#what really matters the most is the idea of “i actually can do this” instead of it just being wishful thoughts

[plasterbrain]

Hello. First I’d like to say that I love Pizza Game so much. Second, sorry if you’re the wrong person to ask about this and/or you’ve already been asked about this, but what advice would you give to someone who wants to make a visual novel but has like zero idea about where to start, if you don’t mind me asking? I had an idea for a visual novel recently that I really like, but I admittedly have like none of the skills I would assume are requisite to creating a good visual novel aside from writing. Or any real knowledge of what the process for crafting a good visual novel would be.

Yes, I am aware that I am a fool. No, I will not give up on this endeavor.

Also, one aspect in particular that I’d like to ask you for advice about, since it’s a bit similar to a mechanic in Pizza Game that I feel like I haven’t seen a lot of other visual novels use (unless this is a thing that shows up in a lot of visual novels and I don’t know because of the few visual novels I’ve experienced Pizza Game is the only one I actually know about that does it) except actually diegetic instead of just a quality of life feature, is how to make the dialogue roll back like it does in Pizza Game. The main character of the story idea I want to make has the ability to do that as an actual superpower, so however I end up making this visual novel, it’d have to include something like that as a feature. And I’d need to make the game able to acknowledge the fact that you’ve used it and probably also give the player an action prompt for “something interesting will happen if you rewind here,” which I feel like is going to be a pain and a half to accomplish in a way that looks good, so any advice you can give me would be appreciated, though I understand if the second part is too complex for you to just puzzle out how to do for a rando asking for your advice on Tumblr. Admittedly I could probably make the main character’s power… basically anything else, really, since the main point is that they have a superpower and not that it’s specifically time powers, but with the way I’m setting up the story and challenge of the game, the character having a time-rewinding power pretty solidly sets them up as the person who has to do everything without it seeming too… “I know the answer to this problem, but figure it out and tell everyone for me, Naegi.” So I’m kinda attached to that idea, even if it causes me a great deal of annoyance to figure out.

Thanks in advance if you have any advice to give me. And again, thank you for making Pizza Game, truly the best visual novel of all time.

Hi (sorry for late response),

My advice for "how to make visual novel" starts and ends with Ren'Py! It's free, open source, and easy to use for people who just want to write! Nearly every Western indie visual novel uses it, and for good reason.

As for your question... The good news is that rollback is actually a built-in feature of Ren'Py. You probably didn't suspect as much, because it's kind of an unusual behavior to include in games by default and can "cheapen" the seriousness of VN-style branching narratives. (It's hard to make choices matter if you can just undo them 10 seconds later.) Doki-Doki Literature Club and Slay the Princess (I think?), arguably the two most famous Ren'Py games, both disabled it for this reason.

The bad news is that having the game acknowledge use of rollback is kind of difficult. Pizza Game does it twice iirc, but only as quick early gags, because it requires cluttering your script with persistent variables. If your game uses this as a central mechanic, your code will be hard to read, write, and test... I do not recommend it.

If you still want to give your character a visual-novel ludo-narrative superpower, there a certainly other options:

Use the tried-and-true "wow you've completed this scene before? here's different text!"

Have dialog that only shows up in the text history window (I've seen at least one game do this and it was pretty neat)

"Stop" time using audio/visual effects and let your character investigate the scene/people's thoughts or something

Make the game create/detect files in the game folder (a DDLC staple, ofc, though I've seen other meta Ren'Py games fool around with this)

...Or peruse the Ren'Py documentation and see what you can come up with.

Ganbatte, Anon-chan! (•̀ω•́)૭✧

[maliciousalice]

Hear me out (or don't... it's fine I'm just venting and mean) yeah um I don't believe Chakotay was saved in Prod*gy s2.

[arvoze]

we do a little trolling

[apatheticsunday]

Dead Tired Stalker AU

AKA "Tim Drake is a little obsessive, possessive, and really, really likes his new boyfriend (Danny)" prompt idea!! No non-con, violence, or dead doves. Brief reference to human experimentation.

Inspired by this one post where Tim kept a methodical journal of Danny's resting pulse, body temperature, weaknesses, tracked him literally all the time, and Danny was like *heart-eyes*

I like the idea of Tim's idea of love being completely a bit skewed. He was neglected as a kid and craved attention, affection, being wanted; so, understandably, he assumes that's what other people want, too. He'd only had one boyfriend before. Kon was sarcastic, funny, and sweet, but even he couldn't handle Tim's... staring. The unblinking intensity in those eyes, the hundreds of pictures of himself on Tim's phone, somehow Tim knowing about Kon's conversations and experiences without having been there.

Needless to say, Tim and Kon's relationship ended with a harsh reiteration that most people need boundaries.

So, when Tim meets this very cute messy-haired boy at Gotham-U, he shoves down the instinctive urge to know everything. Mentally captures moments, memorizes them, instead of taking pictures. Shoves earbuds in to avoid listening in on Danny's conversations (oh, his name's Danny, which he overheard when the boy was speaking with the TA).

It's so hard not to obsess, though. Danny is... well, he's haunting. His crystalline eyes make Tim's heart stutter in his chest, chills rising along his arms; he swears there's this aura around Danny that's just utterly compelling. (Stop it, Tim, you'll scare him off.) But Tim can actually be a person sometimes, so he just asks, "Do you want to go out for coffee with me sometime?" And he's psyched when Danny says yes!! (He tries really, really hard not to memorize the fact that Danny likes hot oatmilk chai lattes, uses his left hand to hold his drink, and prefers not to use a coffee sleeve. Does Danny always hold his cups by the lid? Does he prefer- Tim stops himself.)

And Tim is a great boyfriend!! They go on dates (he doesn't avidly stare at the way Danny's eyes sparkle while at Gotham-U's planetarium). Tim learns Danny's favorite music the normal way (he doesn't hack into Danny's Spotify... although he's suddenly found himself listening to an artist named Ember). And Tim has a totally normal album of pictures of his boyfriend on his phone (his burner phone is a different matter entirely, but not even Batman himself could get it unlocked. Tim's got that phone sealed up tighter than the Fortress of Solitude).

Except Tim notices Danny becoming more withdrawn. More tired, dark bags under his eyes and stealing Tim's double espresso (he never does that, it's too bitter for him, why isn't he drinking his oatmilk latte?). Leaning his head on Tim's shoulder during lectures to take naps. And Tim's becoming more frantic the more lethargic Danny becomes.

Maybe he's more like Bruce "Contingency Plan" Wayne than he's willing to admit. Tim sets a hard boundary for himself: I'm just going to Google his symptoms. That's it.

He spends the next 42 hours obsessively researching Danny: hacks into his phone, downloads all his previous location history, texts, calls, background checks everybody Danny's been in contact with. Re-traces his steps down to the minute, finds all his Google searches, activates Danny's laptop webcam. He's determined to find out what's wrong with his boyfriend.

And because Tim is Red Robin, who literally became part of the Batfam because of his stalking tendencies and is one of the greatest detectives since Batman, he finds out. He finds out that Danny Fenton is one Phantom, a vigilante from Amity; finds obscure clips of newspapers mentioning a young boy's tragic death, discovers the GIW, uncovers classified information containing metahuman experimentation (let's say he doesn't quite know about Ghosts, but Metas are close enough).

Somehow, he makes a connection between ectoplasm and the Lazarus Pit (maybe not necessarily the right connection, but something-adjacent). After all, Jason was resurrected via "Evil Baja Blast" and Ra's al Ghul used it to make himself immortal. It would make sense that the GIW could sample Lazarus Pit water and use it to experiment on metahumans. So... Does Danny just need more Lazarus Pit water?

Cue Tim making use of the Drake and Wayne family wealth to literally overnight mason jars full of Lazarus water. Ra's al Ghul has no idea how it happened. He tests the reaction of Danny's DNA and the Lazarus water only to realize he was right. (Lazarus Pit waters are just excessively concentrated ambient ectoplasm, I guess?)

Tim does what any good boyfriend would do and spikes Danny's oatmilk lattes with Lazarus Pit water. And it helps. Danny is suddenly so much more energetic, there's that glittering shine to his eyes, and he looks so much healthier. Happier. Tim can't stop staring at him. If anything, he stares more, tries to memorize every angle of his boyfriend's face; he collects more candid pictures than before, always catching the gentle curl of Danny's lips when he's distracted; doesn't disengage the tracking apps or phone mirroring software.

He's just happy that his boyfriend is feeling better, more like himself. It's just a perk that Danny doesn't know about Tim's minor stalking tendencies.

(Danny absolutely knows.)

[sos717]

Yes, Im Back

Here it is you guys, this is going to be the clearest and most simple explanation I’ve done so far of manifestation and your identity as conciousness and what that means for experience & the world unfolding. Don’t worry if you’re new to this, this will help!

THIS IS A MASSIVE POST, TAKE YOUR TIME AND GRAB SOME WATER, YOUR ABOUT TO CHANGE YOUR LIFE 😉🤭🤭

————————————————————

So around 7 years ago I started stepping into the world of what people typically call manifestation. I went down the rabbit hole of Subliminals, Law of Attraction, Law of assumption, NonDuality and finally to where I am now, the unlabeled.

I want to preface by saying, I have been through an unimaginable amount of turmoil, and growth while on my journey to understanding reality and the way the world appears.

I’ve spent all of my time from back to when I first found out about this side of reality, to today while I’m writing this post, constantly looking at a multiplicity of teachings and teachers to figure it out, except until the very end. I really want you to know this because it’s very important to not brush this off as if it’s not possible for you, as if you have to adapt a technique or secret. This isn’t something that’s to be exhausting. With that being said, let’s move forward.

We all want things, we all have ideas of a life we hope to live, we want to fill it with all the experiences and specific details that match our taste. But this is actually, where the problem begins.

The way manifestation is taught is inherently wrong, I’ve fully stopped watching and consuming content that has anything to do with manifesting all together, because no matter what it is, Law of assumption, Law of attraction, all of the other ideologies that promise your desires, they all have a fundamental flaw, identity.

They usually all entail a similarity: methods, techniques, specific things you can do and ways you can act to make an outcome happen. All the while throwing in a random “because you’re the god of your reality”. And instead of focusing on the phrases that relate to the center of all of it, YOU, it’s simply just brushed past.

And not just the typical “your source”, “your operant power”, “you are the manifestation,

We get it but wtf does that actually mean, and why should you care??? Well, let’s get into this, because once you start from point A, everything else makes sense.

What all these teachings of the world get wrong is the idea that you can want things and desire, as source. Fundamentally this is a paradox, you can’t exist in desire and want if you are the source of reality. It’s not to say you aren’t, but it’s to say, you don’t ACTUALLY want and desire, but the illusion of being separate from the world is what makes you want and desire.

Let’s break the illusion.

Ask yourself this for me. “Am I aware”.

The answer will always be yes. Undeniably. And no matter how many times you repeat this, the answer is always yes, no matter a feeling, no matter a pleasant or unpleasant experience in the world, no matter any circumstance, you will always say yes.

Why is this so important to explore?

Because you are able to see from direct experience what source is.

When you asked yourself that question, did you notice something weird that happened? It’s almost like everything paused for a split second and your attention went somewhere to find the answer, and a response came from there. Look closer, ask yourself the question again, and this time try to find where the answer is coming from.

You’ll find that it comes out of nowhere, and if you try to trace it as far back as you can, to even before you answer yes, there this empty space of knowing that the answer conjures in.

This is consciousness. This is you.

Whether you name it consciousness/awarness or knowing, it doesn’t matter, it’s all interchangeable. But the important thing to note is, this thing doesn’t ever go anywhere. That is your true identity, the starting point of all ideas, the starting point to anything that can possibly be known. Every decision is from here, every expression comes from here, everything leads back to knowing. When there is emotion, it is known, when there is idea, it is known.

You being able to know that you are aware comes from this. This is the unseeable, the thing that can’t be perceived in any way, this is origin, its source, and its you. Take a shot at it, try to see what knowing looks like, its weight, its shape, its color, its dimensions, what its favorite color is, what it doesn’t like or does like. You’ll be left with nothing, as in no descriptions, but definitely knowing that there is a presence there that never goes away. Now try finding its name, its age, its skin color, its voice. You cant, and yet, from this very nothingness comes your undeniable answer that you exist and you are aware of your existence.

You don’t need and feelings to know, you dont need sight, sound, and sense of perception, you don’t even need to acknowledge the body in any way, but you know you “are”.

At some point when there were no worlds and universes, there was an unseeable, dimensionless plane from what everything came from, does this sound familiar? Before there were things, there was no-thing, a presence yes, but no objects. And from this, reality was expressed, but source can’t go away, the fundamental key to everything there is today, has to remain, or else everything else would not exist.

Concouisness is what you are. And it IS the origin.

Now how tf do you live you dream life???

By understanding that the world is also just an expression of source, conciousness/you.

I need you to understand something that I thing we can all agree on, if everything has one source, it would only make sense for everything to be the extension of that thing that gives it life. The world is no different, and trust me I know this without a reasonable doubt. I’ve spent closer to a decade trying to figure this out. Everything exists in/on the field of consciousness/you.

I need you to trust me, because no matter how far you have been in your journey and how tiring it might have been like it was for me, I promise you, this is worth it all.

Step away from the ideas of wanting and needing, put on your neutrality glasses and perceive the world as 2 simple things, conciousness and conscious expression. These are the only 2 things that drive experience itself.

Understanding that you are source, more things become clear. Where do all the stories of all the unfavorable problems in your life activate from? Where does the idea of good events activate from? Where is it that any form of knowing come from, you. Whether it’s about struggling with money, or about someone loving you, the story or ideas, conjure from you.

We already know that we are conciousness, but now let’s acknowledge the second mosy important part, reality begins at us, draw yourself into something that you don’t really like, something you’d like to change, now notice where it activates from.

From knowing. Knowing the idea or story is its creation

Now when we see it casually, as just another thougt about something the world is showing us we brush it off and move on with our day, until we have to face that thing, but, what if this was actually in reverse?

Because if everything is an expression of source, doesn’t that mean the world is too? It would have to be. Doesn’t that mean, anything registered by the senses has to abide by its source? And doesn’t that mean, that the world is not truly something of its own will?

The short answer is yes absolutely. And I can tell you, this is it. THIS WILL BE VERY F$&#*NG IMPORTANT.

Admitting to the idea that there is one source for everything is literally acknowledging that everything can only show up IN ACCORDANCE AND RESPECT TO WHATEVER ITS SOURCE IS.

THIS MEANS, the the world is a PROJECTION of source, IT DOES NOT STAND ALONE. It does not OPERATE ON ITS OWN.

The world is the projection of consciousness.

Following me??

Like a hologram, like a school projector QUITE LITERALLY a projection.

From us, an infinite array of stories and ideas come, and they only become activate or exist if we allow them to, if we give permission to this thing to exist.

That story that you’ve had about SP (Specific Person) or Money or Success, has always been activated by you. TELL ME WHERE ELSE IT STARTS. You can literally even prove this to yourself right now. WHERE DOES THE STORY BEGIN.

And because the world is just an expression/extension of its source (YOU) it is ONLY GOING TO BE WHAT SOURCE IS. Because it is source, just with senses and perception. It is coming face to face with what you are aware of.

The way the world shows and all of its details are projections of whatever you decide to activate. How do you activate something? BY KNOWING IT.

How do you know “red apple” ? By knowing it. That is the origin for this idea. And you can run this test for every single story you play on loop, find its source, it will always be you.

Now, for the important steps moving forward. Stop treating this like an on and off switch, truly stop caring about a feeling, stop letting yourself get so swayed out of understanding your identity as the source, do NOT give up this beautiful opprotunity just because it seems or feels different.

You’ve been taught for so long that the world has to be struggle, so that’s all you know, you’ve been told that things don’t always come easy, this is all you know, take the time, take the days and weeks you need to break out of this useless cycle of exhaustion and understand who you are as source

Do not double down on doubts, double down on the truth, regardless of how you feel, take your time to feel, take your time to be, but never allow yourself to slip back into the brainwashing of the world.

Moving forward you need to understand the world objectively, not with the ideas of wants and desire, but for what it is. Source can’t want, you turn it into desire by creating a sense of divide for yourself. You pretend the world is something to change, drop this. You pretend that the body is all you are, drop it, you pretend that there has to be more to this but knowing, DROPKICK this into the damn ground.

This all is very simple. Everything being the expression of source is only projecting what source (You) are. The world is a direct projection of conscious activity. Whatever is know is given permission to exist, it’s given life. It’s created. THIS. IS. IT.

Whether it be blue butterflies, getting a free coffee, or changing your eye color, it all is just knowing. And this isn’t something that turns off. This is reality, this is you. Start noticing the random things the world shows up as when you were just thinking about it the other day or a few hours ago. It is not a coincidence I assure you.

That friend you were thinking about calling you? Yeah.

That song you were thinking about suddenly popping up? Yeah

That “problem” you were thinking about suddenly reappearing? Yeah

It is all the same, yes it will take getting used to, but please understand me when I say this, it took me a painful amount of time and effort to finally see this as the truth, the amount of months I’ve spent isolating from content and other teachings allowed me to take ONLY personal experience, I tested it day in day out and this IS it.

Currently I expand my comfort on how seamless existing is, and I can assure you, if I can come to this conclusion, you 100% can because it has NOT been easy for me, and it almost didn’t want to accept it. But the moment I did, and kept seeing it to be true time and time again, I knew I had to go fully in.

You create the idea of wanting by doing this.

“I really want Sp to text me”

This is what you’ve given permission to exist, this is now activated, it now is conscious activity, and because the world is source projected with senses the world IS this.

You treat it like an absolute, but when it comes to something like this:

“Sp loves texting me”

You treat it as effort, and something to do and wait on. Now tell me, does that make sense? Does the idea of waiting, wanting, desiring, changing, even make sense with the knowledge you have up to this point? Nope.

You need to understand. The world is not a story, it’s projection, and it can only be projecting you. Stop turning to the world as if it can make statements, as if it’s feeding you ideas, when you’re the one activating them. You NEVER actually change the world, it’s you that activates a new idea. THATS IT. It exists because you know it. A feeling cannot stop you from knowing, the world cannot stop you from knowing, ONLY YOU can stop yourself from activating a story. A story can’t exist if it isn’t known.

So, don’t you think it’s about time you see past the illusion of wanting and see for yourself what you are?

Don’t you think it’s time, to wake up.

[bi-writes]

attached | ghost x f!reader

i have no idea what it is that binds us together. but it doesn't really matter.

type: one-shot (8.4k)

cw: zombie apocalypse au, mature language and content, suggestive language and content, dark!ghost, dark!reader, reader described as curvy/plus-sized + has hair long enough to braid, graphic depictions of violence + murder + gore, depictions of suicidal thoughts + intentions (no actual action), mentions of depression + sadness + loneliness, depictions of assault + harassment (not by ghost), horror movie vibes, unprotected piv, allusions to baby trapping, cumplay, oral (fem!receiving), 18+

Death can be a curious thing. It used to be something definitive. Exact. It used to mean the end of something.

No, now it's a beginning. Not a sweet beginning, but a beginning nonetheless. It turns a new tide. Reactivates cells that were once dead. Sparks nerves that used to be dormant, that used to be dark. It makes muscles move even when they aren't supposed to. Brain-dead, but still hungry.

He hasn't been able to understand the phenomenon quite yet. He's tried. He's picked up a few books and tried to do his own research, but it's difficult when there is no way for him to view the cellular structure of it all on a micro-level. He cannot see the way it grows or how it takes over. He hasn't been able to figure out what techniques it uses to keep a body awake even when the central organs no longer function the way they're supposed to. What keeps it moving? What keeps the feet running and the stomach hungry and the saliva warm?

Why is it that when he plunges his blade through its heart, it still kicks? The brain is its engine, as with his own body, but this is different. The brain runs even when it has lost its necessary components. Blood circulation, oxygen, the things it needs to thrive; but this state of being is not like his own. It doesn't need the same things it used to need because its purpose is not to keep a body running. Its purpose is to eat. To infect. And that is all.

He likes to play games these days. He has a lucky silver euro, one he pried off the dead body of someone that he hated. He spit on that body before raiding his pockets. He hated that fucking brute; he disgraced the style of wearing a mask by using a fucking t-shirt instead. Perhaps Austria is a beautiful country, but it certainly produced one of the most unlikable of men. He thinks even if the world was still right-side up, he would've killed him anyway. The only thing useful about him was that he was carrying a few extra magazines and this coin in his front pocket.

Every morning, when he wakes up, he makes whatever will happen that day a game. If the coin lands on heads, he gets to kill himself today. If it lands on tails, he has to endure 24 more hours before he can play again. The rules are simple. The game is easy. Everyone knows how to play it, but not everyone will like to win it.

Today, he decides to do something different. Today, he decides if he wins, he will wait another day. He has never won this game; he decides if he can't win it, he'll manipulate it until he gets what he wants.

It hits the table with a light clink. It rattles around in a few circles before settling, and when he leans back in his chair, he sighs. He knows what it will be even without looking, but he looks anyway. When he sees the carved outline of its face-side up, his eyes flash. He won.

He never wins.

Something is keeping him here. He chooses not to ask questions. There isn't anyone to ask anyways. No one answers when he speaks. He doesn't think there is anyone left to listen.

If someone would ask him why he doesn't just put the muzzle to his temple and pull the trigger, he would just say that it was because that was how the game is played. Those are the rules. He can't try unless that's what it tells him to do. There is no fun in cheating the game; it wouldn't be proper, it wouldn't be correct. It would be grounds for disqualification, and that just wouldn't do, not for him.

He has to do things the right way. Always. It's how you keep order in a world that has none left. It's how you maintain structure even without the lines drawn in the sand. This is the way things are done; God is not waiting at the end of a very long staircase, He is rattling that coin on the table and waiting for Ghost to take a peek.

He thinks it keeps landing on tails because perhaps God is tired of playing this game with him; Ghost has never been surprised. He will always be ready for disappointment. Giving a gift is no fun when the recipient simply receives it.

It landed on heads today. He won the game. He tried to play it differently, but someone won't let him.

There's snow on the ground this morning. It snowed all night, coating the ground in a few inches of powdery ice. He looks away from the window and back towards the mirror, continue to run the razor over his head. His blonde hair falls in clumps in the sink. He keeps it neat and short, close to the head, and then he does the same with his face. He cuts the stubble close, keeping his face clean, but it doesn't wipe away the rest of his face, the things he can't just cut away. The scars, the ridges, the skin that closed over wounds angry and white and uneven. He can see his teeth through the broken skin above his lip, the yellowing of them now that he only brushes them a few times a week with his lack of proper toothpaste, and he grimaces when he sees the new red spots of raised skin left behind from the dirty mask he wears now. He dips his toothbrush into his bottle of water before brushing, careful to scrub his gums properly before spitting into the sink.

When he finishes, he makes his way back into the bedroom to get dressed. He did the washing yesterday; he found a creek only half frozen over, and he made use of the bar soap he keeps and managed to clean off most of his clothes. He feels a little better slipping into his cargos now that they aren't drenched in sweat or dirt. He tucks a long-sleeve into his pants before putting a thick windbreaker on over it, but he finally feels complete once he slips his mask on over his face. In the mirror, he adjusts it, making the skull straight, and he blinks back at himself. The mask does more than just hide him from the dead.

It keeps the living walking a careful circle around him, and he wants to keep it that way. He hasn't spoken to a single person since it began. He stopped counting the days once his boots ran out of space for notches. Anyone he sees now, he scares them off with one look, or he puts them down before they can take a step closer to finding out if he's real or not.

He doesn't take chances. He has always had a special skill, being able to sniff out the bullshit before it begins. He leans into it now, and it isn't a bullet wasted if it stops the chaos before it can wind up.

He still wears his tactical gear. He can't part with it. His holsters have not failed him, still buckled around his thighs. His vest is still strapped on, and without it, he feels naked. He has long since discarded of the Union Jack patch on his chest; there is no king nor country anymore. They are colors in different shapes, and they mean nothing now; they were buried a long time ago.

His backpack feels light. He's running out of bullets, and he doesn't like how it feels. Nowadays, he has to go further and further to get what he needs, and recently, he's taken to picking up everything and simply moving to make the trips all the easier with no home to go back to.

It's not all that different to the life he had before. He never stayed in one place too long then either. He signed the shortest leases, and he would move once it was up, never lingering and never buying more things than he could carry in the back of his truck. His memories are in his head and nowhere else. He keeps no trinkets. He saves no pictures. There is nothing from the old life that needs to be brought into the new. He shifts between both lives, one foot in the past and one in the future, and he thinks that's what really makes him live up to his name.

He's a Ghost. A drifter. Standing between two places at the same time, not knowing which to stay in and which to leave. It would hurt, if he was really human inside, if he could feel anything at all.

But he's not. His insides are nothing but organic matter. His head is a clock, ticking, counting down, but he's not aware of when it runs out.

He digs the heel of his boot into the snow to gauge the depth. It barely comes up over his toes. He huffs a little before taking a peek at the map tucked into his vest. He had circled a place just north, a main street he is hoping will have a stash of things he will need.

Ammunition. Weapons. Food. Water. A new book, for fuck's sake, maybe a Sudoku puzzle that isn't already scribbled into.

The forest gives him cover, so he sticks to it. Out in the open, he would stick out, dressed in all black. He keeps to the trees, ducking under the leaves and trying not to leave too much of a track behind. He doesn't plan on staying in that cabin again, but if he must, he doesn't want anyone seeing a way to come back to it.

The one thing he does appreciate about this new place is the quiet. It lingers, and it's calm, and when he breathes, the world breathes back. He feels like he had always been telling everyone to shut up, but now, his voice hasn't been used in months. Even when he passes other people, he doesn't speak to them. If they don't spot him, he keeps to the shadows, and if they do, they don't see him for long enough to know what hit them.

It's a good stash. The store had been rifled through by now, but in the office, there had been a nice drawer filled with supplies. A few boxes of ammunition, a revolver, and a new blade to stick in one of his boots. He picks up some other odds and ends. Batteries. A roll of yarn. A small sewing kit. A few pens. His backpack feels a little heavier, and it's a weight he appreciates when he makes his way back outside.

He sticks to the alleyways as he searches for the roof over his head for the night. He decides the cabin he slept in last night was too close to the road; if anyone was driving or following it, they could find that place too easily, and he wouldn't be able to sleep another night comfortably there knowing this truth.

He finds himself veering off road just enough. It's fucking cold, freezing, and he's grateful to the mask for helping him keep it together as he ducks under the wind and keeps an eye out for any nearby landmarks. Sometimes, on slow days like this, he would sit on a ridge and kill infected for sport. Practice focusing his sight, calculating the wind, keep his mind in check by hitting his targets and ridding the world of another one of those things.

There are different kinds of hunters out today.

He hears them before he sees them. He knows what kind they are when he hears their laughter. Low and untamed, sloppy and fucking messy. They always are. These kind spoil their treasures. They eat their food until it makes them sick, and then they do it all over again. They never learn their lesson.

When he settles his rifle down along a fallen tree, he eyes them through his scope. There are two of them. Both are fattened, with dark hair and lazy eyes, and they look greasy. Their clothes are in ruins, and their packs are light, and Ghost figures that they look enough alike to be perhaps brothers, or maybe cousins. Their smiles are equally as sadistic. The taller one tugs something along, and when Ghost aims the scope down a little, he sees her.

Her.

He's dragging her by her legs. She's kicking, but it's hard for her to do much when her arms and legs are bound by mismatched bits of fabric and rope. She's crying, that much is clear, squirming as she spits and gargles around the gag in her mouth as she tries to break free. She has heart, but she isn’t a fighter. If she was, she would’ve realized her teeth could snap that fabric of her gag, and she would know that the knot they’ve tied succumbs easily to upwards pressure.

He follows them. They keep going, dragging you and laughing as they make it to a makeshift camp hidden amongst a clearing. There's a few tents set up, a small dip in the earth to hold a campfire, and when they settle on tree trunks to sit, the smaller one takes a blade and cuts your gag off, leaning over you with a low chuckle. They mean to maim and to take and then to kill, and you know this when you look into his eyes.

"Hello, darling."

"Bite me."

He laughs again, dropping onto his knees over you, but when he gets close enough, you sit up with what little strength you have and bite him along his ear. The cartilage rips, and you tear half his ear off, and then he's scrambling off of you, screaming, holding the side of his head as he rolls around in circles in the snow. He colors it red, and you snarl with satisfaction. Ghost takes a deep breath in and lets it out shakily. The look in your eyes–he can taste that, roll it around on his tongue. You did not clock the poorly-tied knots, but you do see opportunity, and you are the kind to take it.

"You bitch!"

Just as the taller one is about to get on top of you, Ghost decides he's seen enough. He closes one eye, lines up the sight, and he lets out a cool breath as he drops the both of them within a second of each other. They fall easy; a bullet clean through the back of their heads, and now they're finally quiet again. They will not get up, either.

Your lip trembles as you look towards the trees. You watch as the leaves rustle, and when you see a man emerge from the thick of them, you start to cry. You think maybe you're seeing things; you must be so dehydrated, so hungry, that a reaper has come for you, and you are much deader than you thought.

The reaper stares down at you curiously. He swings his rifle over his shoulder, tilting his head to the side as he bends, getting a blade out of his boot before he cuts the restraints that bind you. He doesn’t hesitate when he does this; he does not deem you enough of a threat to keep you bound.

You sit up slowly, wiping your face, and when you meet his eyes, you're surprised to see how human they are. They're dark, but alive, and he has blonde lashes and pale skin underneath. He covers himself, but you can still see him. There's a man under there, not a reaper.

Just a man.

I hate men.

You shake off the rest of the restraints, turning your wrists and ankles and flexing your muscles for good measure. When you realize you are nothing but a little shaken up, you look back up. He's still staring at you, hard eyes lowered in a glare as he looks you over. He's sizing you up, maybe, deciding what to do with you. You meet his eyes one more time before gathering the saliva into your mouth and spitting onto the floor. It's a garbled mess of blood, from the flesh you had severed from that man.

He blinks slowly at that, makes some decision that he doesn’t voice out loud, and then he starts to walk away.

You stand on shaky legs, taking it as your cue. You watch as he rips open the flimsy tents that those men had left behind, and he's already grabbing backpacks and rifling through them for goods. He already starts filling his own vest and backpack with the things he finds; some flashlights, fishing line, more food and ammunition. You follow him, moving to the other tent beside it and starting to grab their things and toss them outside. You get to your knees and open the packs, laying out what you find carefully. They have interesting materials in here, ones you associate with explosives. C4. Lighters. Batteries. Wiring. You clench your jaw when you pull out the last box in the bag.

Condoms.

Bunch of pricks.

He finds your discoveries useful. He opens up an empty pack he found and fills it to the brim with supplies. When he zips it up, your stomach drops when you think he might toss it over his shoulder and leave. It only sinks for a moment before he turns the backpack around, holding it up for you.

You pause for a little and think. It only takes a few seconds for you to decide to stand up and slip your arms through the straps.

When he walks again, you follow.

The sun is setting by the time you find somewhere to sleep, but it looks like luxury to you. A quaint little brick house tucked between the hills, a ways from the road and positively hidden. He spotted it through his scope a few hours ago, and he made a beeline for it. It's difficult to keep up with him; he has incredible stamina and the longest legs. He moves like a ghost, too quiet for his own good. You would never know from looking at him how stealthy he could be. For such a huge man, you would never notice him before he could get the drop on you. It makes you conscious of your own steps and how loud they are, and you try to mimic the way he moves as you keep walking.

You don't know why, but you think he must be very pleased with how quiet you've gotten. You don't know why that fact pleases you, too.

He makes you stay outside when you arrive. He pulls a small handgun out of his backpack, and he checks the chamber before handing it to you. He clicks his tongue, forcing your eyes on his, and he puts a finger to his mask-covered lips, telling you to keep quiet. You take the gun from him, pointing it at the ground and holding it at your side, and he touches a knuckle under your chin before he twists a silencer onto his own gun.

You watch with rapt attention as he clears the house. His movements are quick and calculated, and he keeps low to the ground. It's mesmerizing. Big and capable, one with the shadows. The only thing you see in the dark is the white of the skull over his face, and if you didn't know it was him, you would think that you have just seen God.

But God isn't real. Apparently ghosts are.

He is back outside in less than ten minutes, nodding his head at you. You take it as your cue to come towards him, and you hand him the gun back when you pass him. You go into the house and immediately start to light some of the candles scattered around. You set your backpack down, rubbing your shoulders out, and you take a seat on the couch.

It hits you then, the gravity of it all. Men are your captors, and then they are your savior. They'll never leave you alone. They'll never let you go. You were ruled by their iron fist in a previous life, and you will endure their wrath in this new one.

You start to cry. It's the first sound you've made since screaming. You cover your face with your hands, and you don't know why you feel safe enough to cry, but you do, and it comes out of you fast.

He tilts his head to the side as he watches you. It's a strange thing to see something so...alive. He's used to only seeing things moving that can't speak back to him. If he does see things alive, he puts them down as if they are rabid dogs.

He can't find it in himself to kill you. Something is so odd about it. About you.

Everything about today seems more than coincidence. He won the game today. And then he found you.

When he tries the sink in the bathroom, he's surprised to find it working. He grabs a bowl and fills it with water, and when he comes back into the living room, you are staring at one of the flickering candles blankly, shivering. You have stopped crying, but your face is still wet with fat, lingering tears.

It looks like you've been hit by a brick wall. Your hair is matted in places, in tangles. It’s in desperate need of a cut. It's stuck to your face around the perimeter, caked by sweat and mud and dried blood. Your clothes are in ruins; you wear a ripped jumper, thin jeans, and the soles of your boots are starting to fray and come off, and he can see where you've tried to mend them unsuccessfully with duct tape. You wear no jewelry, and your fingernails need to be cut. Those men have left marks on you, but those will fade.

He kneels in front of where you sit on the couch. Using a threadbare cloth, he dips it into the water and raises it to your face. You show no resistance. You let him wipe your face off, the tears, the dirt, the blood. It stains the cloth ugly, but you can't look at anything else except for his eyes.

They're so dark. Brown, like bark, like honey. You haven't spoken a word to him yet, but the silence is sort of bliss. All you can hear is the drip of the water when he rings out the cloth.

He helped you. He didn't have to. He could've kept walking, but he stayed with you. He didn't leave you. He could've walked away again, but he let you follow.

He isn't a good man. You know that. Anyone who has lasted this long isn't a good person. You've done the same. You've let it take you, once or twice, let the snarl in the back of your throat guide your hand. You've let the voices fester, let them eat at the acid in your stomach until they begged for more, and you won't admit it, but it felt good. Felt good to protect yourself. To rid the earth of something terrible. To say no.

He must understand that. He's decorated in its essence, the one of understanding, the one that says I know what it's like to take matters into your own hands, and he did it with you, too.

He's doing it now, cleaning you up, and you don't know him, or his face, or his name, but you'll try hard to give it back. To give him something. To tell him you are worthy and not useless. It doesn't show today, how far you've come, but you'll try.

"Thank you," you finally whisper. He's dragging the cloth over your bottom lip, and he blinks rapidly, as if a bit startled by hearing your voice. When you speak again, it's to tell him your name, and he thinks for a few moments before continuing, wiping under your jaw.

He doesn't sleep that night. He stares out the window, like a guard dog, and he lets the soft breaths of your sleep keep him awake.

The gas lighter on the stove still works. It takes a match to light it properly, but when the fire starts, you take some of the soup cans from your pack and make breakfast.

Your smile when he comes into the kitchen nearly blinds him. You look more rested than yesterday, and you ladle some soup into a bowl for him, setting it down at the table. He notices the two bowls, his and yours, and he notices that his bowl has more food.

It is then that he decides to keep you.

What he doesn't know is that you've decided the same. The world has thrown you the way out. A man, built like a bear, happy finger on the trigger and capable of getting you out of harm's way. You need to convince him that you are worthy. You need to convince him that you are valuable. A keepsake.

Men are what start wars, not what end them. Men are the cause of chaos and destruction, it is prevalent throughout history, and it is why you are here now, in a place that doesn’t exist, where people don’t breathe the same air anymore. A man thought himself correct, but he was wrong, and he didn’t listen when someone told him otherwise. They are the ones that take advantage of your vulnerability, and instead of trying to understand it, they use it to get what they want.

You can do the same.

You start by mending his clothes. He's laid some out to dry after washing, and you notice the tears in his shirts. When he comes back a little while later, with dinner hanging off his shoulder, you are seated on the couch, feet tucked under you, with a needle in your hand as you sew up one of his shirts.

You've bathed, found new clothes, warmer ones, and your hair is braided and off your face. He hates to say he prefers you a little dirty, but he likes this, too. A natural beauty. A soft face.

You make a real dinner that night. There's canned vegetables that you try to spruce up with the spices you find in the cupboards, but the real meal is the venison you're served. He butchers it outside like a professional, and he sears it on the stove with a perfect touch. When he feeds you that first bite, your mouth explodes with flavor. Your belly is full that evening, and when he blows out the candles for bed, he eats you out in the dark of the corner bedroom.

He's not sloppy like you thought he might be. Not overeager. He's easy with it, casual. Big hunk of a man smothered between your thighs, and he laves his tongue through your folds like his very own personal dessert. He drinks straight from the source, holy water spilling sweet between his teeth, and when he gets his tongue inside of you and holds it there, you nearly leave earth for somewhere else. You come like that, too, his filthy mouth sucking on your clit before he's slipping that tongue in you again, and you mewl against the bed as he tucks his hand under your ass and spreads you wider.

He tells you his name a few nights later. He doesn't speak, not ever, but when you're crying around his thick fingers, he whispers it against your ear.

"'s Simon," he growls, and you know what he means by that. He wants you to say it while you bounce on his fingers, when you rut against his thigh. He wants you to say his name when you're coming undone riding his face, when you're wetting his mask with your pussy and making him choke on your cum. Such a wet, sweet girl you are, and sometimes he skips wash day for his mask so he can shove it into his mouth and pant around it and taste you while he fucks his own fist.

It's insanity, he thinks, as he's cleaning his rifle. The idea of traditional. But it's what befallen him, what he sees all around him, and he tucks his index finger into a hole too small to pinch himself just to make sure he isn't living a dream. You're in the kitchen, mending more clothes, something warm boiling on the stove. There were seeds in the greenhouse, and you're saving them to plant in the spring, so for now, you make do with canned goods and whatever Simon hunts for during the day. You found books in the attic, and you read them at night, head in Simon's lap as he plays with your hair or rubs your sore ankles or cuts your nails. You're the only one that ever speaks; he hasn't said a word to you except for telling you his name, and you're content to be the only one that uses their voice.

He always listens. You told him one time that you loved the shade of green that the trees wore, and he came back one day with a sweatshirt of the same color for you. He noticed you trying to mend those terrible boots, and he found a new pair for you, your size this time, barely worn and fit for winter. He brings lots of things for you; books, clothes, even rocks sometimes, when he just thinks he found one that you might like.

You do like them. You have started filling a small bowl with the ones he brings, and he notices you rifling through it sometimes, just looking at them, and it makes his chest swell with pride.

Like giving a treat to a dog. Like giving him a fucking bone.

He teaches you how to shoot. You know how to pull a trigger, but that’s the extent of your expertise. He teaches you how to stand, how to turn the safety on and off, how to hold the gun between two hands so not even his own can take it away from you. He makes sounds when you please him. Hums low, lets out a soft breath, sucks in the air through his teeth. You can’t see his face, but the way he looks at you when you fire a bullet and knock bottles off their ledges, it warms you, all the way down your spine, reaching your toes. You want him to keep looking at you this way, so you try hard, and he notices.

You’ll never be what he is, but the small victories are what have him chubbing up in his cargos and falling asleep between your thighs. You give, and he takes, and he keeps coming back for more.

He teaches you that distance is your strength. You aren’t like him; you aren’t built like a brick house, you won’t be bigger than a lot of your opponents. You need to keep them away from you, however you can. He makes you good with that gun because it’s your best chance, but in the even that you lose it or you run out of bullets, he shows you how to aim a hatchet so that the blade always lines up between someone’s shoulders.

The way you listen makes him salivate. The way you blink up at him and say yes, Simon and take his orders, it makes it difficult to keep away from you. 

Today marks two months in the house tucked on the hill. Simon hunts, and you cook, and you live in some sick, twisted housewife fantasy at the end of the fucking world. Simon provides, and you keep, and when the box of condoms falls out of your backpack one day, you glance at Simon for just a moment before he's on you.

It's animal, that first time. He tackles you practically onto the carpet of the living room, and he props you up onto your elbows and only pulls down your jeans enough that he can fit his cock between your thighs. You hear the tear of the condom wrapping, and then he's laying over your back, sinking to the base, cock nestled inside of you as he grips your throat gently and fucks you into the carpet. Poor beast, he's definitely going to need his knees massaged after this, but you can't think about that much when you're taking the fattest cock of your entire life and trying to survive underneath him. It's that fine line between pleasure and pain that you're desperate for, and you pull threads out of the carpet as you try to hang on and take it like a good girl.

You can hear his voice. It's low, and subtle, but he grunts with each agonizing thrust, hips snapping against your ass as he fucks you back onto him over and over and over again.

It's primal. Nasty. You wish he wasn't wearing a condom, you want him to be in your skin, you want him to fill you until you're full, let it spill over, and then do it all over again. You want him to bite into your throat and tear, and you want him to eat you and then put you back together, and then do it again and again and again.

"So big," you gasp, and he falters at that. You recognize it, the need for praise, and you latch onto it with claws and stay there. I need him to stay here with me. "So good...so good t-to me, Simon–"

He groans. It's music.

Keep me. Keep me. Keep me.

"Simon, please–" You scratch at his arm, not satisfied until you feel blood. When you break the skin, he laughs, a breathless laugh that has your eyes rolling back in your head as he shoves your face into the carpet and mounts you like a fucking horse. The deep slap, slap, slap of skin is enough to send you away, send you home, your mind foggy as your pussy squeezes him for all he's worth. The slick of the condom is pleasant, but you want it raw. You want every part of him carved into you, and you arch your back, suck him in, whine and cry and beg for him to just, "please, Simon, I need it, I need it."

"Need wot?"

The sound of his voice is whiplash. He hisses when he sinks deep, staying there, holding you at a sharp angle so he can knead your ass and watch it bounce back on him. He sucks on his teeth, and there's drool slipping out of your mouth. That accent, his voice, like velvet, from deep within his chest. You want to hear more of it.

"Be a man," you gasp. "Be a man, and fuck me."

He doesn't see the desperate look on your face when he slips out of you. He doesn't see the relief that washes over you when you hear the condom come off, latex crumbling as he tosses it, but he feels the warmth of your pretty pussy when he sinks back in, skin to skin, and feels you clench for dear fucking life.

"Fuckin' Christ," Simon groans, and you reach back for him, gripping his arms, forcing him to fall over on top of you. He settles with his elbows on either side of your head, and you bow your back and grip the carpet again as he fucks into you nice and slow, deep, fat head leaking precum and making you cry because finally, yes, please, this is it, what I want, I'll have you forever.

You're so pretty. Even in his past life, Simon never got to have anything pretty. He was too ugly, too big, too awkward. Any woman of good faith stayed 100 yards away, as if his mere presence was a warning alarm, some invisible radius that kept them away from him. He always thought it was for the better. He always thought good riddance, they shouldn't have me, I shouldn't have anyone. Not when only days before, he had tortured a Russian militant until he had no teeth and hung his severed fingers on twine around his own neck.

But you won't run away. He's given you opportunity. He's left the cottage and staked out the outside just to watch you, and all he sees is you moving between windows, shaking out the dust from old blankets and washing the dishes. All he sees is you sewing his clothes and cooking his food, and when he comes back inside, all he sees is your smile and your face and your pretty mouth that falls open when he makes you come all over his hand.

Now it's the end of the world, and he lets a coin flip decide whether or not he lives or dies. And even when he flips it now, it never agrees. When he asks to die, the coin tells him no. When he asks to live, it’s always interrupted by you.

Yes, it tells him. Yes, yes, yes, because it's been keeping him here, because it knows, because it saw, because he couldn't see both sides of the coin, but he can see it now, plain as day, and she's underneath him now, letting him inside, and she's begging him to come and to fill her up, and she's crying because he's such a big man, and she wants him everywhere and always and all at once, and Simon is nothing if he isn't an insatiable bastard that can finally be fucking selfish.

The way you say his name could make him move mountains. That soft breath you take. The falter of your voice. The whine. The world has gone quiet, but he'll make a new one, and he will leave it at your feet for you to step on or pick up.

Whichever you choose. You can do no wrong.

When he comes, he moans. Into your ear, he lets you hear him, lets you bask in his pleasure as he spurts hot inside of you, hauling you a little higher on your knees so he can make sure you come, too. He gives you the palm of his hand to grind on, fucking into you at the same time, humming deep when he feels you squeeze around him and shatter like glass.

He takes his mask off for the first time that night. You see his face, all of it, not just glimpses when he lifts it to eat or to drink, you see the whole thing. He has a terrible looking face. Something only a mother could love. Too old of scars to be from this new life. They slash across his brow, across his cheeks. He has a jagged nose, and the skin around his lips had been reconstructed poorly from however they had been slit.

He's a terrifying piece of flesh. He is surprised when you lean in and kiss him. He's even more surprised when you kick off your jeans, turn over, and fuck him again.

The mantra that sounds like mine repeats in his head over and over. He feels it, deep, warm and beating under his ribs alongside his heart that hasn't moved in a long while.

He found you in those woods, kicking amongst predators, and he took you home with him. Picked you up like a stray, fed you, clothed you, and now you've stayed. For a moment, he thought it wasn't real. Thought your full belly is what kept you here, the warm house. He didn't mind pretending, but he figured it wouldn't last.

He doesn't think that anymore. Not with the way you kiss his severed face. You nuzzle into it, cup his cheeks, and he finds it agony when you pull away.

He hovers now. In whatever room you are in, Simon must also be in it. If he leaves, he makes you board the doors, and you are only allowed to open them if he knocks in his special way. He tested you once, came back earlier than expected, and he was so pleased you did not open the door to his casual knock and only the special one that he made you come one, two, three times with your thighs locked around his face.

A terrible thing happens.

Not to you.

You're searching the greenhouse. Hoping to find some flower pots for the herb seeds you found, you're rummaging through the cabinets beside it. Your gun is sitting away from you, and although Simon would chastise you for this, you feel safe here, and it doesn't bother you.

It flings itself at you. It cries, what used to be a teenage girl, reaching for you because it wants a chunk of your softness, of the life you pump into the muscles that keep you running. You're protected by all the clothes you wear for the weather, and it is slow because of the cold freezing their rigid, dead bones, but it does not lessen the hunger, the fight, the determination to eat and spread.

Before it can bite, the back of its head explodes. You close your mouth and shut your eyes as rancid brain matter splatters the white snow and you, and it is wrenched off of you immediately. Simon stands there, his pistol in hand, and you have never seen him quite so angry as he is right now.

His eyes are wild. He heaves under that tact vest, breathing hard, and his grip on the handgun shakes, so much that he has to shove it back into the holster at his thigh and lean over to pick you up off the ground.

He jostles you. Growls. Is nearly an animal himself as he shoves you up against the glass of the greenhouse and snarls.

"Wot the fuck is wrong with ya?!" Simon snaps. "Is y'r fuckin' head on?!"

It's so quiet in your head even as he yells. Your eyes tear, but not because you're upset. You reach out and cup his face gently, and he stops. Stops talking, just watches, just looks at you as he bends and leans his forehead against yours and squeezes you to his chest.

What is this thing you have? What have you become? What innate thing has festered between you? He’s gripping the edge of the glass so hard, you hear it crack under his hand. There is some kind of sick sense of devotion among you. Some kind of responsibility. He’s angry because something under his tongue tasted bitter when he saw you struggling. It won’t be this easy. He won’t make it this easy. If he doesn’t get to die, then neither do you, and he will make sure of that, because that is the only way this game can remain fair.

You never wander to the greenhouse again. He makes you promise (lest he wastes his cum between your thighs instead of inside you, that's it, promise me).

Another terrible thing happens.

Not to you.

They're wanderers. When they knock at the door, they don't use Simon's special knock, so you don't open it. Instead, you blow out the candles and hide, peeking at them from the fogged window in the attic.

They are men (you aren't surprised, they seem to be the only thing that survives nature's heavy hand). Cold. Shivering. One of them is bleeding, you can see it from the blood trail he leaves in the snow that seeps from somewhere under the hem of his jeans. The one uninjured tries to force his way through the door, but Simon added more deadbolts to it, and it doesn't give under his weak attempts. You trade your handgun for the rifle, aiming it at them. If they get through the door, maybe you can draw them back out, keep them away from the house.

You try to stay quiet, but the healthier one uses his body and a log of wood to get through. They're desperate, desperate enough to not care that breaking through the door cuts him severely, splits through his jacket. The second man limps behind him, getting inside, and you decide to put the rifle back.

You will stay quiet until Simon gets back. Your strength is not being a bulldozer, so you'll hide until he can be that for you. You steady your breathing; even if they make it to the attic, you won't go quietly. You tried that last time, and if it wasn't for Simon, you'd surely be naked and dead in that clearing that you were dragged to.

This time, if you go, you will take someone with you at least. Severed ears are not enough. You will not make them artists, you will make them forgettable and unrecognizable, and you will give back what they give you tenfold. Even if it kills you.

It takes them all night before they finally make it to the attic. They eat your food and take showers in your bathroom and stink up the living room, you can hear them. And when their bellies are full and their minds wander, you dread the pull of the attic door as he wrenches it open and the ladder falls.

You manage to kill one as he drags you out from the corner. He latches onto your ankle, and as he pulls, you put your finger on the trigger of your handgun, and you put one right between his eyes. The other takes advantage of your moment of pause, turning you over onto your stomach so hard the gun flies across the attic from your hand. He tosses you down from the attic, and you land on your side in the hallway, and you cry as you get to your elbows and crawl, trying to get to your feet, but he's larger than you.

He catches you in the kitchen. Slams you over the kitchen counter, using his weight to pin you down, but Simon taught you better than that. He taught you not to give in. He taught you not to give up. You think about him when your fingers find the discarded fork on the counter and you drive it right through his fucking eye.

You don't stop. You don't let his cries keep you from bringing your arm down again. And again. And again. You make his face your blank canvas, and you paint it with your anger. For every man that ever touched you. For every man that ever thought himself worthy to have you. For every man that tried to make your body his prize, you poke a thousand holes in him, and you scream with him as you do it until he can't scream anymore.

You're holding the fork and standing over him when Simon comes home. His handgun drawn, silent as he makes his way in, his body visibly relaxing when he sees you. He glances at the man at your feet, still alive, gurgling there, choking on his own blood as he tries to breathe through the holes that are scattered across his face and neck. You meet his eyes, and you smile. It's uncanny to do it now, but you are happy to see him.

"There's..." You sniffle, wiping your face with your sleeve. "There's another i-in the attic."

You don’t get to see him smile under the mask. You don’t hear the near purr that leaves him as he climbs the ladder and sees the perfect place you’ve left your mark. He’d frame it if it wouldn’t rot.

You twirl the fork in your hand before going to the sink, dropping it in there, and you close your eyes as you listen to Simon's footsteps as he goes into the attic. It takes him a little less than an hour to get the bodies out the back door, and when he comes back inside, you're already wiping up the floor in the kitchen.

There's nothing to talk about. This is normal. This is just another day. Tomorrow, you might have to do it again, and you'll still cook dinner after sunset and clean the kitchen like you're doing now and sit Simon on the edge of the bathtub and cut his hair.

Simon found chocolate on his trip today, and you make cake with it. You sit in his lap under the candlelight, and you feed each other, bite by bite, and you giggle when Simon gets it all over his lips.

You kiss him to clean it off, and then you reach for another bite of cake. There's some measure of satisfaction you feel when your tongue finds the dent in the fork prongs from when you used it earlier. The chocolate tastes better somehow. Sweeter.

You catch him in the morning, limbs tangled with yours under the sheets, flipping a coin. You smooth a hand over his thick chest, along his pudgy stomach, and you watch with him as the coin lands on the bedside table, falling flat.

It comes up tails.

He decides then that he doesn't have to flip it anymore. It's pointless. He asked for answers, and he got one.

You were not luck. You were fate. And because of it, the coin will always land the same way.

His thoughts are interrupted when you reach for the coin. You twirl it between your fingers, thinking. He doesn't see what you see, but that's okay. Maybe he'll let you play now. Some other game, a better one.

Heads or tails, win or lose, alive or dead. Either way, you are attached. Woven together, thread by thread. There are no vows to say in this new place, but you aren't tested by the same kinds of things. There is no law to keep two people together, no governing power of men that say if left is truly left and that right is really right.

You are drawn together by shared experiences. The same trauma. You won't leave each other not because you said you wouldn't leave, but because there is no one else in the world that has seen the same things you have seen and has done the same things you have done. There is no one else in the world that will forgive you for what you had to do to survive. That will love you not just in spite of it, but because of it, because you did what was necessary, and you are here now to learn a lesson and not suffer its consequences.

It's just a game. If you win, he wins. If you lose, he loses. If you're alive, he's alive.

And if you're dead, then he must be, too.

[0alix0]

Rook's backgrounds make no sense or gatekeeping is good, actually

It's didn't sit well with me ever since bioware admitted that all 6 background for Rook can be played by any race you choose

Looking back at Origins it's clear why most of the backgrounds were race-specific. Not only it provided a better understanding of the separate cultures (you wouldn't really understand what dwarfs are about if you were able to play as a surface dwarf commoner) it also established the rules of the world (elves are opressed, you can't become a queen/king cuz the nobles will riot, humans colonize them and inforce their religion and rules on everyone, dwarfs are considered weird)

Now, looking at the veilguard, I can't help but ask:

How can a fully grown dalish with vallaslin be a crow? They buy slaves as a way to get more assassins, usually elves, children, so they could easier ruin their psyche. why the hell would a dalish stand for it?

How can a qunari be a Gray Warden? Wardens don't discriminate, sure, but this far, we haven't even heard of a qunari warden. Rook should be a legend, Rook should be questioned at actually being a warden by NPCs, OR sit in some Warden outpost and being studied by their mages, because no one actually knows how Blight and joining might work with Kossith body instead of running around with Varric.

Veiljumpers were organized by dalish, right? Then why in the world would a human be allowed to join? How and why did they change their minds to accept literally anyone, even if it's a potential threat/thief(Morrigan)/zealot/etc..?

How can a dwarf, someone who isn't even connected to the fade be a Veiljumper?

How can a dwarf be a part of the Mourn Watch? A Mortalitasi, an exclusively MAGE order? What can they even do?? Preform a non magical mummifications with herbs and salts like Egyptians did? Sweep the mausoleum? Be some sort of a funeral organizer/lawyer/genealogist? That could've been really interesting if only the game actually bothered to say anything about it. It did not

"Well it's up to your headcanons!" then why make the backgrounds in the first place??? They don't matter anyway!

I mean, obviously it was just a way to promote the game to older fans. Look, the backstories! The thing you've been craving for is back in game! Only they forgot what actually made them so great. The most important part. They mattered, they created a basis for my character. They gave them families, connections. They changed the way my character is perceived (elves in general) and what they can do plotwise (become a monarch/paragon).

I don't fucking care if 3-5 NPCs might have some additional dialogues for me, cuz they don't matter anyway. I don't even know these people, i never met them before, my character did, but I didn't. And now I don't care enough to know. like, i'm playing as a mourn watcher, but before going to Nevarra i barely knew anything about them, and what i know now is still rather surface level shit

Let alone the fact that all the backgrounds are practically the same. You pissed off some influencial people by doing good and was send away. Bravo.

........if this post gets one like I'm writing my own ideas for DA4 protagonist's backgrounds

[grison-in-space]

Has Biden actually done anything at all? There's evidence going around and I think it's compelling, the alternate to voting is instead doing actual social work and participating in protests and organizing political action, which is a good idea i think

1) Yes. Inarguably this has been the most effective progressive domestic administration since I have been alive, and I'm in my thirties. What in the fuck are you talking about? It's not perfect, but it's better than we've seen in fifty years: Obama tried, but Democratic Congressional organization was just not yet used to working with a completely obstructionist GOP Congress in the wake of the tea party.

Even in terms of foreign policy, this is also pretty much as good as US involvement gets. Sorry. Our foreign policy has been shaped by monsters for decades, and that's even without dealing with our huge and active branch of Christian doom cultists. There ain't a candidate in the world that could stop the entire accumulated momentum of geopolitics with a snap of the finger, and I'm not really willing to pretend that Biden is particularly notable for not managing to fix Israel/Palestine relations.

2) In your own words, anon, what precisely does organizing political action entail without participating in the political process? Do you think that abstaining from the part of the gig where you, the citizen, get to say which official gets the job somehow makes your opinions matter more to your elected public officials? Have you ever organized to get so much as a municipal one-time library project budget expanded? Are you perhaps only skilled at political argument with people who already agree with you on the Internet?

What is your leverage, and could it reasonably be described as "extortion" or "blackmail" or "political corruption?" Because those are pretty much the only things on the table that can work more effectively to drive an elected official than a disciplined coalition of political allies (who can be purchased with, you guessed it, votes) or a reliable bloc of voter support. Your vote matters less than the ones you bring with you, sure. Do you think that not voting yourself somehow helps people organize to drive more votes? Have you perhaps replaced your complex reasoning skills with a rapidly dying jellyfish?

3) Holy passive vagueness, Batman! "Evidence is going around." What a masterpiece of a sentence! How it suggests everything while providing nothing! What evidence? Who collected it? Who is talking about the evidence "going around?" Who is listening? How many of them are there? What did they think before? The more I think, the more questions I have, and damn if they ain't predisposing me to be even less charitable.

Like, this is so catastrophically poorly supported that I have to confess that I not only believe this is probably an ask in bad faith (i.e. by someone who is expecting to piss me off or otherwise engage with me adversarially, probably spammed to a whole host of blogs at once with no expectation of response) but I actively hope that it is. The alternative is to have to grapple with the reality that some people are so uncomfortable with the responsibility of moral agency that they're willing to release useful levers of legal and social power just so that they never do anything problematic with that power. Much better, of course, to wash one's hands of anything that might have the stink of responsibility clinging to it. Might fall from the membership of the Elect if you actually get yourself all muddy by doing things, I reckon.

I don't even believe that voting is the only lever we have when it comes to our elected officials or that votes are necessary to secure change, and I am certainly not talking about the presidential ticket alone when I talk voting. What I do believe is two things: one, that voting is a potential lever of power on the emergent chaos of the society in which we live. And two, that anyone telling me to leave a lever of power on the ground without a damn good reason is either incompetent, malicious, or both.

[chanelrolls]

Love and Deepspace Men pretending to be gay to get closer to you.

pairings. sylus x reader, zayne x reader, rafayel x reader, xavier x reader, caleb x reader

notes. this is a headcanon of how the LIs would pretend to be gay so that you would feel safe and comfortable around their presence. requests are open. i'll welcome them wholeheartedly.

SYLUS

Sylus doesn’t just pretend to be gay—he turns it into a performance. He commits so flawlessly that no one even questions him. He doesn’t stutter, hesitate, or act out of character. If anything, his arrogance makes people believe him even more.

He carefully crafts his lies to be believable. He drops subtle hints in conversation, never making it obvious, just enough that people draw their own conclusions.

If you ever ask why he never seems interested in women, he just smirks, “Sweetheart, I like my partners just as ruthless as I am. Do you think you could handle that?”

He treats it like a game. He enjoys seeing how long he can keep the charade up before you're able to catch on. He especially loves watching your reactions when you start to get too comfortable with the idea.

He starts making offhanded comments about men, but he never actually compliments them. “At least he knows how to wear a suit properly. I respect that.” It’s just vague enough to keep the illusion.

Despite his act, he still flirts with you constantly—just in ways that sound platonically playful. “If only I was into women, hmm? What a tragedy.”

If you ever try to set him up with another guy, he dodges it smoothly. “Ah, but I have high standards, darling. He wouldn’t last five minutes with me.”

The second another man actually starts showing interest in you, his entire demeanor shifts. He gets subtly possessive, but masks it with amusement. “Him? Really? You could do better."

He lets you get too comfortable before dropping the act. Maybe one day, when you casually lean against him, laughing about how he’s the “perfect gay best friend.” He hums in amusement before leaning in close, voice dropping to a murmur. “Best friend? Hilarious.”

SCENARIO

You and Sylus are sitting at a high-end café, sipping on overpriced espresso. You suddenly begin teasing him about his supposed preferences, and he plays along effortlessly. You ask, “So, if you had to choose a man to date, who would it be?”

Sylus swirls his drink, amused. “Ah, a difficult question. I do appreciate a man with taste. A well-fitted suit. Confidence. Maybe someone who plays chess.”

You grin, “So, a rich, cunning type? That explains a lot.”

He smirks. “If I weren’t already spoken for, perhaps I’d entertain the thought.”

You shoot out a chortle, mirroring his action of twirling his drink. “See? Really, we always have the same likes and tastes, you're the perfect gay best friend."

He imperceptibly huffs, setting his cup down. Then, leaning closer, his voice drops to something softer, almost dangerous. “Who said I was your friend?”

You blink. “Wait, what?”

Sylus only smirks, sipping his coffee like he didn’t just drop a bombshell.

ZAYNE

Zayne’s approach is subtle but convincing. He never outright says he’s gay—he just lets people assume.

If someone asks him about his ideal type, he responds in the most vague, deadpan way possible. "Men."

He doesn’t act any differently than usual. That’s what makes it believable. His usual professionalism, reserved nature, and lack of visible romantic interest in others make it easy for rumors to spread.

When you jokingly asked him about it one day, he doesn’t deny it. Instead, he just tilts his head slightly and says, “Does it matter?”

He finds mild amusement in you being too comfortable around him, thinking he’s completely safe. (he's not.)

He doesn’t really do the whole “pretend to check out men” thing—he thinks it’s unnecessary. Instead, he subtly steers conversations in ways that reinforce the misunderstanding.

If you ever try to ask him about what he seeks in a man, he dodges the question with vague, clinical responses. “Compatibility is determined by more than just surface-level attraction.”

Eventually, you get too comfortable that you starts using him as a fake boyfriend to ward off creeps. He plays along, but secretly enjoys claiming you as his even if it was meant to be a ploy.

When you finally gets suspicious, he doesn’t admit it immediately. Instead, he just looks at you, waiting for you to piece it together.

Once you do realize the truth, he simply nods and says, “So you’ve figured it out.” No apology, no embarrassment—just quiet amusement at how long it took you.

SCENARIO

You're casually sitting with Zayne at a park bench, scrolling through dating profiles. You then sigh dramatically. “You’re so lucky, you know? No dating stress. No dealing with annoying guys. Just living your best life.”

Zayne glances at you. “Is that so?”

“Yeah! I mean, you don’t have to deal with this whole ‘finding the perfect guy’ nonsense. You already know what you want, right?”

Zayne hums in thought before responding simply, “I do.”

You let out a groan. “Ugh, I wish I had it that easy.”

A pause. Zayne looks at you with something unreadable in his expression. Then, after a beat, he says, “Perhaps you do.”

You frown. “…What does that mean?”

He doesn’t answer. Just smirks ever so slightly before returning to his book.

RAFAYEL

Rafayel fully leans into the performance with zero shame. He has fun with it, exaggerating everything for his own entertainment.

The moment he realizes that acting gay makes you way more comfortable around him, he makes it his new favorite game.

He starts fake-fawning over men, but in a way that’s so extra it almost sounds satirical. “MC, tell me, have you ever seen a man with cheekbones that sharp?! What a gift from the heavens. I may cry.”

He deliberately gets touchy with you, knowing you won’t suspect anything. Resting his chin on your shoulder, hugging you from behind, playing with your hands—it’s all fair game now.

If anyone asks about his type, he sighs dramatically and says something ridiculous like, “My heart belongs to the sea and to men with tragic backstories.”

The second another guy flirts with you, his energy shifts. He crosses his arms, watching with dead eyes. Then, suddenly, he’s clinging onto you like a lifeline. “Oh, darling, rescue me! This is so overwhelming.” (Really, he just wants the guy to leave.)

Whenever you ask him about his “exes,” he completely makes things up. “Ah, yes. Leonardo. He was a poet, you know. Tragic love. Very dramatic.” (He does this purely to mess with you)

He treats it all like a joke until one day, you offhandedly say something like, “You’re my safest friend.” And suddenly, it isn’t as funny anymore.

But he’s awful at keeping up the act. One slip-up and he’s doomed. When you casually rest your hand on his chest one day, his entire body tenses. Or maybe when you flirt back and then he suddenly forgets how to breathe.

Eventually, he just stops pretending. But by the time you realize it, he’s already pinning you against the couch, eyes gleaming with mischief. “Oops. Looks like I got a little too close, huh?”

SCENARIO

You and Rafayel are sitting on a pier, legs dangling over the edge. The sun is setting, and the waves crash gently below. You initiate the comversation, “I wish I had a romance as dramatic as yours.”

Rafayel sighs, placing a hand over his heart. “Ah, love. So fleeting. So cruel.”

“You sound like you belong in a soap opera.”

He just smirks, bumping his shoulder against yours. “And yet, you adore me anyway.”

You laugh, shaking your head. “I do. You’re the best fake boyfriend I could ask for.”

Rafayel’s smirk falters for just a second. Then, slowly, he leans in. His voice drops to a murmur.

“Fake?”

XAVIER

Xavier’s attempt at pretending to be gay is an absolute trainwreck. He isn’t a liar by nature, so when he does try, it’s painfully obvious. If asked about his type, he panics and blurts out, “Men. I love men.” Dead silence follows.

His reason for pretending to be gay is simple: you said you felt the safest around him, so in a moment of impulse, he blurts out, “That’s because I’m gay.”

Instant regret. His face stays neutral, but internally? Panic. He realizes too late this means he can be close to you without you suspecting a thing.

The problem? He’s naturally affectionate. Xavier isn’t touchy, but he doesn’t move away when you lean on him, holds his hand absentmindedly, or play with his fingers.

You treat him like a safe space, and it drives him insane, telling him, “I love how comfortable I feel around you.” Xavier, staring at your intertwined hands, says: “…Me too.”

His ‘gay act’ is ridiculously bad, but you bought it at first. Until the way he looks at you starts feeling off.

He gets a little too soft around you. You often catch him staring at your lips too long. His voice is too gentle when he says your name, and he remembers everything about your preferences.

The real problem starts when you experimented with his boundaries one day. “Xavier, can I cuddle with you? You’re like my emotional support pillow.”

He freezes. He should say no. He really should. Instead, he clears his throat and mutters, “…If you want.”

SCENARIO

It’s late at night, and both of you are lying on the couch, wrapped in a shared blanket. Your head rests on Xavier’s shoulder, breathing softlt against his skin. He smells too good. You utter, “I’m so glad you’re in my life.”

Xavier stares at the ceiling. He can feel the weight of you against him, the warmth of your body. It’s unbearable.

You add, “I feel the safest around you.”

His throat tightens. He shouldn’t be hearing this. Not when you think he’s—

You shift, pressing closer. “…I wish you weren’t gay.”

His heart stops. For a moment, he forgets how to breathe.

Xavier swallows hard, forcing himself to stay still. He lifts a hand, hesitating, before gently tucking a strand of your hair behind your ear.

His voice is barely above a whisper, “…Me too.”

CALEB

Caleb doesn’t just pretend—he weaponizes the misunderstanding. He’s been in your life since forever, so if people assume you're just besties and he happens to be gay, he doesn’t correct them. In fact, he leans into it.

He’ll act as the perfect wingman, making sure every guy you dated somehow ends up hating their time with you. He sabotages without looking like he’s doing it. “Oh, you like him? Huh. I heard he cheated on his last girlfriend. But if you’re sure…” (He made that up.)

Though Caleb absolutely hates doing this, but if it’s the only way to get you close to him, he’ll do it.

He’s good at it. Too good. Because he’s always been selective about women, no one questions it when he claims to have no interest.

It’s a slow burn. He makes himself your most reliable friend, your protector, the one person you never had to worry about.

Whenever you vent about guys, he’s always there to listen, nodding with quiet understanding. But internally, he wants to put the heads of the guys you dated on a stick.

He treats you so gently, and it frustrates him that you don't even see through it.

One day, a guy gets too close to you, and Caleb steps in, voice cold. “I’d back off if I were you.”

You finally realized the truth when he stops playing along and just stares at you with an expectant gaze.

When you finally confront him, he only gives you a knowing look. “You really think I’d let just anyone this close to me?”

SCENARIO

You're venting to Caleb about another failed date. “Why can’t guys be like you?”

Caleb tenses. But he forces a smile. “Yeah. Why can’t they?”

Absentmindedly, your mouth somewhat continued to run faster than your brain. “I wish I could just date you. If only you weren’t—”

A pause.

Caleb tilts his head. “…If I weren’t what?”

You realize the weight of what you said, laughing awkwardly. “You know. If you weren’t—”

His eyes darken. “Say it.”

And that’s when you knew.

[gay-dorito-dust]

I’ve seen fics where Joaquin is hurt, so I thought why not do things a little differently…I’m unhealthy addicted to this man. (Have since the show but didn’t capitalise on writing for him then, grave mistake tbh though there still wasn’t much for him back then either.)

The mission with Sam and Joaquin was a success but one reckless misstep caused you to be put right into a hospital bed with a uncharacteristically quite Joaquin by bedside, his hands clasped together tightly in front of his face as his beautiful dark eyes seemed distant and unfocused as they gazed at the wall across from him.

‘You can quit mentally going over funeral arrangements for me, I’m still alive to continue being a pain in your ass.’ You tell him once you had awoken, but it seemed as though your attempts of making light of a serious situation only seem to put Joaquin even more in a sour mood.

‘You sure have a weird way of trying to comfort me you know? Making jokes about your own hurt and thinking that I’ll just laugh along?’ Joaquin said as he looked at you, eyes sharp but filled with worry as they looked over your bandaged figure. ‘Is nearly dying really a funny experience for you?’ He then adds rhetorically. It was obvious that you being hurt had more of an affect on Joaquin then it did you, maybe because you had time to be accustomed to how dangerous the job was, which resulted in giving you a weird sense of fucked up humour when you find yourself on the hospital bed.

‘Joaquin-‘ you began as you reached out for his hand but it seemed as though your friend and mission partner wasn’t quite done.

‘Do you know how I felt when I found you hurt?’ Joaquin starts, unable to keep the feelings with him any longer then he already had, hating how helpless he felt upon finding out that you were hiding an injury as serious as this as though you didn’t view yourself as someone valuable. ‘And the fact that you kept it from us, from Sam but most importantly,’ Joaquin paused when he felt himself letting his emotions rise to the surface as tears brimmed his beautiful eyes, ‘you kept it hidden from me, we’re meant to be partners y/n, partners.’ He adds in a way that made you know that what he felt towards you was a lot deeper then you two just being partners.

‘Are we not partners?’ Joaquin asked.

‘Of course we are!’ You replied without hesitation, reaching out and grabbing his hand and intertwining your fingers together. ‘You’re my best friend and the best mission partner I could have ever asked for-‘

‘Then why did you feel the need to hide your hurt from me.’ Joaquin interrupts you, though you noticed how tightly he held onto your hand as though he was scared to let go of you, and in the moment you hated yourself for making Joaquin worry over you like this. You truly were the worst when it came to these things but with Joaquin you wanted to be as transparent as possible with him, expect when it came to needing help and your feelings for him it seems, and you couldn’t help but feed into the idea that due to this Joaquin deserved better…better than you at least.

‘The mission comes first Joaquin you know this as well as I, so why should it matter if I’m hurt or not.’ You said to him, hating how it seemed as though Joaquin could see through you whenever you looked in his dark eyes, bringing you under the impression that he seems to know you better then yourself and you feared that that was the truth. You wish you could hate him but you knew you’d be lying if you ever said that because you knew you’d love the man until you couldn’t, making you fear how far you’d actually go for him and vice versa.

‘Well it matters to me! You matter to me! So sorry for not wanting to watch my best friend and love of my life die on a hospital bed.’ Joaquin exclaims suddenly, taking you both aback by the outburst of repressed emotions but Joaquin pushed through as he moved his hand from your grasp, moving to hold your face within his hands instead as he rests his forehead again yours. ‘Especially not when I have so much to say to you that I should’ve said far, far sooner instead of hiding.’ He adds softer this time as he moved to press a tender kiss your forehead, making you smile softly at the feeling, before pressing his head back against there.

‘And what would those things be my dear falcon.’ You asked analog sheepishly as your hands reached to keep his hands again your face, caressing the backs of them with your thumbs, smiling at how while this wasn’t the ideal place for you to admit your feelings but it didn’t feel any less magical then it did right now.

Joaquin smiles for what felt like the first time since he’s been sat beside you. ‘We’d be here for a really, really long time if we want to go into specifics,’ you both laughed at this, knowing that you would spend just as long listing of the things you loved about him in return, ‘but to keep it short all you need to know is that you’re the best part of me, my better half and the one person who could make me feel like this when I’m under the impression that I could one day loose you forever.’ Joaquin sighed and closed his eyes, leaning further into you as though trying to convince himself they you were still here with him.

‘I don’t ever want to see you like this ever again, not as long as I can do something about it to keep you safe from this day onward.’ Joaquin admits and you felt yourself becoming warm and giddy it made you forget why you were in the hospital for brief moment in time, for you were too focused on the beautiful and brave man in front of you holding you like you were everything and to him you very much were.

‘Then I can only promise to be more carful on missions from here on out if it’s to keep your heart from breaking, for I wouldn’t want to hurt someone as important to me as you Joaquin,’ you then moved your hand to wipe away the unshed tears from his eyes, taking your time with it as well as you caressed his tear stained cheeks with care and held the weight of a death as though you were in fact scared of hurting him. ‘I never went to see you shed a single tear more of my reckless ass.’ You add and this time Joaquin laughed along with you as he kissed your palms sweetly, smiling against them.

‘Then I guess you’ll have to deal with me being a little overprotective on the future missions.’ Joaquin says barely above a whisper.

‘I wouldn’t mind that at all, not a single bit.’ You replied, kissing his nose and smiling, happy to know that your feelings weren’t unreciprocated like you originally thought, but also happy knowing that your heart was in the safest hands you’ve ever known.

[i-am-hungry-24-7]

[Ghost crashed into a car before he parked ours] - Mafia!TF141*F!Reader

Summary: You sigh when it's the fifth time someone fights in your poor tea shop this month. You just open it two months ago, in an area ruled by mafia called '141'. Maybe you should find their boss and give them money or what to stop the bullshit keeps happening in your shop. (well, here they come)

Mafia!TF141*F!Reader

Chapter 1 Chapter 2

To your surprise, Kyle, or Gaz – the model-like man introduced himself as – is such a considerate person with a nice sense of humor, at least compared to Soap or Ghost. 

That day you trapped yourself in the predicament with John, he seemed to sense your embarrassment, hence he just handed his boss a backup shirt without making fun of you like his boss, so you have a lot of time for the man. 

Like now, he’s sitting and sharing a plate of biscuits with you, enjoying a tranquil tea time accompanied by the pleasant smell of Earl Grey.

“You don’t have jobs to do today?” You raise your cup and ask, before taking another sip and watch Kyle finish his bite and reply.

 “Ghost’s in charge of dealing with the enemy today.” 

“Ehmm, okay” You refuse to figure out what ‘dealing’ means “What about others?"

"I killed mine yesterday.” 

Okay, you truly don’t mean this, but let’s just end this topic and move on. With a few biscuits down to your stomach, brainwashing yourself to forget what you heard seconds before with the sweetness, and buying you some time to come up with a better subject, you open your mouth again.

“Every time one of you comes here, you just scare all my customers away.”

“Isn’t that better?” 

“I need customers to earn money, Kyle.”

“You have us to pay you.” He points at the badge pasted on your wall. Of course, you’re not the one who put it on, you rather read the military smut out in front of all British than do it, but if you try to take it off, Soap will put a new one back, so in the end you just compromised and let him claim your shop publicly.

“This place isn’t only served for you guys.”

“It isn’t?” 

Is it possible to refute when Kyle flashes you a smile that you almost get blind and start wondering if he can replace himself as your lights and save you the electricity bill? Maybe counting this as one of Kyle’s humor will be better than explaining. All required is to ignore the evil glints in his majestic brown eyes while he questions you.

But even though Kyle said he doesn’t have work today, he doesn’t stay long after he finishes his tea.

“Gotta head back to help the boss.” He grins as he turns the knob and waves you goodbye.

What’s weird is that   after Kyle leaves your shop, customers start flooding back. Many of them are familiars of the shop, as you’re sure they’re 141’s lackeys too.

You remember them see you as one of the henchmen… Although they're not as afraid as when they first visit the shop because of your hospitable attitude, you can still sense the attentiveness in their demeanor.

No matter what, you’re going to figure out what’s  actually  happening.

“Hey, you.” You walk to one of the minions' sides. “Mind to tell me about why you guys always disappear when Gaz or Ghost or others come here?”

“We…” The guy’s eyes avert, shooting his friend a glance for help “It’s just a coincidence.”

“Coincidence?” Raising your eyebrow, you lower your voice to make it  menacing 

“It  really  is, ma’am, nothing to bother with the Sirs.”

“Show me, they must have sent some messages to inform you guys, right? Let me take a look, or I will…” You will what?  Actually,  you have no idea what you can do to these guys that can lift you  up  and throw you into a trash bin like a shot “Wait a second.”

Quickly running back to your kitchen, you come back with your most intimidating weapon – 

“Or I will hit you with my pan!” You wiggle your arm as a threat.

“…” 

They don’t look scared of the pan for a tiny bit. Wait, you should take your kitchen knife instead, who the fuck will pick a pan? You idiot.

yet to your satisfaction, they still fish out their phone and let you have it, and you don’t waste any time as you open the texting app.

‘Announcement: Boss will arrive at the tea shop in 10 minutes, clear the shop immediately.’

So they  really  are scaring your customers off. Give the phone back to the poor guy with pity in your eyes, you bring him a few more biscuits.

You’re strolling through the aisles in the shop. You’re out of flour and sugar, and every Wednesday the groceries are on sale. You never miss these chances to build up savings.

What a nice shopping trip. Quiet, leisure, just enjoying your own time, picking up different brands of cereal and calculating which is cheaper like a competent broken adult. Things never go wrong when you’re alone.

“Hey lass!”

Well, you’re kidding, things go south too quickly. The voice’s too familiar. It must be a hallucination.

“Lass? Bonnie?”

 Don’t look back, keep walking. It’s not the detergent man with a stupid chicken crest yelling at you.

“HEY!” A hand pats you on your shoulder and makes you jump. Sighing internally and prey there won’t be any trouble caused by the man, you turn around and face him.

“Oh, Soap, Hi.” Shit, looks like you just can’t have a break from these men. “I didn’t hear you.”

“Even though the nan outside tells me te shut the fok up?”

“Yes.” you shamelessly admit, pro tip to confront people without shame “Why are you here by the way, Soap?”

“Oh, we’re in need of some things, so Ghost pulled off during our way home.”

You take a glimpse at his basket. A rope, a roll of duct tape, and a knife. 

They must be going on a picnic. Yes, don’t overthink. The rope is for securing the tent, the duct tape is for concealing the holes on it. Knife? they surely will need it when cutting apples.

The image of Ghost slaughtering… peeling apple you mean, with Soap and Gaz playing red light green light and John napping in the tent is so vivid in your mind that you need to restrain the laugh with a clear of your throat before you grunt in affirmation and restart your steps.

With Soap depriving you of your last respite, you choose to grab what you need and head to the counter. All you want is to get home, have a nice shower, and lie on the bed reading the new fic you found last night.

“Do ye need help?” He watches you shove the products in your bag, but 5 huge cartons of milk are too heavy for your weak limbs, you can feel your arms trembling under your attempt.

“It’s okay, my car’s near the door. I can carry this myself.” Again, cheekiness works every time. You don’t care about strangers staring at you struggling with the bag and exit the supermarket in a crab way, as long as it can bring you back into peace faster, and you almost tear up when you see your car, the white of it is like the lighthouse in the atramentous night.

Hey, but you don’t remember your car has a goddamn huge dent at its boot.

“Oh yeah, forgot to tell ye. Ghost crashed into a car before he parked ours, and he’s contemplating whether he should kidnap the driver when they come back and make them shut up, or just kill them.” Soap looks at you stopping in despair as he recognizes what you’re looking at. “So it’s your car aye?”

You don’t answer him, you just watch Ghost materialize from the Shadow beside your car and give you a nod.

Fuck your life.

a/n: ty for reading :D have a nice day/night!

Car -1, Peaceful night -1

tag list :D - @blackhawkfanatic @nexthyperfix @danielle143 @goodbyegh0st @reaperxxxxzz @kaoyamamegami @imyprice @cod-z @poppingaround @live-for-fluff @masterstr0ke @mall0ww

[fear-is-truth]

dare i say ur the best squid game writer?? the namgyu hcs was def the most accurate depiction of his character ive seen ! showed his insecurities so well. chefs kiss. speakinggg of if ur taking requests from him. what abt reader finally breaking up w him? like tired of all the toxicity. how would he react?

BREAKING UP WITH NAM-GYU / PLAYER 124

a/n. omg tysm for the kind words !! i loved the idea for your request, and i hope i did it justice ! thank you again for trusting me with it ♡

at first, nam-gyu’s reaction would be pure deflection. he’d scoff, roll his eyes, and act like he doesn’t care. “fine, go,” he’d say, his tone dripping with venom. “you think i can’t live without you? watch me.” his pride wouldn’t let him admit how much it hurts, so he’d lash out, throwing barbed words your way in an attempt to make you second-guess yourself. it’s a classic manipulation tactic—turning the blame onto you, acting like you’re the one overreacting or being unreasonable.

but as soon as you walk away, he’d start spiralling—anger would segue into panic. he’d start analysing on all the moments he pushed you too far. there would be some level of guilt, but instead of owning up to it, he’d try to convince himself it wasn’t his fault—or worse, blame you for “giving up on him.”

when hours or days pass without a word from you, he’d start calling or texting, alternating between anger (“don’t you dare ignore me”) and desperation (“just tell me what you want me to do”)

when he realises you’re serious and not coming back, he’d oscillate between two extremes. on one hand, he’d try to manipulate you into staying by pulling every card he can think of: guilt-tripping, love-bombing, even reminding you of the good times to make you question your decision. he’d say something like, “you’re just gonna throw all of this away? after everything i’ve done for you?” or, “no one else will care about you the way i do.” not because he doesn’t care (he does care. a lot) it’s because he doesn’t know how else to express his desperation.

on the other hand, he’d also act like he doesn’t give a fuck to protect his ego. he’d put on a front, telling you to go and that he’s fine without you. he’d go to work, or use loads of drugs, just to prove (to himself more than anyone else) that he doesn’t need you. but deep down, he’d feel hollow. every time he numbs himself, it’d just make him think of you more.

if he’s really desperate, and you’ve been ignoring his attempts to get your attention, this might be the moment where he shows an almost childlike side of himself. he’d show up at your door, completely disheveled, and beg you to stay. he’d get on his knees if he thought it’d work, his pride be damned.

after the breakup, if you don’t take him back, he’d probably spiral even worse. he’d rely heavily on unhealthy coping mechanisms—drugs, drinking, or surrounding himself with people who don’t actually care about him. but no matter how hard he tries to distract himself, his mind would always drift back to you. he’d fixate on what he did wrong, though he wouldn’t know how to fix it.

if you did give him a second chance after all this, he’d try to be better, but it’d be a slow, messy process. nam-gyu doesn’t know how to handle his emotions or build a healthy relationship, so even his attempts at improving would be kinda flawed. but the fear of losing you again would drive him to at least try—though whether or not he can actually change is another story.

[anim-ttrpgs]

Y'all state in the Eureka rulebook (at least the version I have) "In our experience, the more preparation,the better, no matter the genre." I was wondering if you've expanded on that anywhere? I've been rambling in my drafts about how different games talk about prep, including PbtA games which often state outright that you should only make limited preparations.

Yeah this is something that it would be a good idea to expand upon, because “GM prep” is word that has been so diluted and corrupted by D&D5e and its toxic critical role play culture, where “GM prep” means “they will do this, and when they do, the music will be timed just right and the battle map will be so impressive, etc.” PBTA is telling you to avoid prep because it doesn’t want you doing that kind of prep (and no good RPG does). This can work for PBTA for a number of reasons that I actually don’t want to get into in the interest of time but it has a lot to do with the pure genre emulation and the limitedness of the playbooks.

Eureka: Investigative Urban Fantasy, however, cannot get away with this because it is both a much more expansive “toolbox” game and because it is explicitly a mystery-investigation game. There are many other games that do also really benefit from the type of prep that Eureka wants from its GMs, such as dungeon crawlers, but Eureka needs it the most.

But the kind of prep Eureka wants isn't “they will do this and when they do it will be perfectly timed and look so impressive,” it is “what if they do this? What if they do that? What if they do some other third thing?”

A Eureka GM needs to have something ready for the shed behind the house, in case a PC decides to go to the shed behind the house, because this is a mystery game. You can’t just improv it, if you make something up on the spot, then and that thing doesn’t perfectly adhere to the facts of the case, the case can be ruined. That’s why we push for using adventure modules so much, because they’re literally designed to do that prep for you.

TL:DR

TTRPGs are games where anything can happen, so instead of being extremely meticulously prepared for one possibility, a good GM is moderately prepared for a wide variety of possibilities. In a game where “the facts” not 100% lining up doesn’t fully matter or isn’t likely to be pried into, you can get away with lower prep in each of your possibilities you’ve prepped for, but in a game where “the facts” and tiny little details are all that matters, you should have a high level of preparedness for each possibility, and the best way to do that is to use an adventure module.

[nattikay]

Neteyam's first birthday!

Language notes under the cut:

so, the third panel there: Jake doesn't forget what day it is, he just has no idea how to express "May 28th" in Na'vi, so he switches to English.

The Na'vi of course don't traditionally use the 12-month calendar we have here on Earth. However, there is a way to express such dates in the language...mostly, I suspect, for the convenience of us nerdy fans who want to talk about our humany matters in Na'vi lol, but I believe the in-universe explanation is that they learned about it from Grace and only really use the terms if they need to talk in sky people timetables for whatever reason.

Because it's a borrowed concept, the terms are quite literal descriptions: "month" is vospxì, which is short for vosìpxì zìsìtä, literally meaning "one-twelfth of a year". To name specific months, you just add their number: May is therefore vospxìmrr, essentially "one-twelfth-of-the-year number five".

As for the day, that's actually a little trickier because Na'vi counts in base 8, not base 10. Instead of thinking of this number as two-tens-plus-eight like we do, they'd think of it as three-eights-plus-four: pxevosìng. Unless you're very good at math (which I am not lol), these decimal-to-octal conversions can be really hard to keep track of/calculate on the fly even before you try to start applying the Na'vi vocabulary!

All that to say, "May 28th" in Na'vi would be something along the lines of trr apxevosìve vospxìmrrä - 28th day of May, or most literally, "28th day of one-twelfth-of-the-year number 5".

...yeah, I don't blame Jake for just switching back to English for this 😅

on a much smaller note, I am not 100% certain that the adverb nìpxi can be used in this sense of "exactly/precisely", but I asked around among some other speakers and they generally agree that it's the best option available so I'm gonna roll with it. If it turns out to be wrong, well, I can always fall back on the "it's Jake" excuse lol

[rosy-hollow]

｡ﾟ•┈┈┈┈┈┈┈┈┈┈┈┈ ꒰ა ʚɞ ໒꒱ ┈┈┈┈┈┈┈┈┈┈┈┈• ｡ﾟ╰┈➤ @lillycore ⦂ Hey! Can I request something else with Sukuna? Maybe collage au , where Sukuna is in college for engineering, but reader doesn’t go to university and instead focuses on being a freelance artist , but sometimes she sneaks into some of Sukuna’s courses with him? 》 ✐ᝰ YIPPEE MORE SUKUNA!! (sorry i cut out all the parenthesis for space purposes 😭) ｡ﾟ•┈┈┈┈┈┈┈┈┈┈┈┈ ꒰ა ʚɞ ໒꒱ ┈┈┈┈┈┈┈┈┈┈┈┈• ｡ﾟ

No one’s really sure when you started showing up to Sukuna’s engineering lectures.

As far as most people were concerned, you’d always been there—like you materialized out of thin air and effortlessly became part of the atmosphere.

But honestly, no one minded.

You arrived alongside your pink-haired boyfriend, and the two of you had an interesting dynamic. The two of you being highschool sweethearts, he had mellowed out over the years - most likely because of you. However, you working as a freelance artist gave you both endless time... and absolutely none at all.

While Sukuna was out at university, you’d spend hours sitting in your apartment, sketching on your tablet—a gift from him, of course. You loved it. But, no matter how much you adored your work, being alone in your apartment without quickly grew... depressing.

So, one day, wordlessly, Sukuna dragged you to one of his lectures. Without asking, he pulled out the chair beside him, muttering under his breath that you should “Behave.”

You shrugged, popped in one earbud, and settled in, drawing quietly next to him. Sukuna listened to the lecture and took notes diligently; you? You lost yourself in your art.

It didn’t take long for the professor to notice a new face in his class, though it took even longer for him to realize you were, in fact, not a student. It was when Sukuna casually asked a question about compression ratios that the professor caught sight of you humming softly, your stylus moving fluidly on your tablet.

The professor didn’t know what to do with you. But, honestly, you weren’t a distraction, so he decided it wasn’t a huge deal.

And that was how you became the honorary student in Sukuna’s Solid Mechanics class — despite not having the faintest idea what half of it meant.

It didn’t make you stupid, though.

“And so you see, as per this graph—”

Your hand shot up, and the professor paused, glancing over at you in mild surprise, as if he hadn’t expected you to speak up.

“Yes?” he addressed you calmly.

You frowned a little, twirling your stylus between your fingers. “I think there’s a part of the graph missing in the key... the green squiggly bit? It’s kind of vague about what the graph’s actually trying to show... If I’m out of place, just let me know, but would something like this be better?”

You held up your tablet, showing your version of the graph—redrawn in a clearer, more digestible way.

The professor blinked, clearly taken aback as he read over the graph. He let out a short, impressed huff. “This is quite impressive—did you draw this yourself?”

You nodded sheepishly, and the professor’s expression softened, a genuine smile crossing his face. He tapped Sukuna’s notebook, already prepared to speak to him.

“You get this sent to me, yeah? And Sukuna—” He glanced over at your boyfriend, who was now watching you with that familiar pride in his eyes. “You found yourself a good one.”

Sukuna met your gaze, his lips curling into a small but proud smirk as he leaned in to kiss your temple.

“That’s m’girl.”

A/N: is it obvious i know next to nothing about engineering

[bitternanami]

something i think is really interesting about dungeon meshi is the cast's respective views on food as the story progresses. the way many adventurers get through the dungeon is to eat when they Must, but mostly rely on healing magic to keep going when they're tired or beaten down. death is something you can buy your way out of, here.

having these lower stakes when it comes to running yourself too hard has made a lot of people in this setting kind of devalue food and what it does for you.

im not all the way through the manga yet, but so far i really like how it goes about debunking that mindset.

long post under the cut, cw explicit discussion of disordered eating. textual depiction of unhealthy methods of dealing with it. please be cautious!

it seems like to most folks, food is either a decadent luxury, like when the governor offers mr tance a feast as a show of power and wealth, (although he is the only one who actually eats in that scene as he talks about his ambitions);

[id: the governor and mr. tance talk politics and hierarchies, while the governor eats from a bowl. mr. tance's meal is not visible behind a speech bubble.

"so you believe the sorceror is an elf?" he asks.

"i can't say with absolute certainty," mr. tance replies, "but the spells are not ones dwarves and humans typically use." /end id]

like the painted-royal feasts laios tries to partake in that never actually nourish him...

[id: laios, fresh out of the living painting feast, surprisedly holding his grumbling stomach /end id]

or, to the working class, it's pretty much exclusively fuel. i'm thinking about the scene where kabru's party, ostensibly intended to be our view into how adventuring Typically goes for most people, is shown preparing to go to the dungeon by like. walking up to someone and ordering 'a weeks' worth of rations.' purely functional.

[id: kabru enters a store, and the merchant says "welcome!"

kabru says "i need a week's worth of rations for six, and two days' worth of water."

"sure thing." the merchant then reaches behind him and grabs a large cube-shaped package, wrapped in nondescript cloth and tied in place. it thumps onto the counter in front of them both. /end id]

when kabru hands mickbell his food for the trip, he complains about how heavy it is on his back. it's a necessary liability.

we also see chilchuck, in an early chapter where there isn't much food to go around, grumbling about how he used to be better at not noticing when he was hungry. he's frustrated that he's more attuned to his bodily needs, now that he's starting to fill them with regularity.

[id: chilchuck, the only one awake, sits in his bedroll and glares at the timekeeping-candle burning down in front of him while he listens to his stomach growl. moving to find his canteen and fill himself with water instead, he thinks to himself, "my stomach has gotten weaker. i used to be able to go two days without food." /end id]

(like im not even gonna lie this is a big mood. the healing process is really really annoying)

even laios, early on, working out the logistics of going back for falin, considers his expenses and ultimately the thing he decides to save money on is their food supply. like, even the guy most invested in eating as an experience kind of just assumes he will Figure It Out. its what hes eating, not how hes eating it that matters to him at that point.

[id: marcille looks down at the ingredients they've gathered, the walking mushroom and the scorpion in an unappetizing heap on the ground, and asks laios "so how exactly do we eat them?"

he responds "let's just cook them, like normal." /end id]

but its here that senshi introduces the idea of food as art and as healing. its exciting and its fascinating for laios, getting to taste the creatures hes been reading about and fighting, but i dont think it would ever really help him feel full if not for this.

[id: three panels of laios tasting the scorpion hotpot, looking stunned, and then excitedly telling senshi "delicious!"

senshi matches his energy, asking "isn't it? isn't it?" /end id]

pictured: guy who had resigned himself to kind of just doing his best rediscovers the joy in something tasting really fucking good

what they did last time isnt going to work. falin is gone, and constantly anesthetizing their pain and healing through their weakness is no longer a realistic option for the party. in order to make it through they must all relearn how to eat well, one by one and as a group over and over again, because its either that or nothing.

one of my favorite depictions of this idea thus far is when marcille is seriously low on health and mana, and both of these problems are mitigated by taking care of herself, and trying to get iron and protein

[id: marcille, looking sickly, wakes to laios saying, "marcille, marcille, can you sit up? we've got something nice for you."

she watches senshi grill pieces of kelpie liver on a low fire, while laios ties a bib around her neck. /end id]

and drinking a bunch of dead water spirits. she gets the idea, she's supposed to get in nutrients and it'll help her feel better, but in aiming for the quick, inefficient fix, namely chugging that shit down like she heard it was good to Stay Hydrated and decided that would be the thing that fixes her,

[id: marcille throws back a cup of boiled undine-water, her face red. laios asks, "do you really need to drink it that fast?"

she gasps out "...the magical energy stored in nature spirits is actually quite hard to absorb. even if you drink a lot, the majority of it is excreted without being absorbed," and takes another drink. "that's why i need to drink as much as i can."

laios says weakly "you'll get water poisoning," but marcille only stops when senshi puts a hand on her shoulder and says,

"it's easier to absorb nutrients if ye digest them with food. that's a fundamental rule of nutrition."

marcille says, "senshi..." contemplative

and he holds out a bowl of tentuclus and a thumbs up. "let's get cooking!" /end id]

she doesn't immediately realize the answer is that she needs more than that. she's been working hard. she needs care, and she needs nourishment.

once she gets that, though, she makes her boiled water into a stew, and she works to make that stew as good as she can, and everyone can have some.

because in dungeon meshi, to feed yourself or allow yourself to be fed is treated as performing a kindness for yourself. food is what propels you, but there is also an art and a joy inherent to the process of making it; in the way you feel when you've had enough to eat.

[id: senshi watches as chilchuck and marcille eat and excitedly hash out plans.

"i've got a good feeling about this! maybe it'll work out!" chilchuck says

marcille responds, "well it's easier to feel optimistic on a full stomach!"

senshi smiles, proud. /end id]

^^^ i want to put this image on my wall

when you're working through disordered eating habits, you really do have to keep learning this shit. (in my experience, learning about cooking is one of the best ways to do so.)

i'll have to see if my thesis holds up as i continue, but i think one of the reasons the portrayal here resonates with me so hard is that ryoko kui puts most of her characters at eye level with me on this. they're all working at it, too. the text and i are both commiserating, and encouraging each other, 'have some more, you'll feel better.'