#way too much time thinking about how these reflect narratively

[raven-at-the-writing-desk]

YOUR L*ONISMS IN THE MALLEUS POST BYE 😭😭 I tend to try to avoid talking about him precisely bc I fear I'll sound like Leona too lmao. or bc I'm scared ppl will say "ah you only dislike him bc you like Leona"- when that's not the case at all (although I also share some of his views about the lizard) Similarly to you, I just don't get the hype- basically everything you say. my feelings for him fluctuate from "🙄 ok." to "you're okay? I guess?"

which is weird, bc I really like dragons and non-human characters learning about humans. but that's what makes it worse for me bc man all the talk about him made me want to rlly like him and then I saw him in canon and I was like uh... okay? kind of disappointed + a bit annoyed at some stuff. I do like how he talks about gargoyles or things he finds interesting tho— I'll praise you that much, Draconia.

[Referencing this post!]

***PLEASE NOTE: Everything I express in this post is my own opinion and is in no way meant to disparage Malleus enjoyers.***

Leona and Rollo is right about Malleus and he should speak his truth 😔

To reflect a little on my own character arc with Malleus, I felt very neutral about him from the prologue to about book 2ish. This was simply because I hadn't interacted with the guy yet so I held off on judging him prematurely. The brief encounter we actually had with Malleus in book 2 wasn't meaty enough for me to get a sense for his character, so I brushed him off.

I thought it was interesting that book 2's narrative invites comparisons between Leona and Malleus, with Leona being a parallel to Scar, Malleus being a parallel to Mufasa, and the world holding Malleus up as the "superior" king. Lilia states as much in 2-26: "Would that the lion king of the savanna could witness this absolute farce. No, if you ask me, the collar suits you far better than a crown ever could. You may bemoan the fact that you're not higher in line to be king. But with that sensitive ego of yours? That so quickly directs all your petty anger at your retainers... Well, the idea of you ever contending with a REAL king like our Malleus—is absolutely laughable. Even if you COULD defeat Malleus, so long as that's how you choose to conduct yourself? You would never be fit to rule!"

And at the time, yeah, Lilia's right because Leona is very much losing his grip on his emotions and acts irrationally in an attempt to triumph over Malleus. HOWEVER... The longer the main story went on, the more I found myself disagreeing with Lilia's judgment of Malleus and his character. Now, that doesn't mean that I think Leona was in the right for the actions he took in book 2 (they are still and always will be wrong). Rather, I think Lilia gave a somewhat biased take on Malleus and his preparedness for the throne. Many of the things Lilia accuses Leona of also ended up being very true of his own liege. Malleus has a sensitive ego (he has attempted to strike down peers and faceless, magicless NPCs on more than one occasion; ie Halloween events). Malleus has directed his anger at his retainers (as a child, he froze many servants; in book 7, he attacks Sebek and Silver for attempting to wake up their peers and tries to return Lilia to sleep against his wishes). Malleus has scarcely led anyone in anything. Leona and Malleus are far more similar to one another than either of them would like to admit, but Lilia is just assuming that Malleus will be a great leader anyway because of... what? Because of birthright and lineage? Yeah, no wonder why Leona is pissed and has a bone to pick with the lizard (attempt to harm Malleus aside).

Book 3 and onwards is what I started to develop my current dislike for Malleus. (And to be clear, he has good points too! I'm not saying that he has nothing going for him at all; however, this post is focusing on my own critiques of his character so that is what I will be speaking about.) I started to notice things that annoyed me on a personal level: how he lacks consideration of others' perspectives and actively violates their autonomy, how he never gets any repercussions for his actions, how he's aware of his power and status and yet fails to avoid lording it over others, how he has been given so many opportunities to learn and change as a person but refuses those opportunities, etc. And yes, I understand that he acts in these ways for particular reasons. I'm not saying that his behaviors don't make sense, I am only stating that these are behaviors that I personally don't find appealing. (For more extensive explanations of why I don't like Malleus, please see the FAQ section in my pinned post.) All of this in spite of how little of him we actually get to see and interact with, especially in the main story. It baffled me that he was undoubtably the most popular character in EN circles. There's so much chatter about Malleus Draconia, you can't really get away from it. People are legitimately shocked when you tell them you actively dislike Malleus or when they learn that he's not even a top contender for best boy in the JP fandom. The default is assuming that you do like Malleus, which ironically happens to be the same thing that Draconians (Malleus stans in-universe) do. It feels like there's sometimes an unspoken pressure to like the guy. I also started to notice peculiar behaviors (?) which, in a vacuum, aren't necessarily bad--I would just like to comment on them because I find it interesting. With Malleus being as popular of a character as he is, there's of course going to be a lot of online discussion about him, especially from his fans. Now, I don't know if it's only me noticing this, but I've frequently observed Malleus fans going out of their way to "wring as much content" out of the least Malleus-related content possible. For example, there may be a screenshot of some other character posted and then a fan would come in and make a comment like, "I wonder how Malleus would feel about this". A more concrete example would be from the more recent JP Lost in the Book with Nightmare Before Christmas event; in it, the event character takes the back of all the characters' hands and kisses them (including Yuu). Automatically posts that showed this kissing were inundated with comments about how "Malleus would be so angry about this", even though Malleus himself shows no such reaction. Similar comments dropped when Yuu is kidnapped in the event even though, again, Malleus shows no such anger about the incident. Halloween events such as this contain half the main NRC cast, yet I saw no fans of the other 10 characters claiming those characters reacting jealously. This occurs VERY often in regards to Malleus; even in events or scenes where he doesn't react or doesn't even appear, zealous fans will insert him into the situation or make the situation suddenly about him, whether it's in someone's own posts or on other people's posts.

I wonder if this is a result of Malleus being kept so mysterious for two full years...? Without much of his character to go off of, it left a huge negative space for fans to headcanon, project, and hyperfixate on what he is like or what he could be. And maybe now those behaviors persist in an effort to fill in that void because honestly Malleus isn't getting much screen time within book 7 either 💀

I believe this has contributed to the discrepancy (that this asker brought up) between how the English-speaking Twst fandom speaks about Malleus versus what Malleus is actually like and how he is portrayed in game. The fandom version of him is pretty much always hyped up or sensationalized (sometimes simply for his mere existence), similar to how his own fans in-universe might put him on a pedestal. But then you play the game for yourself and you're exposed to so little of him and what little you do see of him is much more... reserved, somber, and sometimes even petulant, depending on the situation.

Anyway, my point is that anyone that dislikes Malleus (or any other character) should be allowed to dislike him, regardless of what anyone else says or if you feel pressured into silence🤷‍♀️

[aedeagus]

discord is dying badly but ive been busy making a little list of what pokemon my ocs would have. here.

[lupins-hehim-pussy]

I wanna know ur Fontaine msq criticisms 👁️👁️👂I’m all ears

I'm not sure if you wanted me to talk about this secretly or publicly but! Here I go!

The TLDR: Fontaine MSQ aestheticised prison, poverty, child abuse, the justice system/court and didn't properly address any of it.

More:

Focalors/Furina has way too much of a sympathetic angle for a dictator who's lets people drown with her inaction.

Neuvillette feels Bad for sentencing some people to death/prison, but that's it. He's one of the most powerful people in Fontaine. If he felt like there are systemic injustices, I.E sending an abused Child to prison, he should be the first person to DO something about it, not just cry and be sad so the audience can be like aw, that's complex character writing isn't it? No it's not! And guilt doesn't absolve you!!!!!!! (These are stuff we deal with in OTCOJ read my fic now /j)

Meropide has children in it, both Sentenced there (Wriothesley) and BORN THERE (Lanoire), and this is just a quirk of the place. Not only that, Meropide accepts prisoners of all genders and crimes. There are abusers and abuse victims in one place. Do you know how bad that is? How much potential for crimes to happen in a place like that— oh wait, Meropide isn't under Fontaine's jurisdiction. If you are assaulted as an inmate it literally means nothing to the court.

Wriothesley had no qualifications when he took over. Depending on how long he lived on the streets, how old he was when he killed his parents, how old he was when he was first taken in by the orphanage, etc, the man might never have more than 4–5 years of formal education. Sigewinne probably had to teach him how to write reports. And do Meropide's spreadsheets. Edit because I forgot to elaborate on this one: This isn't a point brought up anywhere, which is bad, because when poverty and incarceration robs you of a proper education (and the rights to vote in many places too, too, by the way), it reduces your prospects for jobs, reduces many people's ability to get a home etc etc. Wriothesley was just, narratively, Given his position.

Meropide is an industrialized prison, and they portray this as a good thing. Prisoners are paid in coupons for their labour, and this is also portrayed as a good thing.

The One-Meal-A-Day reform was something Paimon gushed about being so great of a perk, that people might want to go to jail for food (could be interesting and reflective of systemic poverty if MHY had brains, but they don't, so I was just Pissed because essentially all Paimon wanted to say was "Prison isn't so bad, but still don't go to prison guys! Prison labour is really hard!"). By the way, in most real-world prisons they are obligated to feed you three meals a day. Because that's how much food a human needs. MHY went with one meal just so they can say "if you want to eat more, you have to work." And then the welfare meal is a goddamn gacha. So imagine you're a starving child who's too weak to work in the fucking robot assembly line, and you wander up for your first meal in 24 hours, only to luck in with a shit one. I'd kill myself.

They wrote Wriothesley, who's a victim of the system, into a guy who's say shit like "I'm the Duke I can do whatever I want" for a cool moment where he choke-slams an inmate (I know he was a bad guy. But also, in copaganda when cops are violent/disregarding protocols, they are always only portrayed to do that against bad guys, so what does our critical thinking tells us about this one?) They wrote Wriothesley, who was an inmate of a prison so bad, so notorious that it is the literal boogeyman of Fontaine, that has a legal (???) fighting pit, with an administrator who abuses his position to be unreasonable, to willingly stay in the place and become an Administrator who would choke-slam an inmate while saying a cool line about how he has the power to do whatever he wants. They wrote him, the guy who had to be fed on the streets by melusines, to think one-meal-a-day was a good enough reform (while he spends god-knows how much on his boat). This wasn't a victim-turns-into-abuser narrative either, they want all this to be seen as positive character growth.

And then, the final kicker is, they gloss over his entire abuse. You can only read about these shit in his profile, which most people don't because they don't Have Him or doesn't care to unlock it/read it online, and they jammed his entire backstory into a flaccid info-dump at the end of his character story quest. This man isn't Allowed to feel abused and neglected and show any reaction to it within the narrative of Fontaine itself, because if they actually Gave Weight to what happened to him, they'd have to confront THE FUCKING JUSTICE SYSTEM they had NO PLANS on criticising. I don't think they ever explicitly said the fucking Crime-Theatre nonsense was Bad either.

I could go on, but this is already so long. But yeah, I hope this gave you an idea.

[longagoitwastuesday]

I've also been reading the three musketeers and the thesis chapter had me Cackling. the clowning on learning latin in particular and aramis as a character constantly emphasizing that being part of the higher sought after and hard-to-get-into regiment of the king's musketeers is just kind of a temp job for him is so funny. character of all time. (also bazin wanting aramis to be a abbe so bad is so good)

Disclaimer that I was actually not reading the book, just giving a look and toying with the idea of reading it soon. In fact I was reading something else, but the chapter was so funny I've abandoned it and will probably start The three musketeers instead xD

Yes! Bazin was so funny. While reading him I couldn't help but be reminded of Smee wanting to leave Neverland and done with Hook's obsession for Peter Pan. Aramis dismissing being a musketeer is hilarious, but it becomes particularly funny after reading Cyrano de Bergerac, where Cyrano mentions being a musketeer wistfully a couple of times. While I was reading the play I kept thinking that Cyrano's aspirations were basically to be Aramis haha

The use of Latin each character (the curate, the Jesuit, D'Artagnan and Aramis) does was indeed very funny, as well as insightful. I ended up reading a paper on the command each of the four protagonists has of Latin, and I loved the comparison it established between Athos and Aramis. I don't have an opinion on this formed because I have yet to read the book, which is a good thing (it will hopefully keep me from rambling), but I found what I read super interesting.

The chapter was very funny, and I felt Dumas managed everything very well? I loved the writing itself. Every part of the chapter worked wonderfully as a whole to enhance every aspect, making the funny parts more fun and drawing a more clear lively depiction of the characters.

By that I mean, basically, that even from the initial interaction between D'Artagnan and the hostess in which he asks for Aramis and she goes "the charming hot guy?" we can see Aramis' hypocrisy and unsteadiness by a mile. It's hilarious to read the chapter and see how Aramis ends up contradicting everything he does or says, at times not even that long after saying it xD

Which takes me to the thesis itself. Honestly, I loved the topics. I know they're supposed to sound a bit ridiculous and funny, but I thought Dumas conveyed very well the air of some of those intricate questions of theology that seem trifle but have a lot of implications, and end up being of a very poetic nature (such as the question about how many angels can dance on the head of a pin, one of my all time favourite questions). I wasn't very interested on the topic of the hands until the Jesuit commented that sprinklers "simulate an infinite number of blessing fingers"; that's beautiful.

Now, the topic Aramis himself proposes is just gorgeous. The way he defends it with a syllogism is so clever of Dumas considering the link between theology and the development of Logic. Besides that, despite how unorthodox the topic may appear at first, as Aramis himself puts it, there is a lot of truth in what he says about the world being full of temptations and it being very much a sacrifice to leave it, and how there lies the devotional act. I ended up being very intrigued by the potential development of this thesis in a mix of appreciation of the world as God's creature, and thus the leaving of the world as an act of true love for God, of more importance; how instead of an easy surrender, the struggle and doubts are as much reflection of the condition of humanity's frailty as it is a more steady and full surrender to God.

The topic of Aramis' thesis is somewhat paradoxical yet sound, and reflects doubts, as well as an appreciation for the world, aesthetics and beauty; I think it reflects so much of what makes Aramis himself.

And then, again, there's the whole hypocrisy through the entire chapter (which is what makes it for me haha). The way he says he isn't defending a regret at renouncing the world while proposing the thesis, that the mere idea is sacrilegious, how he insists he won't miss it, that friends are but shadows and the world a grave, and still how his resolution wavers almost instantly with his "And yet, while I still hold to the earth, I would have liked to talk with you, about you, about our friends" (and what a tender shaking), only to end up asking D'Artagnan to tell him about the world in the last line? Hilarious. What an hypocrite xD

But how extremely charming and adorable, I must admit! I love how when D'Artagnan tells him "But how are you going to live while you wait for me? No more thesis, no more commentaries on fingers and blessings, eh?", Aramis smiles and replies "I shall compose verses". Truly one of the characters of all time xD

[deception-united]

Let's talk about foreshadowing.

Foreshadowing can add a lot of depth to your writing and make it more exciting for the readers. They create a sense of coherence and satisfaction when future events unfold as hinted—or shock if they don't.

Here are some tips for effectively using foreshadowing in your novels and books:

Plan Ahead: Foreshadowing works best when it's woven into the fabric of your story from the beginning. As you outline your plot, think about key events and revelations you want to foreshadow, and strategically place hints and clues accordingly.

Use Subtlety: Foreshadowing doesn't have to be obvious or heavy-handed. The best foreshadowing is often subtle and understated, leaving readers with a sense of intrigue and curiosity rather than outright prediction.

Establish Patterns and Motifs: Look for opportunities to establish recurring patterns, motifs, or symbols that can subtly hint at future events. These can be visual, thematic, or even linguistic cues that tie into the larger narrative arc of your story.

Create Tension: Foreshadowing is most effective when it creates tension and anticipation for the reader. Use foreshadowing to hint at potential conflicts, obstacles, or twists.

Reveal Gradually: Foreshadowing doesn't have to be limited to one-off hints or clues. Instead, consider how you can layer foreshadowing throughout your story, gradually revealing more information as the plot unfolds.

Pay Attention to Timing: The timing of your foreshadowing is crucial. Introduce hints and clues at strategic points in your story, building anticipation and suspense without giving too much away too soon.

Revisit Foreshadowing: Ensure that foreshadowed events are eventually fulfilled or addressed in the story. Revisiting earlier hints or clues can provide a satisfying payoff for readers and reinforce the narrative coherence.

Balance Subtlety and Clarity: Foreshadowing should be subtle enough to intrigue readers without giving away major plot twists too early. Aim for a balance where foreshadowing is noticeable upon reflection but doesn't detract from the immediacy of the story.

Let's look at some ways to incorporate foreshadowing:

Symbolism: Symbolic imagery or motifs can serve as subtle foreshadowing devices. Think about objects, settings, or descriptive details that can serve as symbolic foreshadowing. A recurring image or object, for example, might subtly hint at future events or themes in the story.

Dialogue Clues: Characters can drop hints or make cryptic remarks that foreshadow upcoming events. Dialogue is a natural way to introduce foreshadowing without being too obvious.

Character Reactions: Pay attention to how characters react to certain situations or events. Their emotions or responses can foreshadow future conflicts or revelations.

Subtle Descriptions: Incorporate subtle descriptions or details that hint at future events. These can be easily overlooked on a first read but become significant upon reflection or when the foreshadowed event occurs.

Dreams and Visions: Dreams, visions, and other forms of altered consciousness can be effective vehicles for foreshadowing—they can hint at an upcoming event, or explore characters' subconscious desires and fears. This method can sometimes be either blatant or subtle depending on how it is incorporated.

Foreshadowing Through Setting: Use the setting to foreshadow events or developments in the story. For example, a stormy night might foreshadow conflict or turmoil ahead, while a serene setting might signal upcoming peace or resolution. (On the flip side, this can be used to catch readers off guard, like a "calm before the storm" type of situation.)

Parallel Storylines: Foreshadowing can occur through parallel storylines or subplots. Events in one storyline can subtly hint at future developments in another, creating anticipation and intrigue.

Recurring Themes: Identify recurring themes or motifs in your story and use them to foreshadow future events. These thematic elements can serve as subtle hints or clues for attentive readers.

Misdirection: Foreshadowing can be used to misdirect readers and create suspense by hinting at one outcome while actually leading to another. (See my post on misdirection for more!)

Happy writing! ❤

Previous | Next

[qqueenofhades]

Obviously the main contrasting narrative of the Harris campaign is (rightfully, the ads almost write themselves!) prosecutor vs convict. But I keep thinking about how, in one of her first campaign speeches, she had Biden on the phone and he said something like "I'm here, I love you Kid" and she said "I love you too" and just... That compared to the Jan 6th Mike Pence situation. Like this election is about democracy over fascism but it's also about love and kindness and sincerity on the level of person-to-person relationships.

Well... yeah. As Minnesota governor Tim Walz put it when he was doing the TV rounds for Kamala the other day, the Republicans are just weird people. They are mean, petty, reactionary, focused on revenge and retribution and making people suffer, their rhetoric is about shame and violence and punishment, they are all about Who Your Enemy Is, and their drift into ever more extreme fascist positions is a reflection of that. And strongman/fascist authoritarianism is often popular during moments of chaos and upheaval in the rest of the world, because the unknown feels so scary and people keep falling for the lie that a helpful dictator strongman will turn up and make it all better. It never happens, but it is a powerful lie and it can work for several years at a time, as we have (unfortunately) seen. (And Tim Walz is definitely climbing the list of Old White Guys I Like; supposedly he is on Harris' initial VP shortlist, and while I certainly have favorites of my own, she could very much do worse.)

However, and this is why fascist movements always plant the seeds of their own destruction, this constant garbage spew of hate and vitriol never ever works forever, and usually not even all that long. Because once you spend your time destroying everyone else on your mean stupid crusade of mindless bigotry, you lose friends, you alienate the ordinary people who are more interested in having something to be FOR rather than just constantly against, and eventually you eat your own. And while it will shore up your ever-dwindling cult base, it will not be able to expand beyond the people who are already fully indoctrinated, and it will lose more people than it attracts. As I have said before, one of the key tenets of fascist movements is presenting themselves as powerful, inevitable, and almighty: just surrender to them now before We Crush You (tm) later! But they are not! They are goofy, stupid, mean, and just plain (thanks Gov. Walz) WEIRD! Nobody wants to be those guys!

So yes. With the whole fact of a party where one guy tried to get his first VP killed and now has picked another reactionary loser who is the least popular VP pick in 50 years, and the other is joyfully supporting his VP, a woman of color (after serving loyally to the first Black president, Biden has set the way for the -- knock on wood -- second, and that is also amazing), it's really easy to see the difference, and very clearly, people do. Kamala offers something to rally FOR, and that is always, always more powerful than mindless hate. Sucks to be the GOP. (As usual.)

[andhumanslovedstories]

I've been running this writing experiment lately to cut out phrases like "I felt" in my fiction writing. Like I was looking at a sentence in a draft that said, "he felt as if character's eyes were pinning him in place." And then I was like, "well, does he think that or is it true? As a result of this person watching him, he's froze. It's not like a thing, it is that thing."

Oh and "almost"! I'm always going, "He felt almost relieved that it hadn't happened." Well, did he feel better that it didn't happen or didn't he? Or "somewhat", I'm always going, "she felt somewhat perturbed."

And like none of that is wrong, to be clear. I don't know if it'd improve your writing, I don't even know if it'll improve my writing, but I use this sentence structure all the time so every viewpoint is from a voice that thinks about what it thinks, hedges its statements, and offers the same ability for wry little jokes formatted in the exact same way. And I have a lot of writing like that and I think (!) that they're good, but read as a whole, I'm like, "god, they all sound the same." Like there's one melody that I write songs to, so even with different lyrics, it's almost (!) the same song. Something I've been struggling with in regards to my writing and why I've felt so blocked is how boring I found writing my usual way. I'd read something and enjoy the individual parts of it, but then I'd step back and I didn't like the whole. And I got good at this enough at seeing that I didn't like it to do it in real time as I was writing, which as you can imagine didn't improve the process of writing because now I was bored AND dejected about being bored.

There's this sentence-level structure fact that I use unconsciously. A pattern I find easy is short sentence, short sentence, short sentence, long sentence. So I write that. "He [verbed]. He [verbed]. Then he [verbed]. As he [verbed] to his [consequence], he [verbed] that [noun] was [statement of condition]." Which could work, it often does make for a nice rhythm, but it's something I reach for often because it's easier for me.

Just last sentence, I originally typed, "I find it easier for me." But if what I mean is "using this pattern is less effort than another pattern," then it's easier for me. One voice is hedging its bets and the other asserting. Either is fine! But they're different! And, again, GOD you would not believe how many words I've cut out of this paragraph as I write it. I'm so chatty. I love using twelve words when six will do. And that gives my writing a specific tone to my ear.

So if I am bored of that tone, why not try using just the six words? Why be understated? Why be afraid of stronger opinions? So right now with my fiction, I'm experimenting with cutting out as many self-reflective words as I can. Sometime you do need to draw attention to the face that this is the character's interpretation, but like you definitely don't need to do it as much as I naturally want to do it. You don't need to always go out of your way to allow the possibility that the narrative voice is wrong. During editing, I trim the weaker ones (I originally typed, "what I consider the weaker ones" Is that more accurate?). But I think them being there in the first place shifts my language which shifts my character's which shifts my plot. It's sentence structure all the way down!!

(this barely applies to my writing on here, btw. i try to do good but yknow this is a tumblr blog. i'm not trying to get a lit mag to accept it.)

Anyway blah blah (chatty!) the point is I've been trying to write in a way opposite of my interests. Something that doesn't take itself too seriously, that emphasizes EMOTION and ACTION instead of minimizing it, and that clips through scenes at a good pace. Doing this been amazingly fun. I've been having such a good time doing it. I am writing so much because I really enjoy doing it. The process of writing is so fun again.

This post is about two things. One is my new mood stabilizer and therapy day camp. The other is about the benefit of pretending to be MXTX.

[busket]

I understand personal preference and that some people just don't like ships with men, and that's ok! but I'm annoyed at the implication from some fans that labru has less depth as a relationship than farcille or any other wlw ship in dungeon meshi, and the idea that people are only shipping it as a joke, or because they're horny, or because they're misogynistic and don't want to look at female characters, etc etc. I've seen people call it like, "bloodlust obsession that turns to horniness" and it made me realize that the people who don't ship labru don't understand their dynamic at all. labru shippers didn't just pull this out of our asses lol

a lot of the story around kabru involves how he and laios are perfect opposites of eachother. NARRATIVE FOILS, if you will. everywhere kabru thrives (social interaction, charisma, the surface) laios completely fails. and everywhere that laios is most successful (in the dungeon against monsters) kabru keeps getting killed. not only that but their desires are mirrors of each other too: laios grew up bullied by humans and wanted to become a monster, kabru grew up dehumanized by his villagers and then the elves, so he wants to affirm his identity as a human being.

despite how kabru should be repulsed by laios due to his hatred of monsters, he's drawn to him instead. kabru spends the entire story trying to get to laios to talk to him and to get to know him. firstly he knows laios is closest to defeating the dungeon lord and needs to sus out if he's a good person, but he admits that he really wants to be friends with laios too, not just to determine his virtue but to see what value laios sees in monsters. he wants laios to share his interest in people, he wants laios to be interested in him back. kabru never had any true bloodlust or desire to kill laios, he was prepared to go that far if laios wasn't a good person, but once finding out that he has good intentions kabru spends all his energy trying to help laios instead. and when you consider that kabru spent his childhood believing he was half monster because of how he was ostracized in utaya, his curiosity about how laios could possibly love monsters feels so much more personal.

and for laios, he's not used to anyone taking an interest in him. people are constantly telling him he's weird, and the person he believed to be his best friend told him he couldn't stand him. he misses falin so dearly because she thinks he's the coolest man on earth, so meeting someone and being told "I hate monsters but I still want to know YOU" would have an impact on him, I think. in postcanon they become good friends, kabru becomes laios' right hand man to help him with more of the dicey social aspects of being a leader. laios asks him to stay by his side and help him, and kabru says "yeah, that's what I've been doing this whole time"

I wouldn't claim that a romantic relationship between them is CANON, but I wouldn't even say that about farcille either tbh (and I love farcille just as much so don't come for me lol) this isn't a comedy crackship that yaoi fans just made up. laios and kabru are really multi dimensional characters and they're made to reflect eachother in every way, even down to their physical design. so it's not out of nowhere that people ship them

[blanketforcas]

🚩Cult and cultlike/toxic behavior: red flags in fandom 🚩

A non-exhaustive list inspired by my 10+ years of experience in fandom, both personal and second-hand. By sharing this, I hope to make other people more aware and able to protect themselves in the future. No fandom space or friend group is worth your mental health.

They claim they have secret information and use that to lure you in

They might either lovebomb you at first or make you (feel like you have to) prove your worth

The leader(s) of the group might not feel super approachable, at least not without fear of saying the wrong thing

They seem to create or point out a divide in fandom you’d never noticed before. Likely this divide isn’t actually there in wider fandom, or the need for it is wholly unnecessary.

They create an us vs them (outsiders) situation. Their group has the most knowledge and expertise, if others critique them it’s simply cause they must’ve heard false rumors. They are always the ones who are “misunderstood”.

Questioning statements from leaders/people with high regard in the group, is not without risk. You can get dogpiled, your intelligence put into question and gaslit about your own words and feelings.

You see discussions happen and get more heated, and at the end of that discussion the person on the receiving end of the things mentioned above ^ starts apologizing profusely and/or believes they are indeed stupid. However, if this person does keep defending their stance, they might get bullied or kicked out of the server/group chat

Too much emphasis on Being Right/having the correct take or theory – it may seem it has a higher priority than empathy and tactful communication

You need to have an opinion (their opinion), because silence equals condoning or agreeing with the “other side”

Bad-faith interpretations of posts/statements from someone considered part of the "out-group". You feel in your gut that something is off and they're misrepresenting it, but you find yourself wanting to agree anyway cause it fits the narrative the group subscribes to and going against that is generally not welcomed.

Everything is a moral issue. When everything is made out to be a high-stakes issue or reflective of everyone as a person, it's easier for the leader(s) to manipulate you.

You find yourself excusing people’s behavior because you agree with their point. The way they bring their argument forward and the tone they use, become subordinate to finding out the truthTM

There is such a thing as The TruthTM in every theory, discussion or analysis

If you don't Get It, it's cause you haven't "worked on yourself enough". Or it's cause you're not trying hard enough, or you haven't done enough reading, or you have blind spots only they can see.

There is a lot of conspiratorial thinking – maybe actors are trying to send us secret messages, maybe there is a Whole Lot You Don’t Know But We Do, Trust Us, maybe this or that person in fandom has tried to attack us and are planning a bigger attack,…

You barely/don’t have fandom friends outside of this group and if you do, you tend to intentionally (whether subconsciously or not) hide your experience from them. They wouldn’t understand the way they talk, they wouldn’t understand the way it works etc

They want to know a lot of your personal information. - might only happen once you get into higher ranks

You might get (more and more) specific “tasks”, it starts becoming a part-time job instead of a hobby/fun space to hang out with friends

Of course, these red flags are not always immediately visible let alone advertised when you join a group chat/discord server/twitter or tumblr bubble. They can also be nonexistent at first and show up later. Here are some general ways to stay vigilant:

Periodically check in with your values, if they might be changing & how you feel about that.

Keep an eye on the way people (and yourself) are being treated. Is it kind? Is it fair? Do you feel on edge all the time when you’re having conversations? Is your body more tense when you’re in this online space or when certain people are around? Be honest with yourself here.

Ask yourself: Is this space becoming my only coping mechanism? Am I spending too much time here? There’s no shame in spending a lot of time on things you enjoy, but do check in with yourself sometimes whether you are actually still having fun and if you are taking things too seriously or parasocialising a lot.

There's a lot of fun to be had in fandom and a lot of good that comes out of it - don't forget that. Keep seeking that. It's why we're here!

[gffa]

"Truthfully, I didn't realize how much I've missed working side by side with Dick. We have a shorthand I don't share with any of the others, save for maybe Alfred. He's always been the one keeping me centered. Grounded." I genuinely don't think Bruce has a favorite among his sons, I don't think that's what this is about. He has a unique relationship with each of them and each of them are narratively a reflection of a different aspect of Bruce, each of them occupies their own space that's not about the others. But, and admittedly I may well be biased because of who my favorite is, I do think Dick was the first and that means something. Because he was the one that broke down the wall first and because it had to be him that broke down that wall, the way his tragic loss mirrors Bruce's and the way Dick is a narrative counterweight to Bruce, that Dick amongst all of them, is the overall superhero that Bruce wants to see in the world. He's the light that Bruce wants to see, even while he works in the dark. He's the one who refuses to not be loved, time and again. Respected, yes. But also Dick demands to be loved. That this is what keeps Bruce centered. That being poked and prodded to keep acknowledging that he loves people and that his presence in their lives helps them, that's what grounds him. That's reflected in Dick's big speech in this issue, that Thomas and Martha disapprove of Batman because they haven't yet seen what Bruce did for these kids he loves, what he did for Dick's life. And, too, I think Dick was the youngest when he came to Bruce and the one Bruce raised the most, that Dick will always be his boy in a way the others were already halfway to adulthood, that Bruce loves all of them just as much as each other, but Dick will always be his kid. It's why he struggles over and over with respecting Dick's independence and autonomy, because that right there is his baby even more than the others, who came to him later and more independent. Bruce has unique, complicated, and fascinating relationships with each of his sons, so much depends on who needs him the most, that's who gets the priority and the interaction and narrative weight at the moment. But when you ask which one of them does Bruce need the most--it's the one who understands him and centers him, the one who still looks at him, this complicated and flawed and often broken man of a father, and says, no, you're going to love me. Because that's what Bruce needs more than anything, that's when Bruce is at his most interesting as a character, when he's interacting with those he loves and being forced to reckon with all his issues because he needs to be better for them.

[butterfly-ribbon]

something i like about mizuki and rui's interactions is that the first time he addresses her with the suffix "-kun" when he's asking about her name? but in every instance after this, he drops it even though he uses it to address /literally everyone/ (including the cis girls, he calls nene "nene-kun" for instance). makes me wonder if mizuki herself voiced her discomfort with it after explaining that she's trans to him or if he picked up on this on his own? either way, i like that he's considerate towards her even if he doesn't fully Get her...

i also love that mizuki here immediately assumes (perhaps a little unfairly towards rui even if it's understandable) that there's some narrativization on rui's end towards her which is rooted in a voyeuristic fascination in her as a person with a unique gendered experience that ties into how she's often treated as an object or an exhibit by everyone? it also makes sense in the context of her genre awareness and performativity bc mizuki is /very/ hypercognizant of tropes and the archetypes she's often forced to occupy?

it's this the expectation of herself as a source of entertainment to others. trans girls often exist in media to be ogled at and othered. she doesn't see reflections of herself in the world. she sees caricatures. so of course she'd assume tht this is what rui wants of her. of course that isn't the case, but trust is so difficult. commodification of transfemininity and transfemininity as performance being widely seen as a source of entertainment and comedy are things that are very normalized in pop culture and media… even when trans girls aren't treated as jokes, they merely exist to reinforce the femininity of cis girls as innately more authentic. this is something mizuki absolutely knows considering her genre awareness and how much she loves to engage with fiction, but i think it's also interesting that in the context of her relationship with the other girls in niigo there's this conflict taking place in terms of being the manic pixie dream girl who purposefully elevates the cis girls by setting the stage for them and helping them address their problems (she does this in carnation recollection, mirage of light, our escape for survival and many other instances) versus using them to affirm her own femininity … we see this the most with ena, but i think this is present with mafuyu too especially in the way she represents mizuki's hope.

mizuki's introduction to the other girls in person also establishes that she's very openly genre savvy and goes out of her way to point out narrative conventions of 'isekai stories' and other media tropes relating to her social situations in a way that feels very deliberate as a parallel to being cognizant of societal prejudices and gender constructs and the way they're sustained through pop culture so she has to co-opt them for her own benefit bc so much of mizu1 is about mizuki using fiction and horror stories as a medium through which she can engage with herself and the other girl but i think this is meaningful insofar as it tells us that mizuki always understood how abuse and misogyny work bc it's been her experience for her entire life… it's interesting that she's one of the few characters in the cast that's an active Anime Fan (ie, going out to try and get merch, tickets, the soundtracks, etc), but the expression around it is /very much/ like trans culture, like how a girl is engaged with things. it isn't about figures or being the ultimate oshi, she enjoys the characters, she enjoys what goes into the creation, she's engaged with how she relates to characters over them being "attractive." there's so much… about her and her genre awareness and also her social awareness… it feels very special bc very few stories go out of their way to acknowledge the fact that trans girls are usually the demographic with so much perspective on women's issues, both bc of their own lived experience and bc they feel like they /have/ to be knowledgeable to prove their own abuse and make up for the taking up so much space in women's spaces? it's motivated by internalized guilt but it's also out of a genuine desire to connect with women and womanhood … so many anime fandoms are often sustained by trans girls and that's something i always notice whenever i'm on twitter or tumblr? magical girl and idol series fan spaces are always occupied by trans girls and the same can be said for things like gundam? mizuki is the type of trans girl who's more into the former than latter but it's still important to note, and it makes me wonder how much of an overlap there is between how that works in english speaking fandoms and japanese ones? i imagine there's a big overlap, but it's still something i'm interested in seeing something more concrete about.

but yeah, the way mizuki is so invested in the process of creation and connecting with the characters very much parallels how she's the MV animator/editor for niigo and how her entire work process is predicated around having an intimate connection with ena's art, kanade's music and mafuyu's lyrics to display them in the best way possible? we know that she was creating edits for her favorite magical girls anime before she joined niigo (and she probably still does in her own time). trans girls often connecting and finding worth in things that cgirls have cast off as childish as well - "i don't need this" versus "this makes me feel like i can have the girlhood i was denied." the lesbian contingent in these spaces is also very strong. i feel that a lot of cgirls get disillusioned and have to come back and address the internalized misogyny around it. magical girls being co-opted by misogynistic otaku also makes it difficult, but it feels broadly meaningful to actually engage with magical girls and how they are genuinely made for young women and even more than that. also the editing … the AMVs and stuff and how it's about fixating on a piece and going through all the clips, closely editing … she's probably rewatched her favorite shows and episodes so often that it's easy for her to think about what she wants to go where. i imagine she would feel self conscious actually sharing her thoughts but also … we know how mizuki is so active in the nightcord chat and how much she fills the space with ena so i wouldn't be surprised. there's a side story where mizuki invites the others out to see a movie bc she doesn't want to watch it alone, she wants someone to exchange thoughts with … it feels so personally driven, this rare chance of hers to … try to show herself to others? she never wants to tell others directly, but through fiction and other things…

mizuki is also a fan of minori but not once does she identify as Anything More than that and of course idols are relevant to mizuki, bc her being Genre Aware extends to anime/manga (specifically magical girls and idols) and films (mainly horror). in the broad context of 'oshi' as a term this is important bc mizuki likes her and thinks she's cool and admires her, but she sees idols as ppl ... she sees girls as ppl.

i also think about mizuki and "loneliness" here in the context of transmisogyny as a system to isolate transfems, to deny them safety and community and solidarity in order to enable everyone else treating them like disposable sex dolls. many ppl will pretend that the idea of transfems being uniquely threatening or predatory is something that came from genuine concerns about sexual safety (especially terfs with their "concerns" about "males in women's spaces") when the truth is that it's a deliberate campaign to convince ppl that transfems don't deserve to be treated as human beings, never mind women, they're degendered objects (aka second class women). ppl aren't /born/ believing that transfems are more dangerous than cis men; nobody independently arrives at this train of thought as much as they're conditioned into it by the patriarchy in order to do their part in maintaining the exploitation of transfems as scapegoats for the sins of cis men even if they're not conscious of it. this just makes them gullible agents of the system.

a huge difference between how 'average' misogyny & transmisogyny operate is isolation. if you're a cis woman who's the subject of constant misogyny, it's still possible to find community within cis women. transmisogynistic oppression goes unnamed, isn't shared by any peers bc transfems rarely know other transfems growing up, and is never called out by anyone even adults. it's true that all systemic violence masquarades as personal violence, but i think this goes doubly so for transmisogyny especially bc the 'mainstream' understanding of transmisogyny even in queer spaces is that it doesn't exist as long as you use a trans woman's correct pronouns or recognize them as women (and even then ppl will always make excuses when they're called out for using they/them and it's not even called transmisogyny; it's just transphobia).

when trans women exist around others they're either reduced to sex objects/freaks or mothers/manic pixie dream girls who take on the brunt of emotional labor in social dynamics, and i think all of this informs mizuki's idea of loneliness here? rui may be well intentioned, but there's an inherent power imbalance between them as a cis guy and a trans girl (even though she's pretransition, it doesn't change this) that contextualizes their isolation and this is something mizuki is obviously bitter about… it's true that her family is supportive and gives her refuge in the form of her own room to retreat back to when the world is too cruel to her, but this is simply not enough when the goal of transmisogyny as an oppressive systemic force is to erase transfems like her from public spaces, which in some part also explains why mizuki feels so insecure about her coping mechanism being avoidance and running away bc it probably feels like she's letting transmisogyny 'win', so to speak? despite how much we see her being treated like an object and an exhibit in incredibly dehumanizing ways as well as all the microaggressions from so many ppl (even the ones who care about her like an and rui) we never see any teachers standing up for her? all they care about is getting her to attend enough so she doesn't have to repeat a year and such, which reads more like they're doing bc it's inconvenient for /themselves/ otherwise to have to deal with her more if she's held back a year. the fact that she tells rui that she hopes he can find friends that he has more in common with than just solitude in response to him trying to tell her that being lonely isn't all that bad is so loaded bc rui is a cis boy, so there's no way he understands the kind of isolation she's had to endure and the fact that he's able to speak positively about isolation understandably makes her bitter for these reasons.

mizuki joking about 'losing' to rui at making friends even though she has "better communication skills" when by that she means that due to her lived experience as a transfem she's had to become very hypercognizant of social norms and conventions in order to mold herself into a very palatable expression of femininity to be accepted by others but her hypersensitivity towards these things still isn't enough and rui can surpass her simply due to the fact that he's a cis guy...

[hydrus101]

It’s so fascinating to me about how much of Malevolent centers around bad or misguided fathers.

We spend ample amounts of time with Arthur’s grief and his faults, his fear of fatherhood, his failings of Faroe and the ensuing spiral afterwards. We hear of Bella’s strict upbringing, of Daniel’s controlling nature, the desire to shape his daughter into what he expected her to be, and even admitting to Arthur’s face that he intended to mold him as well, into what he thought his daughter’s husband should be. We learn of Larson’s betrayals, the sacrifices of his children: the monsters he made of those he should’ve loved, all in the pursuit of power and legacy. There’s an argument to be made even, of fragments and reflections and daughter and sons, that the King - that initial version of him now dead in all respects - was a sort of father, with John and Yellow as his residuals, his sons, his heirs, in a way. Finding their own identities now, free from the shadow of a predecessor, free to chose their own destinies, wether that is to separate themselves entirely, to scream defiantly of humanity and hope and self, or to try and reshape the visage of that dead malevolent god in desperate pursuit of love that wasn’t given, driven by a hate that was shared. What other analogy so seamlessly fits with the relationship between Arthur and Yellow than that of a neglectful father? The one who was supposed to be patient, be caring, be kind, the one who was supposed to teach this new being, this new child, about what life could be like? What love and kindness it could hold? But Arthur was too unsteady then. Too unstable to give Yellow the upbringing that he deserved. His nature was shared with John, and we’ve seen the depths of love he’s embraced. Yellow was simply nurtured wrong, encouraged down that spiral by a foster father who embraced and even venerated his rage. And similarly, in the basement in New York, we are reminded of nature and nurture, of animals and babes. Briefly, quick as a glance, we learn of the Butcher’s father, both a seething livewire and a subtle undercurrent in his motivations, manifested, perhaps, in his tumultuous relationship with failure, his self inflicted violence. Roland and Amanda receive less of the spotlight, but the foundations of everything are built upon their relationship. And now, with the Unclean, we know more of Arthur’s own father—who’s fate is known and the same as his mother’s—and his envy towards his friend, his childish jealousy and vindictive actions, of which he now condemns, having learned better, having known better. Every aspect of the narrative is seeped in fatherhood, in parenting, in children. Malam says as much by the fire: “They are our betters, our futures, our learned mistakes.” Malevolent is, at its core, about parents and children and hope.

And now, Arthur and John are on the run from a mother, on a mission given to them by a father, who’s daughter is largely a mystery, or perhaps, more familiar than we might think.

[altcvnningham]

so i was reading this post and started yapping in the tags before deciding i actually just needed to make a separate post because i have brainworms. long unedited ramble sorry this doesn't make sense at all

adlerbell & co-dependency;

the sick irony lies in the fact that the co-dependency that exists within their relationship, most of the time, isn't even of their own volition, and yet they are the constant cause of their own entrapment. they NEED one another as much as they hate one another because they ARE each other. to their core.

bell is everything adler hates and opposes and wars against yet he NEEDS them to catch perseus no matter the cost; adler is bound to bell in a way where he is ironically beholden to them, his fate in their hands, even when he's technically the one in control, with the power and rank over them, the one holding the leash. yet without bell adler has little to nothing. powerless entirely. in that way, bell has power over him, that his whole world rests upon the pinprick that is their loyalty to him, which is a hairswidth away from being shattered the second they piece together who they are, what he's done to them.

and bell is obviously only who they are because of adler. warped god wrenching hands into their head and rearranging it all until they suit whatever he deems his perfect image when he needs it. friend, ally, team member. dog, prey, victim. whatever he needs them to be, they are.

and bell's entire personhood is adler. bell's entire world is adler. half himself, a mirror image, their head a scrambled soup of his memories and fears, of vietnam, of things that didn't happen to bell but did happen to adler, a point in time that existed but they were not a part of, not until adler dragged their body off that tarmac and forced them to be. without adler, bell is dead in trabzon, or nothing. and that kind of co-dependency is indescribable- to believe that this man is one who went through the horrors of war with you, your friend for over a decade, is one thing. but even when bell breaks free of their conditioning- to know that they are possibly only alive because he found them? to know that mk ultra, despite being the very thing that destroyed them, was the only thing that stood between them and an unmarked grave??

bell wants adler. but adler needs bell. and mf wants to stand at that fucking clifftop and claim that none of it was personal?? he created a home for bell within himself, how they trust him, rely on him, believe that he'll always pick them up- because even if not in vietnam, he did, once, in trabzon. and bell is a home to all the worst parts of himself, scraped out of him and put into the empty pit he carves out of them- his weaknesses, his fears, his trauma, his ruthlessness. (i could talk about how adler's hatred of bell might even be a reflection not only of them being the very culmination of everything he opposes, but that they're also an amalgam of every worst thing he hates about himself, but that's another post entirely.)

i just. it wasn't meant to be personal. bell was a tool for adler, and adler was just this figure meant to be imprinted on. all means to an end. but against their own volition, they rely on each other. they need each other. they are dead without each other. i think adler needs bell to make himself feel powerful. but god, if they aren't the very thing he has to tiptoe around and revere because without them he has nothing. no team, no perseus. and to bell, adler is not too far removed from a god, whether they know it or not. he made them. and i doubt the lamb wants to stray much too far from its shepherd. ugh. whatever.

don't even get me started on how their fates are inevitably intertwined. how even the narrative itself demands them be slave to each other's will. fuck everything

[wildsaltair]

Stalking Tiger

Pairing: Maximus Decimus Meridius x reader

Rating: M (some non-descriptive spiciness, lots of angst and hurt/comfort)

Word Count: 8.6k

Author’s Note: It's time for some Spaniard adoration! This is actually part of a larger narrative (everything is the same except Maximus was single AU) in which reader is a slave sent to entertain Maximus in the gladiator school, but they end up falling madly in love and kind of living in agony day to day worrying that something will happen to the other. This is a really special story to me, and I hope y'all will enjoy reading it as much as I've enjoyed writing it :)

*~*~*~*~*~*~*~*~*~*~ 

“I fight Tigris of Gaul tomorrow,” Maximus whispers to you. His mouth is right beside your ear, his breath warm on the side of your neck.

His words register with you a moment later, and you stiffen as you consider the implications. Tigris of Gaul is the only undefeated champion in gladiator history, known for his brutality and ruthless efficiency at killing. The thought of your love facing him is frightening, no matter how capable you know he is.

You’ve been lying with your back against his front, his arm wrapped around your bare waist securely, but you shift to lie on your back so you can see his face.

He moves with you and props himself up on one elbow, looking down at you with such fondness that your heart nearly melts. He strokes your hair from your forehead with gentle fingertips, as if he’s forgotten the subject he just brought up.

“Tigris of Gaul?” you whisper back, knowing your eyes betray your concern. “They told you?”

He sighs softly, eyes tracing over your features with care. “Proximo warned me. He fears that it may be a trap from the Emperor. A way to ensure my death.”

You shudder. It’s no secret that the Emperor wants your lover dead, especially as his popularity among the people has grown.

And what would your life be without him? This Spaniard, this indomitable gladiator, has become your whole life. Months ago, you began as a stranger, a slave sent to entertain him for one night, but every time you look in his eyes, you see the love in your heart reflected in him. You are his hope, his peace, his joy, and he is everything to you.

He feels your shudder and draws you close, burying his face in the side of your neck while you wrap your arms around him. Neither of you needs words to communicate in moments like this.

He presses his lips tenderly to the side of your neck, once, twice, three times. His free hand touches your side and strokes your skin comfortingly, as if you were the one about to face possible death tomorrow.

“Are you afraid?” you breathe into his ear, gently stroking his bare back. His skin is so warm, so smooth between the scars.

He hesitates, just breathing against your skin, then his hand slowly slides up the side of your body. “I fear nothing,” he whispers, “except losing you.”

Tears well up in your eyes immediately at the sweetness in his words, the soft passion in his touch. His fingers trace the swell of your chest, the fragile length of your collarbone, the soft column of your throat. He is still nuzzling the side of your face with his nose, his eyelashes brushing your cheek.

These moments are treasures to your lonely heart — jewels you carry in your chest for the endless days when you are apart.

“Do you think Tigris will cheat?” you ask him softly, trying to think of how this fight might be rigged.

He kisses you again, with the pressure of a feather, just below your ear, and a tremble of pleasure runs through your body. “I am sure that the Emperor will have an added layer of danger to the fight. Single combat is too commonplace for an event such as this.”

He sighs when you drag your fingertips down his shoulder blades, tracing the faint notches in his spine. He dips his head so that his forehead is folded into the crook of your neck, his hand lowering to trace your curves again.

“You will win,” you assure him, though your heart pounds at the thought of him facing a battle already slanted against him. “You always win.”

His hand stops wandering and presses flat against your chest, directly over your heart. He can feel it pounding like a drum beneath his palm.

“I will win for you,” he murmurs, pressing his body more firmly against yours when you lay your hands flat on his back. “I will win if only to see you again.”

Again, tears rise in your eyes, threatening to choke any response you might have. He feels the emotion coiling in you somehow, wraps his arm around your waist to pull your bare body close against his. Your legs tangle with his, your arms hooking around his back so you can bury your head in his broad shoulder.

“Let me come watch,” you beg him quietly, already knowing the answer from many similar conversations.

He shakes his head vehemently, arms locked around you firmly. “No, my love,” he whispers. “I do not want to see what your master forces you to do, and I do not want you to see what mine forces me to do.”

“It’s different with you,” you insist, your voice breaking. “A thousand strangers see you fight every week.”

“You are not a stranger. And I would not have you see the side of me that has won me the favor of the people.”

You know the truth of his words, and in all honesty, you do not wish to see him fight. Despite your curiosity, the thought of seeing your beloved fighting for his life in an arena, facing insurmountable grotesque odds, while all around you people cheer for someone’s blood, makes you sick to your stomach. You know seeing him fight would only increase the fear you already feel for him every moment.

You kiss the base of his neck tenderly, and he responds as he always does: with a faint shiver and a sigh of pleasure. “I will honor your wish,” you promise. “But my heart will be with you every moment.”

“I know,” he breathes against your skin. “That is the thought that has carried me through many dark hours.”

Your designated time is close to being over, so you cling to each other with all the passion tethered in your hearts. Moments like these only serve to remind you of how easily all this happiness could vanish, of how fragile and dangerous such a love is. You are slaves, and your moments together can only last so long as the gods are merciful.

So you just hold each other, basking in the warmth of one another’s skin, and the steady beating of each other’s hearts, and the even cadence of each other’s breaths, perfectly in rhythm.

*~*~*~*~*~*~*~*~*~*~

A roar from the crowd. Deafening, then muted, then scattered, then horrified, then deafening again.

You are perched by the window of your room in your master’s house, your ear closely attuned to the sounds of the crowd in the arena several streets away. You would never violate your promise to Maximus and go to watch his match secretly, but you cannot help listening to the sounds of the crowd to ascertain how he is faring in the fight.

The crowd is chanting his name now, over and over like a refrain. He must be entering the arena.

Spaniard! Spaniard! Spaniard!

They scream his name, yell it like a battle cry. It is a chant, an anthem, a moniker for a fierce warrior and entertainer.

Only you know his true name. Maximus. Only you breathe and whisper and cry out his true name, night after night, cradled in his arms, in the intimacy of his bed, while he looks deep in your eyes and coaxes the sweetest pleasures from you.

And only you have the joy, the privilege of hearing your own name tumble from his lips again and again and again, night after night, when his head falls back and his eyes soften with pleasure and contentment while you thrill him with your own coaxing.

You have been imagining the match in your mind all day, wondering what will be awaiting him when he steps onto the sand. He is such a capable fighter, such an indomitable force, but every man has his limits. The Emperor, you know, will test each of them.

Another deafening shout, his name mingled with the screams of horror and fascination as the match resumes.

Your heart is pounding as loudly as you can imagine that it would if you were in the arena beside him.

You do not know when you will see him next — as far as you know, your master has not arranged for you and the other slaves to go back to Proximo’s gladiator school for at least another week — and you ache at the thought of having to wait that long to see him again. To hold him, to examine him for injuries, to whisper your love to him and feel his body pulsing with life.

You fear for him every day, but these days, the stakes are so much higher, the risks so much greater for both of you.

Another deafening roar shakes the whole street, and you pray silently to every god you have ever heard of that your love is still alive.

How long can this go on? This compassionate allowance to let you and the Spaniard share your love once a week or so? How long can you expect fate to be so kind, so merciful to let you find peace and surrender in his bed, in his loving arms, before one of you is ripped away forever?

Tears spring anew to your eyes at the thought. He could be killed, or seriously wounded and sent somewhere far away. You could be bought as a live-in lover or sent somewhere else permanently.

As it is, Maximus is the most successful gladiator in Proximo’s school and therefore the most likely to be allowed to have you continue coming to him on certain nights. You, on the other hand, have no such power, and your favor with the Spaniard can only last as long as he does.

But what would it matter? If he dies, all your hopes die with him. Your master can sell you as lion bait for all you care, if you have to live in a world without the comfort of your love’s embrace.

The crowd suddenly goes silent, and so does the beating of your heart. Your mind swims with the possibilities. Is he dead? Is Tigris dead? Has something even more unthinkable happened?

Your hands are clenched into fists, your eyes squeezed shut as you wait for something, anything, to give you a sign about what has happened.

The whole world seems to stand still as you wait.

And then, from several streets away, the arena erupts into cheers and screams: Spaniard! Spaniard! Spaniard!

And your heart sighs as you drop into a chair, suddenly exhausted from the strain of worry. The shouts continue to ring down the street, and people outside your window take up the shout as well, acclaiming Rome’s greatest hero since Caesar.

Spaniard! Spaniard! Spaniard!

All their shouts are drowned out by the beating of your heart and the relief that floods your mind.

He lives. He lives. He lives. And you will see him again.

*~*~*~*~*~*~*~*~*~*~

You are thoroughly shocked when a messenger from Proximo comes to you that night, requesting that your master send you to the gladiator school alone.

Your master’s look is skeptical and disapproving, but the weight of gold coins in the purse sent with the message prevents him from making any comments.

You slip through the front gate of the gladiator school in a matter of minutes, heart flying at the thought of what might be happening, why you could have been summoned here alone by Proximo himself.

You’ve heard what happened in the arena, of course. Everyone has been speaking of it all day. Maximus and Tigris of Gaul, evenly matched, fighting ferociously with swords and axes. Man-eating tigers leaping from hidden trapdoors, barely tethered by chains and swiping at the two fighters. The Spaniard, gaining the advantage and winning the match. Then defying the Emperor’s death command and sparing Tigris’ life, to the massive approval of the crowd.

Your heart swells with pride to think of it, as well as worry, as you slip into the main chamber of the gladiator school and wait for Proximo to appear.

Proximo is waiting for you, you discover, assessing you with cold eyes. “What is it that so fascinates him about you?” Proximo wonders aloud, scanning your body as thought he might find something everyone else has missed.

“He cares for nothing but you,” the gladiator trainer continues, pacing with a feigned air of casuality. “Every time I ask him what he wants as a reward for the fame and riches he brings me, he only asks for you. Over and over. Why?” Proximo’s question hangs in the air, weighty like a storm cloud.

You have no answer for him, of course, and he knows his questions are rhetorical. He waves his hand dismissively in the direction of the gladiators’ cells.

“Go to him,” he commands you with an odd air of defeat, as though you have somehow bested him by remaining a mystery. “He has won the day and the affection of the mob. Again. All he asked in return was for you to come to him tonight.”

Your heart soars as you fly through the hallway. The guard unlocks the cell door, and when the door clangs shut behind you, barely a moment passes before you have flung yourself into your love’s strong, welcoming arms.

Maximus holds you slightly off the ground for a moment, his face buried in your hair while he breathes you in. It’s when he exhales jerkily that you feel something wrong.

You pull back slightly, hands resting on his broad shoulders while he sets you back on your feet. “What’s wrong?” you ask, sensing his apprehension.

He shakes his head, gazing deep in your eyes as though he is amazed to see you. “I did not think Proximo would let you come,” he wonders, running his fingertips through your hair gently. “He must have been very pleased.”

“He was,” you confirm. “He said he was willing to offer you whatever you asked. And he was confused as to why you only care about me, instead of anything else he offers you.”

Your love’s brow crinkles into a frown at that. “He spoke with you?”

“Only for a moment. I think I puzzle him — he doesn’t understand what you see in me.”

Your words are light, teasing, but the Spaniard fixes you with a gaze that could melt steel. He tightens his hold around your waist, pulling you close so you can feel his every breath.

“Am I the only man with eyes to see you?” he wonders, leaning forward to press his lips lightly against your cheek. “Can it be true that no one else recognizes you for what you are?”

Your heart warms at his praises, because you know he means every word. Other men, including your master, see you as unimpressive, plain, suited for little more than gladiator entertainment. But to this man, this Spaniard who loves you so much more than his own life, you are a precious treasure whose every movement bewitches him.

You smile in return, and he lets his lips travel over your face — your jaw, cheeks, nose, chin. His tender affections are right in character for him, but you can’t shake your concern.

“Why did you ask for me tonight?” you ask cautiously, eyes closed as he kisses your forehead with the utmost tenderness. “You have never asked for me on a night when I was not already to be sent to you.”

He sighs, resting his lips against your forehead. For the first time, you realize that he is trembling slightly in your arms, as though nervous.

“I needed to be with you,” he says simply, dipping his head to rest in the curve of your neck.

His words worry you. Perhaps his fight with Tigris frightened him more than he is willing to admit aloud.

Wanting to comfort him, you stand on your toes and wrap both arms around his neck, stroking his back soothingly as he breathes into your shoulder. When his breath catches, a pained gasp escaping his throat, you freeze, afraid of hurting him.

“What is it?” you whisper, loosening your hold on him even as he cradles you in place.

He takes a deep breath to steady himself, shakes his head slightly. “It is nothing,” he assures you. He thinks for a moment, strokes your spine with his warm hands. “I just needed to have you near tonight.”

Still concerned, you put your hands on his chest and push a few inches between your bodies. Looking into his eyes seriously, you ask, “Are you hurt?”

He gives you a soft smile, fingers tracing patterns on the sides of your ribs. “I am all right,” he says vaguely, not answering your question the way you hoped.

Still, he does not protest or stop you when you pull out of his embrace and step to the side to look at his back, which seems to be the afflicted area based on the way he flinched at your touch.

When you finally see his injury, you cover your mouth with both hands, eyes filling with tears of horror, anger, and sorrow.

His back is razed with four long claw marks, stretching from his left shoulder blade to his right hip. His tunic, although clearly fresh, has soaked through with the blood, staining the fabric a deep red. A series of small cuts on the backs of his arms, neck, and spine betray more abuse at the hands of his opponent.

Tiger claws. Your love was clawed by a tiger in the arena today, in addition to nearly losing his life to a fierce opponent.

And he seeks your presence as his comfort, you remind yourself. You are his peace, his solace, his only joy.

Your heart swells at that thought, but it aches and weeps at the sight of his terrible wounds, at the pain he must be enduring even at this moment.

He turns to face you, his eyes shadowed but soft on your features. “Do not cry for me, my love,” he murmurs, brushing his fingertips over your cheeks to wipe away your tears.

You shake your head vehemently, pressing your lips together to keep from bursting out in emotion. “How can they do this to you?” you whisper harshly. “You have done nothing, yet they torture you with this terrible pain.”

“The pain is nothing,” he assures you with a gentle smile. “All I feared was that I might die without saying goodbye to you.”

Your heart breaks again, over and over, at the sincerity in his voice.

“You thought you would die?” you ask in a whisper, leaning in to his touch. He is still stroking the side of your face tenderly, but you are afraid to touch him again, to possibly worsen the pain you know he must be in.

He thinks for a moment, eyes trailing down to your lips. “I came closer to death today,” he finally admits in a quiet voice, “than at any other time in the arena.”

So that is the reason for this midnight visit, you realize. A narrow brush with death. The knowledge that he is not invincible. That he could have been killed by a stray swipe from a tiger. Perhaps his first real encounter with fear since he became a gladiator.

Eyes burning with more tears, you squeeze your eyelids shut and reach up to clasp his hand in yours. “I knew something was different about today,” you mutter. “I could sense it, even last night.”

He nods, still letting his eyes focus on your mouth as though afraid to meet your eyes. “The Emperor grows bolder,” he agrees. “More intentional.”

Again, your heart flips in your chest at that thought. The most powerful man in the Empire, with his sights set on death for the man you love.

“I am glad you called for me,” you whisper, opening your eyes to meet his gaze. “I want to share in everything with you — your joys, your sorrows, your fears, everything.”

The look he gives you is so sweet, so tender, so full of gratitude and adoration, that your heart melts again.

He doesn’t speak, just cups your jaw with his hand and pulls you close for a kiss. Not wanting to hurt him, you rest your hands lightly on the inside of his elbows, stroking your thumbs over the sensitive skin. He sighs into the kiss, lips moving gently against yours.

When he tilts his head to rest his forehead against yours, you whisper, “Are you in pain?”

He hesitates, then presses another soft kiss to your lips before answering. “Not unbearably,” he whispers back.

Which is as close to admitting his pain as he will ever get, you know. Knitting your brow in concern, you tilt your head back to look up into his eyes. The top of your head is level with his chin, and he smiles down at you with such fondness and love.

“Let me take care of you,” you request quietly, stroking the sides of his face. He closes his eyes and relaxes into your touch, sighing in pleasure at the contact.

“I did not bring you here for that,” he counters with the faintest smile, eyes still shut as he basks in your gentle touch. “I only wanted to be with you. Do not worry about the scratches; they will heal quickly. Proximo vowed that I would not have to fight again until next week to give them time to heal.”

His words hardly reassure you, and you slowly run your hands down to the sides of his neck. “Let me take care of you,” you repeat, gazing at him passionately. “I want to.”

Your lover opens his eyes, and his expression softens even further. You can sense in his manner that he did not intend for you to care for his wounds, but that he is grateful and pleased that you want to anyway.

“Do whatever you wish,” he murmurs, leaning in again to capture your lips in a gentle kiss, “so long as I am close to you.”

What love could ever be sweeter than the tenderness he feels for you, that in his moments of greatest fear and pain, he longs for your calming presence?

When your lips part, you step out of the circle of his arms, ready to begin your job of tending his wounds. You survey him carefully, looking for any injuries you may have missed when you threw yourself into his arms earlier.

There are a few small cuts on his face and a bruise forming under his right eye, but nothing particularly grievous. You notice a slice across the top of his left hand, but it has been crudely bandaged with a linen strip.

Meeting his intense gaze, you motion for him to take off his tunic so you can get a better look at the tiger’s claw marks on his back. Wordlessly, he does as you ask. Watching him undress is nothing new for you, but when his tunic is off, the damage to his skin is even more obvious. Your throat clenches when you see the deep cuts on his back.

“You will be scarred from this,” you whisper, hands hovering over his back but afraid to actually touch him for fear of increasing his pain.

He smiles softly over his shoulder at you. “I do not mind the scars,” he teases you, “so long as you are here to ease the pain.”

His body bears further evidence of the fight now that you can see his bare skin. Deep cuts on the backs of his arms and shoulders, and one shallow one running down his side. He’s covered in bruises as well, from his breastbone to his ribs. Every time he breathes, you sense the painful movement of his bruised skin.

Another wave of emotion strikes you at the sight of his wounds. Your hand still hovers over him, afraid to make full contact, and he turns his head to look at you.

A moment later, he turns fully and wraps you in his arms, clearly ignoring the pain it causes. You bury your face in his bare shoulder, blinking back tears.

“I cannot stand to see you like this,” you tell him, your heart breaking as you think of all the pain he has borne. “I cannot stand to see what they do to you.”

He lays his cheek against the top of your head, rocking you back and forth in his arms as if you were the one in need of comfort. “They can do nothing to me that I am not fitted by nature to bear,” he promises you in a soft voice, the one that you know is reserved only for you.

You do not bother trying to argue him out of that philosophy, choosing instead to rest your hands lightly against his waist. He does not flinch, but his muscles relax at your soft touch.

Several moments pass in that way, just holding one another close, enjoying the simple pleasure of sharing a quiet moment away from the rest of the world. Your times together are always so brief, so bittersweet, and your heart aches at the thought of having to leave him like this tonight.

I will make it worth it, you promise yourself. I will take away his pain, even if only for an hour.

Without a word, you lift your chin and look deep into the man’s eyes. He gazes back at you steadily, firmly, lovingly. His hands are feather-light on your waist.

Just as silently, the moment passes, and you take one of his warm hands in yours to lead him toward the bed. He follows you without a word, then sits on the edge of the bed when you indicate for him to do so.

His eyes widen in surprise, however, when you do not join him on the bed. Instead, you kneel down at his feet, between his legs, and lean forward to press your lips against his bare chest. Lightly, with the pressure of a breath, you kiss every bruise on his body — from his collar, to his breastbone, to his ribs, to his stomach. He breathes deep and slow while you trail your lips over his skin, never flinching as you take care not to press your kisses too hard.

When you have finished with his torso, you lean back on your heels and take his hands in yours. Still, he looks down at you with such wonder, such abject shock that you are paying these careful attentions to every inch of his weary body.

He nearly shivers when you press a kiss to the tops of his hands, then each of his fingers, riddled with cuts and callouses. All you want to do is shower him with the love you feel, the love you always worry you will never have another chance to express.

Over his palms, his wrists, his sensitive inner arms with pulsing veins, you continue kissing his skin with utter softness. He raises one hand to rest on the back of your head, tangling his fingers in your hair.

Sitting up on your knees, you push yourself to be at eye level with his chest. Another brief moment of eye contact, his gaze searing into yours as your souls communicate without words — I adore you, I lay my entire life at your feet, for the rest of my life I am yours.

Then you rest your hands on his thighs, leaning forward to press your lips and tongue to his neck, right where he is most sensitive.

He does exactly what you want him to do — he shudders from head to foot and draws a quick breath, overcome by the pleasurable sensation. His hand is still gripping the back of your head, and his fingers tighten ever so slightly in your hair.

You still intend to care for his wounds, but right now, all you want him to know is how much you love him, how much you desire to pleasure him the way he always pleasures you.

Passionately, your lips move against his neck, and your whisper is so soft you wonder if he will even hear it. “Show me where it hurts,” you request. “Show me where to touch.”

He is so vulnerable for you in this moment, his body bared to you and his eyes closed, head tilted back while you explore his neck with your lips and tongue. It’s the most intimate position he can be in, with you so close to his exposed throat and heart. No one else sees him this way: no one else has his trust the way you do.

One of your hands reaches up to rest against his chest, which rises and falls more quickly as his pulse accelerates. The faster he breathes, the warmer his skin grows, and you grip his leg more firmly with your other hand.

His own larger hand falls to grip yours there. “Touch me wherever you please,” he murmurs, breathless and shivery. You are thrilled by the way he responds to you, and you can sense that this is what he needs now — to take comfort in your touch, in your love.

“I will be careful,” you promise, nuzzling his neck while your free hand rubs circles on his chest.

He moans, the softest, sweetest sound you have ever heard in your life, and he whispers, “I am at your mercy, my love.”

And, indeed, he is.

You are careful, just as you promised you would be. He seems to finally let down his guard in front of you now, to stop covering up the pain. You can sense it in his ragged breathing, his flushed skin, his faint winces when he leans forward or back slightly.

Wanting to help him release his tension but also knowing he cannot lie back or rest against the wall, you go back to your kneeling position on the floor. While he takes a deep breath, you lean forward again and touch your lips to his stomach. The muscles there are tight, but he softens and relaxes when you press kisses in a trail lower, his hips moving in an involuntary response.

You’ve reached his lower abdomen, reveling in the warmth of his skin and the pressure of his hand on the back of your head, when he stops you.

“No,” he whispers, voice hoarse with strain. A thin sheen of sweat has broken over his skin, and his eyes are glassy as he looks down at you, breathless.

You rest a hand on his waist again, stopping immediately. “Did I hurt you?” you ask softly, heart aching at the thought.

He shakes his head and closes his eyes for a moment. “No,” he assures you. “It feels so good.”

You smile at that, leaning forward to kiss your way down his torso again, but he stops you a second time.

“Not that way,” he insists, and suddenly you realize what he means. He so rarely lets you get on your knees and pleasure him — just him — without regard for yourself. He much prefers for you to reach your pleasure together, both of you achieving rapture at the same time if you can. You’ve gotten into such a rhythm now that you can manage it nearly every time.

You want to ease his pain this way, to focus only on pleasuring him, but he won’t let you — not even when he’s throbbing and aching for you so badly. You should have known he wouldn’t.

“You can’t lie on your back,” you remind him gently, enveloped by the warmth of his gaze as he frames your face with both hands. “And if you straddle me, your cuts might open again. We need to be careful.”

He smiles back at you, stroking your hair. “We will,” he promises. “Stand up.”

You do as he asks, reminding yourself that you wanted to satisfy him tonight, and if this is really what he wants, you’ll give it to him. As always, you are struck by the selflessness of his gesture — he cannot stand the thought of simply using you for his pleasure if he cannot bring the same feeling to you.

He stays seated on the edge of the bed, but he pulls you close to him with his hands on your waist. Gently, and slowly so as not to inflame the scratches on his back, he lifts the hem of your shift and helps you tug it over your head.

Undressing you himself is one of his favorite parts of lovemaking, you’ve discovered. He delights in slowly uncovering your skin night after night, baring you himself, seeing your reaction to his first touch.

A moment later, his hands are gently pressing onto your bare body, gripping your hips to pull you forward. You finally understand what position he is angling for, and you climb onto his lap with his assistance.

And thus are your next moments spent. He drags his lips over every inch of your skin he can reach — your neck, shoulders, chest, collarbones. Every sensitive spot he has memorized, he attends with his tongue. His hands are tender on your lower back while he holds you in place, smiling into your skin each time you gasp and shiver at his touches.

When he finally pauses to take a breath, you seize your opportunity and do the same to him. He shudders in your arms, nearly comes undone for you when you lean forward, touching your body gently against his.

Every breath is in rhythm with each other, every movement perfectly in sync. While you press open-mouthed kisses to the curve between his neck and shoulder, he aligns your body right where he needs you, holding your waist with his strong hands.

He sets the rhythm, and you follow his lead while he moves you back and forth — always in control, even in this position. Sometimes he winces in pain or tenses when he pushes too hard, but he never stops his pace. He leans forward occasionally to kiss your lips or neck, and you let your hands wander over his broad shoulders, his heaving chest.

Unexpectedly, just as tension begins to coil in your belly, tears spring to your eyes. Even in the heat of passion, your lover looks up into your eyes with such sweetness, such tenderness.

Sometimes his eyes flutter shut when he gasps in pleasure, but he always opens them again, fixes his gaze on you while he makes love to you.

What could be sweeter than this? you wonder. To gaze deep into one another’s eyes while you pleasure each other?

There is no shame, no apathy, no indifference. There is only love in his eyes, sheer joy at being close to you, wrapped up in your limbs and heat and affections.

It’s true intimacy, you know, to have each other’s bodies memorized, and to still be content to look so deeply into each other’s eyes.

He reaches his release first, one arm tightening around your waist. He moans again, deep in his throat, and his head naturally falls back, eyes closed, lips parted. You drag your hands through his dark hair, swipe at the sweat on his temples.

He whispers your name, once, twice, three times, opens his eyes and looks deep into yours while he tenses and relaxes in rhythm with you.

You reach your own climax a moment later, encircled firmly by his strong arms, still moving in rhythm with his body, and you only have the strength to lean forward into his embrace, your head tucked into his neck, while you breathe his name over and over.

The moment is perfect, utterly perfect, in a way that only true lovers can experience.

You are still catching your breath when he dips his head against your shoulder, still breathing deep to recover from his intense release.

“I love you,” he murmurs passionately, “with all my heart and soul.”

You try to reply in kind, but his lovemaking has left you so breathless that you can barely make a sound.

But he isn’t finished. “I am yours,” he continues, lips brushing your neck as he speaks in a voice only meant for you. “All I am and ever will be is yours.”

“I know,” you finally manage to reply, breathless and soft.

“If ever I should die without saying goodbye to you,” he whispers against your throat, “know that I died loving you with my last breath, and that your name was the last word on my tongue, and that I will wait for an eternity until my soul meets yours in the afterlife.”

If you were not already overcome by emotion before, his impassioned confession brings you nearly to sobs. Carefully, you wrap your arms around his neck and pull his body fully against yours.

“My beloved,” you whisper, and he sighs softly at your endearment. “I have nothing to give you but my heart, and it has long been yours. My every heartbeat is for you alone.”

In the wake of your passion, sharing every breath and shiver in your close embrace, your feelings seem to spill over like a waterfall, and he kisses the base of your neck to hide his own surge of emotion.

“You are my only joy,” he tells you. “My only peace. My world is cruel and dark and brutal, but your light wraps around me and gives me something to live for.”

“And you,” you say tearfully, “are the sun in my sky. You are the first ray of morning and the last ray of evening. I have no light but you.”

He rests his forehead on your neck and breathes you in deeply. “I am yours,” he repeats, softly, like a prayer. “I am only yours for the rest of my life.”

Your response is to tighten your limbs around him and rest your head against his shoulder. No more words are needed, for you both can understand each other without speaking.

And in this silence, your lonely heart is comforted, his pain is eased, and your love is only sealed further by the sweet assurance you feel in each other’s arms.

*~*~*~*~*~*~*~*~*~*~

You know you only have an hour with him, so once both of you have caught your breath and taken your fill of each other’s soothing touches, you finally disentangle yourself from him and sit down beside him on the bed.

Just as you feared, the deep claw marks on his back have reopened after your passionate lovemaking, blood trickling down his back again.

“If I thought reopening wounds could be so enjoyable,” the man tells you teasingly, “I would ask to fight a tiger every day.”

You can sense that he’s covering up his pain with the teasing tone. He is shaken — far more shaken than you have ever seen him — but he’s trying to be strong for you.

Sitting beside and slightly behind him, you are kneeling on the bed. You didn’t bother putting your clothes back on, as both of you have become so comfortable with one another that it seems to make no difference, especially since you’ve just finished making love.

Biting back the wave of emotion that threatens to overtake your words, you give a sighed laugh. “You do not need to risk your life for my attention,” you say, only half-joking. “It is yours whether you are clawed or not.”

After a brief look around the room, you find the one courtesy the gladiator school has provided your injured lover: a bottle of liniment. Fetching it from the table, you fold yourself beside him on the bed.

“Face the wall,” you instruct him softly. “I will rub this into your scratches.”

He does just as you ask without hesitation, bracing himself with one hand against the wall. You can sense the tension in his strong frame, the effort it is taking to keep from betraying how much pain he is in.

Tendrils of blood are still running down his bare back, so you first wipe away the blood with the washrag on the table. He gasps at the first touch of your hands, then relaxes a bit at the relief.

“What was the purpose of giving you ointment,” you ask lightly, trying to distract him from the pain, “if your scratches are impossible for you to reach yourself?”

He relaxes a little more, a laugh shifting his position. “Perhaps they were counting on you to be my nurse,” he replies.

You only smile at his words, rubbing the liniment onto your fingertips and beginning to apply it to his skin. The tiger’s scratches are deep, ripping his skin from corner to corner. He tries to hide his reactions, but he can’t keep from jerking a quick breath anytime you press ointment into his cuts.

“Did anyone even look at your wounds?” you ask him, still trying to keep the conversation light but edging toward sensitive territory.

He breathes, deep and slow, before answering, his voice strained. “Yes,” he murmurs. “Proximo had them examine me after he saw how much I bled. The physician said he did not need to bandage me, so he just gave me the ointment to keep infection away.”

Another gentle press of your fingers, and he arches his back slightly in pain. You’ve only just finished tending the first scratch, shoulder to hip, so you pause and lean forward to press your lips to the back of his neck. He sighs contentedly.

As much as you despise Proximo’s gladiator school and its cruel treatment of your beloved, you take a small consolation in knowing that you are the one who gets to care for his wounds.

The thought of anyone else putting their hands on him, of anyone else seeing him undress and touching his body, is distressing to you. You know he is violated in so many other ways — forced into life-or-death situations every day in the arena — but you have always taken comfort in knowing that he does not suffer at others’ hands the way you do.

You push such thoughts from your head. Right now, all you care about is that he is yours, body and soul, and that he craves your gentle touch to ease his pain.

You resume your ministrations to his back, alternating between wiping away his blood and applying the thick ointment to his scratches. He works hard to hide any pain, your only indication being his white-knuckled grip on his thighs.

“Will you be able to sleep tonight?” you ask quietly. He usually sleeps on his back, but that will be impossible until his scratches are healed.

He just nods, clenching his teeth to keep from betraying his pain. You are rubbing ointment into the last of the four cuts, and you notice that he is trembling again, probably from the pain and the exertion of trying to hide that pain.

You finish as quickly as possible, then wipe away the last of the blood from his back. Eager to comfort him somehow, you lean forward and kiss him softly on the back of his right shoulder, where there are no scratches.

The shiver that runs down his spine, and the breathless moan he elicits, are like music to your ears.

“Are you all right?” you whisper, lips brushing his skin softly.

He draws another shaky breath, nods his head. “Yes,” he murmurs. “Thank you.”

You simply lay your cheek against the back of his shoulder. You long to wrap your arms around him, to hold him close to your body and share your warmth with him, but the scratches make that impossible.

Instead, you indicate for him to turn around again, and he does so, moving slowly so as not to irritate his scratches again. When he is facing you, you begin using the washrag on some of his other injuries.

“Proximo is sending you back into the arena next week?” you ask, dabbing at the cut running down the side of his ribs.

He winces slightly but does not make a sound. “Yes. The Emperor has called for another holiday, and I will be expected to fight in the games.”

You press your lips together. His eyes have fluttered shut, and his hands are still gripping his thighs, all from the pain of you tending his wounds. You can’t imagine him being ready to fight again in only a week.

You say as much to him. “It is as though Proximo does not care whether you can lift a sword or not.”

He smiles sardonically, eyes still closed. “I finished the fight today after being clawed by a tiger,” he says lightly. “He knows I will do whatever I must to stay alive.”

You are grateful that his eyes are closed, because you can’t suppress the worry and sorrow that cross your face at his words.

Every fight brings him closer to his inevitable death, a vicious slaughter to the shouts of a fickle mob.

You bite back tears that threaten to spill over, determined not to burden him with your own pain.

“Who will tend your wounds,” you ask, “if I am not here for the next week?”

He opens his eyes at that, gazes at you deeply, as if suddenly remembering that no fights mean no nights with you.

“I do not know,” he says quietly. “It does not matter.”

It matters to me, you think, but you just give him a sad smile and continue your ministrations. Delicately, you wash the bloodied cuts that form a lattice over his neck and collarbones, then swipe the cloth over his bruises. He winces again when you press the cloth against his chest, and you reach out your free hand to steady him.

“Is it too painful?” you whisper. Your heart breaks to see him like this.

But he shakes his head, biting back the pain and smiling tightly at you. “No,” he assures you as you set the cloth aside. “You have no idea how much it means simply to be with you.”

His gaze swallows you whole, wraps you in an embrace that warms your soul. He lifts one hand to stroke the side of your face fondly, and you lean your face into his touch.

“I do,” you tell him coyly, covering up the wellspring of emotion in your chest. “Did I not just remind you that you are my one joy? My only peace?”

He drags his fingers down your jaw, your throat, the swell of your chest. His eyes follow his fingertips, and goosebumps break out over every inch of skin he brushes. A shiver runs up your spine while he traces his fingertips on your lower abdomen gently, almost without thinking.

He looks up at you through hooded eyes, his lips pulled into a smirk. “You like that?” he teases, dragging one fingertip up the center of your body.

You can’t keep from shivering again, harder this time. The pleasure you just shared with him is still fresh, your skin still sensitive.

“You know I do,” you smile, arching your back. “I live for it.”

With a smile, he tilts his head to the side and continues tracing one finger over your most sensitive areas. He seems weary, you notice, especially after making love so passionately. His attentions are languid, curious, relaxed.

When his fingertips return to your face, tracing the shape of your lips, you raise your own hand and touch his chest lightly. His skin is still warm and flushed, and you press your palm gently over his heart.

It thunders under your hand. At the contact, his eyes close for the briefest moment, his lips parting, but he opens his eyes to fix you with a heated stare.

“It beats for you,” he breathes, swept up in the moment. “Only for you.”

He lifts a hand and presses it against yours, flat against his chest, while he just looks at you with all the love and passion within. Your own heart starts pounding wildly in response, and you impulsively reach for his other hand to press it against your chest.

You sit like that together for a few beautiful moments, just enjoying the familiar rhythm of one another’s heartbeats. One day his heart will stop beating, you remember unwillingly, and you’ll be left alone.

This is the burden of loving a gladiator: never being able to enjoy your time with him fully, because you always have that knowledge in the back of your head.

You push those thoughts aside again, determined to be strong for him the way he’s strong for you.

“It will not take long,” you murmur, leaning forward to press your lips against the corner of his mouth. “You will heal quickly.”

He hums in response, fingertips still tracing quiet patterns on your bare chest. “I will heal as quickly as I can so you can return.”

“Do not risk yourself only for that,” you warn him. “I would rather wait a bit longer than have you go into the arena too soon. You have to get your strength back first.”

“You are my strength.”

Your love bows his head then, resting it on the curve of your neck so he can breathe you in. Your hour is drawing to a close, and you are reminded once again that in his moments of greatest pain and fear, he only longed to be with you.

You can feel his warm breath on your neck, his hot skin burning against yours. The pain is catching up to him, you realize, and he needs to rest now. You know this, but your heart breaks at the thought of leaving him.

“I don’t want to go,” you whisper, tears filling your eyes once again.

He swallows hard, lifting his hand to cup your jaw. He’s still nuzzling your neck, as though basking in your warmth for the last time. “Beloved,” he whispers back, and his voice breaks, and you know that this time you have shared is different, more painful, more precious for both of you.

If only the rest of the world could see the Spaniard this way — completely vulnerable, intimately surrendered to the one he loves.

You trace careful fingertips over his shoulder, down his strong arm, then over his ribs, his waist, while he nestles his face against your neck. You wish you could hold him and comfort him all night, reassure him of your love every moment.

But the guard pounds on the door just then, signaling that your time is over.

He grips your jaw a little tighter, presses a soft kiss to your shoulder, then releases you. If the look in his eyes is anything to judge by, he feels the same bereavement at your parting that you do.

You dress in silence, motioning for him to stay on the bed and not aggravate his claw marks. He watches you thoughtfully, transfixed by every movement as you put your clothes back on.

“Will you send me word?” you ask him quickly, in a hushed voice. “If your injuries worsen, I mean? Or if anything happens?”

His smile is faint, pained, but grateful. “Yes.”

“And you will not rush Proximo to put you back in the arena? You will wait until you are healed?”

“I will.”

You’re dressed now, just lingering because you don’t want to go. The guard pounds the door a second time, but you just can’t tear yourself away.

Taking a quick step forward, you stand before your love, cradle his face in your hands. You press a kiss to his forehead, and when you straighten, he is looking up at you with the sweetest eyes you have ever seen.

His gaze is one of peace, and contentment, and adoration, and tenderness, and longing, and a thousand other soft emotions that he only shows to you.

He tilts his head to the side, kisses your inner wrist as you caress his face.

The door slams open, and the guard loudly informs you that your time is up, but Maximus just holds his lips against your wrist for one more moment, feeling your pulse as it races at his touch.

Then he is releasing you, and you are walking backwards to the door, and even as the door shuts, you can read the message in his eyes.

I love you. I love you. I love you.

*~*~*~*~*~*~*~*~*~*~

More of my fanfiction if you're so inclined :)

[xypheris]

Writer Jargon 101 ✨

Show, Don’t Tell – The golden rule! Instead of flatly stating emotions, reveal them through actions, dialogue, and sensory details. Like, don’t say, “She was angry.” Show her slamming a door or clenching her fists.

Head-hopping – When you switch POVs in the middle of a scene without clear demarcation. It's confusing and jarring, like taking a sudden detour while driving.

Purple Prose – Over-the-top, flowery writing that can come off as trying too hard. A little flair is fine, but don’t smother your reader with excess.

In Medias Res – Starting a story in the middle of the action. No boring build-up, just bang—we’re already in the heat of things.

Foreshadowing – Dropping subtle hints about what’s coming next. A small detail now could be a huge reveal later. It’s like dropping breadcrumbs leading your readers to an epic twist.

Chekhov’s Gun – If you introduce an object or detail, it better serve a purpose later. No random things just hanging around. Everything matters.

Canon vs. Fanon – Canon refers to the original source material, while Fanon is the fan-created version. You can take liberties with Fanon, but Canon needs to stick close to its roots.

Saturation Point – That place in your writing where things become too repetitive, too familiar. You’ve got to find a way to push beyond it to keep your writing fresh and engaging.

Bait and Switch – Leading your reader to expect one thing, then suddenly giving them something unexpected. It’s like pulling the rug out from under them.

Plot Device – Any element (object, event, or person) that drives the plot forward or allows the resolution of the story. It’s the item or moment that has to exist for the plot to make sense.

Vignette – A brief, evocative scene that focuses on one moment or idea, often without a formal plot. It's about capturing a snapshot of a bigger picture. Think of it like a small, poetic portrait within a larger narrative.

Mise-en-Scène – A French term used to describe the setting or visual elements within a scene, especially in film and theater. It refers to how everything is placed or designed to create a specific atmosphere.

Framing Device – A structure or technique used to tell a story within a story. It's like having a character tell their experiences through flashbacks or letters, giving the plot a layered, nested feel.

Endowment Effect – When writers unintentionally overvalue a character or plot point simply because they created it. It’s the I’m so proud of this, it’s got to stay! mindset. Sometimes less is more, so watch out for this.

Conflict (Internal/External) – Internal conflict is the emotional struggle within a character (e.g., wanting something but being afraid of it), while external conflict comes from forces outside of the character (e.g., fighting an enemy or dealing with societal pressures).

Pacing Breathers – Moments in the story where the action slows down to allow the characters to breathe and reflect. These help balance the high-energy scenes and give readers time to process.

Symbolism – Using objects, actions, or settings to represent larger ideas. Think of a wilting flower symbolizing the decay of a relationship. It’s subtle but adds layers to your story.

Subtext – The hidden or underlying meaning in a scene or dialogue. What isn’t said, what’s implied but not directly stated. Like that tension between two characters that’s so obvious but never spoken aloud.

Red Herrings – Misdirection! These are the details or clues that seem significant but lead readers down the wrong path. It’s like planting a fake trail to keep your reader guessing.

Narrative Whiplash – When you suddenly change tones or perspectives, jerking the reader’s expectations. It’s like riding a bike and then suddenly taking a sharp, unexpected turn. Used well, it adds suspense, but too much can feel disorienting.

To those readers who became writers ✍🏻, we instinctively and intuitively know what works and what doesn’t, but just in case I’m putting it out here so writing becomes easier. The more you write, the more these little tricks and tools become second nature. Keep going, trust yourself, and keep honing your craft. ✨

[thesevenstarfoxes]

The way Bruce sees Stephanie Brown makes me… go crazy. feel things Want to do things, I don't know what. Just… what an incredibly flawed man, and what an innocent girl who did nothing to deserve this. There is this girl and she is too much like your dead son and too much like you. She wanted you to save her and you didn't and now you have no way to save her, and you want to save her, but you're just too different to understand how to save her, and you can't, you just can't, save her the way she wants or the way she really needs . So she learned to save herself, and you can't, just can't, understand that because when you look you see her tombstone and it looks exactly like your son's tombstone. She wants to bring down her father and on a conceptual level you understand why but on an emotional level, it makes the child in you who just wants his parents back feel sick to his stomach. She has rage, so much rage, rage that you know all too well, but instead of giving her a balm for that rage and teaching her to manage it, you push her out because you are unable to see the reflection of your rage and pain in this girl. She doesn't understand that in your narrative, the only narrative that matters, her fate is predetermined and you watch her try to continue against fate and you try to stop her and fail. You have failed her in so many ways throughout her life and when you look at her you can't, just can't, see anything other than the fact that she is your personal failure, that every pain she went through is your personal failure. When you look at her you see nothing but your dead son and you try to prevent his death and you don't understand that it is not your son but a person in his own right. She is too wrapped up in her father's legacy and your failure and your dead son to be a person on her own. She is a self-fulfilling prophecy and like your son she returns, but unlike your son, she returns true. She comes back full of hope and love while your son came back broken and full of hate and you can't see it. So you let her do what she wants, you let her save herself the way she wants and needs because you never managed to save her, and you hate her deeply and you love her deeply and you don't know which you are more, love her or hate her. Sometimes you see her laughing with your beloved daughter and you wonder if in another world she could make you laugh too, sometimes you hear her talk about her college studies and think how your son never got to finish high school and how you would trade her for your son every moment of the day . If you could you would go back in time and save her when you still had the chance but you didn't save her and now you can never save her, and it doesn't matter that she saved herself because she shouldn't save herself, she's just a child. Just… Bruce's feelings towards Stephanie