#which will make those who wanted to romance

[heesimp]

could u share how stepdad hoon and reader started their sexual relationship? who came onto who…did reader resist….feeling guilty to be enjoying it….stepdad hoon lowkey forcing…

I imagine Sunghoon married his wife out of convenience and because she was exceptionally easy fuck. He didn’t care about love and romance, or any of that bullshit. He just wanted available pussy and got hard on knowing she’d drop to her knees without him asking.

He knew she had a daughter in her last year of college but never formally met her. It’s not like he’s forgotten about it per se, but he figures the two of you aren’t close because his wife never brings you up and you never came around.

And when you did, something similar to electricity seemed to conjure up whenever he was in the same room with you.

His wife is fine and all, but she’s gotten so used to being married to a hot and wealthy man that she uses his money to fund her lavish lifestyle. It irritated him at first, because who is she to spend his money without asking? But you start to come over to their house during breaks. Winter holiday came around and being next to your bedroom 24/7 felt like an urge he was itching to scratch, never mind the fact that his wife slept next to him every time he had those thoughts. And when you weren’t home, it tortured him to imagine you wearing those shorts and push up bras you love so much. Sunghoon would fuck her in lieu of your body and wished he could be fucking you instead.

Truly, Sunghoon didn’t know who was the predator and who was prey. You act so innocent but don’t dress like you are. You say ‘please’ and ‘thank you’ and treat him like a true member of your family when your mom’s around, but you look at him like you want to devour him alive. He’s pretty sure you know he wants you too, but Sunghoon knows he does a better job at hiding it.

During your spring break, you elect to go home instead of a girl’s trip under the guise of not having money. Which is bullshit. Sunghoon could front the bill and wouldn’t complain either. But he told you that your mom’s out of town and won’t be back until after you leave for uni again. It seemed like a no brainer to come home that week and see what happens.

One movie turned into two, and suddenly you were sitting on his lip with your pussy wrapped around his hard dick.

“We waited too long for this,” Sunghoon says against your mouth without remorse. He leans his head back against the couch and flexes his naked abdomen when you clench around his dick. He starts to put his hands on your waist but you push them away and kiss him hard.

“Let me do all the work, Daddy.” Sunghoon moans. “You do so much for me. Let me make you cum. Just relax.”

“I’m relaxed, alright.”

With your feet planted on either side of him on the couch, you ride him until he’s gushing inside of you. He’s looking up at you like you’re some kind of angel, and you look at him like you’ve won a game. You don’t stop fucking his cock until he forcibly pushes you off of him, but that doesn’t deter you from acting like the nymph he knows you are.

You scramble to your knees and push him back down onto the cushion, slipping his wet cock into your warm mouth. He nearly orgasms again when you hum around him, licking up the remnants of his cum as your fingers gently massage his balls. Your throat constricts around him like you’re trying to take him down all at once. Sunghoon is so fucking impressed and can’t help but think how much better you are at sucking dick compared to his wife.

Eventually, your mouth releases his cock and he watches you bend your head down while stroking him. He grunts when your mouth sucks on his balls and enjoys the feeling of your tongue dancing between his sack. He loves this feeling so much and wishes he could bottle it up. Sunghoon loves that you’re so fucking horny all of the time, and you show it by getting on your knees for him in a way no one has ever done before.

Sunghoon refuses to cum a second time before you get the chance to first, though. You find yourself clinging onto his chiseled, naked body for dear life as he carries you to his bedroom and pushes you against the bed he shares with his wife. It makes you even better and Sunghoon can see just how turned on you are from the prospect of how taboo and dirty this is. He thinks you like being his little secret and he’ll do anything to make sure your pussy is satisfied.

“Daddy’s cock is big, hm?” he tuts. He pushes his hard tip in and pulls it out, pushing and pulling over and over again until you whine. “Or is my stepdaughter’s pussy too tight?”

“Both!” You scream. “Your cock is so big, Daddy. Bigger than I’ve ever had.”

“God,” he moans, sinking right into your hole. “This is so wrong, but I think you like being a dirty slut, don’t you? My baby loves knowing she can get my cock whenever she wants.”

“Wanna fuck you all the time,” you babble when he thrusts in and out of you. His dick is so warm. It’s too good for you to ever let go.

He brushes your damp hair from your forehead and kisses you there. “My stepdaughter is so fucking gorgeous when she’s naked. You’re so messy and pretty when you’re under me.”

You’re close. So close. But he pulls out and pushes you onto all fours until he’s buried to the hilt again with his big sack resting against your clit. It makes you moan like never before and Sunghoon nearly bursts when you arch even further as you push your breasts against the soft mattress beneath you.

So he fucks you like that, hands on either side of your hips while he raises himself to balance his body as he fucks into you from behind. His balls clap against your soaked cunt to the point that he can feel your cum making him sticky. Sunghoon doesn’t stop until he’s cumming too, but even then his thrusts are still ongoing.

Neither of you care that you’re both overstimulated. Sunghoon keeps going and going, pushing your mixed cum in and out of you. He feels it dripping down his balls but doesn’t care about that right now.

Over the course of the week, you and Sunghoon go at it like never before. The sex between the two of you is cosmic and euphoric, like two addicts who need each other to survive. He never uses a condom and you never ask him to put one on, consequences be damned. There isn’t an inch of this house you two haven’t had sex on.

And he’ll admit it. The idea of cheating on his wife with his step daughter keeps him hard.

[griddle-nav]

If you don't like Nona the Ninth, I get that, it's really different and you read the books for Gideon and Harrow.

but what we're not gonna do is suggest that Nona the Ninth is a badly written book

yes, yes, everyone is entitled to their opinion and I can sit through discourse happily but like...

enemies to lovers romance plot lines are EASY to love and easy to get a dopamine burst from, and Gideon and Harrow are a FANTASTIC version of this, my favorite I've ever seen easily.

But there is A LOT more going on in Muir's writing, and it's complex, brilliant, tragic, unique, confusing, boundary pushing.

There's so much that not everyone wants to engage with everything, which is what makes Nona the Ninth harder, and again, it is completely fine if you don't like that.

I'll be the first to say that entertainment is entertainment and does not need to be any kind of high art or intellectual endeavor. I love consuming things that are just fun and just make me happy, and I will fight tooth and nail with anyone who judges people for doing so.

But Nona the Ninth is not one of those stories. It is everything EXCEPT a story about Gideon and Harrow, and even then it still kind of is.

It's a SAD book that makes you yearn, told through the eyes of the happiest girl alive. It was a bold book to publish, a book Muir didn't even intend to write, but that insisted upon being written.

It is a masterpiece

[maxdibert]

Jegulus really came out of nowhere and its really weird, just saw a jegulus post making Regulus proudly say to his mother something along the lines of "no mother, it is not Sirius that loves Potter, it is I"

And I was like... why? If you want a Black and Potter romance, Sirius would make so much more sense - why do you need to put other characters personalities into Regulus, he is practically Frankenstein's monster at this point - Severus's talents/tragic past, Sirius’s attitude, Lily's nonsensical crush on Potter.

I’m not especially against crack ships, as long as the characters’ personalities—or at least what’s canonically known about them—are preserved. The fun part of a crack ship is experimenting with two characters who never even interact in canon, but you throw them into a situation where they have to engage with each other, and then explore what could realistically happen based on their personalities or backstories. That’s what makes it interesting.

The problem with the Marauders fandom is that they throw all of that out the window and turn canon characters into OCs with names lifted from the books. Their fanfics are your average teen cliché fare—the same tropes we’ve seen in hundreds of shows and movies for kids—and since they completely disregard canon, even the little spark those fics could have had just goes to waste.

And we’re talking about Jegulus here, which at least involves James and Regulus—two characters who have some relevance in the series (even if Regulus is more of a memory than a presence). But then there’s this whole crew of characters people basically made up—like Dorcas, Pandora, or Marlene—who are mentioned maybe once or twice in the books, in passing, and have no personality, no storyline, no background… and yet fandom treats them like they’re somehow major players. I couldn’t care less about any of them. They’re not real characters; they’re your OCs.

Oh, and the whole “let’s find Lily a girlfriend to tick the lesbian box” just so they can completely sideline her in favour of the boys hogging the spotlight. Or how they rewrite Severus’s entire character and turn him into a rich, rapist villain. Or Sirius as some weepy five-year-old crybaby who can’t function without dick. Or Remus—canonically a pathetic wet blanket with no spine—suddenly transformed into an alpha male pack leader. There are just so many things wrong with that fandom, it’s honestly beyond salvaging.

[shadow-cat-with-red-roses]

I saw dis and I wanted to add my own analysis after reading there post but mostly an analysis on why Yana chose this specific way that Seb interacts with oCiel.

To me it’s giving the clear indication that the reader is not sepost to see romance in there interactions. We see Sebastian use sex/seducing/flirting only with grown ass women to get information. (Aka Beast and some others like the nun.) But when it comes to oCiel Yana doesn’t make Seb do that. She makes his actions come off like how a parent would. While slowly giving the reader tib bits of Sebastian’s more demonic nature. And we see this in the earlier chapters to.

Such as these moments of the earlier chapters. And the circus arc.

And in the middle chapter’s like book of Atlantic and Weston

Before Emerald green which fully pulls away the mask of safety that Seb held to the reader and of oCiel.

And finally in Blue memory arc when we see Sebastian’s truest form. The Eldridge monster that he truly is. 

Even if the earlier chapters don’t convey this change rather well at first, it’s for that reason why when yana started to improve in her art that it made this storytelling connection work so well with echother. The only reason why I say not well, is because of the chapter where we first see oCiel have a panic attack. In the circus arc, after the doctor stabs the girl like how rCiel was stabbed.

This is mostly the scene where I see people say that Sebastian is actively “seducing” oCiel even though it’s clearly not that. Sebastian has been known to use parental affection as a manipulation tactic to be one step ahead of oCiel. Or to add the flavoring that he wants to his soul. We can tell that it’s different then when Seb is actively seducing best. From dialogue and from posing as well.

Ultimately, the people who are sexualizing these scenes, are the people who do so because they can only see it just as that. Because they can’t read further into the subtext or the reason why the author put those scenes in there in the first place. 

fans who are like "ah yes its so natural sebastian, the demon, would use any tactic to manipulate his contractee, ciel, so its only natural he would seduce him 😏" sound so stupid to me because??

we know ciel is sex repulsed, uncomfortable discussing sexual things, and is traumatized by it and sebastian got a front row seat to all that??? so wouldnt sebastian know first hand, that is not the approach to put ciels guard down??

hell, he even states couple times ciel isn't "ready yet" or "doesn't understand" sexual interests and desires:

(about the green house boys being distracted by lau's girls)

and yes sebastain is a natural flirt! he's used to seducing and charming people (and half the time i think hes just doing it for the attention). but... imagine how unimpressive that is to preteen boy??? like, imagine describing a ~dark romance~ male lead from a YA book to your little brother, bro he is embarrassed by you. and that's the whole point, ciel finds sebastian embarrassing! most of the time, he thinks sebastian looks ridiculous when he impresses people!

and honestly?? what would be the best way to approach ciel is a parental approach. what's severally lacking in his life is a guardian figure that'll protect him from all harm. that's what sebastian is fulfilling rn. that's whats working in the narrative!!

ciel puts his guard down when he acts like a child. and he did put his guard down enough that he gets surprised by it later!

(even more ironically, in ciel's most vulnerable, honest state of mind, he does not want sebastian or any adult to put their hands on him. yet you talk about seducing, bro in what world???)

[cryptocism]

I got some questions if that’s ok? lol

1: has Thad ever admitted his feelings to Kon? (Probably not lol)

2: let’s say Thad does, what’s Kon’s reaction?

3: got any headcanons/triva stuff for Thad?

4: what about Bart?

oh boy ill do my best to give decent answers!

1: hmm i think it would depend on the circumstances? but overall ur right probably not haha. Thad navigating new and terrifying relationships in an absurdly neurotic and dramatic way is one of my favourite avenues to take his character so if he ever DID it would have to be extremely embarrassing for everyone involved

2: ppl may have gathered im a big fan of unrequited/onesided romance lmao so 90% of the time id say Kon tries to let him down easy

3: ohh Thad headcanons...

i mean piggybacking off of the konthad discussion i do think of Thad having a crush on Kon as a very puppy love/hero worship kind of crush. like i can't really see them in a real relationship bc im too attached to Thad putting Kon on a pedestal lmaoo. like here's this guy who is also a clone but still has his own identity/life/friends/interests outside of Clark and yet also has an amicable relationship with the guy and his family! it's all Thad has ever wanted!!! and with the rose-coloured lenses on he doesn't clock all the ways Kon actually really struggles with basically all those things.

yall already know abt my goth Thad propaganda which is based on very little except that he'd likely want to differentiate himself from Bart's appearance and a vibe that he's naturally drawn to a darker/edgier aesthetic (based on his palette-swapped black Impulse suit and the needlessly dramatic cloak and the look CRAYDL goes for when they inhabit the technoplasm monster)

^this is a little in conflict with another canon-adjacent headcanon which is Thad's hyperactive level of social awareness. i do think he wants most people to like him unless he's deemed them an enemy, so he fronts a very amicable sociable young man when he's around strangers or people he wants to impress. im reconciling it with the countercultural goth aesthetic by saying he can contain multitudes :P (also i think of Thad as having a delightfully dialectical brain that both desperately wants to be unique and special but also instinctively tries to comply with societal expectations)

not based in canon at all but i think he should be into the kinds of animals people find weird/gross/strange. #1 rat/snake/spider/insect defender he should have a pet snake named cornwallace or something.

4: aand Bart headcanons!

i really like how into video games he is especially in his solo and i would love to see that explored more as a genuine special interest. he tops speedrunning leaderboards and finds the insane easter eggs and secrets. his username (which is either his full legal name or an inscrutable series of numbers and letters no inbetween) becomes infamous in several online circles. ppl beg him to start streaming but Bart doesn't care he's in it for the love of the game

i really enjoy Bart having an eclectic aesthetic big fan of the grunge skater stuff he was wearing in the 90s and in sprinkles throughout the 2000s. one thing abt modern comics that makes me a lil sad is how everyone seems to have the same general sense of style :( (which is more a fault of tight deadlines and lack of characterization rather than the fault of the artists lbr)

the man strikes me as a collectibles guy he likes the fun of tracking down rare trading cards/action figures/etc and the satisfaction of a complete set. i think he would use facebook marketplace worldwide and have endless frustrations trying to communicate with the sellers

i want his having read a whole library to actually have an impact on things so i do think he has a grasp on most latin alphabet languages (having read every X to english dictionary) so his vocabulary is awesome but his grammar and accent are Trash (like he can read signage but struggles to hold a coherent conversation)

[cirqosmos]

PLAYROOM OF HEARTS, P.SH

2025 | SERIES, 14 EPISODES | STARRING, P.SH VARIATIONS; playing hearts, cupid's playroom.

𓆰𓆪 PREVIEW... a haven for the heartbroken, a hell for the heartbreaker; a teardrop shed from cupid's eyes upon witnessing a broken wilting heart. thus the celestial punishment for heartbreakers was created—limitless, boundless, an eternity of hell.

⌨ GENRE, survival/death game, liminal spaces/backrooms, cosmic horror; celestial beings; cupids, angels; psychological thriller, drama, romance, comedy, yandere tones (but not central to the plot)

⌨ WARNING; gore, violence, angst, deaths, profanities. p.s pardon me for the grammar errors </3

⌨ THEME OST: MONONOKE by YASUHARU TAKANASHA

⌨ TEASER WC: 4K

DIRECTOR'S CUT, this has been in my drafts since sept 15 last year! i didn't want to rush it but it's long overdue, rusting in tumblr lol. liminal spaces and backrooms is my ult fave, it's one of the many things that deeply fascinates me. n so i thought why not write a story about it? so here i am! i spent a long time thinking which one to choose from enha for this project, jake or sunghoon? i needed someone who fits the liminal spaces aesthetic n so after much consideration, sunghoon's gonna star in this one!

🂱 🂲 🂳 🂴

🂵 🂶 🂷

🂸 🂹

🂺 🂻

🂼 🂾

🂽

LOADING. . . FOOTAGE 1 <ACE OF HEARTS> 1982. 12. 8

"𝐈𝐍 𝐓𝐇𝐄 𝐃𝐈𝐌𝐄𝐍𝐒𝐈𝐎𝐍 𝐎𝐅 𝐑𝐎𝐌𝐀𝐍𝐂𝐄 𝐀𝐍𝐃 𝐇𝐄𝐀𝐑𝐓𝐒, 𝐓𝐇𝐄 𝐓𝐄𝐍𝐀𝐍𝐓𝐒 𝐖𝐈𝐓𝐇𝐈𝐍 𝐈𝐓 𝐀𝐑𝐄 𝐃𝐈𝐕𝐈𝐃𝐄𝐃 𝐎𝐍𝐋𝐘 𝐁𝐘 𝐓𝐖𝐎: 𝐓𝐇𝐄 𝐇𝐄𝐀𝐑𝐓𝐁𝐑𝐎𝐊𝐄𝐍𝐒 𝐀𝐍𝐃 𝐓𝐇𝐄 𝐇𝐄𝐀𝐑𝐓𝐁𝐑𝐄𝐀𝐊𝐄𝐑𝐒."

And what do these two have in common?

A heart; the noun for a living thumping organ inside our chest, protected by our strong wall of ribs. Would you call it a wall, or a cage? Maybe both? This ribs of ours acts as a golden cage of this fragile heart yet so inexplicably complex. It makes one weak on one's knees, yet also makes one explode with palpable emotions. A spectrum where either end marks your pernicious doom.

But it is perfect!

A perfect heart shape they say, everyone's choices for Valentine's day and perhaps everytime you say those three words for those who you are terribly fond with—those eyes of yours automatically formed that very shape whether you admit it or not. It softens, it mellows—that's what love is all about.

Cupids had been known for the past centuries, across history, cults, churchs, and wedding bells as the patron of love, with their symbolic tool of wooden bow shooting off their love arrows against every human in the world.

Uniting two hearts into one, a union of bliss.

But love, they say, is blind.

Therefore, the cupid does its job by guiding humanity to their fated ones. And even more so, they terribly adore those that treat their loved ones and especially love itself with the utmost devotion, loyalty, genuinity, and care.

A love so pure as the commandments from the holy Bible had said. Love your kin, love your parents; the woman who birthed you, the man with labored hands, love your neighbours—everyone regardless of age and race—love, love all. And these kinds of humans are loved by the Cupids in return, they are protected and cared for. Their love life would prosper regardless of any situation they were in, as they had known what love are. A love that transcends space and time.

Love is kind, love is genuine, love is careful.

That has been the old sayings etched across thousands of books for decades and centuries, however not all people respect the word and form of love. They stomped on it, breaking it to pieces, with no care.

"There are levels in this place. Each of them containing all the hearts you've led to destruction. You may pick any level to start, and even retry any levels if you got bored or unable to finish another. But the rule is, you must clear all the levels."

Said the angel, perched atop a marble statue with crossed legs.

"However, the amount of level rooms you get largely depends on three factors; how many hearts you've broken, how many pieces a heart broke, and how long the heart stayed in such a state. With all that above, it's added up to the total of levels you will get."

Enormous pair of wings flaps—blowing their senses back.

"Look behind your number tag, that's the amount of levels you have."

"11 levels." One boy's eyes widened as he whips his head on the mirror behind him, seeing a large bold number displayed on their back.

"9."

"4."

"36."

An AK-47 lays on the angel's lap as it giggles—spreading morbid horror across their faces. An intangible weight stomping their shoulders down. Yet they let out a gasp in unison as the angel pointed the weapon against their faces, and they only realize that it was not them but behind them.

On a particular black-haired boy that has been silent all this time.

The notorious playboy, one that breaks hearts left and right—everywhere he goes.

"1208?!"

Sunghoon shook his head, pulled out from his thoughts. Overlooking the awfully familiar cream door, one that is etched with a name he knew he had called for a few times before, nothing too important—it's just a name, after all. Yet the face emerging later on spells out his name with fervor and affection—an affection so heavy he couldn't hear it one more time or else he'd go insane.

It was too much for him.

"It's a common saying, everyone perhaps had heard it once or twice. Do not do unto others what you do not want to be done to you. Well, Isn't it fascinating to have the same deeds to be onto you?"

His eyes lights up, memories rushing back like a cascading waterfall turning into a trickling sweat down his jaw, staining his neatly ironed school cardigan.

He presses the doorbell.

No answer.

One more time.

Yet no one still came.

Please, he plead in his mind, not wanting for the Cupid to see his misery. He raises his finger again to press the doorbell, hoping for an answer this time.

He retracted his fingers swiftly when the door pulls open before his eyes.

"Sunghoon?"

Both of them froze, clearly stunted by each others' appearance.

"Why are you here?"

Sunghoon gulps down a bitter swallow down his throat. He better gets this one right, or else he'll have to retry again with all his efforts to get to this place gone. Going down on his knees, he licked his lips nervously.

"H-hey, you see." Words coming out incoherent, beads of sweat trails down his temple as he searches for a better word to say, going across the very sour spot of memory and ending it with a— "I'm sorry."

It was return with a deafening beats of silence where Sunghoon swore that he could hear his missing heart.

"Why are you sorry?"

That very sentence caught him off guard. He had written a script, a very well written script he was so sure could soften the girl's heart. But—

"I—"

"I don't forgive you."

She cuts him off.

Sunghoon opens his mouth again but—

"Don't you remember?" She looks down in agony, and lifted her eyes—glaring into his soul. "You texted me it wasn't 'true love'. The me from before I heard that from you. . will never return."

A teardrop from her eyes soaked the asphalt.

Red alarm blares hazardously from the distance, ringing so loud into his ears—causing him to wince in pain almost immediately, clutching his ears tight. To his horror, behind him, a humongous black hole emerges, slowly swallowing the neighbourhood into it.

Sunghoon whipped his head back but the girl is nowhere to be seen. The door was now shut tight. He bangs on it, begging to be let in but no answer.

He had no choice but to ran the opposite direction, using all the strength he could muster right into his legs.

Panic shrouded his thoughts as to what to do, how to escape, and where to go in this limitless dimension of reality.

A tunnel greets his sight, pitch black within and he enters it—not slowing down at any minute. Sharp exhales spills out of his mouth in timed intervals, gasping for breath as he continues to sped up—not wanting to be swallowed to death by the cosmic horror behind him, the colossal noise behind serves as his drive, keeping his head straight and sharp.

Beyond his vision, he sees a hot air balloon. That's it! He just had to get up in there, and fly away from this place. It is a high risk decision, but it's way better than the horror behind him.

As Sunghoon left the pitch black shelter of the tunnel, the brightness grew in volume causing him to narrow his eyes. He just had to get fast, immediately, as soon as he can! But for some reason, his brow deepens at the peculiar distance of the path before him seems to get longer and longer.

The more he tries to get closer to the air balloon, the further it gets away.

Twang!

A string, close to a harp being tweaked, rang from a distance. No, it was close to his ear yet too far. Or somehow, the sound was getting closer. To his surprise, the emerging black hole was nowhere to be seen. The neighborhood he knew was devoured, was back as if nothing had happened.

But a grimace spreads on Sunghoon's face as yet another string is plucked from the distance, emitting an ever-echoing melody. An off-key. It is certainly not a harp as this one bears no tranquility, but like a violin's string being screeched intentionally. Like a seething rage.

He continues running but to his dismay, it only proves his theory that he can never seem to reach it.

Vast green field spread over the horizon, blue luminous skies with the saccharine sun hanging above—shrouded by the grey clouds.

But as Sunghoon approaches closer and closer, stretching his hand out for the edge of the air balloon. His visage grew grim, lips paled at how his palms are pressed against a wall.

A fucking wall. With a 2D flat drawing of an air balloon. A goddamn illusion.

With a growing rage, he hissed, "Fuck you!"

He snaps his head behind him, teeth gritting and seething. With a clenched jaw, he yelled at the top of his lungs. Letting out his pent-up frustration and despair as he stomped his feet.

"Are you having fun playing with me?!"

Right, what was there to be surprise about? This place isn't real. Nor was everything he was seeing right now was anything closer to reality. Instead, it was all paper cut board, dwarfing him inside this colossal box. Walls plastered with childrens' crayon drawings; a resemblance of a kindergarten.

The image of an air balloon stretching out, and when he takes a few steps backwards, it returns to a normal size; a facade that fools and plays on someone's hope for survival.

The boy lets out a frustrated scoff. As if anything out of this madness was anything ordinary. Hell, was a much fitting term.

Another tweak of the same instrument hits his ears, alerting him amidst his frustration.

And another one.

Another one.

And again.

It gets closer, louder, and clearer.

Sunghoon doesn't feel that the instrument serves him any good. It was rushing him, speeding up his anxiety.

He should get away from it soon before he could—another tweak—a sharp gasp escapes his lips as the ground beneath his foot morphs into a sliding door—opening in swift speed and then another, another, and another—leading to an abyss of dimension.

The light from where he fell off dissipates farther and farther away from his outstretched palms.

A long and never-ending scream at the top of his lungs, Sunghoon never screamed before yet now it was swallowed by the pitch black darkness. He couldn't hear his own voice, or see anything. However the space was narrow, claustrophobic, his hands searing by the constant friction.

A tunnel leading to the depths of hell.

Down.

Down.

Down.

Down.

Down.

Down.

Down.

And down he go.

The field was no longer narrow but stretching out into an endless space where no limit can be seen. Everywhere he turns his head, continuous lines blotted his point of view. Thick bold lines forming an endless grid that bounces, stretch, vibrate as his body and skin crashed against it.

Like a mathematician's world. The spacetime fabric bouncing and stretching against his body.

The amount of lines causes his head to surge in headaches. Yet his eyes widen at a pale dot from afar, squinting to get a better view, only to be filled with aghast by a person falling alongside him.

"Jay!"

He called out. Yet it was all too silent. Deafening silence despite the sheer speed pushing them down. The realization cuts through his eyes when he notice that Jay was unconscious, and then he disappears—pulled or suck into another layer. Sunghoon knew it didn't make sense, nothing of this made sense in the very beginning but it was evident that this dimension is alive, an entity of its own.

Sunghoon was filled with dread, letting himself fall even further, not knowing how long this would take. Will it take hours? Days? Or will it take eternity? Was he trapped forever in this dimension?

Will he be alone forever in this endless void?

An amalgamation of nonsense; random objects began to appear, scattered all around his vision like a chaos of abstraction. His arms flailed around trying to grip on a thing or two—to prevent himself from falling further but they're not of a physical material. It slips through his fingers as if it was invisible, nothing but a mere illusion.

Windows.

Buildings.

Chairs.

Musical instruments.

Furnitures.

Toys.

Tiles.

Darkness dissipates, a warm glow of light came from a thousand feet below.

Sound.

He could hear his own voice now reverberating, and corridors of tiles began to blot his view, repeated in continuous patterns until—splash!

Water.

No longer the pitch darkness swallowing him in, but glistening aquamarine. The heavy weight pushes his exhausted body down. His lungs burn and he kicked his legs with the remaining strength he had left, swimming his way out to the direction of glowing light on the surface. Cold tiles, his fingers gripped on the edge, soaked fringe latching on his forehead—dripping trails of water down his cheeks, and on the gaps in-between the tiles.

Sunghoon choked. Eyes bloodshot red as he laid the side of his head on the edge, feeling the texture of hard tiles underneath his digits.

And he finally notice it.

Tiles?

He looks up only to see the same thing all around him. A maze of pool rooms. An uncanny sight, yet the round windows lit up with blinding rays was what propelled Sunghoon to push himself up—racing towards it. Hope. . Hope! Hope bubbled up in his chest—desperate to see the outside world yet to his horror, he could see nothing; pure glowing light that only reflects back.

An enormous splash emitted from his behind causing Sunghoon's shoulder to jolt in surprise. He look behind him to see a black haired boy emerging from the pool—drenched with anger and water, pushing himself up.

His visage morphed into evident frustration at his soaking uniform, huffing and mumbling incoherent words.

Sunghoon raises a brow, his eyes falling on the boy's tag name. "You?"

It's written as Choi Beomgyu.

"Oh?! You're the 1,028 heart count!"

Before Sunghoon could reply, he halted followed by the other boy. Footsteps. Footsteps approaching from the distance. And it wasn't a leisure manner of walking but rushing into their direction with an increasing speed.

And they were right.

A pink haired boy they never knew appeared in the end of the hall—with a pale white face and tear-filled eyes. He almost tripped on his foot but caught himself up again. The sheer panic in his face alerted the two—their feet slowly picking up the speed.

What got him this way? What horror had he seen? What got him to scream:

"Run! Guys! Run!"

"W-what's wrong?!"

No time to slow down, he ran past the two boys—urging them to hurry and they complied with no hesitation, following after him from behind.

"Don't tell me there's a monster here?!" Sunghoon asks, eyes following the tag name of the pink haired boy; Kim Sunoo. He could see the beads of cold sweat trailing down Sunoo's neck, and how the boy was running out of breath, and the way he kept his eyes straight ahead.

"I saw it, I saw it—"

"What?"

"A cupid."

The tension in the air grew thick.

"W-what?!" Beomgyu exclaimed, eyes wavering with growing fear. "No, no, no, no—I don't want to experience that again!" He chanted like a madman, clasping his head in his hands, and then his ribs.

"Hey, calm down!" said Sunghoon, and he turned to face Sunoo again where he mumbles words they could barely hear.

"It's nothing like the cupid we first met. It's different. It's different."

"How is it different?!"

"It was right there, right at the end of the hall." Sunoo stuttered going back through his memory. "I thought it was a statue, no—it is a statue! I thought it was nothing and went on, but then I saw it. I swore it was covering it's eyes but it was now looking straight at me. It was crying. I blinked once and then. ."

"And then?"

"It was in front of me." Sunoo says, "It moves when you turn your eyes from it, and when you blink."

It was mere words yet the imagination it crafted inside their heads sent their body ice cold.

"H-how long had it b-been?"

"For a while now."

"It's okay, we're safe—"

"For now."

Two words. Yet it was more than enough.

Sunoo took a huge exhale, pausing for a moment, supporting himself with his hands on his knees as as he tries to regain his strength as fast as he can. "It"s still here. It's the pool rooms. This is not a safe level. We are not safe here."

Endless halls, bridges, stairs, slides, pools in various forms, shapes and sizes appeared along the way. The sheer size of this place was nothing the three boys could comprehend. The round archways ranging from big to small sizes leading to another room only leads to a dozen more. Chairs and floaties and giant rubber ducks placed in the most random spot. And even frames of painting in the bottom of the pool.

As if someone had put them there but were unaware of the practical use behind those objects.

They continued for hours, yet they knew time is only an illusion here. However no matter how they turn around the halls, left and right—they keep coming back to the same identical halls, or were they? The dark stairs they encountered along the way tempted them to go down, a glint of hope that perhaps it could lead to an exit.

"Don't be fooled, the exit we have to find is the same one back in our real world."

"Hold on." Beomgyu closed his mouth in attempts to cover the sound of his breath, and the other two halted in their steps. The quiet and calm aqua pool began to form an approaching ripple. Sunghoon's eyes followed it, tracing it slowly and to his dread—the ripple turns to a slight wave.

A chill breeze blows against their faces.

It hit them; there is no wind in this place.

Heels turn sharply in unison. Heavy, ragged breathing as they climbed the stairs with their worn out legs, praying desperately for the exit to appear now.

It was near.

It's coming.

The three didn't exchange any more words. They only knew one thing; the exit. Only their thoughts ran rampant, evident in their eyes. Please, please, please, let us find it already! Please, please, please! Please—

Buzzing fluorescent light flashes through Sunoo's peripherals.

The exit.

"There!"

Sunghoon realised they had run past this very place before.

Hope—sneakily hidden beyond the dark archway, and obscured by huge purple and red slides. It has always been there, you just had to look harder.

With no trace of hesitation, the three jumped in the giant pool—forming heavy splashes around them. Running was impossible as the heavy wall of water slowed them down, and so they walked—trying their best to increase their speed yet time was running.

Multiple neon green exits started to flicker on the ceiling, buzzing louder and louder each step they took closer. The door of freedom from this misery stretches out it's hand, and they were more than desperate to reach out to it. But as they got closer—was it really freedom that awaits them behind that door? Or was it another form of hell?

A heavy flap froze them.

And there they saw it.

It was there, right on the very spot from where they jumped from.

Their knees weaken, terror in their eyes—the reflection of a three-meter statue of a cupid; magnificent wings, hands covering its eyes as it weeps—ink streaming down its cheek.

An image that you'd definitely kneel, marvelled, and worship if not for the current situation they're in.

They were so close and it just had to appear now.

"Don't look back! Keep your eyes on it." Sunoo yelled at the top of his lungs. "Don't. . blink."

With their eyes glued on the statue, they walked backwards—slow and steady—with trembling hands.

They were moving whereas the giant statue remain stiff—rigid as stone, yet the sound of relentless flapping reverberates through the pool room, accompanied with a menacing giggle.

Goosebumps rose on their soaked skin.

Closer, a little more closer! Just a little more! Gritting their teeth, tears began to form in his and Beomgyu's eyes, and as much as Sunghoon despises it—he's now on the verge of losing it. He stretched his hands out in hopes to catch the knob but—

An ear-wrenching screams rips the pool in half—their bodies curled in, shutting and clasping their eyes and ears tight.

A mistake, a fatal one.

"No!"

Their eyes shoot open.

A shadow—looming over them, dwarfing them.

Yet to Sunghoon, a few inches more—and his nose are bound to collide with the statue's. The ink on its stone cheek grazes against his, burning his eyes—yet he persists in a desperate prayer. Despite the very fact that the angel now caged him in its embrace. Blink, blink! His body begs him—sending tear drops into the rim of his eyes, yet his brain says otherwise—his point of view in slow motion, witnessing every single detail to save him.

"S-Sunghoon, don't b-blink." A plea, followed with a silent outcry from Sunoo behind.

A cold sweat broke.

"Sunghoon!" Beomgyu calls out, with fear etched on his face. "Try to wiggle your way out of it, slowly."

He tries. He swore he did—trying his best to slip out of the angel's arms as he kept his eyes on it. But keeping his eyes from blinking was starting to feel too damn painful, and hopeless. It hit him right on his gut. And it took him a great deal of strength to choke it out.

"Just go without me. It won't move as long as I have my eyes on it, right?"

"Sunghoon?!—"

"Oh come on! It's not like we're going to die! Don't you remember what that fucking angel told us?!" Sunghoon yells at the top of his lungs, "We'll never die, we'll—"

He gulps down a painful cry.

"Unless we clear all those goddamn levels.. We'll be stuck here for eternity."

Blaring alarm ensues—the neon green box flashes red, signalling them to hurry. Sunghoon keeps his head straight, eyes glued on the angel's face—as the chaos of Sunoo's desperate pleas for him to try once more and Beomgyu pulling the boy with him filled the pool rooms.

The door shuts—and the noise is now replaced with a deafening silence.

And Sunghoon blinks.

Drops of water bounces off the crystal clear pool.

It feels oddly light.

He parted his eyes, looking down to see his feet and himself floating, is he dead? No—not yet. With a death grip on his back's collar, like a toy—it was now dangling him in the air.

Are you an angel?

Flirty pick up lines that turned out so twisted.

Did you fall from heaven?

Sunghoon swore he heard his own voice—a distant and resonant frequency—bearing his own visage with a smug smirk, and a bouquet of roses in his hands.

Sunghoon's voice rips into pure agony by a sudden throbbing pain all over his ribs. Needles punching through his chest. A gaping hole in his stomach. Blood, blood! He screams—yet his uniform remains pristine, clean. Illusion, illusion—the angel sang.

"Did you see it? That is my first gift to you."

The cupid's lips are hardened stone, but the voice was as vivid as the day. Crisp and raw, as if it was whispering it in his ear. And a particular sound follows after, one that he heard of from the very beginning—hard and cold, tapped right on his forehead.

"Try again, playboy."

His vision blacks out—a death blow blowing off his head.

< HOW TO ENTER THE PLAYROOM of HEARTS ¿ >

Break a heart.

Keyword: intentionally, deliberately, and without any consideration of the effect towards the heart. Thus, a cupid will rip your beating heart by twisting your rib cage outwards—mimicking an angel's wings, and throw it away in the limitless depths of the PLAYROOMS, caging you eternally in the game until you've successfully completed all levels.

< HOW TO ESCAPE THE PLAYROOM OF HEARTS. ¿ >

YOU ARE FREE TO CHOOSE BETWEEN THREE ROUTES

Clear all levels dictated by the amount of hearts you've broken.

Or you can may choose the second route; by searching for your missing heart and swallowing it down your throat.

And last but certainly not the least, you may take the last route which is to end your life. No information are disclosed of what you may become committing the deed; vague informations consists of you may turn into an entity, a part of the playrooms, or simply a fleeting dust of time.

In the PLAYROOMS, players are required to choose an any object belonging to the HEARTS they broke. For example, a camcorder—to sustain their sanity of exploring the never-ending depths rooms as staying for too long could break one's mind apart due to sheer loneliness and hallucination. However, a player can never die unless they take their own life, but as mentioned above, they may never leave the PLAYROOMS for eternity. Entities are present in their own respective levels. There are over— _ _ _ _ #????!!###??000/ ???ERROR— 00389//?HAPPY PLAYTIME!

ENDING. . . FOOTAGE 1

1982. 12. 8

PLAYROOM OF HEARTS, CARD 1:

🂱

ACE OF HEARTS

© CIRQOSMOS, 2022~2025.

[shadamypositivity]

a negative post under the cut (not from me, I'm just commentating on it)

(See OG post below.)

due to the nature of my blog normally I wouldn't even bring this up but a) I'm bored while IT is working on my computer (AGAIN) and b) i like a good discussion.

I'm gonna skip over the obvious fallacies of shadamy being a fake ship (bc what does that mean, I have no idea) and that SEGA never acknowledges it (they clearly have) or markets Shadamy (if the Shadamy Sakura series and them being marketed together didn't clue them in, then they are willingly ignorant abt it lol)

I did want to discuss the Amy Rose Minnie Mouse aspect and her "purpose of the franchise" bc i actually have a lot of thoughts to this! And before I go one, it should go without saying but I do love SonAmy, it's very cute and they're characters who can have good chemistry and deserve good things! Anyway, here's my thoughts.

Amy being created to be Sonic's Minnie Mouse as far as I had read it was pressure from the company to make Sonic more marketable (i.e. adding girl character, hero saves damsel quests etc). What i love about how they went about it was flipping the script, especially for the era, it was more commonplace for damsel characters to be the sweet, love interest (Minnie, princess peach, princess daphne) that the hero pursues as a goal to complete as well as a reward for his efforts.

Sonic being adverse to Amy's advances, who is supposedly created to be the love interest, is unique and adds to his personality which was a really good move imo. it added to the edge that Sonic kind of gives as a protagonist, his sass, his impatience, his cock sure nature while also being altruistic and loyal of course, but him viewing Amy as a friend that he occasionally has to rescue and bear the affections of is objectively silly and fun.

Now, pertaining to Amy's purpose of the franchise being Sonic's endgame love interest, I do take a lot more issue with. Not only does it invalidate Amy's space in this franchise, making her no more than a romantic reward for the ending of Sonic's hero's quest (because, if SEGA thinks Sonic won't "slow down" for Amy now, it implies he will have to undergo some sort of change or, less noble, when he seems himself ready to reciprocate Amy's feelings on his terms, irregardless of how long he makes Amy wait for him) but it also ironically makes Sonamy make less sense canonically.

Like, if Amy is only meant to work as Sonic's female, romantic counterpart, why does SEGA not let it happen canonically? Because it's not a ship war thing honestly, most of the GP already assumes they are and there's plenty of valentines merch to suggest otherwise, so...why not just do it? probably because it doesn't make sense for Sonic's character and I don't just mean for SonAmy, honestly, I mean it for any and all Sonic ships. It isn't that Sonic doesn't love or wouldn't have romantic feelings, it's that I think he doesn't allow himself those attachments. Friends are everything in this world and I've always loved this franchise for showcasing an array of lovely strong friendships, but the difference in friends and significant others is that there's compromise, there's balance, there's giving up things, there's building a home and a family and doing things as 2 as opposed to only needing to worry about yourself. friendships are no less of a love than romance but there's also a lot more grace in friendships when it comes to responsibilities and emotional compromises. I'm getting into the weeds a bit here but what I mean to say is that Sonics character doesn't make sense for a romantic partner, free like the wind and on an eternal hero's journey. It has also never appeared to be a want of his to be able to have these things (but im willing to be proven otherwise) Maybe down the road it would, but that's not fair to Amy or any other partner for that matter. Amy's whole world doesn't need to revolve around waiting for her hero to be ready to accept her, especially to a character so full and rich in love and affections to give.

It doesn't escape me that one of Amy's most defining and strongest showing was because of Shadow. This is kind of where I can get extremely biased and go on and on about how great a story arc would be for Shadamy to become endgame. Briefly, Sonamy being canon kind of takes away from Sonic's character, while Shadamy enriches. Amy who obsesses and does everything for the attention of her first love finding her own purpose and making her world bigger by being her own hero which was the case for her finding her courage after feeling useless by helping Shadow to remember his promise just by being herself. Shadow who is jaded and hurt and isolated from friends and the world he now lives in finding love and affection and strength in those things because of Amy Rose's big heart. Idk, it's all very poetic to me.

So in conclusion, Sonamy and Shadamy good, but writing wise, Shadamy has a lot more going for it. One of my irl friends who watches sonic things over my shoulder has always taken issue with Sonamy being the canon default bc of her pursuing and Sonics pushing away. When I introduced her to the idea of Shadamy she hoped on with more enthusiasm haha probably bc it was around the mosth era and that was a pretty good showing for them haha. anyway. these are my humble thoughts. I'm not all knowing of this franchise or think myself correct in every way but idk. I don't think its fair to rule out character shipping just bc it wasn't the original intention. that happens all the time with things after all (RIP canon zutara) so maybe op can take a chill pill 😅

[velvetvexations]

I've felt since about 2014 or so that a lot of the way we talk about privilege as a concept was a mistake.

One: while I fully understand the need to have an umbrella term for these things because they originate from the same place and sometimes overlap as more of a spectrum than discrete categories, it's a little bit confusing at best that we ALWAYS use the same term to describe advantages NO ONE should have, like the ability to buy your way into any college you want, AND the lack of DISADVANTAGES that no one should suffer, like being presumed dangerous just for walking down the street and potentially getting jumped or shot for it, AND the lack of daily annoyances that serve as a grating, constant reminder that you are Other, like "flesh tone" very conspicuously not even coming close to matching you or romance being presumed M/F by default everywhere. Yes, we need to talk about what all these things have in common, but we ALSO need to be able to talk about how they're different, and honestly, for the sake of outreach and ~optics~, I feel we've gotta be able to present the similarities and differences up front because I have met NO shortage of people who were super on board with trying to improve society somewhat but got really alienated from theory talk by the straight conflation of those categories, ESPECIALLY the latter two. Never mind the decision that the word for this should be something that most people first hear in the context of an extra hour of video games for good behavior or something along those lines.

Two: No category of privilege is granted universally to every member of a privileged group. Few if any men have all aspects of male privilege. In any lavender scare, NO ONE universally and automatically receives cishet privilege. It's even hard to find white people with all aspects of white privilege, and race as an oppressive class was INVENTED to make it easy to use visual markers to determine who's "in" and who's "out". It's also much easier to lose a lot of aspects of privilege than the language gives it credit for - sometimes, just NOT being enough of a bigot is enough to get you treated like a second class citizen.

Three: Every disprivileged group has some privilege over the next in some ways, AND is disprivileged under them in other ways, and the ways in which this manifests get REALLY chaotic once you start looking at the individual level rather than the group level because of the above. Treating "privilege" like a black and white thing that EVERYONE outside a specific highlighted group has makes futile attempts at "scorekeeping" and the bullshit infighting that comes with it almost inevitable. In fact, a lot of the time, the unshared aspects of closely related axes of oppression can intersect in ways that can't fully be dissected without also examining the axis that an exclusionist is trying to "beat" or disprove - for example, I'd go so far as to argue that because oppositional sexism runs so deep in society, every aspect of transandrophobia has a transmisogynistic flip side AND vice-versa; if we talked about privilege and gender in a way that DIDN'T make it so easy for people to think only one of the two can exist and naming the second is therefore a denial of the first, we'd probably be collectively a lot further along in dissecting both.

Four: Systems of privilege and disprivilege cannot be dismantled by treating the privileged as monsters; this only justifies and perpetuates the system by emphasizing the strength and power of the privileged vs. the hopeless, futile struggles of the oppressed, even when it DOESN'T result in "movements" where the oppressed fear losing their identity if they escape their oppression. In the very worst cases it ends up being every bit as classically bigoted as the ideas it calls out - note how many varieties of radfems arrive at a conclusion where they believe the SAME things about men and women as any manosphere redpill chud, they just think the power imbalance that privileges men is a BAD thing instead of a GOOD thing.

Every damned exclusionist cycle just makes me more and more sure of this. I feel like I've been screaming it into the void for over 10 years and yet no one but the teeny tiny choir has ever listened. At least I've seen more people starting to talk about point 1 specifically over this past year...?

Anon, I'll be honest, I love you but this is a bit too long and dense for me to process so I'm going to post this and put it in my #I just work here tag.

[mizuki-nikki]

the character development of sasuke uchiha

i’ve been rewatching naruto lately, and today i wanna rant a bit about my first ever anime crush — sasuke uchiha.

not gonna lie, when i was 8, i liked him mostly because he was cool and handsome. super shallow reason, i know, but i was just a kid back then haha.

as i grew up and got into naruto shippuden, it hit me how much sasuke’s character changed. and honestly, being his fan started to get tough. in the og naruto, sasuke was calm, collected, and actually a good friend. but once the whole revenge thing with itachi took over, he started spiraling — lashing out at naruto and losing control.

i didn’t like that side of him, but looking back, it makes sense. he was a kid dealing with trauma most people couldn’t even begin to understand. his entire clan was murdered, and he was manipulated by itachi, orochimaru, and obito. honestly, it’s a miracle he didn’t lose his mind sooner.

sasuke before going rogue was genuinely likable. he worked well with his team, stayed cool under pressure, and thought before acting. that calm attitude was what drew me to him.

and even under orochimaru’s wing, you could still see that composure. he never killed unnecessarily and focused on getting stronger. when he formed team hebi/taka, i really liked how clear-headed and intentional he was. he had a goal, and he stuck to it.

but everything changed after he learned the truth about itachi. that’s when he really snapped. he became unstable, impatient, and reckless. he spiraled into darkness and started making wild decisions — like attacking the five kage summit (which, let’s be real, was kind of an iconic & memorable arc).

then came the war arc. when he suddenly wanted to “help,” i didn’t know how to feel. kishimoto made his character feel super inconsistent at that point. like, bro went rogue, committed actual crimes, and now he wants to be hokage? i remember reading that chapter and being so embarrassed i couldn’t even finish it properly. it was hard being a sasuke fan during that time.

and even after all the major battles — fighting madara, teaming up with naruto and sakura, defeating kaguya — he just decides he wants to kill all the kage? it felt like his character was just bouncing all over the place.

i get that kishimoto wanted to build up to naruto vs sasuke by the end of the story, and yeah, sasuke being alive by the end probably had a lot to do with his popularity. fans would’ve lost their minds if he died.

but honestly? i wouldn’t have minded if that was how it ended. it might’ve hit harder emotionally. if he’d fully joined obito, there would’ve been no turning back, and that could’ve been powerful in its own way.

but let’s put that aside. once sasuke started atoning for everything, i started liking him again. in boruto, his character is honestly peak. he’s mature, composed, powerful, and wise. this version of sasuke is my favorite by far. it’s like when you look back at your past and cringe, but realize all your mistakes helped shape who you are now — that’s sasuke. all the pain, manipulation, and bad choices made him who he is today.

i’m really glad naruto saved him. and i’m glad kishimoto gave him a chance to grow and find peace. compared to other mangaka like isayama or gege, kishimoto’s writing is definitely softer — and sasuke surviving the story is proof of that.

because let’s be honest — if this was attack on titan or jujutsu kaisen, sasuke would’ve been dead by the end of shippuden. no way he’d make it out alive. those writers are ruthless. isayama and gege don’t play around like that haha.

my only real issue with sasuke’s arc is the way kishimoto handled his relationship with sakura. he tried to kill her — multiple times — and then ended up marrying her? i get that people change, but that still feels off to me. probably the only part of his development that doesn’t sit right. but yea, i don't think romance is kishimoto's forte anyway.

but overall? sasuke uchiha has one of the most complex and fascinating character arcs in anime. he’s flawed, he’s messy, but he’s real. and he’s still my favorite character of all time.

[rosewood-multifandom-writer]

This is exactly my mindset right here. Fiction creates myths, like the whole Jaws movie thing, where more people became more afraid of sharks, but then the director of the movie years later tried to take it all back and saying that his movie did not age well, dumb kids like me believing that cats can drink the same kind of milk we drink all because I watched Tom and Jerry, or Hollywood doing people with PTSD hella dirty by making characters with PTSD violent because of their conditions. Those myths were later debunked. Often over and over again because even in the age of the internet in this decade people STILL want to spread misinformation.

Playing a first or third person shooter does not make someone go on a shooting spree and shoot up a building full of people. Playing Dead By Daylight as one of the slashers does not make someone want to go out and stab people. Those types of examples. If any of that were the case, there would be a lot of killers on the loose.

9 times outta 10? It is always scenario 2. Dark Romance authors do not condone any of the stuff being done in the questionable novels they write. Horror game creators do not condone any of the stuff being done to the victims in the story (Resident Evil, The Evil Within, Outlast, Haunting Ground, etc,). On a lighter note, smut writers on here and on A03 DO NOT condone unsafe sex.

If it’s not scenario 2, it’s often scenario 3, which is sometimes a young or just very new writer who is a bit ignorant on a certain subject matter.

I have not come across a creator that straight up condoned or encouraged people to do the sick nasty crap being done in their work. Plus, once again. The stuff I wrote and will post in the future? I do not encourage ANYONE to do the things the characters do in my fics and original work. YOU will be held responsible for your actions, not some random person on the internet who posted fanfics because she decided to be freaky with it all.

Fandom Problem #8467:

Fiction can, and has, impact reality; propaganda wouldn't exist otherwise.

However, it is YOUR job, as the reader, to develop the critical thinking skills to figure out if the author is

1. Sincerely, in support of the subject matter, they're writing about (and trying to convince you to support on a conscious or subconscious matter)

2. Against the subject matter they're writing about, even if the narrator is for it, or just unable to understand how it could be wrong

3. Edgelord being edgey because they're writing taboo shock horror / Does not know what they are talking about. At all

[darkfictionjude]

Yeaaah I'm with the other anon, making googly eyes at Lorcan and Lazlo exclusively. Y'all others can have your red flags and girlies, I prefer relationships where I am the biggest red flag.

Honestly, crowny could possibly become the biggest red flag of the game if you take them down a specific path. Like they might give Imre a run for his money… so something to look forward to 😍

[crow-caller]

started playing fallen london cause of your blog and i absolutely love it! Thank u :)

Excellent!!! If I have any power, let it be used to get people to play fallen london and its related games (sunless seas, sunless skies = Survival exploration, mask of the rose = visual novel)

[taradactyls]

Ahhhhhh I'm sorry I'm going to argue with you on a few points. Not what you find personally makes the romance more satisfying, since that's entirely individual, but unfortunately just about everything else.

I've read through a few of the moral/instructional texts of the day and you might actually be surprised at the breadth of opinions in them! Some (including the one Queen Charlotte praises, ironically) actually do advise young women to only marry for affection, and don't marry a guy much older than you or only for money. I don't think it's correct say marrying for love would be at all an unrealistic sentiment for a Georgian/regency gentlewoman to hold, even if not everyone felt the same and even those who aspired for a love match might choose to go without it when the time came. The expectation was still that the object of their love had to be of suitable class and wealth, naturally, but affection and practicality were meant to be united rather than mutually exclusive opposing forces. (See also Elizabeth joking to Colonel Fitzwilliam that younger sons tend to like where there's fortune - a tongue in cheek acknowledgment that practicality plays a part, but it falls short of condemning that behaviour entirely or taking affection out of the equation).

So, I think there's a very wide middle ground between considering someone a hopeless romantic and being willing to marry without affection, and I'm going to argue that Elizabeth (and Jane Austen herself) occupies that space.

I'd say there was a lot of nuance as to where the mercenary/practical/idealistic borders were when it came to opinions of marriage at the time - which could also arguably be read into when it comes to the women of Pride and Prejudice. Charlotte is all about her situation after marrying and very little about who she's marrying beyond feeling he's a safe choice, Lydia and Kitty are the dangerous opposite, Jane and Elizabeth somewhere in the happy middle. I imagine that's quite a good snapshot of what Jane Austen saw around her, and talk about love whilst also needing something to live on happens often in her books (I adore Elizabeth and Mrs Gardiner's discussion of it in regards to Wickham, and Sense and Sensibility and Persuasion in particular both have this as a reoccurring theme). Marrying (as opposed to becoming engaged) for love without considering practicality is universally depicted by Austen as foolish and the 'love' of such couples is often shown to be only the affects of rash attraction rather than abiding respect and affection, whereas Charlotte's practical and unemotional acceptance of Mr Collins is both sympathetic and condemned by saying she 'sacrificed every better feeling to worldly advantage,' so we can see very clearly that Jane Austen was not a proponent of love over everything else, but nor do her novels promote ignoring love either when discussed as a hypothetical or when it comes to evaluating suitors. The conclusion that every protagonist comes to when they talk about this or choose their partners is that both are important. Mutual love and respect and maintaining a suitable status are both necessary for a happy union. Even the paragraphs explaining Marianne marrying Colonel Brandon, which talks of her friendship and happiness first, says that she can't love by halves and fell very much in love with him. That's the closest Jane Austen's protagonists get to entering into matrimony on the strength of friendship, respect, and happiness without love, and I'd argue that the immediate inclusion afterwards that she did fall entirely in love with him shows just how crucial Jane Austen viewed love for any relationship to be truly good.

The gentry, and growing middle class (that the Gardiners belong to), were actually in a very unique position at this time when it came to choosing spouses. Rich enough that they needed to keep money and connections in mind if they wanted to maintain their lifestyle and status, but not important enough to marry as often for political or financial alliances as the nobility did (though secret love marriages had become SO common amongst the nobility in the century before that laws were changed to restrict the definition of marriage itself - so even they often didn't marry for pragmatic reasons as Jane Austen would've been well aware). They were also largely absent of the pressure of very poor girls who might need a husband to literally survive. Proposals were beginning to be commonly made by the man directly to the lady, who had the power of refusal, rather than being decided in talks between men behind closed doors. So, for arguably the first time in English history, there was a wealthy class of people who were regularly marrying for affection.

A huge part of that was because fathers were able to leave their daughters enough that the passive income would keep them from destitution even without a husband bringing in an active income. Mr Bennet certainly failed at providing enough for his daughters for their station, but it's important to note that his widow and daughters would never have risked starvation or living on the streets even if they hadn't had the Philips and Gardiners available to help support them - they would've been at least twice as rich as Mrs and Miss Bates in Emma and half as well off as the Dashwood women in Sense and Sensibility. Genteel poverty was completely incomparable to the very real and horrific poverty of the era, and as the Bennets did have the Gardiners and Philips to help care for them their status would have suffered but they still would have been able to socialise with much the same people and be considered gentlewomen even if they couldn't attend as many balls or dinners. It wouldn't have been fun to drop down quite significantly in society, and the fact that it did not seem likely to happen while they were young probably altered their assessment of the danger, but they certainly would have survived in relative comfort for their time, though not their class at birth, without a husband. The Bennets, even with their fiscal mismanagement, were of that class which could afford to think about the man and not just the marriage. So, whilst I agree that Elizabeth would never have been sitting around as an old maid waiting for a love that would never come, that's not because she would've married without love but rather because her life would have still been fulfilling in many ways regardless. Her life did not revolve around finding a husband because she truly didn't need one (and Austen is critical of every single character whose life does revolve around finding a husband) and one doesn't have to be a hopeless romantic to find the idea of marrying without love unappealing. She had options other that marrying for purely prudent reasons or sit around daydreaming, as there's a huge amount of middle ground in there. A middle ground and options that Jane Austen herself would have been highly aware of as she was unwed in her mid-thirties as she gave Pride and Prejudice that final review before publication. She could've emphasised the importance of being married, shown Elizabeth struggle more with her future, or praised Charlotte rather than the mix of sympathy and condemnation which characterises how she speaks of her marriage, but she didn't. I think that shows that even as an old maid herself she felt marriage was only worth it if there was mutual affection and respect and I don't think this was an unusual stance.

The term 'helpmeet' was very popular in this period for what wives should be in a marriage, and was a promotion of (allowing for the strong sexism of the era) a sort of equality and mutual companionship being at the core of a marriage. Jane Austen was certainly writing when this expectation was established, and every single admirable couple in her books are very in love. Nor were her books condemned for being unrealistic or for giving young ladies fancies (in the way that gothic novels were accused of doing) so her promotion of marrying for love and respect definitely wasn't counter-cultural. It might still have been considered not perfectly realistic, but there's little indication it was widely considered a harmful or impossible daydream, which must indicate some level of public acceptance to the idea even beyond what the moralists or romantic poets (and Jane Austen was writing in the middle of the romantic era and enjoyed their works) promoted when it came to love and matrimony.

And though Charlotte is portrayed very sympathetically despite not marrying for love, so is the idea that it's not good to marry without love. Darcy's belief in Jane's indifference (and thus a crucial justification for separating her and Bingley) is after all treated so understandably by the novel that Elizabeth forgives his interference and comes to love him before he 'fixes' that problem. Darcy wanting to protect his friend from marrying without mutual love - even though Darcy acknowledges that Jane herself is good and enjoys Bingley's company and attentions as a friend and does not seem mercenary or negative on her own merits - is upheld as understandable despite his conclusions and motivations being tainted. Elizabeth felt love was important enough in a marriage that such a huge mistake - which broke Jane's heart and left her miserable for months - was eventually forgivable when the motivation had been preventing a union where only one party was in love.

Elizabeth herself I will fully agree is way more concerned with respect and being well suited for each other than love itself, she's observed her parents, after all, but I still think it falls far short of her assuming that she'll not only marry but that she'll do so for practical reasons. Her refusal of Mr Collins does not once mention she isn't in love, and only that they wouldn't make each other happy, but again, that's prioritising the personal sentiments of the people involved rather than anything else. It has far more in common with marrying for love than marrying for practicality and does solidify that personal feelings were held to be important when choosing a spouse even when it's a very eligible marriage in every other way. And though Elizabeth doesn't mention love, neither are Mr Collins or Mrs Bennet's professions that she might be single forever or reliant on relatives at all shown as sympathetic reasons for marrying when the spouse is Mr Collins, or persuasive to Elizabeth on an individual level. Personal happiness is upheld as Elizabeth's only reason that she would marry, rather than any expectation that she should or would need to in order to maintain her position in society. She doesn't once assume that she will or needs to marry at all or have a husband supporting her to be happy, which we can argue is her naivety, but certainly isn't condemned by the text nor supportive of the idea that she would marry without love if she respected her partner and felt they could be friends.

Jane Austen's works show again and again that love alone is not enough, but at no point do they get rid of love altogether or even treat it as exceptional, it's just a normal part of the equation. Even Elizabeth, when talking with her aunt at Christmas, isn't sure it would be wise to resist her feelings for Wickham should she fall in love with him though she's happy enough to do her best to avoid falling in love with him for practical reasons. The implication is that if she fell in love she's not sure adhering to the strictly practical course would necessarily be wise, an idea that gets explored in great depth with the short lived engagement between Wentworth and Anne in Persuasion. The struggle between love and practicality is always depicted as deeply complicated, but I don't think (especially when we consider what I mentioned above about Elizabeth's ultimate feelings towards Darcy's involvement with Bingley and Jane) there's ever anything to suggest that Elizabeth would choose practicality without love. Rather than saying Elizabeth expected to marry for love or Elizabeth expected to marry for pragmatic reasons, I think it's most accurate to say Elizabeth didn't expect to marry at all. It was a possibility she was never against, and the security and affection of someone who suits her definitely seems appealing to her given her reaction to herself and others falling in love, but it wasn't an expectation she was taking for granted.

I also think it's important to note that women didn't gain significant legal rights upon marrying as opposed to being single under the care of their father or brother. In some ways they lost them as they became an extension of their husband and in many ways legally ceased to exist as an individual - widows were the women who enjoyed most recognition and rights in the eyes of the law. Wives could not hold property (in the cases of wealthy women, trusts were normally drawn up in the marriage contracts, they did not hold it directly), the children were the property of the husband, your husband could beat you (their were laws for 'excessive' beatings but you can imagine how rare convictions were), consenting to marry was considered sufficient as consenting to sex at the whim of your husband and marital rape would not exist for almost two centuries, you had to live where your husband said, he could prevent your family from seeing you, trap you on his estate, etc. Wives had social status and generally greater comforts and control over their households than their single counterparts but not so many benefits legally. Until women were widows, or wealthy orphans (such as what Emma Woodhouse might have been, or even what we see of Caroline Bingley - though Caroline's money may be controlled by her brother and she only has the legal right to the interest, and if Mr Bingley chose to withhold it she would have to sue), they had very, very little freedom beyond what their husbands or fathers allowed. And poor widows (such as Mrs Clay or Mrs Smith in Persuasion) show that achieving legal personhood at last doesn't necessarily guarantee you any freedom from poverty or dependence. Legally speaking, it was just very hard for women to end up as a Lady Catherine, Lady Russel, Mrs Ferrars, or Mrs Jennings even if they did marry. Women were just pretty screwed over by the laws of the time no matter what they did - only money in their own possession changed that.

Nor was marriage, whilst very important for a woman to maintain importance in society, at all a guaranteed outcome during the regency. I don't think we really can say that women 'expected' to find a husband to provide for them. Wanted to - hoped to - yes, I think most probably did; but expected? At least not as much as earlier or later generations. Jane Austen herself, as well as her books and those of other writers later such as Elizabeth Gaskell, show it wasn't rare for middle aged women to have never been married just as they show the struggles that came with that. Decades of war with France meant there were significantly more gentlewomen then there were gentlemen, and so the chances of a woman marrying suitably, let alone someone as rich as her own father (which had always been low, due to how rich men could have many daughters but generally only one son would inherit the bulk of the inheritance leading to a vast disparity in the amount of marriageable ladies compared to marriageable heirs of equivalent rank) was growing increasingly slim. Young women would have been growing accustomed to the idea that they might never marry and old maids are hardly a topic young ladies seemed to avoid judging by how casually it's mentioned in literature. Which, for some, could very easily make them more desperate to grasp onto any good offer of marriage despite the drawbacks, but for others could instead help remove the social stigma and inure them to the idea of being single forever and so perhaps remove the fear that came with that idea and make their standards for matrimony higher.

The dangers of being married to a 'bad' man were also more easily observable to gentlewomen in the Georgian era as they hadn't been before, as the printing press had made newspapers increasingly common and one of the most popular topics was the scandals of the upper class: who was having affairs, abandoning their spouses, going into debt, being cruel and violent, etc. The Crown Prince himself was often condemned as a husband, and Jane Austen certainly agreed with that sentiment and disliked how he treated his wife. Jane Austen and the society she lived in were very aware that wealthy men are not necessarily good men and thus would be bad husbands and so, again, marrying for practical reasons was shown to have its pitfalls and the idea of actually having affection and respect for the man you marry was gaining a new appeal it hadn't previously held.

Modern adaptions definitely add the need for love in a modern way, but the same modern sensibilities that encourage that also encourage us to view marriages or this era as less romantically driven than contemporary sources depict. Our ideas of love and romance are subtly different with different concerns in play, and women did have less freedom to make the choices they might wish, but too often our modern perceptions of that lead us to assumptions which aren't entirely true. Elizabeth isn't a hopeless romantic by any means and understands the importance of respect and practical concerns in a marriage, but that doesn't mean she doesn't value her emotional happiness above fiscal and societal comforts when considering matrimony, and adjacent evidence from her conversations with others and forgiveness of Darcy in regards to Jane/Bingley certainly indicate that she placed a high importance of love in a marriage. She did not seem to think it was necessary for everyone to aspire to, but that she valued it I consider inarguable. I also believe that this is the standard stance Jane Austen took when it came to marriages: love, respect, and practicality must be united in order for the relationship to be truly healthy and happy. The moral educationalists and poets of her society also championed love, and Austen wouldn't have been alone amongst the growing gentry and middle class which actually had the freedom to act on that without needing to be so concerned over alliances as the nobility nor poverty as the lower classes. And, in a society where so many young men were off at war or dead from war, marrying itself wasn't as sure a prospect as it had been historically and so suddenly young ladies were faced with the idea that they might never marry even if they were willing to throw away every 'better feeling' and so had the opportunity to really consider what they would be willing to sacrifice in order to avert a future that might be inevitable anyway.

And, all in all, I don't think it's at all unlikely to think a regency lady of twenty would determine to marry for love, nor do I think contemporary society would find her foolish for doing so. It's certainly not what every young lady of the era did, but I think textual and contemporary evidence point to it as far more likely than the extremes of assuming your only future is to marry without affection or being a hopeless romantic sitting about mooning for love. It's the middle ground which we can find not only Elizabeth Bennet in, but I believe the majority of real contemporary women of her class. Love in a marriage was praised in their society and important to Jane Austen, it just wasn't everything.

Adaptations of novels by their very nature are always going to differ from the source material but I find it interesting precisely how they do.

For instance, I find it curious that both the 1995 and 2005 adaptations of Pride and Prejudice feature scenes where Elizabeth declares she will only marry for love, because not only is such a quote nowhere to be found in the novel, I also find such a sentiment unrealistic for a Regency lady.

As stated in Chapter 22,

'[Marriage] was the only provision for well-educated young women of small fortune, and however uncertain of giving happiness, must be their pleasantest preservative from want.'

All women knew they would be expected to find a husband to provide for them, given that they weren't... you know... classed as people in their own right by law. Especially the Bennets, who lack substantial dowries and know as soon as Mr Bennet dies, any unmarried sisters will be entirely dependent on their male relatives, which isn't a secure position.

Of course, it wouldn't be unheard of for a woman to wish for a husband she could respect and who respected her in turn. But she's not an idiot! I think Elizabeth is astute enough to realise that a love match would be a bonus rather than an expectation for her marriage. She doesn't quite sink to the depths of pessimism of Charlotte in asking only for a comfortable home, and I think Elizabeth would still expect a partner to respect her (hence why she refuses Mr Collins and Mr Darcy at his first time of asking) but I don't see her as a hopeless romantic. Not Elizabeth, who voiced her increasing dissatisfaction with the world and the people who inhabit it.

I wonder if these adaptations included such a line because they find the idea that in Mr Darcy, Elizabeth found the true love that she was never expecting to find to be the most romantic idea of all. Personally, I think that not expecting to marry for true love but finding it anyway, especially in the man she least expected, is far more romantic.

These scenes have long frustrated me because I think they fundamentally underestimate the pragmatism of women at the time and make Elizabeth and Mr Darcy's union a little less satisfying! She loved him in the end, yes, but even if they failed to overcome their respective shortcomings and somehow failed to end up together, I hardly think that Elizabeth would have turned into an old maid, sitting at Longbourn and desperately waiting for a true love that would never come...

[serpentinegraphite]

So, first off, this is not an attempt to kink shame (dubcon and noncon are great!) but I do keep seeing a thing in fics (I do NOT see this irl in kink spaces nearly as often) where like. A character will interrupt the flow of the scene to check consent

And I don't mean in an "are we still green?" Or "what's your color?" kind of way, but I mean. The author has tagged the fic and indicated via prose and/or author notes that they are doing their Due Diligence to make sure this fic is Righteously Consensual from top to bottom, No Question About It

And a character will ask for full sexual consent either directly or indirectly or renegotiate the boundaries of the kinks being practiced AFTER the sex acts have already begun.

Here's the thing: horny brain isn't great at making decisions! irl in kink spaces, there's often a lot of emphasis on negotiating BEFORE the scene begins, perhaps even with a space between negotiation and the scene if it's with a new/unfamiliar partner (maybe it's a few minutes while things are set up, maybe the partners negotiate a day or more in advance! It depends!), and not changing the parameters of the scene after someone is already horny or god forbid already in subspace.

Again, these are perfectly fine rules to break in fiction, when the author is aware of it (most characters are not going to be fully familiar with safe, sane, consensual practices and the traffic light system, nor would we want them to be!) but I'm increasingly finding fics where the author DOESN'T seem aware, which takes a normal fic (in-character, with reasonable but perhaps even somewhat dubious practices, which the author isn't emphasizing or preaching about) into Red Flag Territory (a character, OOC, yanking me out of the scene to behave like a PSA about consent instead of conforming to the horny tone of the scene, and perpetuating unsafe practices anyway)

If you are writing a master manipulator or someone who wants to have a gotcha, you totally said it was okay on a character they are trying to bone (which is well in the realm of non/dubcon) that's fine! This PSA is not aimed at you. But if you are trying to write someone who Cares Strongly About Consent, then perhaps be more aware of when is an appropriate time to escalate the situation (sexually speaking) or ask for consent!

[moiraimyths]

Before we call anon rude because let’s see it from their perspective, imagine getting an entire feast to eat. That can be pretty hard to start with so much that’s going on, but if they start with one thing they know they’ll like (aka one character they like) that can be the start for them leaping to other characters to finish the story and the bigger story. I struggle the same way to start book series if I don’t have at least one character that drives me to read it, it’s all about what can be the hook to push them through. Sounds like the anon is neurodivergent (just a guess) so they might genuinely not see it as rude and see it as a solution to even play the game to start with.

Btw absolutely adore the game, the complex and rich characters making them all so unique is amazing. The art is so pleasing to the eyes I love it!! I’m waiting for it all to get out at once so I don’t get too impatient. Shae however interests me the most, which routes will have the most lore for them? Will there be routes that give more lore in general based on decisions you make or do they all share the same amount? (I mean general lore not just Shae lore)

Apologies; we are not trying to accuse any asker of being rude! We are simply explaining our perspective as the developers / are trying to broadly encourage folks to dip their toes into other areas of the story outside of the main route(s) they're interested in, especially considering some routes will be made available sooner than others, and these other routes will likely contain additional scenes/lore of everyone's fave(s) regardless! We want to give each main cast member an equal amount of love (and lore) regardless of their overall popularity, so our goal is not to tut-tut anyone for having strong preferences for one character over the others, but rather to explain that you may be surprised by how much *more* you learn about your preferred characters in the other routes. That's all!

For Shae... Well, they were a foot soldier for one of the worst periods of the War. Lore wise, any other story that touches on the War will likely have content relevant to them and their experiences. ^^

[fish-in-the-aquarium]

Shitty english time!

1. John/Sam becouse I'm the professional clown (you live on the green lock of my clown wig). Look, I'm obsessed with making things more "complicated" and a romance between these two would make Sam and John's lines even stronger. And truly terrible for Sam.

3. First place goes to two birdies because I'm against the system

2. Hansry is too good for this world but mentally I'm 11y/o and it's a little hard for me cos… well, me and Hans are the same person. This is an EXAGGERATION but I feel a boy who has been infantilized for a terribly long time and who is looking for a quick dopamine hit so that the impostor syndrome will scream a little quieter (but it only gets louder and all self-fulfilling prophecies will come true). My bb, of course you see that your kiss of true love was broken and you ignore Henry's hand and the fact that your beloved is just late for the finale of Mass Effect 2. You can't be loved, can you?..

As a result it makes me a little offended by his feminization which is, of course, very childish of me, and I'm sorry. I'll try to overcome a kid inside me and draw some arts with them.

So-. Well-. Y e a h . . . I thought I was too old and too settled to have my wig blown off by a villain but here we are. Istvan is... he is... mmmMmMmmmm. There's not much of him but the character shows so much in evry second of screen time? And yet it's all so subtle? Idk, brother/father came back from Afghanistan but he didn't drown in vodka and became the best "I'm an evil villain but I won't kill my potential killer" in the media.

Istvan, your depression is legendary.

Johanka. No comment. There must always be a mystery in a afab.

Second place! ✨Samuel✨

On a personal level all my subpersonalities are HUGE fans of compensatory destructive behavior in smart and responsible characters who are still romantics deep down but life tries to crush this quality with a asphalt paver (new comparisons are made up by those who have bad old ones).

On a character level, he's simply the hottest thing in the game, I'm drooling. He's mostly reasonable but pritty impulsive; smart, can be a cold-blooded liar but also sooo naive. I'm trying to think in English and I just have no rihgt words. He has a fragile beautiful heart and a steel core blah blah everything is realistic and balanced. Too good.

And it's true, "too goos". Sam is so complex, even over the top for the character of his role. The writers who prepared the boy for the end of the game overdid it a bit for my taste. But it's probably even better this way. As a basic person I'm 100% satisfied with everything about Sam.

Third place. John of Liechtenstein.

John is my first oc pure speculation (is he really that... idk silly? Where is he lying, where is he sincere? Does he drink with Henry because he is genuinely interested? Is it a professional interest? Or does he just need an excuse to drink?) but I turn into a tasmanian devil when art gives a character with a closet that won't close from corpses but they take responsibility for their own failure. Fuuuuck, he looks into the eyes of those whose relatives were killed because of him and escorts the survivors to safety (I could not think of a single practical explanation for his actions, wtf)??? He is too sexy for my miserable mind. Humbles from Pathologic, you'll always be famous.

4. Since when you love this game?

The murder of Runt and the particularly horrific line "a good Christian shouldn't remember such things". At that moment I realized that the writers live, have friends, love and I can have a beer with them (they won't want to drink with me).

I learned about the second part from the scandal. I didn't give a shit for two weeks and then I decided to find out what all the fuss was about. "Well, THAT game can't surprise me, I'm not that fujoshi anymore".

5. How you discovered it?

Back in 2018, I fought with alt-rights cos they liked the game only because it was their ideal fantasy, and not because kcd was historical (women's shaved armpits and smoky eyes, pff). I didn't even play thq game, I was just young and angry.

And I turned on The Scene(tm). And I was stunned. And I shuffled in my clown shoes to the computer.

Hey, KCD2 fans! I made a small "passport" for y'all!

1. What's your OTP?

2. If you want, you can list here some more favorite ships ;)

3. Your favorite characters (top-3)!

4. Since when you love this game?

5. How you discovered it?