#this was meant for a question I got…

[kawaiialeisha]

”Just a loser!” 🌀╎O ~ 🎶

All aboard!! 🚂

[chloesimaginationthings]

Happy one year anniversary to this FNAF post,,

[starry-bi-sky]

mmm throwaway conversation between Dan and Danny that popped into my head that I had to write out:

"You spent ten years being a one-man mass extinction event, then went back in time and fought me, and lost." Danny snarls, arms crossed and throat tight. His mouth pulls back to bare dagger-sharp teeth, and his eyes burn with the familiar thrum of ectoplasm heating up behind his eyes. "If I didn't believe you were half of Vlad before, I do now."

His other self -- and really, can he even call him that? He's half of Vlad too. Two halves severed from each other and welded together to make a new whole, -- snaps his head over to him. Wild-eyed and furious, he looks unlike the man Danny fought before, the one unruffled and untouched, unbothered by the world around him. It's familiar, but not like the way a reflection is.

"What's that supposed to mean." The Other hisses, matching Danny's scowl one-for-one with fangs much bigger and sharper than his.

But there's a reason lions fear hyenas. Danny matches the rumble in The Other's chest with one of his own, and shoves his face close to his. "I don't lose."

[ezlo-x]

@inthestripclubstraightupjorkinit

Yknow when I think abt it a little more deeper, I don't think I went into further detail abt it!! This is for sure one of the aspects that are in "spoiler" territory cause it is something that happens far later on in the story, but it is one of the main premises of my au.

Ganondorf obtains the Master Sword; better yet, Sheik champions Ganondorf through the triforce of Wisdom to wield the Master Sword. It wasn't a fate that Sheik wanted, as both of them are now responsible to fight The Calamity. Ganondorf sees Sheik stressed over this but reassures her that he will wield the sword and help her fight the Calamity. At this stage of the Master Sword, it is dormant, the Master Sword has not been used in more than 10k years. While Ganondorf may wield this ancient sword, he must also prove his courage.

This part of the story is one of the segments I'm planning to rewrite to make it fall into place and be more cohesive than it is. So there's a chance that once I reach to this point in my story there could be somethings changed :] The way how Ganondorf obtains the Master Sword doesn't change however (or I will try to not change it)

[art-is-kayos]

Dantlings

Bonus charon:

[sevenines]

i saw this tweet and found it interesting for two reasons. one is that some people base how good cartoon network would be to toh by how it treated su, and despite the fact that su’s treatment by the network was considered poor at the time, now its thought to be exceptionally good in comparison to modern shows.

two is how exactly su got impacted by a limited budget. a common criticism is how characters like connie, peridot, and lapis are left out of missions. but balancing a lot of characters is not only hard but also costly (extra animation, extra voices—it’s been revealed that the show is limited to a set number of characters per episode otherwise they’re over budget). animation mistakes are not uncommon since retakes cost extra. the entire reason the original show got cut short was due to loss of funding!

[nenoname]

stan twins the canon cptsd brothers i will always think about all your unaddressed issues that would make perfect plot fuel for your spinoff

and also the whole 'stan getting that poem by bill via a website which contrasts with bill getting one from the axolotl via a website' foreshadowing thing

like idk i would love something like su future but like more optimistic, aka not an accumulated breakdown that has to be mostly resolved off screen at the end :/// but something thats being kinda addressed throughout? (although would love to see one of them turn into a monster thats always fun lol)

stan having severe issues from his dad and those years of being homeless that we keep on getting more info on but never really getting confronted on (the drifter catalogue and tijuana incident...), him being completely alone for like twenty years when running the shack before soos comes along to the point that 1998 is noted as his low point, and him not really learning about bill+what he did to ford until ages after he killed him if he ever did get the full context

while i think amnesia and everyone seeing him as a hero actually helped with stan's 'i'm a worse version of my brother' thing its still a lingering issue too and we now got him being insecure over his own hands

ford being immediately thrown from 'being tortured by bill' to 'being stuck in the multiverse and being chased by bounty hunters constantly', him fully expecting himself to die when destroying bill, and him only now being safe for the first time in 30 years ....relatively safe, he's still in constant danger because of course he is

idk in the end the series wants them to be happy and they deserve it, its why i wasn't too worried about the book being like 'ooh bill is back!! and the book is haunting ford' thing cos i knew they'll be ok

[beatcroc]

there's no way the bathroom at peppino's pizza is actually that big but ¯\_(ツ)_/¯ . hey ummm anyway.... i care them...... anyway there's a lil ramble on my take on fake pep's like psyche or whatever in tags on the og post if ur into that kinda thing :y

hey! it's a series! fake peppino world tour: [noise] [noisette] [peppino]<- u are here [gustavo] [gerome] [noisette again]

[ganondoodle]

saw a few posts talking about ganondorf and while i dont want to uh .. risk having to argue with strangers ... i cant shut up entirely (you know me)

(in my opinion that is probably missing alot or just not as well read as a lot of others since i really just say what i feel instead of knowing what im talking about-)

its kinda hard to really talk about him bc hes so .... steeped into tired old stereotypes and harmful tropes with intentionally so little else, if anything, that you almost always end up playing into them if you just take what canon tells you (and alot of people love defending it too :/ )

to what degree is it really his character and what is literally just some things that were decided he does to make it clear hes the one note evil guy, to justify whatever horror is done to him and overshadow/bury what anyone else has done, to not think about maybe he had a point bc look how much bad stuff he does! if you made him fight for the freedom/sovereignity of his own people against an oppressive hyrule he would be in the right- so ACTUALLY he opresses them violently and selfishly even WORSE and then wants to murder everyone tm that dont bow to him bc thats what evil people do! and hyrule is justified in taking them over in turn bc their rule wont opress them :)

its like a game of trying to one up whatever hyrule did with something more bad tm bc otherwise it gets hard to justify killing him over and over

im not saying hes not allowed to be prideful, selfish or violent of whatever, but you gotta know that all of that IS one of those ways that is supposed to make it clear how evil tm the desert guy is; it doesnt matter what hyrule has done bc look! ganondorf is so much worse! and im sure hyrule had their reasons :)

hes never actually allowed to interact with his own people, hes isolated/alienated from them and their culture constantly, hes their king yet he .... violently takes over "free" gerudo villages (what? what for?? what does "free" even mean? they werent following him? their king?? were they .. allied with hyrule, who are good tm, which means they were living in paradise aka "free"? (bc they are good ones tm bc they rejected their evil one in a hundred year man king ruling violently over only women .. *cough*)), yet hes never seen fighting alongside his own people (the most is them .. silently serving him in what, one scene??) and then he drops them the second he has evil MONSTERS to fight for him instead and orders them to kill every living thing or something bc thats obviously evil, he doesnt even care about his own people! how evil! why would he do that? idk, hes the sole, selfish violent evil man opressing his own people, who are all women! that what they do! and WE need to free them from HIM (and they should be thankful to us for it and try to attone for ever having birthed him in the first place) (or he is the reason tm why they suffered/were wiped out and he is literally the sole survivor of his people, bc he doesnt care about ANYONE but himself)

i dont mean he has to be a goody two shoes character (you can be an ass and still do good/be in the right btw) bc more often than not what that actually means is being allied with hyrule bc those are the designated good guys and being on their side makes you automatically good (eugh) but do you rly want to just ... play along with all the propaganda?

imo, aside from being obviously racist, thats also so boring? does selfish, violent evil man king with no people (bc hes not part of them or fighting for them, hes always presented as the worse oppressor) and nothing else to him that only wants to murder bc ... idk evil? sound interesting to you? (to the point that the ONLY time we were shown literally any sort of vunerabillity, end of ww, that theres people trying to argue he was trying to to manipulate you even there?? what for? why? are you trying to reject literally the one glimpse we are allowed into his perspective qoq)

why do alot of people reject the idea so much to consider he actually cared about them, how maybe that prideful and selfish look is just a facade, or even a fabrication? violence that had to be met with violence, not for any sort of selfish reasons, but for his people and was met with a fight he could not win yet kept fighting on, perhaps losing himself more and more in the process, or a lie told so often that it became reality, if someone has nothign left to lose, if all was taken from them, maybe even blamed on them, why not play into what you where made out to be, you cant convince them otherwise anyway its the reason hes never shown to have done a single nice thing, never seen non angry/smug smiling, how he has no one at his side unless he forced them, how he is not allowed to be human even a little bit, never shown being anything but a boring ass trope personified, hes less a character and more a big bundle of racist tropes that fights you at the end (sorry) while looking epic so trying to meaningfully analyze him just by what we are told and shown in canon will always fall kinda flat or end up playing righ into every shitty trope

that is my opinion :I

[kradogsrats]

Revisiting the Arc 2 Opening

So particularly @raayllum had done some detailed analysis and predictions based on the comparison of Viren and Callum's variant arc 2 openings, but I want to return in the post-s6 space now that we have Claudia's opening as a third point of comparison because that addition has an impact on how the original two relate to one another and what each one is saying.

The basic sequence of each opening is the same: from the initial star-map zoom (associated with destiny/time-blind vision of future events) the camera circles the principal character, placed at the celestial Sea of the Castout, as they turn to stone. Aaravos's giant hand swoops down and plucks up the statue, now contextualized by size as a pawn or other game piece, to admire from within his prison with a satisfied smile.

The most important point to understand about this sequence is that Aaravos doesn't personally turn Viren, Callum, and Claudia to stone, but is able to capture and manipulate them as pawns because of it:

This doesn't seem like much of a distinction at all, particularly because the petrification that results in Aaravos's satisfied claim on each mage is a representation of dark magic, which is... what allows Aaravos to influence/control those who resort to using it.

We get the direct link between the heart, dark magic, and Aaravos's influence/control explicitly spelled out by s6, and (as many noticed before)... go figure, in all three openings the corruption petrification begins at the heart.

Now, Callum is actually the only one who knows explicitly about the connection between dark magic and influence/control by Aaravos. Viren has sort of intuited it by the end of s5, in that we can see by portions of his dream that he's aware on at least a subconscious level that he was not in his right mind during at least the latter half of s3. This is why the distinction between the petrification being a factor allowing Aaravos's control, rather than an effect of it, is important—the conflicts and dynamics being represented are more complex than that. For example: Viren's opening, it turns out, isn't about Aaravos at all.

That's a Reach

When the primary arc 2 opening, featuring Viren, was revealed as part of the lead-up to the s4 release, there was a decent amount of speculation as to what it meant—the connection with Avizandum's death was recognized immediately, but what did that signify? Would there be further-reaching direct consequences of Viren's involvement and the archdragon-killing spell? Would Avizandum himself somehow have expanded significance? What is Viren reaching for: Aaravos, redemption, another chance at life?

Mostly, it set the tone for s4 and arc 2 in general, particularly regarding Viren's character arc, with strong mood and themes of helplessness, the past, regret and consequences, cyclic harm, and (of course) death. Not even to mention the looming presence of Aaravos and his relationship with Viren as his pawn. It was a vibe.

It wasn't until after s5 and/or s6 that the opening came into full context: Avizandum, in his final moments, turns his back on the battle with Harrow—the cycle of violence that he, himself, has contributed to perpetuating—and reaches for the child he will now be unable to protect from that violence.

Viren, as it turns out, does the exact same, as we see explicitly in s5 and continued implicitly in s6. Like Avizandum, he reaches for his children, unable to save them from the damage he has already done—all of it through dark magic.

On its own, it's an elegant implementation of the parallels TDP is so fond of to demonstrate that both sides of this long-time conflict have inflicted harm on each other and themselves in very similar ways for generations. Even at the time of s4, however, we had Callum's opening obviously derived from Viren's, and after s6 we have Claudia's, as well—both of which come with their own context that builds off of Viren's in different ways.

Lost Child

So while Viren's opening actually has very little to do with Aaravos (prior to Aaravos's actual appearance grasping him as a literal pawn), Claudia's (and Callum's, which we'll come back to in a bit) is difficult to interpret as not being related to her personal dynamic with Aaravos.

Interestingly, Claudia's opening places her at a very specific point in time, since it's visibly between two major physical changes to her body/appearance—her lower leg is missing, severed by Rayla in the Sea of the Castout at the end of s5, but she still has her long hair from before prompting Terry to cut it off for her early in s6. Even more specifically, she has the half-and-half split of black and white hair, which is already majority-white in s6e1:

This is Claudia in a moment we don't see on-screen—when, having failed to collect Aaravos's prison and not knowing that Viren has been offered and rejected the Infantis Sanguine spell, she turns to Aaravos in the dark of night and is willing to do anything to save her father.

I could do a whole thing here about the nature of Claudia's perception of Aaravos as both a paternal and divine figure, but the relevant part is that her only association between dark magic and Aaravos is a positive one—as far as she's concerned, Aaravos gave humanity dark magic as a benevolent gift, and her main reason (at least that she's willing to voice) for hesitating to give it up is that Aaravos kept his promises to her and it would be right to keep her promise to free him. In her opening, she goes from pained and defeated to looking upward with total trust and hope—looking to Aaravos the way she would have looked to Viren.

Her petrification shares the single tear with Viren and Avizandum, really cementing her place as another loop in the cycle of harm between humanity and Xadia that has dark magic at its heart. That callback to Viren's opening also puts hers in dialogue with him as much as with Aaravos, placing her in the same position as he is in a reflection of his horror and dismay that she has followed his path and example so closely.

Given that Claudia dramatically changes appearance (and, to an extent, attitude) immediately after this opening is introduced, it's possible that we'll see a different variant for s7... but given the end of s6, she actually hasn't really changed all that much. She has doubts about how to proceed with her life after Viren leaves, but as soon as Aaravos re-enters the picture, her conviction is back. She may not have done any dark magic after s6e1, but I don't think that's because she's decided to give it up.

Key Framing

Given the context of Claudia's opening, Callum's opening becomes unusual because it references Viren's without tying back to Avizandum and that cycle of harm. It's still on some level about dark magic, but Callum's relationship with dark magic isn't tied up in family and inheritance like Claudia's and Viren's are—instead it's focused entirely on fate vs. freedom, and on Aaravos specifically.

Callum's opening appears only for s4e4 ("Through the Looking Glass"), where he is possessed by Aaravos and it is established that his single use of dark magic is what allows that control, and for s5e8 ("Finnegrin's Wake") when he uses dark magic a second time. The shared opening puts those two episodes in obvious dialogue with each other, since s5e8 never makes explicit that the danger of dark magic for Callum is control by Aaravos—something he has already asked Rayla to end his life in order to avoid.

The focus in Callum's opening, both by its visual prominence and Callum's own gaze directed at it, is the Key. While Viren and Claudia's petrifications end the way Avizandum's does—with the single tear—Callum's ends with the Key in a blaze of light.

I expect we will see Callum's opening return for s7, possibly even as a primary opening, but it will almost certainly be recontextualized at some point and possibly even changed to a variant that reflects that new context. The Key is an element that will contribute to Callum's doom or salvation—or both, as a key can both lock and unlock—and its prominence in his opening reflects that and will likely be informed by how that resolution develops.

All of Us, Stardust

Speaking of alterations to the openings:

The final, altered version of the Viren opening kicks off s6, acting as a last, fun little extension of the "is Viren dead?" cliffhanger of s5. Aaravos's hand reaches down as usual, but instead of firmly grasping the petrified Viren, he very briefly hesitates before pushing it slightly, instead. The petrified Viren then crumbles and collapses into dust.

We first saw (or rather, had described to us via frantic convention attendee note-taking) this opening at the first reveal of s6e1, which was originally shown without any of the scenes revealing Viren to be alive. There are a lot of ways it could be interpreted, from a straightforward "he'd dead, Jim," to my own kind of fanciful theory from the time regarding Viren, dead or alive, having been made unusable by Aaravos as a pawn.

One way to contextualize this opening is with this old illustration from Patience, which ties in closely with the Aaravos chess/pawns motif (and was a significant part of contextualizing the arc 2 opening as "pawns"):

Now, there are a lot of things about this image that are important, not least the confirmation/reinforcement of the chain of manipulation of dark mages by Aaravos across thousands of years from Ziard to Viren, with the implication of Callum in the future. What I'd like to call attention to is that in chess, tipping over a piece is a gesture specifically used only with the king, and specifically to indicate that you are resigning the game and the opponent is victorious.

I don't think there's anywhere we've seen Aaravos truly lose, except for possibly when he was imprisoned, because his plans have levels of redundancy that mean they don't depend on any given individual—a game of chess hinges on the king, but Aaravos is essentially playing six or eight interconnected games at once, and a loss on one board only reinforces his remaining pieces on another. Losing Viren, deliberately or not, empowers his influence over Claudia... exactly as we see in the sequence of arc 2 openings. It would be difficult for them to have replicated the tipped-over/toppled king imagery with the petrified Viren without having to do some labor-intensive camera work on the existing opening pattern (e.g. do they show the ground when he falls? What even is the ground?)—so I think there's a strong likelihood that him crumbling to dust is meant to have a similar resonance.

Anyway, I'm kind of dancing around some complex theorizing and analysis of Viren's death that I go back and forth on depending on the day, but basically I do still think the important takeaway from this opening variant is that as far as Aaravos is concerned, Viren is off the board. That it's the opening for s6e1, rather than a special use for s6e8 (as Callum's variant openings are handled) is also IMO a positive sign regarding Aaravos's loss of control and direct manipulation of Viren over the course of s6. I don't think we've heard the last about Viren, and between Claudia, Soren, and Kpp'Ar there will definitely be a multifaceted interpretation of his legacy with significance in s7.

Opening the Final Season

Ultimately, given the dialogue between the three (four?) variant openings we have seen so far for arc 2, I think for s7 we can expect:

the Callum variant will appear at least once

at least one new Claudia- or Callum-based variant, OR possibly even an Aaravos variant

a new variant (possibly one of the ones from the previous point) to close out the arc for at least s7e9

That's my fevered ramblings about this 20-second repeated sequence, thanks for coming to my continuing insane TED talks on this and other ridiculous topics.

[dustandshadows-if]

Part 1 of Chapter 1 is here! It's about 13k words long. There will be another update later this month with the rest of chapter one, but if you dont want to wait, you can enjoy part of it now!! If you spot any errors, please feel free to let me know. Hope you all enjoy<3

Find yourself in a very bad situation in an alleyway.

Meet your new vampire best friend even if she doesn't know it yet.

Find out the voice in your head is actually kind of mean to you and not just a companion.

Meet a warlock and contaminate their apartment in who knows what.

An entirely new look to the demo<3

And some character customization!!

Play the demo here!

Also, thank you to @losergames for the beautiful template it really helped me out<3

[seiwas]

SEL MY SEL …….. crawling over here for the ask game …………… you already know . who i’m going to ask for phdkdjdkdb IN MY DEFENSE I WILL NEVER GET OVER YOUR VERSION OF HIM !!!!!!!

….. sugu ….. with ’sun’ ……. maybe 👉👈

(🍵 <- a little matcha for your troubles … good luck with the writing exercises my loveee <33 i’m cheering you on!!!)

ARI 🥹🥹🥹🥹 hehe ofc i shall write sugu for u! writing him is always so fun 🥹 thank you for the prompt, and for the matcha!! i will be sipping it as i write this 🥹 it is not a trouble at alllll!! esp if it's for youuuuu 🫶

contains: beautiful, gorgeous, sexy neighbor suguru, mood can be a bit unsettling... honestly a little stockholm syndrome-y (does this count as dark? idk 😭), skewed concept of reality and time

suguru + sun

you move into a new neighborhood on your 24th birthday.

it's a quaint house, fully furnished with wooden panels lining its contemporary build. you consider yourself lucky for finding a place this well-kept at the price point you offered. you're honestly surprised that suguru, your now landlord, accepted your application.

the area sits a few kilometers on the outskirts of the city, but it feels neither too quiet nor too busy; a perfect balance with an impressive view of the rising sun this early in the morning. that, and the people seem friendly, greeting you as they pass by. they even offer to help you haul things out of your car and into the house.

to the right of your house is one that holds the same design elements at yours, although a bit darker in its tones. it's sleek and modern, befitting of a bachelor.

"you must be the new tenant," a voice speaks from behind you, syrupy and smooth. you didn't even hear his footsteps.

when you turn around, you're met with a tall man who greets you with his arms held behind his back as he tilts his head low. there's a calmness that radiates off him, a sort of gentleness that signals he’s someone you can trust.

you nod, introducing yourself with your hand outstretched towards him.

"suguru," he replies as his fingers grab yours delicately. your eyes widen in surprise, recognizing the name, and he merely chuckles in return, a soft laugh that brings out kindness in his eyes.

"i should greet you properly," he lets go of your hand, placing it back behind him. "hello, new neighbor."

.

over shared breakfasts by your porch and impromptu dinners over at his, you grow a liking to suguru. he's polite and thoughtful, often knocking at your door in the mornings to offer you a cup of tea to watch the sunrise.

"you'll only find sunrises like this here," he leans back on the wooden chair you set out as outdoor furniture. his head tilts towards you slightly, impossibly close as you notice the corner of his lips curl up into a small grin.

hues of pinks, purples, and orange blend to illuminate his face perfectly. the sun is beautiful in front you, peeking between clouds as it inches away from the horizon, but something about him is infinitely more magnetic. your stare is immediately drawn to his lips, smooth and supple, before it meets his gaze.

you don't know what's worse―wanting to lean in or be pulled by the look in his eyes.

he fixes things that break in your home, always somehow knowing just when to show up. at first, it was your windows, the one by the attic, too high and dangerous for you to climb; then, it was your kitchen sink, its pipes regurgitating the water going down the drain. he's begun to bring you your groceries too, often asking for a list of what you need when he makes trips out of town.

your days blur easily when you're with suguru, and time passes almost fleetingly as you find your hours filled with soft laughs and touches so delicate you sometimes wonder whether they're real.

it should be noted, you think, how much time has passed since you first met him―an anniversary of some sort.

.

you learn that he owns both houses―his and the one you're currently renting. it once belonged to a friend who had to move for bigger, greater responsibilities elsewhere, he'd said.

"why did you decide on renting?" you ask him one night, over wine and candlelight.

your fingers fiddle with his as he sits you on his lap, this thing between you growing more intimate lately. he rubs his thumb along your thigh, resting his chin by your shoulder.

"you could have sold it or something."

he presses his lips gently on your collarbone.

"i could've," his fingers trail up to your waist, crossing your chest before landing on your chin, cupping it lightly to face him. your heart is hammering in your chest, senses on fire as his nose kisses yours. you think you can count every mole that dots his face beautiful. then, he inches closer, lips grazing yours as he whispers, "but i was waiting for you."

.

you mark each day at sunrise.

your digital clocks and calendars stopped working after some time, but you don't mind. suguru always tells you what date it is when you ask.

this morning, you wake up in his bed, and the sun is still as breathtaking as you remember it, the same pink, purple, and orange hues streaming through his window. when you look closely, the clouds―

"good morning," he brings you tea in bed, his hair topped off with a bun, a half-up-half-down.

your stomach fills itself with something warm and fuzzy as you smile at him, "morning."

"slept well?" his hand reaches for your waist under the duvet, and you giggle, ticklish.

"very," you crane your neck to land a soft kiss on his lips. "what date is it today?"

"october 28," he supplies.

your eyebrows shoot up as you realize, "i have to bring my car to the mechanic."

it's been 6 months now since your last check, right before you moved, and though you barely use your car anyway, it's best to be safe.

you quickly move to get up but suguru's hand keeps you in place, firmly pressed on your waist.

"i'll do it," he says with a smile on his face, "you rest here."

.

you barely see your other neighbors except for the girl who smokes a pack of cigarettes a day and the twins down the street.

when you ask suguru about it, he dismisses the question quickly, saying, "must have moved," as he urges you to take another sip of your tea.

you dream of them that night, on bare streets; it wakes you in a cold sweat, the image of your neighborhood reduced to just your house and suguru's.

.

this is the 200th sunrise since you started counting, which means this is the 200th day since you and suguru officially got together. kind of.

your gift for him is a painting of the sunrise, because it reminds you of him; and because it's become your favorite thing to look forward to, too.

the pinks and purples blend together beautifully as it contrasts with the orange hues, and the sun continues to peak above the horizon as it settles between clouds.

suguru kisses you when you give it to him, the taste of tea right on his tongue.

he frames it on his bedside, and when you wake in his room the next morning, it greets you along with the back of his head, fast asleep.

your eyes flit to the view outside his window, the same pinks, purples, and orange hues. you tilt your head curiously, brows furrowing. the sun stays at the same spot above the horizon, and when you look at the painting again, the clouds hold the same position and shape.

a chill washes over you, your hearbeat pounding.

.

"what date is it today?" you ask suguru as you wash the potatoes in the sink.

another bag of groceries from suguru. now that you think about it, you don't think you've ever gone to the grocery store since moving.

"is it important?" he responds, slightly snappy. you've begun to notice that he hates it when you ask lately.

you eye him from the side.

"i was thinking of preparing a menu of what we'll eat during the holidays, if it's near."

the furrow on his brows smooths out as you give your answer, and so he says, "december 5."

and you know something is wrong, because that can't be it. it doesn't make sense with the sunrises you've counted.

.

you dream again, more and more as the days go by―dirt roads and your house and suguru's, run-down and empty. more things start breaking in your apartment, and suguru always knows when they need to be fixed.

there's a deep, twisting feeling in your stomach that intensifies, festering under your skin; it worsens in the mornings, when you sit with suguru at your porch and you think you see a crack in the sunrise.

.

sunrise valley the place where the sun never sets! ─── beautiful, bright, and destined for people who live just like you! find your new home here.

[DISCONTINUED] — FOR DEMOLITION ON DECEMBER 7. under investigation for suspicious spiritual activity and missing persons.

[sforzesco]

Crassus, Caelius, Cicero, Catiline, Conspiracy

boy howdy these four sure are something. not featured in this soup of C names, Caesar! what on earth happened here.

Plutarch, Crassus

Sallust on Crassus, Ronald Syme

Patron and Client, Father and Son in Cicero's "Pro Caelio"

Crassus' New Friends and Pompey's Return, Eve J. Parrish

Catullus and His World, T.P. Wiseman

Cicero's Catilinarians, D.H. Berry

[crocodilenjoyer]

here’s the thing. about zolu. puts myhand on your shoulder Here’s the thing. luffy? aromantic. zero interest in romance. zoro? gay. very low interest in romance. has two braincells and they’re both devoted to thinking about swords. they are not dating. it is not romantic. it’s not sexual either because luffy, much like his views on romance, could not give less of a shit about sex. maybe if they both feel up to it at the same time, but that’s rare and when it does happen it’s more of a physicality and, to a lesser extent, affection thing than anything else. occasionally it’s a “hey wouldn’t it be weird/funny/fucked up if we [insert some david cronenberg-type shit]” thing and the other one goes “haha yeah do you wanna try.” but i digress.

however. HOWEVER. they Have A Thing. what that Thing entails is a mystery. luffy is both incredibly straightforward and frustratingly cryptic whenever he’s asked about it and zoro just kinda shrugs. they’re just luffyandzoro and zoroandluffy. the king and his lionheart. drift compatible. partners. captain and first mate. the sailor and the north star. sun and moon. they simply Are. what does that entail? well brother. they hang out

[angeart]

hhau mimic arc rambles - part II: reunion

(~3,4 k words) // part I here // au masterpost here --

After being left out in the open, weakened and alone, without supplies or his cloak, wings on full bright display, Grian… isn’t doing so well. 

He barely survived the attack. He scrambled so much to defend himself. He used the arrow (the one that was once buried in his thigh; the one he kept because it was sharp-edged and better than nothing). There was so much blood. It was all so horrible. 

Now he finds himself alone and cold and terrified, bleeding. Everything hurts and he doesn’t know where Scar is—

Where is Scar? 

... Did Scar leave him?

Scar wouldn’t leave him, right? (He doesn’t want to believe it. But the possibility that Scar might be in danger, somewhere far away from Grian, is absolutely dreadful.) 

The camp is empty when Grian stumbles back into it, and the ribbon is gone, and— Maybe Scar did replace him, after all? Got rid of the burden of Grian’s violet wings, chose the path of least resistance, opted for survival instead of trying to constantly fight against Grian’s doomed fate?

Grian is so scared and confused. Worried sick too, but he feels abandoned and doesn’t know where to go. He misses that fabric on his wrist. He feels so so alone. 

He tries waiting, for a while. But it’s dangerous to stay put and, eventually, he’s forced to move. And it almost feels familiar, in some awful way—it’s as if he was plunged back into his first week in this world. Hostile and cruel and nightmarish, with no reprieve, no kindness, no gentleness. No warmth to curl against, no hands to hold him steady, no safety net beneath his wobbly feet. Except he’s worn down by months in this world. And it’s colder now. And on top of that, he’s already wounded horribly.

He scrambles from place to place, leaving a trail of blood that he’s sure someone can trace. He tries so hard to hide himself, to lose any potential pursuers, but—

But a part of him wants to leave a trace. A part of him keeps hopelessly wishing that Scar might be out there, looking for him.

As days pass, that seems less and less likely.

Grian barely sleeps, reverting to old habits of wings pressed tightly against harsh surfaces in an attempt to hide them, surrendering the very much needed warmth they could provide if only he wrapped them around himself instead. He shivers, exhaustedly alert to every little sound. Dizzy and hurting and terrified.

He’s got nothing left now. Being with Scar feels like less of a memory and more of a fever dream. He's so sure it’ll now forever be this: him, lost alone in this vast forest, running until he can’t anymore. It will be the cold, or the hunger, injuries, or the hunters—something will inevitably bring him down, soon.

He misses Scar.

He hopes Scar is okay.

(He tries not to think about how he wishes this would all just end.) (He tries not to sink too much into exhausted, hopeless despair.) (He tries to dredge up his pesky resistance, any sort of spite against fate that could fuel him to just keep going, keep surviving.)

It’s a harsh week. He gets into more fights, each of them bleak and panic-filled and horrible. (A lot of the scars he later has—including the one on his face—come from this week spent alone.) He’s so, so tired. It all hurts. He’s scared.

When it happens, he’s curled up, hurt and bruised, face dirty and bloodied, body shaking from the cold, stomach twisted with hunger. All of a sudden he jolts, thinking he heard something distant that sounded like Scar’s voice. And he doesn’t know if he’s imagining things, because at this point that seems more likely than this being real, but he still can’t help himself as something urgent swells in him, begging him to reply, to call back.

He tries to call for Scar, but his voice falters and fails. His throat is so dry. He hasn’t made a sound in days.

Scar’s voice moves further away and Grian panics. He scrambles, unfurling his sore wings. Everything aches, his balance is off, but he tries to get up anyway. Desperate, he lets out a cry—a loud, sob-like sound, the only one still willing to wrangle itself from his throat. 

And then he does something he hasn’t done in months: he spreads his wings further, and he tries to fly.

The branches are thick, and Grian’s wings don’t really carry him, and in his blind desperation, he quickly crashes against a tree. His wing spikes with pain and he tumbles harshly to the ground, but he doesn’t pay it any attention.

Panicked desperation keeps flooding his veins as he’s sprawled on the forest floor, his own body not listening to him as his lungs edge hyperventillation. Because— Because Scar was there but he was moving away and Grian couldn’t follow and he’s— he’s—

He’s just going to die here, isn’t he?

The trees rustle. There’s a loud noise Grian can’t quite decipher, but it doesn’t matter.

All that registers is danger. 

Danger danger danger danger

It’s only ever been those horrible creatures. Nothing good approaches from the sky here. Grian’s made too much noise, and now they’ve found him, and he can’t fight, not anymore, not again, please—

A series of panicked, frantic chirps spills out of him on nothing but blind instinct as he tries to back away, press against something, flatten against the ground, anything.

His wings are bright. He doesn’t have a cloak. He can’t hide. He can't run.

He doesn't stand a chance.

He can’t do anything as the source of danger swoops down on him.

---

When Scar left Juni, he was a mess of conflicted emotions, the hurt and betrayal fresh and wildly flaring. But as he keeps moving, those emotions get overrun by others that spread through him like a wildfire: the rage, the desperation, the fear.

He doesn’t know where to go. 

He doesn’t know if Grian’e even alive.

With heart torn to pieces in his chest and nothing but feeble, foolish hope—and an insane amount of blind recklessness—he clutches the ribbon, spreads out his tattered wings, and leaps up, scaling the trees to get as high as he can. The morning light is soft, pale and gentle, interspersed with fog that obscures everything further in a cottony haze. 

Scar’s wings struggle to carry him, but he doesn’t care. He needs to go. He needs to go, and this is the fastest way, and—

He’d do anything right now. Anything to find Grian.

Desperately, he tries to feel the tug of their connection; the dark fabric of the ribbon prickles against his grip in silent accusation and Scar begs it to lead him. Yet there’s nothing to help him pick a direction; he simply scrambles in whichever way feels right. 

He hollers. It’s not a word, just a cry. A call. 

He really shouldn’t be loud, shouldn’t heedlessly drag attention to himself, but he doesn’t care what he attracts. The only thing that matters is that he also attracts Grian.

It feels futile. The world is vast and Scar doesn’t even know which direction him and Juni took, because he was continuously dosed with weakness. He doesn’t know how to get back to where he saw Grian last. (Days ago—) 

He flies and glides and leaps, yelling, heart feeling like it’s going to explode in his chest. 

And then he hears it.

A sob. A wretchedly (wonderfully) familiar sob.

His ears twitch rapidly, latching onto that. His whole body whips backwards midair, almost making him tumble completely. Frantically, in a haze of vex magic that edges on feral, he delves in the direction where he heard it.

He knows he’s near when his ears flick, catching another sound. Terrified little chirps.

He makes his way down through the trees. Down the branches. Down towards his avian.

---

Grian’s panic breaks the moment he catches sight of those bright spectral wings. Broken. So broken. Tattered and frantic. 

Scar is made of sharp claws and fangs and wisps of pale blue magic. He looks like a monster ready to pounce. He looks absolutely nightmarish and terrifying.

Grian’s never been more relieved in his life.

He scrambles forwards. He’s on his hands and knees and his wing throbs and his face is wounded and none of it matters. Scar rushes to meet him, his wings fading before he’s even on the ground, and he practically falls into an embrace. (His claws stay pressed to his palms, careful, so careful. His tail wraps around them as he holds on, holds on, never wanting to let go again.)

They both cling tightly and cry. Grian’s making garbled noises, as if he was trying to say things, but he’s crying too hard to be coherent; he just paws at Scar and clings and burrows into the comforting safety of his arms. (He thought Scar left him.) (He thought Scar got captured.) (He thought Scar was dead.)

Feeling the shivers and cold skin, Scar scrambles to wrap the cloak around Grian, noticing the limp wing in the process. (His heart hurts.)

The familiar weight of the cloak provides such a small but important sense of security. Grian tucks his wings underneath it, even though it hurts, one of the wings twitching and moving wrong. He hisses in pain, but it gets swallowed up by his sobs and crying.

Amidst it all, Scar isn’t doing well—he only just got clear headed from that constant dose of weakness and he’s just majorly overused his magic, slamming into trees as he glided recklessly—but he has to keep pushing through, keep using his magic to be able to function right now, because Grian is the priority here and Scar won’t rest until he knows Grian is safe.

Here isn’t safe. They’re out in the open, after making loads of noise. And— Grian’s hurt. He’s bleeding. It’s so clear that something happened and Scar wasn’t there and— He can’t bear it, can't forgive himself. 

Grian looks so cold and small and scared. And even though Scar was dosed with weakness potions, at least he was fed and kept warm. At least he was carefully steered away from danger and into shelters, left to rest. At least he wasn’t alone, terrified out of his mind for his life. 

Grian didn’t have any of those luxuries. And there’s no way Scar can undo any of it. 

Now Grian presses close to him, desperate to have him be here and be real. Through the crying, something desperate comes through—something that sounds like “Please don’t leave me again.” 

With a hitched breath and a heart torn to absolute pieces in his chest, Scar shakes his head. He’s choking on sobs as he babbles, “Never, no no no no, never, never—” Urgently, he tucks the ribbon back into Grian’s hands.

Grian thought he lost it forever. He immediately clings to it, in such a desperate, urgent gesture. Needing to feel it in his grasp, to tell himself that it wasn't lost, that its connection persists. That it still belongs to him. (The ribbon and Scar's heart alike—)

“Yours, yours yours yours.” Scar, too, means more than just the ribbon.

Grian cries so hard he can’t breathe. He’s holding onto the ribbon and pressing himself against Scar and— he’s loud. His sobs carry. He can’t get them under control; it’s just so so raw.

With shaking hands, Scar tries to tie the ribbon around Grian’s wrist, where it belongs. He’s shaking too much, he’s struggling. (Trying to ignore the bruising he sees there. As if someone tried to pin Grian down by his wrist—) He’s babbling incoherently through it all, the words that  tumble out of him both reassurances and apologies, repeating that he’s here, he’s here, he’s so sorry. Once he manages to get the ribbon tied, his words stumble through “This is yours, always yours, I’m yours, I’m sorry—”

Grian  has no words beyond Scar’s name.

In all of this, Scar’s feeling weird. He wants to scoop Grian up and never let go, but he’s a little afraid of his claws— a little afraid of himself, really. This has never happened quite like this, with the surge of vex magic that borders on feral. He is lucid but off. He still feels a bit like he’s spinning. This is real, right? It’s real?

A frightened squeeze to Grian’s hands is reciprocated with a squeeze back and a whimper. Scar makes a quick decision to pull Grian up, to lift him and hold  him tight. (He feels so urgent and needy, desperate and afraid that Grian is going to slip away if he doesn’t hold on tight enough.) He tries not to be rough, but he still feels only barely in control of his own body. And despite the bruises and wounds that litter Grian’s body—despite everything hurting—Grian barely makes a sound of pain, instead tucking himself closely to Scar. Relieved to be held, to feel him so near. Trusting him fully with himself.

Securely holding Grian, Scar breaks into a run. His ears twitch, catching sounds of the forest as he tries to avoid them all. It’s chaotic. It’s all a bit of a blur. He keeps slurring more nonsense to Grian: “Sorry, safe, safe, never again, sorry.” Something broken about “love”. 

Once Scar finds a semi-safe place, he kneels down, but he’s hesitant to let Grian go. Everything feels weird and light and he’s terrified it’s a dream he’s waking up from.

Grian isn’t any better, though; he keeps clinging to him, too. Scar was gone for so long and now he’s randomly back? He can’t quite process it; all that he knows is that he’s terrified to let go. (He remembers feeling woozy on weakness potions, and he remembers the deep pit of the fever from that arrow wound way back, and... This feels similar. Like maybe he’s not quite aware, not quite getting things right. Maybe— Maybe Scar isn’t here?) 

 Grian begs Scar to stay. (He feels like he’s asked that of him before, but it’s hazy in his exhausted mind.)

Scar can feel himself falling from the high of his magic; he feels weak again, confused, distant. But he latches onto that. “I’m not leaving,” he says, suddenly so clear. “He— he tricked me…” his voice wobbles. He feels awful, like a failure. He doesn’t want to think of the mimic ever again. He’s terrified to as well. The fact that he didn’t kill him means he could return—

Grian feels such a tangled mess at that admission. He wonders if Scar felt better with Juni? It took so long for him to realise and go looking for Grian, maybe he was better off with the fake one? It's so... it's so horrible to think that Scar took this long to realise Grian wasn't with him.

Scar still hasn’t let him down, instead falling to his knees entirely and cradling Grian close. He doesn’t want to admit how hard he fell for the trick. He hates himself for it. What if he didn’t find Grian? 

His skin feels prickly and odd like his whole body has fallen asleep. He’s numb and weak and heavy and— Is he drugged again? 

He wants to provide so many answers but— His skin is pulsing an off whitish blue. And he just croaks, “S–something’s wrong. I don’t feel— Grian. I don’t feel good.”

That singular admission throws Grian into sharp focus, panicked. He ignores his bruises and aches and the cold and tiredness, the wooziness from hunger and thirst—all of it. Instead, he whips to attention, looking Scar over. Trying to get him to tell Grian what’s wrong. (Obviously the colour is wrong—Scar’s not meant to pulsate with magic hue like this. But Grian doesn’t understand it. He’s never seen it. He’s— He’s so scared that this is something he won’t be able to help with, won’t be able to fix.)

Instead of a constructive answer, Scar stammers, slurred: “Did you— he— more potions?” He feels like he’s falling past some edge. His body won’t listen to him. His thoughts are turning fuzzy and staticky and he’s sick to his stomach, thinking about weakness potions.

Grian’s holding his cheeks, trying to keep eye contact. He doesn’t think a potion could do this. He pleads with Scar to tell him what does he need. How can he help?

The genuine concern from Grian horribly reminds Scar of the mimic. The nausea churns in his stomach, acidic, and he feels painfully helpless in this moment as everything seems to slip past his fingers. “Please be real?” 

Grian makes a miserable sound, edging a startled sob. Something aborted and strained. His thumbs brush over Scar’s skin and he leans in. “I’m real,” he promises weakly, desperately, sealing it with a soft kiss to Scar’s cheek. And then another one to his temple, and his eyebrow, and his forehead. A swelling build up of helpless heartache translates to hot tears dripping down Grian’s face. “I’m here. You found me. I’m here.” 

The tenderness, as well as the easy forwardness of the affection help reassure Scar. Juni wouldn’t do that. He wouldn’t. He never did. (Maybe Scar should’ve realised sooner—)

Grian’s fingers brush over Scar’s cheeks. His touch is featherlight, gentle, as if he was worried Scar will break underneath his fingertips. (Scar’s skin still pulsates, a sickly hue that reminds Grian of those awful, rotting vines they found in a cave so many months ago.) (He doesn’t know what’s wrong with Scar and it terrifies him.) His breath hitches, and then he finds himself saying, “Please don’t leave me.” His voice cracks. It’s so awful.

The words snap Scar to attention—as much as he can currently manage. “God— No. No, not leaving.” The flickering hue of magic across Scar's skin speeds up, like a panicky heartbeat stuttering out of rhythm.

The change frightens Grian and he scrambles to make things better, in any way he can. He thinks maybe they need to stop panicking first. Maybe— Maybe they both just need to take a deep breath. Surely they could both benefit from some proper breathing.

He suggests just that, and it does help somewhat. The flickering slows and steadies and almost fades, and Grian moves to pepper Scar’s face with soft kisses, tiny and light and greedy. And wet. Because he can't seem to stop crying.

Grian’s own cheek throbs with his unhealed wound, but he doesn’t pay it any attention. He just needs— He needs Scar to be okay, and he needs him to be right here with him, and he needs both of them to believe that this is real.

With deliberation, he moves his hands to brush them over Scar’s ears, knowing full well how sensitive they are. Remembering Scar’s flush, that very first time, and the way his ears twitched underneath Grian’s touch. A weak, destabilised chuckle precedes his strained words, ready to break. “Remember when I did this before?”

Scar barks out a little laugh at that. And… it helps. It helps to hear Grian bringing up a private, intimate memory they both share. 

And then all of a sudden, he’s begging for forgiveness. “I messed up. I’d… I’d never leave you, Grian.” Even with a leaden, exhausted body, he pulls together enough strength to graze his fingers over the wound on Grian’s face, his touch gentle and sad. 

Grian falls quiet for a moment, breaths still tripping in his throat, coming out shaky. “I thought— I thought you—” He can’t say it.

“Never.”

Exhaling, Grian falls against Scar. He curls up and presses into the crook of his neck.

Scar still feels tingly and strange and light, but it’s almost pleasant now. Like he could pretend it’s from Grian and not overextertion. Like it’s just silly nerves. And even though he wants nothing more but to collapse, to curl up with Grian in his arms and drift off to sleep, he can’t. He can’t have that.

Because Grian’s wounded, and hungry, and so horribly exhausted, and Scar needs to patch him up and grant him some safety. He needs to try to clean Grian’s wounds. (On next to no supplies.) He needs to get him to eat something. (He doesn’t have anything to offer; he fled Juni so fast, unable to think past Grian might be dying right now.) He needs to let Grian rest, after a week of horror; he needs to take watch and let Grian sleep. (He’s so, so tired, the magic overuse weighing him down in a way that makes him almost certain he wouldn’t be able to put up much of a fight.)

This feels familiarly miserable.

But Grian isn’t dying.

He isn’t dying, and Scar found him, and they’re together. And he won’t let anything separate them ever again.

(But he might not have a choice.)

[designernishiki]

it’s kinda funny to me how that dumb scene in kiwami 1 of majima getting shot and left for dead in the harbor was basically just added as a half-assed way to explain majima not being around for a bit of the plot, but they accidentally(?) just made it seem like start of a chain reaction where majima ended up feeling slighted and heartbroken after being abandoned like that and then lashed out about it via smashing a big truck into the building kiryu was in. and yeah that isn’t inherently a romantic thing as-is but then they go and add the part where majima grabs a hostess and performatively hits on her as in-kiryu’s-face as possible, she says she’s already in love with someone, and majima lets her go immediately, no questions asked, making a big fucking point of it just to say see THAT kiryu? I appreciate when people are HONEST about their FEELINGS. people who won’t just BACKSTAB someone who CARES about them to save themselves. is that so crazy kiryu?? huh??? anyway make it up to me get down here and fight me right fucking now