knights legs, the middle zombified hand, and the zombies limbs in the water. In the bottom right corner of the image is signature of Clyde Caldwel.

[End ID]

The crypts are the next and generally, they either received more loot of flavor since most of they crypts in 1st edition are simple. Most are just text with flavor like "Beucephalus, The Wonder Horse. May the flowers grow ever greener where he trods" (yes they misspelled the name of Alexander the Great's horse in text, look at the last image in my post, Crypt 39). Anyway those that did have significant changes are listed below. Generally, assume Curse of Strahd gave each crypt either a description of the person interred or wealth inside the crypt if I did not mention anything in particular.

Crypt 6 - Marya Markovia. Her crypt is very different in Curse of Strahd. They added her thighbone as a weapon and changed her epithet from "Great was her beauty, undone by a jealous hand" to "Dead for all time". I think this was done to bring more flavor to the morninglord stuff since Barovia really didn't have any ties to the Morninglord other than some elements in "Vampire of the Mists", one of the Ravenloft novels.

Crypt 7 - Endrovich (Endrovich the Terrible) - In changing Marya Markvoia, Endrovich had to be changed. They explicitly call out Marya Markvoia as the one Endrovich loves but since Marya's crypt is Markvoia's crypt now, he just loves a generic Marya with no surname. He also doesn't haunt a gargoyle in 1st edition, he is just a specter you encounter. He also is guarding a stack of 3,400 gp in 1st edition.

Crypt 13 - King Intree Katsky- 1st edition this is just a named crypt with nothing. 5th edition gives him a gun! And a glider. Interestingly enough, firearms are not uncommon in flavor in Ravenloft. There is a lot of imagery and artwork of characters with firearms throughout Ravenloft in 2nd and 3rd edition source books so this is a fitting change.

Crypt 29 - Ivan Ivanovich, Beloved of Anna Betrovich- Yeah this is just not in 5th edition. This crypt is just straight up different. It belongs to Baron Eisglaze Drüf and has actual stuff in it, mainly a luck blade and brown mold for environmental cold damage. 1st edition just has nothing

Crypt 30 - Perfect Ciril Romulich - Since the morninglord doesn't exist yet, 1st edition does not have a holy symbol that blows up on evil creatures. Instead its 10 +1 arrorws, a scroll of raise dead and 3 potions, one is a potion of poison (yum), one is clairvoyance, and one is invulnerability.

Crypt 35 - This crypt is unused in 1st edition. The ghoul trap is new to 5th edition.

Crypt 37- Gralmore Nimblenobs. 5th edition does Nimblenobs dirty. He has so many more scrolls plus a +1 sword that can let you cast wish. Excuse me? I get the change but come on just the three scrolls for 5th edition and calling him "wizard ordinaire" is just bullying a dead guy who knew wish.

[ID]

The image of a black and white document of a vampire on the left side of the page and text on the right like previous images. The top of the pages has a similar border as previous images. The vampire is a women in a dress with a set of jewelery. The women's hair is long and dark, partially obscured by the darkness of the background. She is baring her fangs to the viewer. Her dress straps are thin. Her right hand is raised towards her face. Around her neck is a neclace with several gemstones. Around both arms are bracelets; her left arm has two bracelet while her right arm has a bracelet with 3 visible gemstones. Around her chest are several sets of bindings, one crossing under her breasts, one crossing at the waist, and two crossing around her chest forming an "x". The background of the image is darkness that fades to light from top to bottom. To the right of her waist is s signature of Clyde Caldwel.

Not all the text on the right is visible. The following is the visible text:

"A body in white clothing rots naturally, in small chest. Whithin the chest are 10+1 arrows and 3 bottles containing potions of poiso invulnerability

Crypt 31. '$$We knew him only by his wea

There is a large, bulging chest in the center is a trapper who attacks anyone that steps up

1 trapper: AC 3; MV 3"; HD 12; hp 62; #A AC; AL N.

Crypt 32. "St. Finderway, Saint of Lost Tr

The crypt is featureless except for two al Over the alcoves is written "Pass not the mortals!"

These alcoves are transmitting and r alcoves on the east sends thoses who enter alcove in K86. Stepping into the western receives persons teleporting from the west

Crypt 33.

The stone door is blank. This crypt has

Crypt 34. "King Dostron"

Crypt 35.

The stone door is blank. This crypt has

Crypt 36.

The stone door is clawed and marked so The tomb is empty

Crypt 37. "Gralmore Nimblenobs"

The stone door only gives the name abo within, rotting naturally. About the co one wish; a scrholl with hcarm monst polymoprh self spells; and a scroll w haste, lightning bolt, and slow spells.

Crypt 38. "Americo Standarski (Inve

When this crypt is opened, three pair out. Three hellhounds attack. These damage at up to 10 feet from their sco points if the character saves vs drago breath once per round for as many ro

3 hellhounds: AC 4; MV 12"; HD 5; hp + breath weapon; AL. LE.

Crypt 39. "Beucephalus, The Won grow ever greener where he trods."

This crypt has a larger door than all rears up when the door is opened breath obscures vision, blinds oppo"

[End ID]

For the rest of the crypt, there really isn't any changes. The trap that leads you to a pit full of enemies is from I6. Sergi's armor is +2 plate mail which is reflected in 5th edition, Stradh's teleport trap is the same, and you need to be lawful good to enter the tomb of Barov and Ravenovia; though 5th edition added the squeezing part for small sized player characters. Generally speaking, the crypt really didn't get changed. What was changed in Curse of Strahd was mainly done for balance purposes or to make the crypt more align with the canon that Curse of Strahd uses.

Now about those magic items. How different is the holy symbol or the sunsword. Surprisingly not much. The holy symbol basically has a daylight affect, though its different, weaker, and you can only use it once a week. However, your turn undead feature is stronger while using it. The sunsword is weird but also basically the same. The biggest difference in I6 is that you have to build it. One of the players who is a fighter with sword has the blade portion already, just they don't know it. The blade of the sunsword when not in the proper hilt acts like a normal blade. You have to take the blade out and put it in the sunswords hilt and then its a sunsword. Its a +2 sword except against undead which makes it a +3 and it does extra damage. The flavor of it being separated by a magician and then lost is is also from I6 but the flavor of the blade being Sergei's originally is not in I6.. Lastly, the Tome of Strahd; the passages are the same. I mean "I am The Ancient, I am The Land" is iconic so it would be a shame if 5th edition changed it. Given how much of the module is the same, the tome remaining unchanged is not surprising.

Lastly, talk about is the optional ending. I mentioned when I was talking about Ireena that the "Something Blue" special event in Krezk in Curse of Strahd occurs in I6. It is the optional ending that can play out once the players kill Strahd. I don't want to talk much more on Ireena but moving the ending to Krezk in Curse of Strahd makes sense. If we want other characters to be the ally against Strahd, having her story arc end once she arrives in Krezk feels appropriate.

Closing Thoughts

I know this was a fairly long post but I think it let me kind of go off on my random knowledge I have on Ravenloft as well as discuss some changes and liberties Curse of Strahd decided to take. Its a very iconic module and the fact that it has stood the test of time more or less unchanged is a testament to how impressive and popular this module was in the 1980s. It also gave me a bit of an insight as to the decisions the designers made in Curse of Strahd and their reasoning since despite staying faithful to I6, Curse of Strahd generally made changes for the better in my mind. I may have come across critical of Curse of Strahd but that is more than likely my own bias since WotC has somewhat shown disregard for second and third edition canon which has grown to upset me. If I were to expand upon my thoughts on Curse of Strahd, I would want to talk about it as a follow up since I ignored a majority of the module. I6 is fairly short compared to Curse of Strahd. That is to the benefit of Curse of Strahd, since it is able to flex its world building far more than I6. There were also some topics I never talked about, like the the monster stat blocks. Mainly because I don't have anything meaningful to say. I have never learned how to play older editions of D&D and I really only have passing knowledge. I can take photos and add them as an addendum is someone is able to explain what they actual mean.

Lastly, forgive me if I talk over topics several times in this post. It grew in scope and size several times and had a couple of re-writes. My brain is rot and its full of gothic horror.

[stitchzin]

Letter from a Crow

As soon as Rook disappears, Lucanis is the one who decides to tell Viago, the word spreads as Rook's friends begin to read books on how to rescue her. Lucanis goes to Caterina, they meet at the Cassino, and says he stopped her from confessing because he didn't wanted bad luck. Now he feared he would never hear this again.

"She wanted to call me Vhenan... do you know what it means... It means, my heart."

"My poor boy..."

"Raise your head" Illario appears behind him. "You won't avange her while having it down." They were a weird family but they were there, healing some woulds.

But Viago's family was Rook and Teia. And both don't know what to do this time. One day the owner of one of the city's theaters enters the Cantori Diamond, and gives Teia a letter that looked like it had been read several times.

She said that regardless of whether Rook was found or not, Viago should read it.

Rook was unique in relation to many crows, she did not move from the main house after she started earning her money. In fact, she even has a rented room near the theater, but she only used it when she had her nights with friends. Her "real" room was positioned next to Viago's room. Every morning he opened her door and said "Those who earn money lying down are whores, get up", even if Astraea was already awake.

He drank coffee Rook drinked her chocolate, talked about various subjects, nobility and Crow gossip, new poisons and the weather. Teia adored that, It was rare that she and Rook shared the breakfast table, but it was pure entertainment to watch Rook and Viago have the same mannerisms.

Viago was training when Teia delivered the letter, the exhausted body of a man who tried to throw his emotions on anything but those around him. He had returned from a visit to Caterina, who had been through something similar. There was no way of knowing what the first Talon had advised him, but it had had an effect on him.

And reading that yellowed paper, with purple ink and a dried jasmine branch on the page made him freeze. Rook had had the courage to say what he had never said explicitly. And without her there for him to provoke, or correct.

He didn't know what to do.

The only person he wanted to talk to about his favorite's disappearance was herself. Teia and he sat on the balcony drinking wine. The balcony of Rook's room, surrounded by her things he asked the servants to keep it neat. The vases of jasmine that never died made everything smell like her. And he read it again out loud.

Nesryn,

I remember the day I arrived in Treviso, the way I followed Viago because I thought I could rob him he was covered in silver and good quality leather, only to witness a murder. I didn't even feel afraid it was so quick and ellegant. He dragged me by the ear to you, thought I was one of your children and apologized afterwards and turned his back. I think he thought my Vallaslin was a theater painting because of its unique lines.

Despite everything, the following week I followed him, he told me to mislead people and I did it, he told me to deliver messages and I went.

He would give me a candy, a bag of fruit or a silver coin. If he was having a good day, a full meal before correcting my acrobatics. Funny two weeks. But... If I hadn't stolen keys from that smuggler and entered that warehouse and freed him of that trap, he might never have taken me to Villa De Riva. If Viago had been impressed by my peculiar way of moving between the rooftops before, he didn't show it until that day, always so critical. In my 12-year-old mind he hated it, but today I know he corrects it, because he cares.

"Astraea is your name now, Sitara is dead in that desert." I didn't want to stop being Dalish, and when Viago said he would never ask for such a thing, I accepted. I think he just accepted that I would always be this slightly wild thing with blue hair.

I arrived at the Crows knowing much more about hunting and survival than murder and became my unique self, always thinking of a way out, a new trick. Even so, with all this transformation I still saw myself arriving at your house. With bruises, cuts and sore muscles. Learning to make medicines, cook with you or play one of your instruments. You asked me to leave thw Crows, and I asked where. Still you were there when I became a crow, and when I did so well at my job that I earned the family name.

I heald high for many years.

When Antaam arrived, when he caught you, I had to show my gratitude by saving you. Obviously, the Talons weren't happy, but I trusted Viago. Even though I was afraid of being abandoned again. After a lot of yelling, Viago sent me away. I knew he was risking his neck by doing this, so I obeyed. And I didn't regret saving the friends I made at the theater. Nor did I regret traveling together. We passed through villages while I hid half of my face. There I saw a different family, light conversations at the table, lessons on sewing clothes, who would wash the dishes, putting feelings into poems and songs.

It was a beautiful time. And thank you for showing me this family that was made up of our friends. It was beautiful to see worlds within the world, realities marked by a veil that separates them from the rest. Dancing gave me new ways to practice sword and dagger, so beautiful that you had me as a nighttime attraction, using a ribbon to disguise the murderous beauty of my hands.

The thing is, my world is different from yours. In my life, I learned to get up when I fall, to keep walking because no one will save you, to endure pain so that it becomes a surmountable difficulty, to feel the effects of poison before receiving the antidote and to build up resistance. It wasn't easy. But that's what my family taught me. And that's what saved me many times.

Nessie the issue is... staying with you, away from Treviso without being able to return reminded me that Viago is my family. He and I are within the same veil. And the difference between you two is brutal.

You told me that "It's possible to live even after discovering that the world has gone bad, as long as I don't allow the world's evil to seem normal."

Viago told me "We carry death in the shadows, and at the same time we look in the eyes and say: not today."

We have different lifes, different sayings to keep our heads held high in the world we live in.

Being in this family these days rekindled my light and I'm going to use it to deserve to return home. That's why I'm leaving with Varric and Harding. I promised I would only send a letter to Viago through a contact, but life is as untamed as I am.

I'll see you again in Treviso.

Love, Astraea De Riva.

[urauntiefaye]

Fayee, what’re ur thoughts on &team and facefucking?????

&Team and Facefucking🔞

WC: 1323 

TW: Smut, Maki is in this so if don’t like either scroll away or don’t read his, Facefucking, Oral(reader is receiving in makis), nicknames I think in only fumas and nicholas, toys in yumas, bondage in nicholas and yumas, choking, Euijoo Perv, cussing, not really proofread, Let me know if I forgot anything. 

A/N: Some are a little longer than others, but I tried to keep them similar lengths…enjoy hope you like it, it definitely didn’t do something to me write this (my brain chem has changed for the greater good)

Kei-

OMFG KEI+FACEFUCKING*dies for the thousandth time*. Facefucking is definitely one of Keis favorite things to do, doesn’t matter if it’s for a quickie or not. He will do it without being asked and if you asked him, he loves it soooooo much. However, even though I feel like he’ll do it no matter what, there’s just something about him doing it when you’ve been really bratty. Like if you’ve just had a really bad attitude and bratty he won’t hesitate to drag you away from everyone and shoving you on your knees and then proceed to bully his cock down your throat. But if he’s being more gentle I see him having you lay on your back, your head hanging slightly off the bed. When in the position his body is either looming over yours with his hands on your hips, or he has one hand holding your head while the other or either on your throat or playing with your nipples. 

Fuma-

Omg, another one who loves it but doesn’t do it frequently. He’ll only do it if he's super stressed out or if you're already on your knees sucking him off but grow tired. Like the position is always him sitting up, either on the edge of the bed or on the couch his arms naturally stretched out as you suck and slurp. His hand occasionally comes down to play with your hair or to just rest on your head. You come up for air pouting slightly since your jaw is starting to hurt. He’ll caress your cheek and say things like “want me to take over love?”. And once you agree is when he’ll adjust his position slightly, sitting up a little more as he cups your jaw and rubs his tip over your lips. He’ll start out slow, more so just moving your head up and down, but once he really starts getting into it he can’t help but buck up and start to choke you with his dick. 

Nicholas-

So…I’ve thought about this one too many times-, he definitely has you on your knees, hands tied behind your back. Nicholas is the type to rub his dick all over your face, especially your cheeks and mouth. Say “atta girl/boy” or “that’s it babydoll” when you first take his tip in between your lips that are already swollen and red because of the heavy makeout session you two had earlier.  He’s definitely pulling on your hair, thrusting so fast into your mouth but alternating between going so fast his balls are literally slapping against your face to slowly thrusting in shoving it so deep down your throat. And once it’s all the way in he’ll squeeze slightly on your throat. 

Euijoo-

Euijoo is just a perv in my little head. He has so many kinks too but hides it and refuses to actually use any of them on you in fear you’ll think he’s a freak but not in a freaky~ way in a ‘oh…so you’re a freak’ kind of way.  So you would never know if this man ever wanted to try facefucking because he WON'T TELL YOU. You would be led to believe he’s just a super vanilla kind of guy until you stumble across a file on his computer(you asked to use it because yours broke and wanted to do online shopping) literally labeled ‘there is no porn here’. You would click it only to find so much fucking porn, the more recent videos being of facefucking. You would def bring it up to him and say you wanted to try it out. His back would be up against the headboard of the bed, you in between his legs, he’d be super gentle at first scared he’ll hurt you but once you gave him the green light his legs are now bent as he fucks into your mouth. 

Yuma-

Another love of it, he’s either pulling you into a random bathroom stall shoving you on your knees as he thrusts his cock into your mouth. Or you’re at home or on a sweet romantic getaway(or just a hotel at that) with your hands being either tied or cuffed up to each side of the bedpost, your feet also being tied or cuffed to the ends of it. You’ll be laying on your back as he straddles your face not easing up with each thrust, he’s also another hair puller. Won’t let up almost suffocating you but he just can’t help it because the sound of you gagging around him each time his tip hits the back of your throat just sends him into overdrive. It also doesn’t go to say that he has a vibrator strapped on you and a butt plug shoved up your tight hole. 

Jo-

I feel like he wouldn’t be too addicted to it at first. Like y’all would have never tried it before so he wouldn’t know how much he’d be enjoying it. Until you ask him to take the lead and do whatever he wants to you. That led to the now of your body laying side by side to his but ass near his face and your face near his dick. He’ll have such an iron grip on your head as he can’t help but shove his cock in and out of your wet mouth drool dripping down your chin and coating his member. His eyes def roll back when he cums, but instead of cuming down your throat he’s quickly pulling out and cumming all over your face. His cum now mixing with the saliva on your lips and chin. (he’s taking a picture afterwards)

Harua-

He doesn’t mean to do it-, like it always just starts out as a simple blowjob. Your body either laying in between his legs or on one of his legs. Just slowly and somewhat lazily licking from his base all the way to his tip very very slowly. Teasing him at first, once you take his length all the way in your mouth he can’t help but see stars. His composure instantly leaving his body has his body slumps over gripping your hair and fucking up into your mouth. He can’t help it but it always ends up that way because it just feels way too good for him. 

Taki-

He would bring it up, but like mid-blow/beginning of a blowjob. He’d be sitting on the bed on your knees, starting out covering his dick with your saliva and softly sucking his tip. He’d be rubbing circles on your arms as he did this, but once you were about to take him in your mouth he’d quickly cup your cheeks stopping you. He’d stutter out slightly panting because he’s horny asking ‘can we try something new?’. You’d agree and that’s how his spiralling love of facefucking started. Falling in love with not only the power he had but also how you looked. On your knees looking up at him, all pretty like and having tears running down your face. Gagging and whimpering around him as you just let him use your mouth to get off. 

Maki-

It depends, I feel like Maki loves doing it but he also loves just sitting back and letting you worship his cock. Also when it comes to blowjobs in general I feel like he’d like it to be in the 69 position as it lets you both feel good(and because he just loves the feeling of you moaning around him). Starting out with him eating you out and you sucking him off. But once you let his dick fall out of your mouth because you needed air and also because his mouth just felt so good on you. He’d reach down grabbing your head and thrusting back into your mouth, now bucking up as he kept your head still. His mouth is not stopping any time soon as well. 

[deathmetalunicorn1]

Genya Shinazugawa!reader as a member of the Straw Hats with Sanemi being a member of the Whitebeards and not happy that his brother became a pirate since he is scared of losing him

-It was a massive party that had been planned out by Whitebeard, wanting to meet Ace’s little brother Luffy, hearing how the little rascal and his crew had been making big news all over the Grand Line.

-Luffy took little convincing once Ace said there was going to be a lot of food, and the two crews agreed to meet on a summer island to party together.

-What they weren’t expecting was that there was another set of siblings on the two crews, you, who was on Luffy’s crew, as he met you shortly after Zoro and Nami, and Sanemi, your older brother who had made a name for himself on Whitebeard’s crew.

-Unlike Ace and Luffy who had a good relationship, you and Sanemi had little to no relationship, after he left you, abandoning you after your whole family was killed by cruel marines, only to be killed by Sanemi, leaving both of you heavily scarred, both inside and out.

-He told you years ago that he was going to become a pirate, to become strong and prevent any more marines from doing anything like this, and when you expressed your interest in doing the same, he beat you up before leaving you, telling you that someone so weak would never be a pirate.

-He only said that and did that to you to make you afraid, to keep you safe, with the hopes you would get a normal job and live a normal life like how you deserved, but his words only drove you to work harder to become a pirate.

-Now you’re one of two marksmen on Luffy’s crew alongside Usopp, but while he used slingshots, you used actual guns, ranging in all styles and sizes.

-Despite your rather gruff personality whenever you met anyone new, your true personality was quick to show- a tsundere with a heart of gold- you were such a sweet and kind person- it was honestly adorable how gruff you tried to portray yourself as.

-You were also very respectful to everyone in the crew, as they were the ones who made you into the feared pirate you were today. Now if you could just catch up to your brother’s bounty, even surpassing it, you would be even more content, as that would prove to your brother that you were a great pirate!

-The initial meeting as Luffy leapt off the ship and ran to Ace, tackling him down made smiles go all around, both crews happy to see the reunion.

-As the rest of you got off and headed towards the large group, one person stepped forward and everyone seemed to freeze as Sanemi looked like a demon was surrounding him, looking furious.

-You glared back, a hand coming to your hip as you looked angry as well as he stomped over, “What the hell do you think you’re doing?! You’re not supposed to be a pirate!”

-You glared back, now being able to fight back as you were bigger now, “You don’t have the right to lecture me when you abandoned me!”

-Everyone looked between the two of you, realizing that you were siblings as you both looked similar as you both shouted back and forth at each other. Sanemi threw a punch at your disrespect, as you should listen to him since he’s older, but he only grew more enraged when you dodged his blow and threw one of your own, sending him staggering back after you nailed him across the face hard.

-The two of you were quickly in a brawl, leading many trying to pull the two of you apart, even Whitebeard and Luffy who were both yelling at you to knock it off.

-Sanemi punched you hard, sending you flying back, “You idiot! You weren’t supposed to be a pirate! You were supposed to live a normal life!!”

-You quickly rolled to your feet, wiping your bloody nose with the back of your hand, “How was I supposed to do that when our family was killed, and you walked out on me?! Who was I supposed to look up to in order live a normal life?!”

-Eyes went to Sanemi, hearing how he left you after your family had been killed and his eyes went white as he charged with a furious yell, and you did the same.

-At the very last second, someone appeared beside the two of you and punched you both hard, sending you flying. Nami breathed in deeply, her fists smoking as she stopped the fight easily.

-You both were quickly on your knees in front of her as she chewed you both out, a lump on each of your heads, but you were smart- knowing not to talk back to Nami, but Sanemi didn’t know this listen and by the time she stomped off, Sanemi was covered in lumps and he was face down in the dirt, unable to move.

-The two of you, as punishment, had to drink and eat together, to reconcile, but there was nothing like that, only eating and drinking while glaring at each other.

-It was Sanemi who instigated conversation with you, “You’ve gotten tall.” You glanced over, eating another piece of meat, “Yeah- Sanji keeps us all fed well.” It was awkward for anyone listening to the conversation, seeing how the two of you were trying.

-By the time the party ended with everyone passed out, leaving only you and Sanemi, or so you thought, he finally spoke, “You’ve gotten stronger- that punch was impressive. Guess I was wrong about you being weak.” You knew that for Sanemi, that was as close as he was going to get to apologizing to you.

-You gave him a grin, lifting your mug, “I was motivated to prove you wrong- now all I have to do is surpass you!” he grinned in return, welcoming the challenge, “I’d like to see you try!”

-While not completely forgiving him, you were at least willing to be a little nicer to him, something Luffy and Whitebeard, who were also awake, shared a grin over, happy to see you two getting along.

[hetaestoniahq]

"Who is Estonia?"

A series of responses heavily based on little facts of culture and history with the Nordic-Baltic 8. This is just a fun little short way I thought of to talk about their relationships and history. Pretty much everything is a reference to something. This is all for fun! :D

FINLAND

Two out of three of the only independent Uralic countries to exist. You’d think it would be a heavy burden to carry, but it’s easier not being alone.

Even when I was the one to wrong him, Eduard did not change his stance. Guess it's part of being family to not always see eye to eye. It never discouraged him from rushing to my aid even when things were hard for him too. Eduard refused to let any hardship stop him from bleeding for my country. Ridiculously stubborn he is - but it’s been one of his greatest strengths. Of course I repaid him, then he proceeded to do it again. It's like a cycle of fighting for each other's freedom, one I was unable to continue because what I could do had became incredibly limited. These limited set of actions still seemed to mean the world to him. Re-independence had its rough patches, but more than ever were we glad to both be free and have each other again.

Eduard always wants what's best for both of us. He doesn't want any one of us to end up in the hands of our Eastern neighbours and puts so much time and effort into our cooperation and safety. Why do you think he became so dedicated in Cybersecurity? If he can't be a physical powerhouse, he'll be a powerhouse of the mind. Even when I was uncertain of what I will do, he did not pressure me. Instead, he promised that no matter what I decide, he will always be there for me, no matter what.

The only flag I want to see down south is a tricolour blue-black-blue, if the sun one day rises without it then I will know I have failed as a brother.

🇫🇮💙🇪🇪

NORWAY

I didn’t expect us to have many things alike outside similarities that are basic and expected for a northern nation. Never expected that something as simple as common patterns among our sweaters, hats and mittens could mean a lot more in hindsight. Another is the familiar feeling of having been thrown between nations and finally being independent again- even if our stories on that are much different.

When life told him no, he looked for another way- even though his government in exile continued to operate elsewhere, the mere fact that it was founded in Norway seemed to mean a lot to him. Perhaps it was my way of making up for the time he bled for me as well. When his own freedom was compromised, he would not sit idly and watch as someone he cared about was fighting for the same reason. As small as it may have seemed in the big picture, it is the passion and care that counts.

Estonia has always wanted to bridge any gaps between us. Inviting my people to sing in song festivals, making work deals, rushing to create a flight connection for a direct method of transport. It seems like every year Estonia finds ways to bring us a little closer, be it economic or cultural.

I too know the weight of sharing a border with Russia, partially to have so much history of dealing with him.. The Baltic’s strength is commendable.

Keep singing, songbird.

🇳🇴❤️🇪🇪

LATVIA

Long ago I used to hate Estonia. We used to be at each other's throats declaring each other “blood enemies”. It's a little funny looking back on it, the way history went on to tie us so close together. Together we saw countless wars, famines, storms, rarely were we separated through it. Sometimes I'd ask him “What do you think the world will throw at us next?” And he'd look at me and simply shrug “We'll see.”

A moment of truth was when we both fought for independence, for two new nations to be formed.

When I was backstabbed by the people who had tormented both of us for centuries, It was then I saw how our relationship had changed over the ages when Estonia without question stepped up to fight by my side. So casually my fight became his fight, no strings attached.

Estonia, his culture and language is notably different from mine, but must that mean we can't be brothers too? What brought us together was our experiences, not our blood. This applies to most of us, all I have been left with in regards to any sense of family is Lithuania. It would be a sad reality to live in if I considered only one country as worth being brothers with.

Estonia with his bond with Finland is the bridge that ties the Nordic-Baltic 8 together, but that doesn't mean me and Lithuania don't contribute to it either!

🇱🇻❤️🇪🇪

LITHUANIA

You'd think that with how different our history till the last century is, that I would be a weak link in all this, right?

I would not say so, even if there's some truth in the fact that I am not as close to Estonia as some others might be, it's the continuous effort to bring us together that counts.

Our old history includes fights here and there, the Balt Estonia once held close is no longer with us and with the Finnic brothers he has seen fade - he shares our pain of loss. Our enemies have often been the same, but back then we failed to see unity. What would have happened if we realised that far sooner? We’ll never know.

Our time together under the commonwealth was brief but the time under Russian rule slowly gave us a new opportunity.

The moment all three of us became independent, Estonia was the one to seek ways to bring us closer. Of course the main motive for it was to stand together stronger in the scenario of our east neighbour attacking, it still planted seeds for more than just that.

Latvia may be the one linking the Baltics together, but if it was necessary for me to be the one to reach out and hold his hand instead - I would not find it strange.

I'll always enjoy sitting back and enjoying some ice cream together, basking under a shared free sun.

🇱🇹❤️🇪🇪

ICELAND

I know the feeling of not being seen or heard, I decided a change was needed and took the first step. I never expected how much my simple words of “I recognize you as an independent country” would be worth more than gold. I became seen as a true friend, a “fellow small country”, an icebreaker, a name immortalised on a memorial- for just stubbornly expressing my stance? They seemed surprised when I showed my gratitude with a similar gesture.

Neither of us care for large mighty extravagant buildings as tourist attractions, instead we value and guide people to explore what mother nature has gifted us. I appreciate having him around. Even if I were the only Nordic to feel this way - I would still speak up for him.

🇮🇸❤️🇪🇪

DENMARK

Resilient, stubborn and always ready to improve - that's how I would describe Estonia.

I was part of the era that turned his history dark, I had celebrated victory for conquering a fierce land. When I had pointed my sword to his throat to submit him to the Danish crown, Estonia stood up and said “I will never die, no matter what you do to me.”

That was a promise.

Instead of looking at me with distaste for what I did to him so long ago, these memories instead are proof that we have always been connected. The flag of my nation - Dannebrog, stands as the strongest symbol of that. Hah! Why do you think Tallinn keeps showing it off all over the place? Give the coat of arms a closer look while you're at it! My guess is it's how Eduard expresses holding something dear.

It was like a hit of nostalgia to come back 700 years after that battle, hearing of Eduard’s fight for independence.

Like repaying a debt of honour, I couldn't sit back and watch a wounded land fight against a giant alone. I knew I had to do at least something, even if the government was not the most supportive of it. Two hundred men out of two thousands who were able to go and able to risk their lives in the end may seem small, but their effort was a success that brought honour to the crown.

This turn in history gave us another chance to start over, kindling a friendship neither of us thought we could ever have, before being struck with another turn that took him away from us again. I sat in silence refusing to accept it until he and his Baltic brothers reminded the world of their existence and stepped up to stand in support.

I made sure to keep the promises I made. I had 50 lost years to make up for, so I gave a hand in as many areas as I possibly could.

I'm proud to be his friend and I know that if he falls then I might too, which is why I know I can never let that happen. Never again will I let that happen.

🇩🇰❤️🇪🇪

SWEDEN

Most people don't realise how far back we go.

I saw Eduard at his fiercest point, a land that would strike fear into kings and just as easily burn what he didn’t like. He wasn’t someone to upset and yet I kept poking at him like a bear with a stick.

He allowed my people to come as settlers into uninhabited areas, despite his experience with foreigners taking and taking from him. Those settlers seemingly became a natural part of his nation, honoured even if most of them are now gone.

Something I quickly learned was how studious Eduard is, someone who picks up new skills incredibly fast. To think Eduard steadily became one of the most literate parts of the Russian empire back in the day makes me wonder how much of it was the seeds of education I planted or his hard work in fighting to keep it.

I tried my best to give my part in his fight for independence, turns out my support in this fight had been something his people had fantasized for decades. To think that after the way I left the people would continue to hold Sweden so dear in their hearts as the words “Good ol’ Swedish age” would be carried from generation to generation. Of course once given the opportunity we reconnected, provided a warm welcome.

Guilt gnawed at me every year as freedom had been so easily robbed from him again. I made mistakes. Mistakes I've apologised for repeatedly. Because of all the people given a chance of freedom and a normal life that my land gave - it's been forgiven. Sweden became a place where people could gather and continue the fight in safety - I am proud to have been able to have a role like that.

I am glad to have been given the chance to now stand as close to equals as possible.

All I hope is that Eduard learns to truly value and love himself more, do not let the ignorant voices shake him now.

🇸🇪❤️🇪🇪

All of us together, we will thrive as the Nordic-Baltic 8 and all of us are glad to have Estonia be part of it. It wouldn't be the same without any one of us, which is why we will continue to stand together no matter what others try to claim we are.

With love,

Northern Europe

🇮🇸🇳🇴🇩🇰🇸🇪🇫🇮🇪🇪🇱🇻🇱🇹

[fandom-geek]

yeah, lettie's beliefs have me very curious. i've been taking notes during the chats and she does call tlaloc an "ancient" god, so i think sol and lua dualism has mostly replaced the aztec gods?

interestingly, la flaca (aka sante muerta) is also known as mictecacihuatl - the aztec goddess who was consort to mictlantecutli, ruler of the underworld, mictlan. i think lettie is talking about mictlantecutli when she talks about michlan's embrace? either way, either most of the aztec gods have been absorbed into dualism in a folk religion way, similar to sante muerta irl, or lettie is deeply fascinated by her people's religious history.

on the colonialism front, aoi mentions she's from canata - which is much closer to the huron-iroquois word "kanata" (village/settlement) than canada, if not by much. i don't think we learn much more about canata from her, so i'm not sure if that's meant to have the same colonial history or not.

plus quincy is speaking multicultural london/black british english, which only came out of the windrush generation and their heavy concentration in london, so jamaica definitely has some sort of colonial history.

on the discrimination front, it doesn't seem like sexuality-based discrimination is really an issue? i mean, we've got six bisexuals in the hex and none of them will make any comments/worry about being in a same-sex relationship or the fact that albrecht has a male lover. it could just be because they're all bi, but it strikes me that their world has a much more liberal view on sexuality - presumably courtesy of the lack of christian influence.

(complete side tangent, but if there's no christianity, i'm guessing there's probably not islam either? not that it directly contributed to the rise of islam, but many of its founders were essentially generic abrahamic worshippers rather than linked specifically to judaism or christianity, but christianity is evangelical unlike judaism, so you wouldn't have that spread in the first place to led to the rise of "generic" abrahamic monotheism... which really leaves the question of whether judaism exists or not, with that in mind)

i've completely assumed that dualism is 1999's equivalent of christianity. quincy has a line in one of his rank 4 convos (convo 5 on the wiki) where he says "gave my auntie so much shit fer draggin' me to church every sunday, kept sayin' lua and sol were a waste of time", so using that instead of temple - which i do think eleanor uses a few times - reinforces that to me.

lettie also grew up in tenochtitlan city, which seems to be outside of libertatia, but we don't know if tenochtitlan is a city-state like hollvania or part of a bigger country. it could also just be that tenochtitlan was never razed in 1521 like it was irl, and that's why the city kept its name.

btw, on the topic of the orokin keeping aspects of dualism - one of the convos with eleanor reveals that komi is from their time, and it's meant to represent the "wedding-war" between sol and lua. she mentions this when you're talking about it:

Everything's about the same two essential principles, you know? Mind and body. Symbol and meaning. Sol and Lua.

so the fundamental bits of dualism were pretty identical between the 1999 and the early orokin era. also, the wiki omits it, but the litany of the dax about the sun and moon seems extremely in line with what we've heard about dualism in 1999, which is fascinating.

aoi does have some conversations about how she's judged as ditzy, so there's definitely some gender stuff going on, and i think eleanor will mention that how ballas treated lotus shows even the future hasn't got rid of that.

i don't think 1999 has the marriage expectations, per se, but i completely agree that the orokins definitely did. though given their bioengineering was at the point that they built towers out of flesh (e.g. unum), i'm fairly sure consummation was not at all expected.

albrecht and loid's relationship intrigues me on a few levels, to be honest - we're told repeatedly that it was taboo for non-orokins to be in relationships with orokins, but that never comes up in the context of those two. we don't really know what a low guardian was beyond sorren being one, so was it just a taboo against dax and low guardians (if they weren't a subgroup of dax), or any non-orokin?

if it was any non-orokin, then no wonder loid isn't considered a father to euleria - though that might be influenced by how everyone's memories have severely deteriorated due to the infection, and how necraloid had his emotional centres removed. i do love loid's story about kalymos (as dark as it may potentially be) because it's really clear that he was basically part of the family, and his rank 5 idle dialogue reinforces that.

on the whole, this sort of stuff makes me really hope we get to see more of civilian life in the origin system. the closest we have is fortuna, but that's a very specific sort of life under the corpus. aoi talks about clubbing - are nightclubs even a thing in the origin system? i can't see the ostron or grineer having them, but maybe for the corpus? the glimpses we got in the new war of "normal faction member" life was great, but even veso's experience is probably quite removed from whatever experience a corpus civilian would be living.

it's a good thing that quincy lives in an alternate timeline, otherwise i'd be very tempted to point out that the uk only introduced tuition fees for university in 1998 and he would've gone to uni for free.

and even then, fees were originally means-tested so quincy probably would've been exempt from... the £1000 a year tuition fees.

anyway, i know this was probably done because digital extremes is canadian and the biggest chunk of this game's playerbase is american, where tuition fees don't really seem to be regulated by the government, but it would've been so nice. now i've just got to wonder what worldbuilding implications there are for all the brits to be calling uni "college" (college is mostly for 16-18 year olds here) and for tuition fees to start even earlier than they did irl.