#violently repressed one

[vampiric-fangirl]

^ FALLENWINGS FALLENWINGS FALLENWINGS

LIKE. FUCK

[feelingthedisaster]

just two characters that are like chernobyl having a more healthy relationship than most of the ya romance books out there

[blazingblorbos]

oh god. oh god. oh.. oh gosh. I didn't expect this so soon. I didn't expect this today, I've been busy with life related things so the HYV calendar is really unbeknownst to me, is this update really next week already?? where can I rant about this- whERe can I rant about this-

oh. I made a blog for that exact purpose ! OKAY—!

fuck. fuck me, dude holy-

FUCK.

the slightly worried look on Arle's face as Snezhevna is reaching out her hand, only for her face to seemingly revert back to cold and neutral once the camera actually focuses in on her. Her tone is cold but her words are reassuring,,,,,,,,

ALSO GOD FUCKING DAMN IT. HOW GENTLY SHE HOLDS HER HAND.

the d o o r. the DOOR. THE FUCKING DOOR, CHAT. the slow opening at first, and once you can make out that it's certainly Arle's silhouette she shoves it fully open - both doors, both hands. incredibly attractive—. the FEAR in that man's eyes.

The crossed hands. We can't see her face but you know what expression she's making (it's not really an expression. it's neutral but you can feel it). THE FUCKING F E A R ON THAT MAN'S FACE.

Oh- she literally just grabbed him by the throat. Just like that- ! There's the expression. Oh, you feel it, alright. If you go frame by frame, you'll notice her eyes narrow in the slightest right before ->

POV: you're getting chocked out by Arlecchino, and that's actually the least of your worries. (my god she is beautiful).

I did not expect him to simply be thrown down to the ground and I ... d i d not expect her to step on his FACE. [insert gay masochistic joke here. you know the one]. Did not expect her to smile (this is the ONLY scene wherein we see her smile even slightly... huh...) *And the reason I say "I did not expect her to smile", is because with the momentum we were getting I thought she was straight up going to crush his throat, or stab him (hand, weapon or otherwise). It looked like she was digging the forefoot of her shoe into the guys head and not the... .. y'know deadly fucking heel, so that.. confused me. (and the sound when she supposedly stomped his head in did NOT sound all that impactful) but ANYWAYS I digress-

I'm of course assuming more happened after the cut to black because . madam where did you get that bloodstain on you—

BLOODSTAIN ON HER FACE!?!?!? (more on this in a second)

Freminet??? Freminet feature ! (not Lyney or Lynette.. interesting). :(((( the poor boy sounds so,, desensitized. His father

holy shit quick intermission. After the mental chronological fuckfest that was "The Song Burning in the Embers" I don't think I can look at Arle and the HotH the same anymore because she's.. she's like not even 10 years older than them (?) it's insane this doesn't make any sense- ANYWAYS.

HIS FATHER comes back with what we later see to be real blood on her face. Tells him "I've acquired new funds". We know what that means... HE knows what that means!!, and the way WE - THE AUDIENCE - know that Freminet knows what it means is because the boy replies "Oh.. Okay.."

LIKE-! chat omg this is truly just routine for them,,,, Like out of the 3 siblings, Freminet always gave off the biggest child assassin vibe, but wow. To see that routine and desensitized nature of the HotH's line of work just,, splayed out in a Character Trailer is . wow. and the look in his eyes as he says it is- wow.

YEAH UHH BLOODSTAIN ON HER FACE??/ The lighting in this scene now is evidently less saturated. And it's just- oh my FUCKING GOD it does so many things:

the blood on Arle's face looks... dry. it doesn't look as fresh as you may expect which could mean many things. It could mean she spent,,, hella long in there with that guy doing what needed to be done. It could mean she took care of something else immediately after dealing with that guy (perhaps smth related to the children Snezhevna wanted to save). But regardless, it means she didn't put in the effort to clean her face and hide what happened. OBVIOUSLY !!! that is so . obviously her style but to S E E IT IN MY GENSHIN IMPACT CHARACTER TRAILER it's- oh my god

it serves to highlight the really, truly, bleak nature of the scene now that we know plain and simple Arlecchino just killed a man. There's no subtext, there's no reading between the lines. The only thing that didn't happen is that we didn't see contact nor see a body. But, no sugarcoating, Arlecchino killed a man. No one is hiding it. You are not surprised. No one should be but damn.

and ofc it acts as a representation of Snezhevna dying...

because it seems like the saturation is back once the camera switches to looking at Snezhevna laying in bed.

And is it me, or does it look like Arle's allowing herself to actually display a tinge of worry in her expression this time? And also, EVER so slightly in her tone as well. You can feel it, it's gentler.

"Once I'm better I'll start my next mission.."

THIS. THIS!! IN SO MANY WAYS THIS!

OKAY. so bear with me. I haven't actually read any of the sibling's character stories yet, so there could be a LOT of info I'm missing but:

There's still a pretty thought-provoking conversation going on (in MY mind, at least) about just how intensely these children are being trained to be soldiers for the Fatui. They're obviously in an environment that indoctrinates them into being soldiers of SOME kind, but I still don't know what kind of soldier that's supposed to be. Are they all ALWAYS extensions of the Fatui? Or are they more-so extensions of Arlecchino specifically..? Snezhevna was obviously trying to help those children she came across, and I'm assuming that happened on her latest mission, so was the mission for a charitable cause?? What was her next mission supposed to be?? Same line of work? Saving people? Or would it switch up and was she going to be sent to "take care of" (kill .) someone???

So I don't know whether to interpret that line as a hint of them being overworked and 1) feeling like they need to continue their work out of pure fear that they'll be deemed ineffective and useless... or 2) feeling like they need to continue their work out of a sense of loyalty and duty to the place that took them in and raised them. Or both..

and ofc the funeral scene. I can't say much more than what's already shown right on the screen.

and am I bugging? Or is the location of the grave....

[good-beanswrites]

hiihiii i love the way u write shidou smmmm so if ur requests r still open id like something with shidou + lies <3

Hellooo thank you!! Shidou zoomed his way into my favorites and I really enjoy writing him, haha! Here's a bit of him hanging with the smoking group T1

The problem with lying, Shidou had found, is that you end up fooling everyone involved. If you spend time trying to deceive someone, the people close to you will also believe it. If you continue, it will affect all those in proximity. And, if you do it for long enough, you’ll start to deceive yourself. 

Shidou had certainly lost track of his lies for a while. Right before it had all come crashing down around him, he’d almost believed all the beautiful tales of hope and health he’d been spreading. He’d almost seen the world as the place he’d been describing. 

And then the truth hit him; it crushed him. Seeing all the blood on his hands, he’d tried to swear the whole thing off in what little time he had left in this life. But, like his other habits, it was a difficult one to break. 

He exhaled smoke into the room, listening to Mikoto go on about the busy days of his office job. Shidou was concerned how he still spoke about everything as if he’d be heading right back after all this. 

He wanted nothing more than to sit him down for an examination. There were several reasons he may not remember his crime -- it was most likely the emotional shock, but Shidou couldn’t rule out the possibility of a head injury, an illness, a seizure, a stroke, or even it being a side effect of whatever drugs Milgram must have given the prisoners when bringing them here. It took everything in him to let Mikoto be. After all, no one was going to request help from a “killer doctor,” and he didn’t have any of his usual equipment. 

So he just stood and smoked in silence. 

“What about you?” Kazui asked. “My line of work definitely stressed me out, too. But I don’t think I’ve seen you bat an eye at anything since coming here.” He nudged Shidou. “Are you just as cool under pressure as those movie doctors?”

Shidou’s lips angled to a smile. “I suppose so. Though, I believe they look calm because they’re meant to appear perfectly competent. I’m calm so that patients don’t realize I am imperfect.” 

Was that all he was, when he killed those people? Just ‘imperfect’?

Seeing the way Mikoto’s eyebrows shot up, he clarified, “I’m very competent, mind you. But no doctor is perfect. Many patients will panic if you show even the slightest sign of doubt.”

He teased, “so you just lie to everyone all day? Damn, remind me to watch out the next time I go in for a checkup.”

“No, it isn’t like that.” Wasn’t it? 

The other two continued the conversation, but Shidou grew quiet. Was that something else he’d started to believe? Another thing he’d convinced himself was normal when, in fact, it was very, very wrong?

“I get that. Confidence is really important when dealing with dangerous situations.”

“Heh, I’ve definitely put up a bit of an act around here for some of the younger prisoners. I think it’s been helping, they seem calmer from when this all started.”

That’s right -- his goal was always to help, to calm. He watched Mikoto rub his temple absently, and knew another headache was approaching and knew what to do for it. He’d helped Haruka get over a cold the past week. He and Kotoko had discussed nutrition tips the other day. He was still doing good. The smile that he put up for the others was still doing good. 

“Well, I’m glad we’ve got a professional around here.” Kazui gestured his cigarette to Shidou, snapping him away from his thoughts. “Nothing against the guard, but it’s nice to have someone like you who can help me look out for everyone.”

“Yeah, feel better about being here already!” Mikoto slung an arm around him. The boy's expression showed he was trying to appear in on some joke. “So, doc, you think that all of us are getting out of this crazy place in one piece?”

Shidou wanted to warn him the situation was more serious than he knew. Milgram was not a big joke. He was not a man to be trusted. He was not a man to be forgiven.

But old habits die hard. 

“Oh, I'm sure of it.”

[xrosevoidx]

love sketchbooks this shit just looks like the worlds weirdest crossover fanfic concept now

[zappedbyzabka]

Dark! Johnny who gets sought out by Kreese after the tournament a lot quicker, and begins drawing in people—new students—for Kreese and Silver using his pretty face and the charm he often forgets to use.

When he meets Daniel, he’s put together and sweet. He just feels so bad, and oh please don’t be mad at him anymore, Daniel.

Of course Daniel falls for that, and those big "sad" eyes. And just maybe Johnny starts to regret later (already regretted, meant the apology and wasn’t acting) and believe he himself has a chance of escaping when they become closer.

[spring-lxcked]

Takes your face in my hands. I need you to understand before reading this that, while I discuss William's personality being, in some ways, a reflection of how he was raised, this is not in reference to the horrific murders. Even if he had had a near perfect childhood, he always would have turned out a serial killer. Any discussions of his parents' effects on him are about personality and how he raises his kids. That's it. Also boohoo none of this excuses any of his behavior lmao.

Overall, William's childhood wasn't abnormal for the time. He grew up in a household that had been middle class, but struggled during and after the war. He lived in a relatively small town—not quite rural, but lacking in the bustle of city life. A mid-sized home built in the 30's. A mother and a father who were very much products of both the times and their own childhoods. A sister one year older to whom he was very close. It had all the makings of a standard childhood.

William's relationship with his parents was complicated—something his sister could relate to as well. Their parents were Ethel and Sidney, a pair who fit right into the norms of the time. Ethel was a housewife, albeit not opposed to Jayne's desire to work, and Sidney was an office worker turned automotive technician. While they swore that they loved their children, their relationship with them was simultaneously strict and distant. Once they were old enough to be away from their parents, they were sent outdoors to play with only the expectation of being back in time for meals. The notion of actually playing with their children was beyond them—they were far too "busy" to engage in that kind of thing.

Their father was an infrequent presence in their life, often either working or spending his time off relaxing rather than with the kids. He did, however, teach William how to work on cars. These moments are some of the few genuinely fond memories he has of his father. Their mother, although much more present, was emotionally distant and not particularly skilled at expressing her love. The mother who would hold William when he was young and pet his hair when he cried faded as he aged. The household could be best described as cold outside of William and Jayne's relationship.

Emotions were a touchy subject and "sensitivity" was not tolerated beyond a certain age. While crying or showing strong emotions was shamed in general in the household, the society of the time only reinforced this to William as a boy. Meanwhile Jayne was forced to withstand the assumption of maturity far before William. Despite their close ages, she was expected to be more in control of herself than William as a girl. The negative feelings around showing emotion are something that affected both of them. Neither are good at opening up except, to some degree, to one another.

The relationship with William's parents became more strained with age as he began acting out. Repressed anger—a kind he couldn't put a name to nor explain—led to him lashing out at those around him. (This, and a genuine enjoyment of scaring and even, at times, harming others.) William took the concept of a "bully" to a new level—the older he got, the more his fellow teenagers began to question if he was actually dangerous. Friends were hard to come by, and William had never had a good grasp on making friends as it were. Despite his actions, Jayne stuck by him, hoping to talk him down from his escalating behavior. If he had a best friend at this time, or a friend at all, it was her. His parents, on the other hand, inevitably gave up on him—something they told him outright. No amount of punishment seemed to help, and they knew nothing else. Even when he began to pull himself together at 17/18, they no longer had any use for him.

Cutting off his parents when he moved to America had been easy enough. Outside of a call here or there, he ceased any interaction with them. When his mother became sick, he didn't go home. When either died, he didn't attend the funeral. Although she would never admit it, Jayne never quite forgives him for that—for leaving her to handle it all by herself.

William's childhood has major impacts on how he parents his own children. On one hand, he strives to be better than his parents were. On the other, he is still his parents' child. Where his parents were unwilling (when able) to provide their kids with the things they wanted (rather than just needed), he spoils his kids materially. Where his parents were not active in a lot of his life, he regularly tries to involve or be involved with his kids. Where his parents were overly strict, he can be almost too lax (at least early on). But, much like his own father, he loses himself in work, excusing his absence (or having to haul the kids with him post-divorce) on "providing for his family." Like his mother, he's entirely emotionally unavailable and incapable of showing anything beyond the most basic comfort.

[floorpancakes]

[redpearlearring]

I'm rewatching Bloody Romance. I'm obsessed with this show. I'm suffering. Why am I doing this to myself.

[reasonsforhope]

"With Donald Trump set to take office after a fear-mongering campaign that reignited concerns about his desire to become a dictator, a reasonable question comes up: Can nonviolent struggle defeat a tyrant?

There are many great resources that answer this question, but the one that’s been on my mind lately is the Global Nonviolent Action Database, or GNAD, built by the Peace Studies department at Swarthmore College. Freely accessible to the public, this database — which launched under my direction in 2011 — contains over 1,400 cases of nonviolent struggle from over a hundred countries, with more cases continually being added by student researchers.  

At quick glance, the database details at least 40 cases of dictators who were overthrown by the use of nonviolent struggle, dating back to 1920. These cases — which include some of the largest nations in the world, spanning Europe, Asia, Africa and Latin America — contradict the widespread assumption that a dictator can only be overcome by violence. What’s more, in each of these cases, the dictator had the desire to stay, and possessed violent means for defense. Ultimately, though, they just couldn’t overcome the power of mass nonviolent struggle.  

In a number of countries, the dictator had been embedded for years at the time they were pushed out. Egypt’s Hosni Mubarak, for example, had ruled for over 29 years. In the 1990s, citizens usually whispered his name for fear of reprisal. Mubarak legalized a “state of emergency,” which meant censorship, expanded police powers and limits on the news media. Later, he “loosened” his rule, putting only 10 times as many police as the number of protesters at each demonstration.  

The GNAD case study describes how Egyptians grew their democracy movement despite repression, and finally won in 2011. However, gaining a measure of freedom doesn’t guarantee keeping it. As Egypt has shown in the years since, continued vigilance is needed, as is pro-active campaigning to deepen the degree of freedom won.  

Some countries repeated the feat of nonviolently deposing a ruler: In Chile, the people nonviolently threw out a dictator in 1931 and then deposed a new dictator in 1988. South Koreans also did it twice, once in 1960 and again in 1987. (They also just stopped their current president from seizing dictatorial powers, but that’s not yet in the database.)  

In each case people had to act without knowing what the reprisals would be...

It’s striking that in many of the cases I looked at, the movement avoided merely symbolic marches and rallies and instead focused on tactics that impose a cost on the regime. As Donald Trump wrestles to bring the armed forces under his control, for example, I can imagine picketing army recruiting offices with signs, “Don’t join a dictator’s army.”  

Another important takeaway: Occasional actions that simply protest a particular policy or egregious action aren’t enough. They may relieve an individual’s conscience for a moment, but, ultimately, episodic actions, even large ones, don’t assert enough power. Over and over, the Global Nonviolent Action Database shows that positive results come from a series of escalating, connected actions called a campaign...

-via Waging Nonviolence, January 8, 2025. Article continues below.

East Germany’s peaceful revolution

When East Germans began their revolt against the German Democratic Republic in 1988, they knew that their dictatorship of 43 years was backed by the Soviet Union, which might stage a deadly invasion. They nevertheless acted for freedom, which they gained and kept.

Researcher Hanna King tells us that East Germans began their successful campaign in January 1988 by taking a traditional annual memorial march and turning it into a full-scale demonstration for human rights and democracy. They followed up by taking advantage of a weekly prayer for peace at a church in Leipzig to organize rallies and protests. Lutheran pastors helped protect the organizers from retaliation and groups in other cities began to stage their own “Monday night demonstrations.”  

The few hundred initial protesters quickly became 70,000, then 120,000, then 320,000, all participating in the weekly demonstrations. Organizers published a pamphlet outlining their vision for a unified German democracy and turned it into a petition. Prisoners of conscience began hunger strikes in solidarity.

By November 1988, a million people gathered in East Berlin, chanting, singing and waving banners calling for the dictatorship’s end. The government, hoping to ease the pressure, announced the opening of the border to West Germany. Citizens took sledgehammers to the hated Berlin Wall and broke it down. Political officials resigned to protest the continued rigidity of the ruling party and the party itself disintegrated. By March 1990 — a bit over two years after the campaign was launched — the first multi-party, democratic elections were held.

Students lead the way in Pakistan

In Pakistan, it was university students (rather than religious clerics) who launched the 1968-69 uprising that forced Ayub Khan out of office after his decade as a dictator. Case researcher Aileen Eisenberg tells us that the campaign later required multiple sectors of society to join together to achieve critical mass, especially workers. 

It was the students, though, who took the initiative — and the initial risks. In 1968, they declared that the government’s declaration of a “decade of development” was a fraud, protesting nonviolently in major cities. They sang and marched to their own song called “The Decade of Sadness.” 

Police opened fire on one of the demonstrations, killing several students. In reaction the movement expanded, in numbers and demands. Boycotts grew, with masses of people refusing to pay the bus and railway fares on the government-run transportation system. Industrial workers joined the movement and practiced encirclement of factories and mills. An escalation of government repression followed, including more killings. 

As the campaign expanded from urban to rural parts of Pakistan, the movement’s songs and political theater thrived. Khan responded with more violence, which intensified the determination among a critical mass of Pakistanis that it was time for him to go.

After months of growing direct action met by repressive violence, the army decided its own reputation was being degraded by their orders from the president, and they demanded his resignation. He complied and an election was scheduled for 1970 — the first since Pakistan’s independence in 1947.

Why use nonviolent struggle?

The campaigns in East Germany and Pakistan are typical of all 40 cases in their lack of a pacifist ideology, although some individuals active in the movements had that foundation. What the cases do seem to have in common is that the organizers saw the strategic value of nonviolent action, since they were up against an opponent likely to use violent repression. Their commitment to nonviolence would then rally the masses to their side. 

That encourages me. There’s hardly time in the U.S. during Trump’s regime to convert enough people to an ideological commitment to nonviolence, but there is time to persuade people of the strategic value of a nonviolent discipline. 

It’s striking that in many of the cases I looked at, the movement avoided merely symbolic marches and rallies and instead focused on tactics that impose a cost on the regime. As Donald Trump wrestles to bring the armed forces under his control, for example, I can imagine picketing army recruiting offices with signs, “Don’t join a dictator’s army.”  

Another important takeaway: Occasional actions that simply protest a particular policy or egregious action aren’t enough. They may relieve an individual’s conscience for a moment, but, ultimately, episodic actions, even large ones, don’t assert enough power. Over and over, the Global Nonviolent Action Database shows that positive results come from a series of escalating, connected actions called a campaign — the importance of which is also outlined in my book “How We Win.”  

As research seminar students at Swarthmore continue to wade through history finding new cases, they are digging up details on struggles that go beyond democracy. The 1,400 already-published cases include campaigns for furthering environmental justice, racial and economic justice, and more. They are a resource for tactical ideas and strategy considerations, encouraging us to remember that even long-established dictators have been stopped by the power of nonviolent campaigns.

-via Waging Nonviolence, January 8, 2025.

[thethief1996]

700 Palestinians were killed in the last 24 hours and the airstrikes are more violent each night. Gaza's hospitals have fuel left for two more days. Israel only allowed aid into Gaza on the condition they didn't carry fuel. The Indonesian hospital has shut down already, because doctors have no supplies and no choice but to let the wounded die. They're calling it a collapse but the term doesn't do it justice.

Over a 100 incubator babies are at risk. There are 50.000 pregnant women in Gaza right now, and 5.500 due to give birth this month. Menstruating people are taking pills in order to stop their periods, because they do not have pads or water to maintain hygiene. Surgeons are operating without anesthesia. Water is not reaching Gazans because there's no electricity or fuel for water pumps.

There's no excuse for this. Israel justifies the airstrikes by saying they want to destroy Hamas infrastructure and release the hostages, but they have refused to negotiate for their release. Hamas informed Israel they wanted to release two elderly women without anything in return, and Israel refused. Netanyahu said they wouldn't take their own civilians back because it was "mendacious propaganda." When the hostages were finally released, Netanyahu prohibited the hospital from giving press releases. Yocheved Lifshitz went behind their backs and talked to the press anyway, saying she was treated very well by Hamas, but the government abandoned them. They're being used as straw men. Israel is conditioning the entry of fuel to the release of hostages and yet, according to The Wall Street Journal, when Hamas proposed to exchange 50 hostages for fuel they denied. IDF officials have said they fear the release of more hostages because that might withhold the order to their ground invasion. They do not care as long as they can use the hostages as a pretext for their slaughtering.

There's a turning tide for Palestine in public support. Support for Israel was built through decades of propaganda and we are making a dent into it. Zionists are desperate, holding zoom meetings to promote zionism, but we have to do so much more. We have to shame people in power into supporting the Palestinian cause.

Keep yourself updated and share Palestinian voices, looking to inform yourself from the sources. Palestinians have asked of us only that we share, tweet and post, over and over. Muna El-Kurd said every tweet is like a treasure to them, because their voices are repressed on social media and even on this very app. Make it your action item to share something about the Palestinian plight everyday. Here are some resources:

Al Jazeera

Anadolu Agency

Mondoweiss

Boycott Divest Sanction Movement

Palestinian Youth Movement

Mohammed El-Kurd (twitter / instagram)

Al-Shabaka (twitter / instagram)

Mariam Barghouti (twitter / instagram)

Muhammad Shehada (twitter)

Motaz Azaiza (instagram) - reporting directly from Gaza

Take action. You can participate in boycotts wherever you are in the world, through BDS guidelines. Right now, they are focusing on boycotting (don't be overwhelmed by gigantic boycott lists. Only boycott additional brands if you can):

Carrefour

HP

Puma

Sabra

Sodastream

Ahava cosmetics

Israeli fruits and vegetables

Push for a cultural boycott - pressure your favorite artist to speak out on Palestine and cancel any upcoming performances on occupied territory (Lorde cancelled her gig in Israel because of this. It works.)

If you can, participate in direct action or donate. Palestine Action works to shut down Israeli weapons factories in the UK and USA, and have successfully shut down one of their firms in London. Some of the activists are going on trial and are calling for mobilizing on court.

Call your representatives. The Labour Party in the UK had an emergency meeting after several councilors threatened to resign if they didn't condemn Israeli war crimes. Calling to show your complaints works, even more if you live in a country that funds genocide.

FOR PEOPLE IN THE USA: USCPR has developed this toolkit for calls

FOR PEOPLE IN THE UK: Friends of Al-Aqsa UK and Palestine Solidarity UK have made toolkits for calls and emails

FOR PEOPLE IN GERMANY: Here's a toolkit to contact your representatives by Voices in Europe for Peace

FOR PEOPLE IN IRELAND: Here's a toolkit by Voices in Europe for Peace

FOR PEOPLE IN POLAND: Here's a toolkit by Voices in Europe for Peace

FOR PEOPLE IN DENMARK: Here's a toolkit by Voices in Europe for Peace

FOR PEOPLE IN SWEDEN: Here's a toolkit by Voices in Europe for Peace

FOR PEOPLE IN AUSTRALIA: Here's a toolkit by Stand With Palestine

FOR PEOPLE IN CANADA: Here's a toolkit by Indepent Jewish Voices for Canada

Join a protest. Here's a constantly updating list of protests:

Global calendar

USA calendar

Australia calendar

Here are upcoming events:

CANBERRA/NGUNNAWAL, AUSTRALIA – Wed Oct 25, 11 am, National Press Club. Info: https://www.instagram.com/p/Cyh1xy1BMrU/

OXFORD, ENGLAND – Wed Oct 25, 12:15 pm, Cornmarket. Info: https://www.instagram.com/p/CykroKeInz3/?utm_source=ig_web_copy_link

SMITH COLLEGE (US) – Wed Oct 25, 12 pm, Chapin Lawn. Info: https://www.instagram.com/p/CymT8f5vnHN/?img_index=1

ST CATHERINES, ON ( CANADA) – Wed Oct 25, 6 pm, 61 Geneva St Info: https://www.facebook.com/events/889319005528757/

TORONTO, CANADA – Wed Oct 25, 5 pm, Sidney Smith Hall. Info: https://www.instagram.com/p/CyjVbpGvva8/

SANT CUGAT, CATALONIA, SPAIN – Thurs Oct 26, 6 pm, Davant l’Ajuntament. Info: https://www.instagram.com/p/CynL834tgg9/?img_index=4

MELBOURNE, AUSTRALIA – Fri Oct 27, 7 pm, Federation Square. Info: https://www.instagram.com/p/Cyhyd0vhP8t/

LIVORNO, ITALY – Sat Oct 28, 2:30 pm, Piazza Cavour. Info https://www.instagram.com/p/CyiWJ06MXpM/

MINNEAPOLIS, MN (US) – Sat Oct 28, 1 pm, Lake Street and Minnehaha.

ROME, ITALY – Sat Oct 28, Rome. Info: https://www.instagram.com/p/Cyi7ey-MMs1/?img_index=1

ROME, ITALY – Sat Nov 4, Rome. Info TBA: https://www.instagram.com/p/CyndKUitnMU/

WASHINGTON, DC (USA) – Sat Nov 4, 12 pm, White House. Info: https://www.instagram.com/p/CyiecRtr9-B/

Wollongong: Rally at Crown Street Mall Amphitheatre on 21 Oct at 1 PM

Melbourne: Blak and Palestinian Solidarity Rally at Victorian Parliament House Steps on 25 Oct at 6 PM

HOUSTON: Thursday, October 26th, 5:45PM, Rice University, Central Quad

VANCOUVER: OCT 28 at 2PM, Vancouver Art Gallery

KITCHENER: Wednesday October 25th at 5 PM at CBC Kitchener

SANTA ANA: 20 Civic Center Plaza, Santa Ana, CA 92701, October 25th at 5:30 pm

TORONTO: WED. OCT 25 at 7PM at Queen's Park

[CAR RALLY] WASHINGTON D.C: Wednesday 10/25 outside the US State Department on the 23rd Street side

Feel free to add more.

[thistlerock]

The Bad Kids Are Funny because they're all fairly violent and get really aggro really quickly (hey that's what you get for making a highly competent adventuring party a bunch of teenagers who don't go to therapy) but then Riz is somehow just two steps above everyone else and they barely acknowledge it. Fury of the Ball is the most wonderful thing.

The "face" of their party around school would probably be like Fig or Fabian, maybe Gorgug. Wow they're so strong aha. Hey who do you think is the most brutal, probably the half-orc barbarian who seems to mostly repress his rage until it's time to throw down right? Right?? No it's the little guy in the corner. Yeah, the one who just hid in the shadows and now you can't see him anymore. Yeah, he shot a pixie's fingers off one by one to get information, yeah, he ate a live dragon, yeah, he offered to tear someone's eye out for his best friend, yeah, he said the words "make sure his head is cut off so he can't be revivified" about another student. Yeah, he's a fucking goblin and so unapologetic about it at this point.

I always imagine his "fury" (which is a goblin trait which implies Sklonda has it too btw, never forget) being like oughhh pupils blown so wide, hair standing up, hissing claws out, kill maim stab. Just for a few seconds. You can elect to use it after hitting, I imagine him sinking his sword into a big meaty enemy and going "hm wow this guy's pretty tough. I need him dead though. Needs to die." and he twists the blade puts his whole weight in it and just drags it down no matter what's in the way. It HAS to be so gross and brutal every time and his friends are just like oh there he goes, the Ball cleaning up again.

Especially fun with the Kipperlilly thing. Oh two rogues fighting without sneak attack, that's gotta be a slow careful battle where they chip away at each other. Oh she does like seven damage rushing past him, oh he's gonna do the same wait never mind he uses his fury he stabbed her SO badly. No rogue finesse no show about it just the intent to kill. Kid with traumatic past does in fact end up fucked and it isn't actually fun or quirky or interesting, who would have thought. Shoutout to hold person over the lava that goes disgustingly hard and is also so gruesome, imagine being paralysed and watching yourself fall into a pit that will burn you alive.

The thing with classic rogues is that you're "dead before you know you're being attacked" and it's "quick and easy and possibly painless" but if Riz kills you it's gonna hurt. You're gonna know and it's gonna hurt but hey high chance you don't get to do anything about it still. Phenomenal character.

[solxamber]

Oh Hero, My Hero || Riddle Rosehearts

You’re a villain. Riddle’s your destined hero. He wants to arrest you—you want to hold his hand. It’s love, it’s war, and honestly? You think you’re winning.

You are a villain. A rather good one, if you do say so yourself.

And you do. Often. With flair.

Not because you're arrogant—heavens, no—but because it’s important to maintain workplace morale. Your minions, bless their easily influenced hearts, thrive under positive reinforcement.

They chant your name with gusto during heists, schedule evil meetings with color-coded agendas, and once threw you a surprise “Congratulations on Burning Down That Insurance Building (For Tax Reasons)” party. You cried. It was beautiful.

Your lair is everything a villain could want: spiky towers, ominous mood lighting, and traps that range from “mild inconvenience” to “psychological evaluation required.” You’ve even installed a mechanism that drops glitter every time someone steps on the wrong tile. It’s technically not dangerous, but it is infuriating, which is honestly better.

Yes, life is good. But... something’s been missing.

You know how these stories go. For every great villain, there is a great hero. A dramatic, infuriating, righteous counterpart with impeccable hair and a moral compass that spins violently in your presence. You’ve read the lore. Studied the tropes. Ripped out pages from “The Villain’s Guide to Theatrical Longing” and taped them to your dream board.

One day, your hero will be chosen, and when they are, oh, what a pair you’ll make. You’ll clash! You’ll banter! You’ll bring balance to the world through mutually assured flirtation and destruction!

After all, that’s how it’s supposed to go, isn’t it?

It’s a slow day, which is the perfect time for a little recreational crime.

Nothing major, of course—you’re not cruel, you just think the local artifact museum has gotten far too cocky with its security system. Besides, the cursed amulet you’re currently attempting to swipe really ties together the “apocalyptic-chic” shelf in your lair.

You’re halfway through disarming the exhibit’s alarm—a very fiddly one, with far too many wires and a voice that keeps saying “You are not authorized to touch that” in an increasingly judgmental tone—when you hear it.

“Stop right there, villain!”

You pause.

Slowly, theatrically, you turn.

There, bathed in a ray of dramatic light that absolutely wasn’t there a second ago, stands a guy. No. A hero. Red hair, grey eyes, and an expression so stern it could cut glass. His hand is clenched around the hilt of his sword like he knows how to use it, and his entire posture screams “I memorized the moral code and I will recite it to you.”

You blink. Then beam. “Oh, you’re adorable. What’s your name?”

He blinks back, completely derailed. “...What?”

“Your name,” you say, stepping away from the pedestal like you’re not currently committing a felony. “I feel like we’re about to start a very meaningful rivalry and I’d rather not label you ‘that handsome one with the righteous fury.’ Although it does have a ring to it.”

He opens his mouth. Closes it. Opens it again. “Riddle,” he says eventually, in the tone of someone who isn’t sure how they ended up in this conversation and regrets all their choices. “My name is Riddle. Riddle Rosehearts.”

“Riddle,” you echo, tasting the name like fine wine. “Delightful. Very ‘divine mission meets repressed rage.’ I love it.”

He takes a step forward, clearly gearing up for a speech. You cut him off by snatching the amulet with a flourish and tucking it into your coat. “Well, Riddle, I’m afraid I have to run. Villainy doesn’t wait for anyone, you know. But don’t worry—we’ll see each other very soon.”

And then you skip away.

Like, full bounce-in-your-step, cartoon-character skipping. It’s important to commit to a bit.

Behind you, there’s a moment of silence. Then, from the museum steps, a cry of pure indignation:

“YOU CAN’T JUST LEAVE AFTER—WHAT WAS THAT?!”

You grin as the scream echoes after you.

Oh yes. He’s perfect.

It’s well past midnight when your latest act of moderately tasteful villainy concludes.

Tonight’s caper had a theme—“Revenge, but Make It Fashion”—and you’ve just successfully replaced the mayor’s wig collection with sentient moss creatures. It’s your finest work yet. You even left a calling card. It was scented.

You’re about to vanish into the night, cackling quietly to yourself and dodging a very judgmental pigeon, when a voice rings out.

“There you are!”

You freeze. Not out of fear, of course—you’re wearing your lucky boots, and they’ve never failed you. No, you freeze because you know that voice now. You like that voice. It’s the sound of divine justice and emotional constipation.

You turn around slowly, dramatically, your coat billowing like you practiced in front of a fan for hours. And there he is.

Riddle Rosehearts.

Sword drawn. Eyes ablaze. Face scrunched into that exact same scowl he always wears when you do something heinous like wink at him or breathe near museum exhibits.

“You can’t keep running away after committing these crimes!” he says, striding toward you. “I will stop you. I don’t care how clever or deranged you are—this ends now!”

You stare at him for a moment.

Then you beam. “Oh, Riddle. I knew you’d ask me out eventually.”

He halts so fast he nearly trips over a rogue bit of moss.

“What?!”

“I mean, it’s a little sudden,” you say, brushing ash off your sleeve from where something behind you may or may not still be on fire. “But if you wanted dinner, you could’ve just said so without the threats. I get it—you like a little spice in your courtship.”

“I was not—this isn’t—You replaced the city council’s water bottles with electric eels!”

“Which we can talk about over appetizers, obviously,” you say. “I’m in a bit of a rush right now—horribly mysterious deadline, secret villain society, you know the drill—but let’s make it happen tomorrow. Same restaurant I robbed last week. I’ll even pay this time, for the experience.”

“You held the maître d’ hostage with a baguette!”

“And yet the ambiance was divine, wasn’t it?” You’re already walking backward, saluting him with two fingers and an over-the-top wink. “See you at seven, Riddle! Wear something red! It brings out the fury in your eyes!”

You disappear around the corner with a twirl of your cloak.

Behind you, Riddle stands in the wreckage of your crime scene, gripping his sword in white-knuckled hands, yelling to no one:

“THAT WASN’T AN INVITATION! THIS ISN’T—YOU CAN’T JUST SCHEDULE—STOP MISINTERPRETING MY JUSTICE!!”

But you’ve already mentally penciled in the date.

You’re bringing flowers.

Riddle has made many mistakes in his life.

Eating that one suspicious tea cake in the third grade. Agreeing to babysit Ace and Deuce in his spare time. Wearing white in a rainstorm because he “checked the forecast and it said clear skies.” But nothing—nothing—compares to the existential mistake of actually showing up to the dinner you invited him to after literally committing a crime in front of him.

He sits at the candlelit table of the very restaurant you robbed last week—still functioning, somehow—and wonders what exactly is wrong with him.

Maybe the goddess is testing him. Maybe this is a deeply specific curse. Maybe he’s sleep-deprived and hallucinating a date with a criminal.

And then you walk in.

You walk in, with all the confidence of a person who thinks “arrest warrant” is a love language. You're wearing something entirely too dramatic for the venue, looking like you just strolled out of a villain-themed opera. And in your hands—dear, blessed heavens—are flowers.

You walk right up to him and smile like this is the most natural thing in the world. “For you,” you say, handing over the bouquet.

He stares.

Then, slowly, like someone defusing a bomb, he takes the flowers.

“What…” he begins, clearly unsure what part of this situation he wants to question first. “What is this?”

“A date!” you say cheerfully, sitting across from him. “You asked so sweetly last night. Shouting. Sword waving. Very romantic.”

“I was threatening to arrest you.”

“Yes, yes, and now we’re here.” You unfold your napkin. “Funny how life works.”

He sits there, holding the flowers like they might explode, lips slightly parted in sheer bafflement. And yet—yet—he doesn’t leave.

Dinner is, despite his eternal internal screaming, pleasant. The food is good, you don’t commit any crimes at the table (an honest effort on your part), and Riddle slowly transitions from vibrating with rage to… a sort of confused civility. He even joins in when you mock the restaurant’s ridiculous chandelier that looks like someone turned a jellyfish into a war crime.

At the end of the night, you walk out together. You stop just outside the restaurant, turn to him, and lean in without a word to kiss him lightly on the cheek.

He freezes.

“See you next crime night,” you whisper, grinning, before vanishing into the shadows with the speed and flair of someone who definitely practices this.

Riddle remains there, completely still, blushing down to his collarbones and clutching the flowers like they hold answers.

“…Why,” he whispers to the empty street. “Why was that… actually nice?”

The flowers don’t respond.

They do smell great, though.

The next time Riddle corners you, it’s on a rooftop because of course it is. Villainy is fifty percent dramatic elevation, thirty percent elaborate monologuing, ten percent jazz hands, and the rest is tasteful crime, of course. You’re perched on the ledge like a gargoyle with better cheekbones, admiring the mess below.

Tonight’s crime was “turn the city’s water supply into champagne” and honestly? You think the bubbles give the infrastructure a certain je ne sais quoi.

Then, behind you, boots clack ominously.

“Villain!”

You turn and there he is. Riddle. Divine wrath incarnate. Red cloak billowing, sword strapped to his back, expression locked in that righteous fury that just screams “I rehearsed this in the mirror and accidentally made eye contact with myself too long.”

He’s prepared this time. You can see it in his eyes.

He’s convinced he's not going to fall for your charms again.

He takes a step forward, inhales, and begins reciting something clearly not written by him.

“By decree of the Goddess, I will bring your reign to an end. I will dismantle your corruption, tear your empire apart piece by piece until—”

You gasp. Loudly. Dramatically. Theatrically.

“First dinner,” you say, hand to chest, “and now you want to tear me apart? Hero, you’re bold.”

He physically chokes.

“What—NO—THAT ISN’T—”

“I mean, I like to take things slow, personally,” you continue, swanning over like you’re not actively the reason five neighborhoods are flooded with sparkling rosé. “I’m a little old-fashioned. Maybe court me a bit before the dismemberment, hmm?”

He makes a sound like a kettle reaching a full boil.

“I am not trying to court you! I’m trying to arrest you!”

You lean in just slightly, grin widening. “Sure. Arrest my heart, maybe.”

His eye twitches. He opens his mouth. Then closes it. Then opens it again. Then makes a weird little squeak and visibly blue-screens.

And just to finish him off, you pluck a rose—where did it come from??—out of literally nowhere, and step close enough to tuck it behind his ear like you're in a telenovela and this is your third scandal of the episode.

“There,” you murmur. “You get prettier every time we meet.”

You hop onto the edge of the building, cape fluttering. “See you next crime night, sweetheart!”

And you leap.

Not fall.

Leap. Like an Olympic gymnast with zero regard for city ordinances.

Riddle stands there for a solid thirty seconds, completely motionless, as his brain tries to recalibrate from “heroic justice” to “accidentally seduced again by a chaotic menace with an infuriatingly cute smile.”

The rose is still in his hair.

He stares into the night.

Somewhere far away, the Goddess laughs into her wine.

It’s been a long week. You deserve a break.

You’ve committed three heists, sabotaged a bridge (a small one, you’re not a monster), and orchestrated a flash mob in the bank lobby purely for dramatic effect. The mayor’s still recovering. Your minions are thrilled. You’ve earned this.

So tonight, you do what any self-respecting supervillain does on their off-night: wear your pajamas backwards and binge the local news while eating cake with a fork in each hand.

And then—there he is.

Hero of the People. Bringer of Justice. Riddle Freaking Rosehearts.

You squeal, legs kicking in the air like you’re fifteen and he’s the lead singer of a boy band.

The news anchor looks mildly afraid as they gesture at Riddle, who is standing in front of a smoking crater you may or may not have caused because someone at City Hall called you a rascal.

“Hero Rosehearts,” the anchor says, “any words for the villains of the city?”

Riddle takes a breath. Looks directly into the camera like he’s about to propose to a jar of moral purity. He radiates the energy of a substitute teacher on the verge of snapping.

“I will find them,” he says, calm but filled with unholy fury. “And I will bring them to justice. They can’t hide behind glitter bombs and confusing innuendos forever.”

You gasp, hand to chest, cake forgotten.

“He remembers my glitter bombs,” you whisper, soft and touched.

Twenty minutes later, at Hero HQ:

Trey opens the door expecting takeout.

Instead, he’s greeted by a florist holding the largest bouquet of roses, peacock feathers, and hand-folded origami doves anyone’s ever seen. The card dangles off it like it’s trying to escape.

“Uh… Riddle?” he calls, carefully dragging it inside.

Riddle appears in the hallway, looking like he hasn’t slept since your last rooftop encounter. “What now—”

He sees the bouquet.

He sees the card.

He reads the card.

"Can’t wait! You always know how to make a villain feel so special. ~Yours in mild but persistent crime"

There’s a doodle of him in the corner. Blushing. In your handwriting. With little sparkles. And dramatic shading. His cape is glorious.

Cater walks in, sees the scene, and drops his phone from laughing so hard.

“They SENT YOU FAN ART. You’ve got a criminal parasocial relationship.”

“This is not a relationship,” Riddle hisses, clutching the card like it personally offended his lineage. “This is TERRORISM. Emotional terrorism.”

“Aw,” Trey says, examining the bouquet. “They even matched your color palette. That’s considerate.”

“I’m filing a formal divine complaint,” Riddle mutters, turning on his heel. “The goddess lied to me. She said I was chosen for righteousness, not romantic sabotage.”

Cater wheezes. “Bet you five madols they send you a mixtape next.”

Meanwhile, back in your lair, you’re gluing rhinestones to a brick with “To: My favorite nemesis” scrawled on it in glitter glue.

You hum a little tune and smile to yourself.

Love is war.

And you’re winning.

There was a time—not long ago—when Supervillain Group Night™ filled you with a certain kind of existential emptiness.

Everyone else would be lounging around in their aesthetic-themed lairs, attending the secret network meeting (there’s a schedule, a calendar, a monthly tea sampler, and a surprisingly active Discord), trading stories about their latest dramatic rooftop clashes and high-stakes battles with their assigned heroic rivals.

And then there was you.

“Oh, no hero for me yet,” you’d say, sipping your drink with forced casualness. “Still waiting on fate. The divine matchmaker’s probably just backlogged, y’know?”

“Backlogged for three years?” muttered Villain A whose hero punched him into a canal weekly.

But now?

Now the universe has finally answered your prayers.

Riddle Rosehearts: Chosen by the Goddess. The embodiment of law, order, and unyielding justice. Blushes like a strawberry when you wink at him. You love him. (Professionally.)

You beam as you drop into your villain lounge chair, already mid-rant during today’s check-in.

“—and then he said I’d be brought to justice, again, like it wasn’t the most romantic thing ever. And when I said, ‘careful, darling, you’re gonna make a villain swoon,’ he made this noise like a kettle about to explode. Isn’t he the cutest?!”

The others stare.

Villain B sips her wine. “Did you just say darling?”

“Several times. Also ‘beloved symbol of righteousness.’ I was feeling poetic.”

Someone coughs.

And then, as if summoned by the sheer force of your yearning, he appears.

The wall to your hideout blasts open (you just had it repainted), and there he is—Riddle, in full dramatic hero mode, hair windswept, cape fluttering, eyes narrowed like he’s about to smite you for jaywalking.

“You’re under arrest,” he snaps, stepping inside like a one-man apocalypse.

You stand immediately. “My hero!”

Riddle visibly stutters. “Th-that is—you can’t just—” He yanks out the handcuffs like they insulted his ancestors. “You’re under arrest!”

You practically glow. “Oh, you brought cuffs? You always know just what I like.”

There is a horrified choking noise from him. A villain drops her wine in disbelief.

“I came here to detain you, not—!”

“Flatter me in front of my colleagues?” You shoot the others a smug grin. “Isn’t he great? He always shows up right when I’m talking about him. It’s, like, our thing.”

“You’re being arrested,” he says, and it sounds like he’s begging the gods to smite him then and there. He slaps the cuffs on, ears glowing red. “Stop making this sound like a date!”

You gasp as he starts dragging you toward the exit. “You admit it’s not just in my head?”

He trips.

The council of villains erupts into chaos. Someone’s filming.

“You’re so shy,” you coo, utterly delighted. “Save that for the interrogation room, sweetheart.”

He lets out a noise of pure pain and kicks the broken wall on his way out.

By the time you arrive at the holding cell, you're still in full chatter mode.

“—so anyway, I know you usually interrogate me in the serious room with the chair and the threatening spotlight, but I brought snacks this time. I thought we could do something a little more casual? Maybe get to know each other. Or maybe you could, I don’t know…” You lean in. “Search me for more secrets.”

Riddle looks like he’s five seconds away from yelling objection in a court that does not exist.

“I SWEAR, THIS ISN’T—THIS IS NOT—”

You smile as he slams the door of the room shut behind him.

You know what this is?

Bonding.

The interrogation room is silent.

Riddle sits across from you, arms crossed, face neutral, expression studiously blank—the expression of a man who has taken a fifteen-minute breathing break in a broom closet just to convince himself that you are not, in fact, flirting with him on purpose.

That this is a job. That he is a hero. That he is not involved in the slowest and most emotionally confusing courtship ever orchestrated by a criminal lunatic with glitter glue and a god complex.

You are currently lounging in your chair like it’s a chaise at a five-star spa. Legs crossed. Elbows on the armrest. Not a care in the world.

“Do you understand,” he begins, calm and practiced, “that breaking into the mayor’s garden, kidnapping his prize-winning koi, and replacing them with rubber ducks is an act of terrorism?”

You nod solemnly. “Some crimes are worth committing for justice.”

He stares.

You blink innocently.

There’s a pause where he very obviously chooses not to ask what you did with the koi.

Instead, he sits forward slightly. “This isn’t a game, you know. This is an official interrogation.”

“Oh, I know.” You look around, squinting slightly at the cheap fluorescents above you. “But I have to say, this is… the most intimate lighting you’ve ever used. Are you trying to seduce me?”

Riddle blinks.

Hard.

“These are standard government-issued bulbs.”

“Exactly,” you say softly. “You remembered I like minimalism.”

He opens his mouth. Then closes it. Then opens it again like his internal OS just crashed and is trying to reboot from safe mode.

There’s a solid ten seconds of silence where the entire city’s justice system hinges on whether he can form a sentence.

And then—

BOOM.

The side wall explodes. A cloud of smoke and glitter (your signature mix) floods the room as three of your minions rappel in through the hole like synchronized ballerinas with grappling hooks and vibes.

“Boss!” one of them shouts. “We got your emergency sparkle-signal!”

You beam. “Aw, you noticed! I made it red this time.”

“Very flattering!”

Riddle—coughing through the smoke—lunges out of his chair, but one of the minions is already rolling a smoke bomb under the table. Chaos erupts.

In the middle of it all, you stroll up to him, utterly unbothered, and gently kiss him on the cheek.

He freezes.

Like a startled cat.

“I had a lovely time,” you whisper. “You should come by again. Next time I’ll make tea.”

And with that, you're hoisted into the air by glitter-stained ropes, cackling into the night like a Disney villain.

Riddle stays there, motionless, as confetti slowly drifts down around him. One of the doves from your last bouquet flies through the hole and lands on his shoulder like punctuation.

He stands there.

Still.

Blank.

“…I hate my life,” he mutters.

The dove coos sympathetically.

It’s supposed to be your crime night.

Riddle knows your schedule better than he knows his own. Mondays are for mail fraud (the glitter kind, not the dangerous kind—unless you count eye injuries), Wednesdays are for elaborate museum heists that end in interpretive dance, and Fridays, like tonight, are for whatever ungodly act of chaos your whimsy drags into the world.

Once, it was robbing the city’s largest jewelry store and replacing everything with candy rings. Another time it was just—you, standing on a rooftop at midnight, holding up a sign that read “my hero is cute” while fireworks spelled out his name.

And now? Nothing.

No alarms. No sparkle-smoke clouds. No explosive streamers. Not even a vague threatening note written in calligraphy and sealed with your signature wax stamp of a raccoon in a crown.

The silence is... disturbing.

He lasts three hours. Which is already two hours and fifty-nine minutes longer than he’s proud of.

Finally—against every rule, regulation, and speck of dignity he possesses—Riddle storms over to your lair.

He expects traps. He expects overly enthusiastic minions. He expects you, standing at the top of a dramatic staircase with a glass of something suspicious and a cloak that flows unnaturally in the wind.

What he gets is chaos.

Not the usual kind. This is frantic. Your minions are sprinting through the halls, panicked and yelling over each other, their coordinated outfits undone, glitter smeared across their faces like war paint. One of them is crying into a smoke bomb.

Riddle doesn’t yell at them.

He should.

But something in him twists. Something cold.

And then he sees you.

You’re slumped against a sofa—barely upright, pale, one hand clutched to your stomach where blood is steadily soaking through your otherwise very stylish outfit. Your cape is torn. Your usual cocky smirk is weak and trembling at the corners. And when you see him, your eyes light up.

“Hey, hero,” you mumble, giving a little wave before flinching. “I'm a little late for our date, huh?”

He doesn’t answer. Doesn’t think. He crosses the room in three strides, falling to his knees beside you and pulling open his bag with shaking hands.

“You’re bleeding,” he snaps, already pressing gauze to your side. “Why in the world didn’t your minions call for help?! Why aren’t you in a hospital?! Why are you always like this?!”

“You came,” you whisper, a little loopy. “Awww. I must’ve made an impression.”

He presses harder than necessary.

“Who did this?” His voice drops an octave—low and dangerous in a way that makes half the room go silent.

You tilt your head lazily. “New hero. Caught me off guard. It’s rude, right? Jumping into someone else's love story…”

His hands pause.

Then tremble.

“You reckless imbecile!” he shouts. “You’re—! You’re a top-tier villain! A menace! A disaster with a good tailor! How could you let some random newbie hurt you?!”

You blink slowly. “...Awwww. You think I’m a good villain?”

“I think you’re my villain!” he snaps, ears red, not even noticing what he’s said until your smile returns in full, dazed brilliance. “I mean—! To vanquish! To arrest! You are mine to defeat, not to be taken down by some amateur with no style and worse morals!”

“Jealousy looks good on you.”

He presses the last of the bandages down with a huff and shoves his supplies back into his bag with unnecessary force. Then he stands. Straightens his coat. Brushes glitter off his sleeve in a futile display of dignity.

“I’ll… return for your proper arrest when you’re not on death’s doorstep,” he mutters, turning away, “and when your entire organization isn’t crying into each other’s capes.”

One of your minions sniffles louder.

You reach out and grab his hand weakly.

“I’ll be good next time,” you say, tone teasing despite the wince. “But don’t wait too long, or someone else might steal me away again.”

He yanks his hand back like it burned him. “Tch. As if.”

And then he leaves, stomping out of your lair with his face red and his heart doing something very not hero-like.

Later that night, he has to explain to Trey and Cater why he’s muttering “mine to arrest” into his tea while clutching a stress ball.

You’re halfway through dramatically pretending to die of soup poisoning just to get Riddle to feed you by hand—when you notice he hasn’t even touched his own bowl.

He’s just watching you.

Not in the normal “I’m here to arrest you when you’re no longer half-stitched up” way, but in the “if I blink, you might vanish and I will spiral emotionally” way.

His spoon sits untouched, his posture rigid, and his pretty grey eyes flicker with something that looks like... worry. The kind of worry that makes your stomach do strange fluttery things unrelated to the stab wound.

“I’m not going to drop dead in front of you, hero,” you say lightly, swiping the last bit of soup from your bowl. “Unless you like the drama. You do keep showing up when I’m bleeding—are you into that?”

He ignores your comment. Tries to.

“I just need to make sure you’ll be fine,” he says stiffly. “So that I can arrest you properly. That’s the only reason I’m here. This is not... a social visit.”

“Of course not.” You grin, tilting your head. “And the soup?”

“For strength.”

“And the way you’re looking at me like I’ll evaporate?”

“For strategy.”

You reach out and take his hand.

He doesn’t pull away.

Instead, he leans in.

And so do you.

And then you kiss him.

It’s soft at first. Shockingly tender. And then—desperation. Like he’s been holding back this whole time. Like he’s trying to memorize the taste of rebellion and regret. Your hand cups his jaw, and his own fists relax against your lap, and you’re about to pull him in for round two—

And then: knock knock.

Riddle practically falls off your couch.

You, still bleeding slightly but never off-brand, stand and open the door like you’ve just invited the Girl Scouts over.

But no. It’s not Girl Scouts.

It’s the Goddess.

She’s glowing, slightly levitating, and wearing the expression of someone who has just crushed a celestial bet and can’t wait to gloat about it for the next few centuries. You can feel the divine smugness radiating off her in waves. Like sunshine. But condescending.

“Hi sweetie,” she says, casually leaning against your doorframe like she owns the multiverse. Which, in fairness, she kind of does. “Riddle. Looking radiant, darling.”

Riddle straightens like a soldier under inspection. “G-Goddess—I—I can explain—!”

“Oh no no, don’t you dare ruin this for me.” She waves her hand. “You’re adorable. That rooftop scene? The rose in the hair? Chef’s kiss.”

Riddle looks like he’s about to either combust or faint.

You lean against the doorframe next to her. “So... how many gods owe you favors now?”

She grins with teeth. “Twelve. And a demi-god promised to name their firstborn after me. Do you have any idea how long I’ve waited to win a Hero/Villain Rom-Com Wager?”

Riddle opens his mouth, probably to say something about sacred duties and moral responsibilities, but she steamrolls right over it.

“Oh, and by the way, keep doing exactly what you’re doing. Follow your heart, chase your destiny, snuggle your villain, whatever. The others bet you'd smite them in the name of justice. Fools.” She turns to you and wiggles her fingers. “You’re my favorite now. Don't tell the others. Or do. Stir the pot.”

Then, with the daintiest wave imaginable, she disappears in a puff of divine light.

Riddle just... stands there.

Staring.

Processing.

Reevaluating his life’s entire moral framework in real time.

You close the door gently and turn back to him.

“So,” you say cheerfully, plopping back on the couch like this is your usual weekday, “I’m thinking spring wedding. Maybe late summer, depending on your heroic arrest schedule. Also—do you mind if our honeymoon includes some light tax fraud?”

He opens and closes his mouth like a goldfish. “W-what—no—this isn’t—this is not how any of this is supposed to go—!”

“But the soup was good, right?” You lean closer. “And the kiss?”

“I—I—yes!” he snaps, blushing furiously. “But that’s not the point! I was supposed to bring you to justice, not fall victim to your—your criminal charisma!”

You boop his nose.

He freezes.

“I don’t see why you can’t do both,” you say, as if it’s the most obvious solution in the world. “Be my spouse and my nemesis. I believe in multitasking.”

“I’m going to lose my knighthood.”

“You’re going to gain a very fashionable set of matching his-and-theirs balaclavas,” you purr, tucking yourself under his arm. “So when do we start planning the cake? Is koi-flavored too on-the-nose?”

Riddle sinks down beside you with the exhausted sigh of a man who knows he's doomed—and is weirdly fine with it.

“I regret everything,” he mumbles.

You kiss his cheek.

“You regret nothing.”

And he really doesn’t.

This is just your life now.

Sometimes you commit crimes.

Sometimes Riddle comes to stop you.

It’s a rhythm, really. A delightful little dance. He shows up, flinging spells and citing laws with the righteous fury of someone who still hasn’t fully accepted that his archnemesis steals art mostly for aesthetic purposes.

You flirt. He gets flustered. You escape. He grumbles. You leave a note on his office windowsill with a pressed flower and a coupon for couple’s therapy “just in case.

And then you both go home.

Because home is shared now. With one (1) moral hero, one (1) incurable criminal, and an alarming number of cat-shaped throw pillows neither of you remembers buying.

Tonight, you’re in the kitchen, valiantly attempting to bake a cake. The counter looks like a flour-based war crime. The batter has suspiciously purple streaks. Riddle stands in the doorway watching you, eyebrows slowly crawling up his forehead as you hum tunelessly and pour the batter into a pan shaped like a skull.

"Is that... supposed to be edible?"

You turn around with the expression of someone who absolutely believes they’re on The Great Baking Showdown of Doom. “It's lavender and love flavored! For you.”

He blinks. "I’m... honored. Deeply concerned. But honored."

And he is concerned. He’s concerned a lot. He still doesn’t understand half of what happens in his own life now. Like why the city keeps thanking him for “finally putting a leash on that criminal menace,” even though he's very clearly the one being led around by the hand.

Or how his arrest quota has somehow increased since dating you. Or why the Goddess keeps sending him anniversary cards. (“Keep being cute, my power couple! XOXO—The Divine Matchmaker.”)

But then he looks at you.

Standing there in an apron that says “Kiss the Villain,” with flour in your hair and cake batter on your cheek and the biggest, most ridiculous grin on your face. Like you just won a gold medal in chaos.

And he realizes—he doesn’t even care anymore.

He’s in love. Horribly, irrevocably in love.

With you.

And that makes all the sense in the world.

“Fine,” he sighs, walking in to wipe a smudge of frosting off your nose. “But if this cake kills me, I’m haunting you.”

“Promise?” you ask, eyes twinkling.

He kisses your cheek. “Unfortunately.”

And honestly?

It’s perfect.

Masterlist

[abbotjack]

Godless Things

content/warnings: 18+ MDNI explicit sexual content, rough sex with emotional intimacy, size kink, creampie, emotionally repressed male character, canon-typical violence references, possessiveness, praise kink. no one asked for this but yolo

summary : After a violent job leaves Pope simmering in guilt and emotional chaos, you show up uninvited—knowing full well what he is, and wanting him anyway.

word count : 1,429

You shouldn’t be in his house tonight.

Not after what went down.

But that’s the thing about Pope Cody—you never show up when things are good. You come when it’s bad. You come when he’s bleeding.

And tonight, he is.

Not in the literal sense—he’s showered, scrubbed the blood off his hands. But you can feel it radiating off him the moment he opens the door, tension coiled tight behind those tired eyes.

“You shouldn’t be here,” he says flatly.

You step inside anyway. Let the door fall shut behind you.

“I know,” you answer. “But I am.”

He stares at you for a long time, unmoving. Then exhales through his nose and walks back toward the kitchen without another word. That’s your invitation.

You follow.

The house is too quiet. The way all Cody houses get when something’s gone wrong and no one wants to talk about it. There’s a bottle on the table—something cheap, half-drunk, and untouched for at least an hour. He isn’t drinking anymore. Not really. He just keeps the bottle there. Like a warning to himself.

You watch him lean back against the counter. He crosses his arms. His eyes drop to your throat, then your hips, then back up. Calculated. Controlled. Like he’s trying not to react.

“Tell me what you want,” he says.

His voice is low. Tired. Hoarse from shouting, maybe. You don’t ask what happened out there tonight. You don’t need to.

You walk to him slowly, unzipping your jacket.

“You.”

His breath stutters—barely. But you catch it.

“I don’t think you understand what you’re saying.”

“I do.”

He laughs, dry and bitter. “You have no idea what kind of man I am.”

“I know exactly what kind of man you are.” You reach for him, fingers brushing the edge of his jaw. “And I want you anyway.”

Something breaks behind his eyes.

He grabs you.

Not gentle. Not cruel. Just urgent. Like he’s been starving for weeks and you’re the first real thing he’s touched in days.

He presses you back against the wall, one hand in your hair, the other gripping your waist tight enough to bruise. His mouth doesn’t ask. It takes—a bruising kiss that tastes like guilt and need and everything he’ll never say out loud.

“You should be afraid of me,” he growls against your mouth.

“I’m not.”

“You should be,” he says again, and there’s something in his voice this time. Not anger. Not even warning. Begging. Like he wants you to run so he won’t have to do this.

But he’s already pulling your shirt over your head.

You tug his hoodie off, feel the heat of his body beneath it—lean, scarred, hard with muscle earned from years of running, fighting, lifting, breaking. This is a man who’s never known softness that didn’t turn on him. Who flinches when you’re gentle and falls apart when you’re not.

You strip for him. Slowly. Deliberately. His jaw tightens the more skin you reveal, like he can’t decide whether to fall to his knees or shove you against the wall and fuck you until the pain makes sense.

He steps closer.

And when he touches you—really touches you—it’s with both hands. One palm across your ribs, the other sliding down your spine, warm and firm and reverent in the most godless way.

“Go to the bedroom,” he murmurs. “Now.”

Your breath catches, but you obey. The bedroom is quiet. Sheets still rumpled from nights he pretended to sleep. He follows you in slowly, watching you with that sharp, analytical look he always wears before a job.

Because this is a job now.

Making you his. Marking you in a way that’ll outlast whatever sins he racks up next.

He strips in the doorway—shirt, jeans, boxers. You look at him and it hits you how ruined he is. Not just his body—though the scars there tell their own story—but the way he stands. Ready for violence. Ready for rejection.

But you don’t flinch. You open your legs.

And fuck, the noise he makes.

He’s on you in seconds. His cock is heavy and hot against your thigh as he shifts over you. You’ve never seen him like this—undone but still trying to hold it in. His whole body is tight with restraint, the kind that aches more than it satisfies.

He lines himself up and drags the thick head of his cock through your slick folds, slow, almost reverent—just once. Testing. Tasting. Marking you with it.

“Fucking soaked,” he mutters. “You want this?”

You nod, breath catching. “Yes.”

He doesn’t push in right away.

Not yet.

Instead, he leans in, voice low against your ear.

“You want me to fuck you, knowing what I did tonight? Knowing I’ll probably do worse tomorrow?”

You turn your face to his, eyes wide open. “I want you.”

And that’s it. That’s the edge.

He grabs the back of your thigh, shoves it up toward your chest, and thrusts in with a single, brutal motion.

You scream—half pleasure, half shock. The stretch is too much, nearly splitting, and you feel the air leave your lungs as he bottoms out inside you. Every inch of him fills you, thick and heavy and real in a way that drowns out everything else.

“Oh my God—”

“Don’t say that,” he growls, teeth gritted. “Say my name.”

You cling to him, barely able to breathe. “Andrew—fuck—Andrew—”

He groans like it hurts. Like hearing his real name in your mouth is worse than anything that happened out on the job. He starts to move—deep, punishing strokes, grinding down with each one like he wants to live in your body, like this is the only time he ever lets himself feel good.

You can’t even think. You’re gasping, grabbing at him, nails raking down his back, legs trembling with every thrust.

“You’re so tight,” he mutters, almost like he’s talking to himself. “Taking me so fucking good—like you were made for it.”

“Harder,” you beg, eyes glazed, hips already chasing his. “Please—don’t hold back—”

He loses it.

He lifts your hips, changes the angle, and fucks into you with a brutal rhythm, hard enough that the headboard thuds the wall. Sweat drips from his temple onto your chest. His hands grip your thighs like he’s bracing himself from falling off the edge entirely.

“Fuck,” he pants, staring down at where he disappears into you. “Look at that. Look at you taking all of me.”

You’re shaking now. Drenched. The sound of skin slapping fills the room, wet and frantic, but all you hear is him. His breathing. His grunts. His voice—low, unsteady, reverent like prayer.

He slides a hand between you, rubs slow circles over your clit with the pad of his thumb, and your back arches.

“Andrew—I’m gonna—fuck—I can’t—”

“Come on,” he growls, teeth at your neck. “Come for me. I want to feel it. I want you to fucking lose it around me.”

And you do.

It slams into you like fire. Your thighs clamp around him, your vision whites out, and you scream his name, loud and raw and real. Your pussy flutters around him, dragging a deep, guttural moan from his chest as he fucks you through it, not stopping, not slowing.

“Good girl,” he whispers. “Just like that. That’s it.”

You’re still coming when he pulls out just far enough to slam back in again, harder, deeper, then stills. His whole body stiffens.

He groans into your neck—something primal, almost broken—and you feel him spill inside you, thick and hot, as his hips jerk with each wave. His hands are on either side of your face now, holding you like he might disappear if he lets go.

Neither of you move. Not for a long time.

He stays inside you. Head on your chest. Hands gripping your hips like he’s anchoring himself to shore.

You run a hand through his sweat-damp hair.

He whispers, barely audible:

“You make me feel clean.”

You press your lips to his temple. “You are.”

“You shouldn’t let me do this to you.”

You hold his face in both hands. “Then why do you treat me like I’m the only thing that’s real?”

He stares down at you like he’s trying to memorize your answer. Then, without a word, he lays back down—still inside you, still holding you—and closes his eyes.

Like this is the only time he ever sleeps.

[astrow1zar6]

Astro Observations~ 40

Scorpio moons take really long to talk about themselves and their past. Especially when getting to know someone they are romantically interested in (I notice this more with the men) it’ll be years until you really start to know them. This is why many can view them as toxic.. but once you wait out their little game they are loyal to you for life.

Taurus moons would rather pretend they are happy and content than ask for help. This is why they are viewed as emotional stable (but really they’re just repressing a lot:( it’s okay to be not okay♥️)

Aries Venus people get turned on from arguing (especially if paired with a Scorpio Mars)

Fire mercuries were yelled at a lot for talking too loud

Moon in Leo’s and be SO toxic when insecure. Cockiness to the extreme.

Every Leo sun I meet I see attract so many people to them. They really are such magnetic people their energy gives people life (like the sun). As dramatic as they are their confidence is so refreshing & admiring to be around. Their confidence gives others confidence as well.

Virgo suns Leo Venus women smell soooo good usually. Every time I walked someone to smelled like heaven they had this combo.

Aquarius sun tend to mold into their environment. Their personality can become easily influenced by those around them. This is why it’s important for them to surround themselves around positive influences. (Their friend group can usually change them for the better or worse)

Mars in Aquarius folks love things that are out of the ordinary whether it be clothes, sex, people, friends ect. Anything that confuses them or shocks them they usually become obsessed with.

Uranus in the 3rd house sounds like such a smart placement! I never met one person with this placement so I’m so interested on what these people think. (If you have this placement talk about it in the comments 🤗)

Mercury retrograde people are FUNNY omg. For a placement that has a hard time communicating they are absolutely hilarious. They say the most original jokes, shit that makes you think “how do you even come up with that🤣” they are able to see things people normally overlook which makes them so witty.

All Scorpio placements have such piercing dark eyes (sun, moon, rising esp). Even if you have light colored eyes they still appear dark in a way idk how to explain it.

Scorpio risings love people who can hold eye contact. It’s like their secret way of communicating. Insecure types however I see completely avoid it.. but most I notice really dig it. (Especially when it’s their crush 😏..)

Leo risings can exaggerate things about themselves to impress others. They are very dazzling and engaging but you can sense a fakeness in how they present themselves at times. (You guys don’t have to be something you’re not to impress others you guys are so cool regardless 🫶🏽) I’ve seen a lot of people with this placement be actually really awkward and nerdy but most cover it up with a glamorous mask.

Water mercuries can sense when people have bad intentions. They are usually the first ones to see when someone is fake while others might miss it. (Can catch a bad vibe from someone everyone likes then later find out they were horrible people all along).

Moon in Aries women are so HOT. The men are hot as well but very immature and annoying most of the time.

Aqua moons I feel like are the most unconventional and eccentric of all the Aquarius placements. They on a different wavelength then us all.

Gemini Risings in school were usually getting trouble for talking too much or disrupting the class lol.

Sorry I took to long to post I’ve been violently sick all week ♥️🫶🏽

[creatingblackcharacters]

“The bulging eyes and the twisted mouth” - Violence, Violent Imagery & Black Horror

TRIGGER WARNING: mentions of death, violence, blood, hate crimes, antiblackness, police violence, rape

Note! I am going to be speaking from a Black American point of view, as my identity informs my experience. That said, antiblackness itself is international. The idea of my Blackness as a threat, as a source of fear and violence to repress and to destroy, is something every Black person in the world that has ever dealt with white supremacy has experienced.

There are two things, I think, that are important to note as we start this conversation.

One: there is a long history of violence towards Black bodies that is due to our dehumanization. People do not care for the killing of a mouse in the way they care about a human. But if you think the people you are dealing with are not people, but animals- more particularly, pests, something distasteful- then you will be able to rationalize treating them as such.

Two: even though we live in a time period where that overt belief of Blackness as inhuman is less likely, we must recognize that there are centuries of belief behind this concept; centuries of arguments and actions that cement in our minds that a certain amount of violence towards Blackness is normal. That subconscious belief you may hold is steeped in centuries of effort to convince you of it without even questioning it. And because of this very real re-enforcement of desensitization, naturally another place this will manifest itself is in how we tell and comprehend stories.

There are also three points I'm about to make first- not the only three that can ever be made, but the ones that stand out the most to me when we talk about violence with Black characters:

One: Your Black readers may experience that scene you wrote differently than you meant anyone to, just because our history may change our perspective on what’s happening.

Two: The idea that Black characters and people deserve the pain they are experiencing.

Three: The disbelief or dismissal of the pain of Black characters and people.

You Better Start Believing In Ghost Stories- You’re In One

I don’t need to tell Black viewers scary fairytales of sadists, body snatchers and noncoincidental disappearances, cannibals, monsters appearing in the night, and dystopian, unjust systems that bury people alive- real life suffices! We recognize the symbolism because we’ve seen real demons.

Some real examples of familiar, terrifying stories that feel like drama, but are real experiences:

12 Years a Slave: “This is no fiction, no exaggeration. If I have failed in anything, it has been in presenting to the reader too prominently the bright side of the picture. I doubt not hundreds have been as unfortunate as myself; that hundreds of free citizens have been kidnapped and sold into slavery, and are at this moment wearing out their lives on plantations in Texas and Louisiana.” – Solomon Northup

When They See Us: I can’t get myself to watch When They See Us, because I learned about the actual trial of the Central Park Five- now the Exonerated Five- in my undergrad program. Five teen Black and brown boys, subjected to racist and cruel policing and vilification in the media- from Donald Trump calling for their deaths in the newspaper, to being imprisoned under what the Clintons deemed a generation of “superpredators” during a “tough on crime” administration. And as audacious as it is to say, as Solomon Northup explained, they were fortunate. The average Black person funneled into the prison system doesn’t get the opportunity to make it back out redeemed or exonerated, because the system is designed to capture and keep them there regardless of their innocence or guilt. Their lives are irreparably changed; they are forever trapped.

Jasper, Texas: Learning about the vicious, gruesome murder of James Byrd Jr, was horrific- and that was just the movie. No matter how “community comes together” everyone tells that story, the reality is that there are people who will beat you, drag you chained down a gravel road for three miles as your body shreds away until you are decapitated, and leave your mangled body in front of a Black church to send a message… Because you’re Black and they hate you. To date I am scared when I’m walking and I see trucks passing me, and don’t let them have the American or the Confederate flag on them. Even Ahmaud Arbery, all he was doing was jogging in his hometown, and white men from out of town decided he should be murdered for that.

Do you want to know what all of these men and boys, from 1841 to 2020, had in common? What they did to warrant what happened to them? Being outside while Black. Some might call it “wrong place wrong time”, but the reality is that there is no “right place”. Sonya Massey, Breonna Taylor- murdered inside their home. Where else can you be, if the danger has every right to barge inside? There is no “safe”.

It is already Frightening to live while Black- not because being Black is inherently frightening, but because our society has made it horrific to do so. But that leads into my next point:

“They Shouldn’t Have Resisted”

Think of all the videos of assaulted and murdered Black people from police violence. If you can stomach going into the comments- which I don’t, anymore- you’ll see this classic comment of hate in the thousands, twisting your stomach into knots:

“if they obeyed the officer, if they didn’t resist, this wouldn’t have happened”

Another way our punitive society normalizes itself is via the idea of respectability politics; the idea that “if you are Good, if you do what you are Supposed to do, you will not be hurt- I will not have to hurt you”. Therefore, if my people are always suffering violence, it must be because we are Bad. And in a society that is already less gracious to Black people, that is more likely to think we are less human, that we are innately bad and must earn the right to be exceptional… the use of excessive violence towards me must be the natural outcome. “If your people weren’t more likely to be criminals, there wouldn’t be the need to be suspicious of you”- that is the way our society has taught us to frame these interactions, placing the blame for our own victimization on us.

Sidebar: I would highly suggest reading The New Jim Crow, written in 2010 by Michelle Alexander, to see how this mentality helps tie into large scale criminalization and mass incarceration, and how the cycle is purposely perpetuated.

You have to constantly be aware of how you look, walk and talk- and even then, that won’t be enough to save you if the time comes. The turning point for me, personally, was the murder of Sandra Bland. If she could be educated, beautiful, a beacon of her community, be everything a “Good” Black person is supposed to be… and still be murdered via police violence, they can kill any of us. And that’s a very terrifying thought- that anything at any point can be the reason for your death, and it will be validated because someone thinks you shouldn’t have “been that way”. And that way has far less to do with what you did, than it does who you are. Being “that way” is Black.

My point is, if this belief is so normalized in real life about violence on Black bodies- that somehow, we must have done something to deserve this- what makes you think that this belief does not affect how you comprehend Black people suffering in stories?

Hippocratic Oath

Human experimentation? Vivisection? Organ stealing? Begging for medicine? Dramatically bleeding out? Not trusting just anyone to see that you are hurt, because they might take advantage? All very real fears. The idea that pain is normal for Black people is especially rampant in the healthcare field, where ideas like our melanin making our skin thick enough to feel less pain (no), an overblown fear of ‘drug misuse’, and believing we are overexaggerating our pain makes many Black people being unwilling to trust the healthcare system. And it comes down to this thought:

If you think that I feel less pain, you will allow me to suffer long before you believe that I am in pain.

I was psychologically spiraling I was in so much pain after my wisdom teeth removal, and my surgeon was more concerned about “addiction to the medication”. Only because Hot Chocolate’s mom is a nurse, did I get an effective medicine schedule. My mother ended up with jaw rot because her surgeon outright claimed that she didn’t believe that she was in more than the ‘healing’ pain after her wisdom teeth were removed. She also has a gigantic, macabre (and awesome fr) scar on her stomach from a c-section she received after four days of labor attempting to have me… all because she was too poor and too Black to afford better doctors who wouldn’t have dismissed her struggles to push.

As a major example of dismissed Black pain: let’s discuss the mortality rate of Black women during childbirth, as well as the likelihood of our children to die. When we say “they will let you bleed to death”, we mean it.

“Black women have the highest maternal mortality rate in the United States — 69.9 per 100,000 live births for 2021, almost three times the rate for white women, according to the Centers for Disease Control and Prevention. Black babies are more likely to die, and also far more likely to be born prematurely, setting the stage for health issues that could follow them through their lives.”

Even gynecology roots in dismissal (and taking brutal advantage of) Black women's pain:

“The history of this particular medical branch … it begins on a slave farm in Alabama,” Owens said. “The advancement of obstetrics and gynecology had such an intimate relationship with slavery, and was literally built on the wounds of Black women.” Reproductive surgeries that were experimental at the time, like cesarean sections, were commonly performed on enslaved Black women. Physicians like the once-heralded J. Marion Sims, an Alabama doctor many call the “father of gynecology,” performed torturous surgical experiments on enslaved Black women in the 1840s without anesthesia. And well after the abolition of slavery, hospitals performed unnecessary hysterectomies on Black women, and eugenics programs sterilized them.”

If you think Black characters are not in pain, or that they’re overexaggerating, you’re more likely to be okay with them suffering more in comparison to those whose pain you take more seriously- to those you believe.

What’s My Point?

My point is that whatever terrifying scene you think you’re writing, whatever violent whump scenario you think you’re about to put your Black characters through, there’s a chance it has probably happened and was treated as nonimportant (damn shame, right?) And when those terrifying scenes are both written and read, the way their suffering will be felt depends on how much you as a reader care, how much you believe they are suffering.

There’s a joke amongst readers of color that many dystopian tales are tales of “what happened if white people experienced things that the rest of us have already been put through?” Think concepts like alien invasion and mass eradication of the existing population- you may think of that as an action flick, meanwhile peoples globally have suffered colonization for centuries. The Handmaid’s Tale- forced birthing and raising of “someone else’s” children, always subject to sexual harassment by the Master while subject to hate from the Mistress- that’s just being a Mammy.

There’s nothing wrong with having Black characters be violent or deal with violence, especially in a story where every character is going through shit. That is not the problem! What I am trying to tell you, though, is to be aware that certain violent imagery is going to evoke familiarity in Black viewers. And if I as a Black viewer see my very real traumas treated as entertainment fodder- or worse, dismissed- by the narrative and other viewers, I will probably not want to consume that piece of media anymore. I will also question the intentions and the beliefs of the people who treat said traumas so callously. Now, if that’s not something you care about, that’s on you! But for people who do care, it is something we need to make sure we are catching before we do it.

“So I just can’t write anything?!”

Stop that. There are plenty of examples of stories containing horror and violence with Black characters. There’s an entire genre of us telling our own stories, using the same violence as symbolism. I’m not telling you “no” (least not always). I’m telling you to take some consideration when you write the things that you do. There’s nothing wrong about writing your Black characters being violent or experiencing violence. But there is a difference between making it narratively relevant, and thoughtlessly using them as a “spook”, a stereotypical scary Black person, or a punching bag, especially in a way that may invoke certain trauma.

The Black Guy Dies First

The joke is that we never survive these horror movies because we either wouldn’t be there to begin with, or because we would make better decisions and the narrative can’t have that. But the reality is just that a lot of writers find Black characters- Black people- expendable in comparison to their white counterparts, and it shows. More of a “here, damn” sort of character, not worth investment and easy to shrug off. The book itself I haven’t read, just because it’s pretty new, but I’m looking forward to doing so. But from the summaries, it goes into horror media history and how Black characters have fared in these stories, as well as how that connects to the society those characters were written in. I.e., a thorough version of this lesson.

Instead, I wrote an entire list of questions you could possibly ask yourself involving violence or villainy involving a Black character. Feel free to print it and put it on your wall where you write if you have to! I cannot stress enough that asking yourself questions like these are good both for your creation and just… being less antiblack in general when you consume media.

Black Horror/Black Thriller

We, too, have turned our violent experiences into stories. I continue to highly suggest watching our films and reading our stories to see how we convey our fear, our terror, our violence and our pain. There are plenty of stories that work- Get Out, The Angry Black Girl and her Monster, Candyman, Lovecraft Country (the show) and Nanny are some examples. There’s even a blog by the co-writer of The Black Guy Dies First who runs BlackHorrorMovies where he reviews horror movies from throughout the decades.

Desiree Evans has a great essay, We Need Black Horror More Than Ever, that gets into why this genre is so creative and effective, that I think says what I have to say better than I could.

“Even before Peele, Black horror had a rich literary lineage going back to the folklore of Africa and its Diaspora. Stories of haints, witches, curses, and magic of all kinds can be found in the folktales collected by author and anthropologist Zora Neale Hurston and in the folktales retold by acclaimed children’s book author Virginia Hamilton. One of my earliest childhood literary memories is being entranced by Hamilton’s The House of Dies Drear and Patricia McKissack’s children’s book classic The Dark-Thirty: Southern Tales of the Supernatural, both examples of the ways Black authors have tapped into Black history along with our rich ghostlore.” “Black horror can be clever and subversive, allowing Black writers to move against racist tropes, to reconfigure who stands at the center of a story, and to shift the focus from the dominant narrative to that which is hidden, submerged. To ask: what happens when the group that was Othered, gets to tell their side of the story?”

For on the nose simplicity, I’m going to use hood classic Tales From The Hood (1994) as an example of how violence can be integrated into Black horror tales. Tales From The Hood is like… The Twilight Zone by Black people. Messages discussing issues in our community, done through a mystical twist. Free on Tubi! If you want to stop here before some spoilers, it’s an hour and a half. A great time!

In the first story, a Black political activist is murdered by the cops. The scene is reflective of the real-world efforts to discredit and even murder activists speaking out against police violence, as well as the types of things done to criminalize Black citizens for capture. The song Strange Fruit plays in the background, to drive the point home that this is a lynching.

The second story deals with a Black little boy experiencing abuse in the home, drawing a green monster to show his teacher why he’s covered in wounds and is lashing out at school.

The fourth story is about a gangbanger who undergoes “behavioral modification” to be released from prison early. Think of the classic scene from A Clockwork Orange. He must watch as imagery of the Klan and of happy whites lynching Black bodies (real-life pictures and video, mind you!) play into his mind alongside gang violence.

Isn’t Violence Stereotypical or antiblack?

That last story from Tales From The Hood leads into a good point. It can be! But it does not have to be! Violence is a human experience. By suggesting we don’t experience it or commit it, you would be denying everything I’ve just spoken about. We don’t have to be racist to write our Black characters in violent situations. We also don’t have to comprehend those situations through a racist lens.

Even experiences that seem “stereotypical” do not have to be comprehended that way. I get a LOT of questions about if something is stereotypical, and my response is always that it depends on the writing!!! You could give me a harmless prompt and it becomes the most racist story ever once you leave my inbox. But you could give me a “stereotypical” prompt and it be genuine writing.

Let’s take the movie Juice for example. Juice in my honest to God opinion becomes a thriller about halfway in. On its surface, Juice looks like bad Black boys shooting and cursing and doing things they aren’t supposed to be doing! Incredibly stereotypical- violent young thugs. You might think, “you shouldn’t write something like this- you’re telling everyone this is what your community is like”. First- there’s that respectability politics again! Just because something is not a “respectable” story does not mean it doesn’t need to be told!

But if we’re actually paying attention, what we’re looking at is four young boys dealing with their environment in different ways. All four of them originally stick together to feel power amongst their brotherhood as they all act tough and discover their own identities. They are not perfect, but they are still kids. In this environment, to be tough, to be strong, you do the things that they are doing. You run from cops, you steal from stores, you mess with all the girls and talk shit and wave weapons. That’s what makes you “big”. That’s what gives you the “juice”- and the “juice” can make you untouchable.

I want to focus particularly on Bishop, yes, played by Tupac. Bishop, the antagonist of Juice, is particularly powerless, angry, and scared of the world around him. He puts on a big front of bravado, yelling, cursing, and talking big because he’s tired of being afraid, and he doesn’t know how to deal with it otherwise. So when he gets access to a gun- to power- he quickly spirals out of control. His response to his fear is to wave around a tool that makes him feel stronger, that stops the things that scare him from scaring him.

Now, that is not a unique tale! That is a tale that any race could write about, particularly young white men with gun violence! If you ever cared for Fairuza Balk’s character in The Craft, it is a similar fall from grace. But because it is on a young, Black man in the hood, audiences are less likely to empathize with Bishop. And granted, Bishop is unhinged! But many a white character has been, and is not shoved into a stereotype that white people cannot escape from!

Now would I be comfortable if a nonblack person attempted to write a narrative like Juice? Yes, because I’d worry about the tendency to lose the messaging and just fall into stereotype outright. But it can be done! The story can be told!

“But if Black violence bad, why rap?”

The short answer:

“In order for me to write poetry that isn’t political, I must listen to the birds, and in order to hear the birds, the warplanes must be silent.”

Marwhan Makhoul, Palestinian Poet

First, rap is not “only violence and misogyny”. Step your understanding of the genre up; there are plenty of options outside of the mainstream that don’t discuss those things. Second, every genre of music has mainstream popular songs about vice and sin. The idea that Black rappers have to be held to a higher standard is yet another example of how we are seen as inherently bad and must prove ourselves good. We could speak about nothing but drugs and alcohol and 1) there would still be white artists who do the very same and 2) we would still deserve to be treated like humans.

That said, many- not all- rappers rap about violence for the same reason Billy Joel wrote We Didn’t Start the Fire, the same reason Homer first spoke The Iliad- because they have something to say about it! They stand in a long tradition of people using poetry and rhythm to tell stories. Rap is an art of storytelling!

Rap is often used as an expression of frustration and righteous anger against a system built to keep us trapped within it. I’m not allowed to be angry? Why wouldn’t I be angry? Anger is a protective emotion, often when one feels helpless. Young Black people also began to reclaim and glorify the violence they lived in within their music, to take pride in their survival and in their success in a world that otherwise wanted them to fail. If I think the world fights against me no matter what I do, I’d rather live in pride than in shame with a bent head. Is it right? Maybe, maybe not. But if you don’t want them to rap about violence, why not alleviate the things leading to the violence in their environment?

Whether you choose to listen to their words, because the delivery scares you- and trust, angry Black men scared the music industry and society- doesn’t make the story any less valid!

Conclusion

I am going to drop a classic by Slick Rick called Children’s Story. I think listening to it- and I mean genuinely listening- summarizes what I’ve said here about how Black creators can tell stories, even violent ones, and how even the delivery through Blackness can change how you perceive them. Please take the time to listen before continuing.

I’ve been alive for 28 years and have known this song my whole life, and it just hit me tonight: not once is the kid in this story identified as Black! My perception of this story was completely altered by my own experiences, who told the story, and how it was told.

That’s what I’m trying to tell you. You can tell stories of violence that involve Black characters. I love and adore a good hurt/comfort myself! But you need to be cognizant of your audience and how they’ll perceive the story you’re telling, and that includes the types of imagery you include. It’s not effective catharsis via hurt/comfort for the audience if your Black readers are being completely left out of the comfort. “I wrote this for myself” that’s cool, but… if you wrote racism for yourself, and you’re willing to admit that to yourself, that’s on you. I’d like to think that’s not your intention! You can write these stories of woe and pain without mistreating your Black characters- but that requires knowing and acknowledging when and how you’re doing that!

@afropiscesism makes a solid point in this post: our horror stories are not just fairytales full of amorphous boogiemen meant to teach lessons. Racial violence is very real, very alive, and we cannot act like the things we write can be dismissed outright as “oh well it’s not real”. Sure, those characters aren’t real. But the way you feel about Black bodies and violence is, and often it can slip into your writing as a pattern without you even realizing it. Be willing to get uncomfortable and check yourself on this as you write, as well as noticing it in other works!

If you’re constantly thinking “I would never do this”, you’ll never stop yourself when you inevitably do! If you know what violent imagery can be evoked, you can utilize it or avoid it altogether- but only if you’re willing to get honest about it. You might not intend to do any of this, but it doesn’t matter if you don’t change the pattern, because as always, it’s the thought that counts, but the action that delivers!