#youth commits suicide | Explore Tumblr posts and blogs

moondirti · 5 months ago

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ANGEL OF SMALL DEATH [ john price x f! reader ]

: he sees you when his vices take hold. little love, invented. chimeric, he assumed - until you're not.

mdni. noncon; addiction (nicotine and alcohol); SSRIs; intoxication; breeding kink; daddy kink; hallucinations; kidnapping; drugging; objectification; slut-shaming; sexual harassment; violence; bondage; vomiting; guns; suicide, murder, pregnancy, spanking and branding mentions. 7k.

a/n: have yall seen ruby sparks? yeah imagine that but worse

John's always had his fixes.

He remembers the hysterics. Five and wet behind the ears, lungs scoured raw of anguish when his mum hadn't let him sup the vanilla extract. It's not what you'd expect, hun. But the child-sized idée fixe, destructive in its naivety, turned its head at the implication. He stuck his nose to the bottle's cap, got a whiff of it unfiltered, and revolted; how could it taste like anything but the ambrosia it promised?

Or, who was she to deny he try?

(His resistance to authority can be spoored there. A miasmic trail back to youth, stinking something foul. It had been a Sisyphean effort, pyrrhic, when he enlisted. Burnishing odour only to find, without it, there was nothing left for them to make use of.)

So – red-faced, tousled pyjamas at 2200, balanced atop a chair as his parents snored soundly on the couch – he snuck a teaspoon for himself.

It was foul, of course. A calcine irritation that clawed on its way down his throat, baring raw tissue in its wake. He hid his coughs behind his sleeves, vision cloudy with tears as he put everything back where it belonged – not disappointed so much as he was committed, he thinks. Because the very next night, he came back to try it again.

And again, and again.

Like clockwork, he tipped the small vial up onto his tongue and hoped it would pass into something different. Obsessive. Ruinous monomania. His dreams sprung into caliginous visions that detailed nothing but the phantom touch of it to his tongue; this taste, syrupy sweet like nothing he would find in comfits and puddings and pies.

(In hindsight, all it did was teach him how to embrace the burn.)

It only stopped when his mum woke to him voiding his guts in an old popcorn bowl. Poison control, buoyant levity clipped over the rotary phone, told her that it happens all the time. Kids go looking for a midnight snack and think vanilla will hit the spot. Our suggestion is to settle for alternatives until he's old enough to know better. Hydrate in the meanwhile.

– know better.

It's hard to say he does.

His wants still have wants, have asinine wants, that which keep him so late into the night that it's dawn before he falls comatose. Sunk into a leather wingback, the space of his parlour more smoke than it is air, contemplating keeping a warm body in these hinterlands. Helplessly soft, pretty. Fixated on that faceless something, burrowed beneath his sweet tooth again.

But on the wrong side of forty, he's honed prudence like a well-oiled firearm. Custom so things run smoothly, though not one he finds necessary if it weren't for convention. He knows his job would cut in on the upkeep, month long absences like a disease to whoever he manages to snare. It'll kill them, slowly, holed up in this home alone.

(When his parents did away with the extract, he tore the curtains and scribbled on their walls. A boy's green version of withdrawal, deprived of his favourite vice. He's never considered sobriety for that very reason – he's bad even with a maduro in hand.

And the thing about people, they're never so easy to replenish.)

Age besets everything. Counters them, grown as he is. Pragmatic.

Still. To say he knows better is... faulty, flawed. Not when he fists his cock to those fantasies and stirs on all the ways he can bring them to light. Early retirement (a prompt no; he's just as dependant on the field), or multiple little loves to keep each other company, his house turned an Arcadia of nymphs (though he tires to think of wrangling more than one, and the idea diffuses like sugar steeped in tea.)

It's on his fourth- fifth iteration that John starts to see it for what it really is. That this – a darling wife to curl between his legs – is like the imagined taste of vanilla extract. Too good to ever be made true. At least for a man of his ilk, whose bloody hands slip around nirvana. Unearned. Chained to purgatory so long as he weighs sins against the greater good. He wasn't meant for the finer things in life.

So he sticks to what he has. Old familiars. Noxious inhibitors, palmed for upwards of ten pounds, crafted for old dodgers like himself. Tobacco, dry whiskey. Nicotine to spout fire to his hindbrain. Cheap, easy accesses that sate the itch behind his eyes, so long as he lights another.

Ouroboros. It feeds itself and lasts.

(Until you come off the tail end that is, and sever the loop with your own, clever little hands.)

You pose a different kind of problem.

It starts after Serbia. Hounding across the Carpathian mountains for the better part of a winter has detrimental effects, see. And though he eventually locates the bunker Laswell's informants alerted them to, he comes out of it changed – head fixed the wrong way around, skin flaking over off a mulish swell of anger. Going back home is an ordeal when his body acclimatised to find warmth in the frost, talking to Stygian shadows like comrades. Necessitated madness revoked.

Because all of a sudden, everything is too comfortable. Vibrant. Nothing hurts enough to match the stress still ricocheting within him, and the imbalance threatens to capsize. The doctors prescribe SSRIs, tell him to keep it separate, Captain, when their eyes skim that part of his file that notes him as a habitual drinker – so he switches from bourbon to Canadian whiskey, like the ABV will make a difference.

(That inveterate defiance, rearing its ugly head once more.)

And really, he doesn't get what all the fuss is about.

The static in his head flatlines, white noise taking its slot. It's the greatest peace he's found since his bunkmate at boarding school stuck a joint between his teeth and told him to suck. Like fog wearing over a hill, his thoughts grow muddied, loose and abandoned once he can't tell which way is up or where the sky ends.

And the wants, the very same he's long since buried, come back with a vengeance. Unchanged, for the most part (he doubts they were ever dead in the first place) yet manifested differently, like they're privy to the scepticism that killed them last.

(Reveries no longer disembodied, shuddering old film onto the backs of his eyes, but projected into the dark corners of his house, instead.)

He hears your laugh, first. It is early March and easter endorsements already shade the telly in garish joie de vivre, corporations fighting for a foot in your spring celebrations! Buy an egg-dying kit and get one free, hurry before it's too late! John doesn't remember turning it on, can hardly feel the remote in his hands, but that acedia ebbs once the sound of it meets his ears. The sound of you–

Jingle-bell mischievous, he knows it has no place amidst the foolish ditties of spring. He turns the T.V. off, sitting upright in his chair, ears piqued in every direction as he waits for it again.

From the kitchen: another breathless titter, tapped from a chest too delicate to be mistaken for the howling winds outside. When he rises to inspect the source, he swipes the spare gun he uses to foot a broken table, trigger finger dangling bonelessly by the grip. Good to have it there, just in case, though he's confident he won't need to resort to such measures to neutralise you – not if you equal the Zephyr-like quality of your voice.

(Paranoia, it seems, is another effect of downing his meds with Crown Royal. Had he been less inebriated, he would have remembered that his doors are double bolted, and that there's no one out for miles.)

But what he expects to find, luminous between the birch cupboard rows, is not there. His kitchen is as empty as it's always been.

So, they might have warned him about it. He might have avoided this whole thing had he listened. But things snowball when he grasps what's happening. Calamitous uptake; it invades his dreams again, and his dreams invade reality.

(If he cannot have what he wants within the provident constrictions of life, then what's the harm in indulging himself, if only a little.)

Soon enough, he sees glimpses of you wherever he looks.

Sylphic figure come to haunt him. Light bounces through you, your flesh gossamer-like. Diaphanous. He thinks you cannot be crafted that way if not to accent the dark, wet rims of your eyes. The lightning-branched veins etched to all four extremities. Nipples like petals, touched alluringly to your breasts. He thinks you cannot be fictitious – he's never been an inventive man, and the impish flick of your lips reads as familiar, somehow. Dancing on the tip of his tongue, or a song he's heard once and never again. Like he's taken to it before–

His memory swishes like watered nectar in this state. It's impossible to place.

Still–

So long as you continue to appear as fine mist does, chasing the throttles of his high, John's a happy man. He need not tell you anything; you already know his name, what it is he likes. You sway to imagined tunes (later, he couples it to the erratic drumming of his heart) and jump nimbly around his legs, winding and tangling and falling right through them when he wishes to see you stumble.

You don't talk much, either. He has yet to whet the finer points of your being, work out what makes you tick or how you'd enunciate your words. It's an eggshell process. Fragile. Some nights, he'll imagine you with a cadence that doesn't quite fit, and you'll stutter like a faulty motor before shattering from view. To avoid disillusionment, he has to be careful. Extend a platter of properties for you to choose from, picky thing, and watch as you notch them on your tongue, testing.

You'll get this look on your face as you do. Contemplative, lips pursed for a moment before you shrug and slide down to decorate his feet, arms stretched across his ottoman like willow branches over a creek. It would put him off if it were anyone else, but he's eternally endeared to you.

The first time you speak, it's to call him out on that.

'Naturally.' You giggle, twirling your phantom fingers in the tufts of his leg hair. 'You have to like something in order for me to present it. Or is that not how it works?'

He doesn't think so.

"You tell me, little one. If that were the case, why disappear when I try something you aren't keen on, hm?" His words are slurred, strung together hastily, like his tongue hasn't the strength to articulate each in full. You understand him anyway, of course, scrunching your nose.

'I don't know.'

"Think, then."

You shuffle straighter on your knees.

'Maybe I want to be just right for you, daddy. Not all your ideas are great.'

John jerks his leg admonishingly, the joint of it passing right through you. It causes you to blink out of existence for a second, and his throat twists uncomfortably around the new darkness. Loneliness hurts more, harrows deeper, now that he's unused to it.

But you come back, straddling his hips this time. You always do

(So long as he keeps sipping, the glass in his hand sweating cool condensation into his skin. His cigar slowly smoulders away in a nearby ashtray, waiting for the uptake.)

"Mm, thought I lost ya." And if you were there – really there, he thinks – he'd wrap your hair in a fat fist and angle your head roughly down onto his. His arms lay flat to his sides, however. Restless.

'No.' You don't exhibit the same discretion. You smooth down his bare chest, ironing his scars until he feels brand new again. Whole as a kid. 'Haven't you heard? I have a tongue now, and all I wanna do is talk.'

"Is that right?" He hums, half-lidded eyes watch the space between your knees widen. Like Artemis in her waters, cursing Actaeon to the jowls of his dogs – you love teasing him when you know he cannot do anything about it, destined to be torn apart by his inborn desire.

'Well, what else is there?'

And if not for that one thing, John would be content to live like this forever.

(Two, if you count his prescription quickly running out.)

Routine lasts about a fortnight, if his taking of time is to be trusted.

Staged courting, you call it. A production of how typical romances go. When the sky bruises, opening up like the ripe flesh of a plum, he'll knock back two tablets using the last dregs of his afternoon whiskey and wait for you to come home to him. You look stunning when you arrive; naked, your body soft and creased and effulgent. And while it depends on how his day's been, more often than not, you'll imitate rubbing his feet as he tells you about everything – paperwork and the taskforce and state secrets (does confidentiality count towards figments of his high?) – before he's settled enough to cut to the chase.

Yet he runs out of patience for it as time hauls on. Avidity amasses, tumorigenic need cramping his chest. One day, he stops you from kneeling at all.

"No need for that, sweet thing." He orders with a stiff grunt. There's no justification as to why, though it's clear you sense it already. The fraying strings of his sanity, that which you bat at like a playful kitten, have started to unravel dangerously close to what is holding it all together. "Just do what you do best, hm?"

(The best you can do–)

'Yes, daddy.'

Ever-dutiful, despite the monotony. There are no arguments with you, no taming and fights unless he's in a particularly aggressive mood. The only indication of your disappointment (not yours so much as it is his in himself) is the wet flutter of your lashes, the poking harlequin pout.

Both disappear from view when you turn your back to him and bend at the hip, small hands stretching to dig into your behind. His cock is out in no time – was practically tearing at his pant's seams, really – thrumming painfully hard, leaking onto his stomach when you pull apart either cheek like dough.

Your pussy spreads, glimmering under a matting of wiry hair. Arousal (feigned, imagined, projected–) webs your thighs together, swollen clit budding at the end of your mons. Apple of Eden; his jerks are awkward, uncoordinated, in comparison. Human. There's a twinge in his wrist from working himself almost daily.

His teeth taste like tobacco and spice, sleep clinging to the roof of his mouth. Would you eclipse it with your sweet-sour tang? He pictures taking you; stuffing his nose right below the tight rim of your ass so his tongue can lave over your slit. Working you open with his tongue. You'd soak the hair around his lips, and he'd press harder in response.

John spoils you rotten in his dreams. You know it, too, toes wiggling where you stand a few feet away. How cruel that he shouldn't get the chance to, then – that he has to consume his fixes to stop them from taunting him, and you're God's way of saying that he can't always get what he wants.

Carrot on a fucking stick. He's made an arse of. And worse yet–

He can't cum, no matter how enticingly you stand there. His palms are too calloused, nerves grown bored of their rough drag. Every jerk is a barely-there sensation. Surface level. Shallow. Like a rock skipping across a lake that never manages to sink.

(It never did amount to what you do to him in his head. But it seems as though his body has finally caught on to what the rest of him already knew.

That this – this tragic, autogenous slaking of carnal desire – can not continue on forever.)

He groans, paralysis needling painfully up his neck. It echoes like anger and holds none of the punch.

Breaking position, you twist to assess the newborn tension.

'Shhhh,' You coo. There's no judgement in your glassy eyes, none that can perceive (or wants to see). Rather, it's all pure love, a whisper of distress, and devotion. His little love, so perfect besides this one thing. 'I'm sorry. I'm sorry.'

"Not your fault." Hoarse. Broken.

(Who has he become?)

'I'd help you if I could. Let you take whatever you wanted from me, you wouldn't even have to ask.'

He'd been the one to initiate it, but the prospect of his orgasm is long abandoned when you perch on the armrest, laying your head near his. He has nowhere else to put his hands, so he keeps them cupped between his thighs – and if he suspends utilitarianism for long enough, can almost believe that they're yours, instead.

"That's nice, little one."

He imagines your warmth, the soft comfort of your bosom, as sleep encroaches on his periphery. You'd cup the tired weight of his head and lay it on your lap, there to stay until he awakes to birdsong. There in the morning light.

Thus the minutes tick by in quiet melancholy. He's halfway layered in the pelts of hypnagogia before you speak again.

'You should visit town tomorrow. Mail something home for Mother's Day maybe, and stop by the grocer's for eggs. You're all out.'

He hasn't seen greater society for almost a month.

A wicked hangover splits his skull, worming its claws into the soft matter of his brain. John had initially set out to do as you bid him – find a nice present for his mum and stock up for the next few weeks' hibernation – but the throngs of people crowding home goods and the jewellers make his condition worse, so he resolves to call her on the day and heads straight to the market instead.

Eggs, you said. He needs a lot more than that. Water and red meat and perhaps something that leaks grease when fried. Cucumbers, yoghourt, granola, too. Milk or juice, never both because he can't commit to finishing them before their best-by date. Fruit. Cookies.

The list grows exponentially as he surveys the colourful aisles, under eyes tender to the touch. If it weren't for the cart carrying most of his weight, he would have toppled over already, his chest dipped over the handle, wheels barreling forward. The store's empty enough that he doesn't worry about clipping someone's ankles. For now, it's just him.

Always that. Just him, and–

"Ah!"

Fuck.

"Are you alright?" He defaults, lurching to pluck the rolling oranges off the floor. It necessitates far more exertion than he can handle at the moment. The woman he ran into catches what bowls from his reach.

"Oh, yes! So sorry, that one's on me." She laughs, nervous. The nature of it – gentle, shaky like the beat of a butterfly's wing – rouses a near Pavlovian response in him, pleasantries crystallising between his teeth, hard as pearls. He coasts a suspicious look up, but her head stays bowed as she piles everything into her basket, arched baseball cap obscuring her features. "I insist on carrying everything, see, then it gets too much for me and the baskets are the nearest thing, and you know how heavy those can get if you do some serious shopping, don't you?. Honestly, I never learn. How silly."

The wonder shatters. He cringes, eyelids pruning shut to gather his sore thoughts in the sudden clammer. Talks too much, too loud. He finds it hard to tolerate anything but singsong whispers these days.

(On him, he knows.)

Unceremonious, they both stand. John extends the final orange, appraising the products she tucks it between rather than look back up at her. Sugar, butter, eggs, flour. And a hefty heap of citrus, of course. Odd.

She seems to think the same, breaking the awkward lull first.

"Big family?" The question is clearly well-intentioned – posed to the stacked contents of his cart. No well-adjusted man would hoard as many perishables for himself, not with the grocer's as accessible as it is. But John is not well-adjusted in any sense of the word, especially in the past few months. All her prying does, then, is inflame the irritation dusting his throat, kneading salt into the wound.

How incredibly unfortunate timing.

"Gingivitis?" He clips back. His hangover makes regret a hard thing to reach, though given she doesn't take offence to his snipe.

"Ouch, okay." She laughs, more lighthearted than before. It reminds him of you (you, is anything its own thing anymore?) and John feels a fire light his heels. Agitation to get back home. "No, I'm making orange shortbread for the old folks at the nursing home. Needed to replenish a few things. I haven't baked in a while."

"How nice."

"'Tis the season! Erm– I mean. Y'know, with Mother's Day."

(Later, when he's staring at his fingers, sozzled like a cat on cream, he replays this conversation over in his head like he'll be able to change its outcome. Had he been alert, he'd have picked up on it by now. Christmas platitudes in spring – who else did he know with such transgressive peculiarities?

Captain Price wouldn't have missed it. Unfortunately for him, he left that intensity between powdered ice and silver firs.)

"Anyway." She coughs. He didn't realise he was expected to respond, stare lingering on the exit some distance away, keen to see this end. In his periphery, her cap tips down, supply list clutched in fidgety hands as she reads down the line of ingredients. He forces his attention back to the moment, training his eyes on the curve of her skull. "Just one thing left. Um, should be down hereeeee–"

Her head tilts up again, searching for the aisle markers overhead.

And it's–

Painful. Like the rip release of every organ seizes simultaneously, domino discharge down his spine. Ribs flush suddenly into the flaring muscle of his heart, which thrashes wildly against the corral, desperate to see itself out. To reach across this empty space and leech on to the delicate features that come into view. His brain – startled out of its judiciousness – blares I told you so's to the hot rush of blood behind his ears. Marrow melts to oil his joints, unmooring their structural integrity, and his breakfast threatens to disgorge and make for a foul first impression.

(John always thought revelations came kindly, that they blossomed in the neglected forks of life. Like a summer boscage, or the gentle, prying hands of a monarch escaping its cocoon. How can divulgence be anything but soft, and refined? How would the world grapple with them if otherwise?

He sees it now for what it is.

The world would have no choice.)

"Vanilla extract." You shake your list, smiling at him – a vivid, honest smile – before you brush right out of view.

He tells himself this doesn't change things. No matter how you like to argue the opposite.

'I don't see why not, daddy. Don't you want me, too?'

More than he'd like anything else in the world. But it's back again, that reaper of dreams poison control once foretold. Know better. He does, at least to the extent that bringing you here – tying you to his bed posts like he so desperately wants to do – is not the best idea. His age, his job, his incessant fucking wants, all pave their own desire paths; some more practical than others but less tempting as a result.

He knows how loneliness kills. At least he's built for it, but you?

"Work complicates things, little one."

John finds it all unfurling before him, the coffin housing his fears unhinged.

(You, dead by your own hands or worse, made vulnerable to the brutes he works against. Not a possibility when you're linked to him like this, hallucinatory, unreal, but you – the you he saw earlier today – aren't any of those things.)

'You don't really believe that, do you?'

You're never so argumentative. He sucks his teeth, waving a hand through your hips. And it must snub you so, for you disappear like smoke beneath a cloudburst of rain.

No matter. He doesn't need the temptation finding him.

(That is, until an answer finds him first.)

He phones home for Mother's Day, and she asks for updates for any lucky miss he would call his.

In the borders of his vision, you're hunched over the persian rug that was a gift from an associate for a job well done. Your feet cross over each other, fingers working idly at pretending to braid the fringed edge. The sight gets the better of him, adorable, and he briefly considers switching his answer from the usual – wish you'd stop fretting, it's not doing your health any favours – until sense catches on. He wouldn't know how to deal with the questions.

"No."

"What a shame. I know you're busy with that job and all, John," Because his mother never addresses the big risk to her son's life by name. "but you really should work on making me some grandbabies, before I pass on to the earth."

"Please, mum. Don't start with that nonsense–"

"No! It's any day now, you know it as well as I do." She tuts. He remembers her hands – tracing cool patterns onto his scalp that night, back when he was five and only concerned with the best taste his mouth could fathom. He remembers, and thinks of the wrinkled stretch of them now. "Take this as my last word of wisdom! Family will be the one thing you have when those milking tosser's decide to do away with you. Family, John!"

He chokes back a sigh.

"Yeah. So you've said."

Family. So bloody simple, isn't it?

Iron-wrought key, right under his nose this whole time.

His last two pills frown at him from behind their orange confines, two-toned and unassuming. He could get more if he so pleased, but the hope is that they won't be necessary after tonight.

Carried by the bourbon that blazes down his gullet, they go down smoothly. Soon enough, you appear, summoned, as he laces his boots.

"Does it hurt you, sweet thing?" He finally asks, punching an arm through his windbreaker's sleeve. April showers carry bracingly after dusk, weatherproof attire a functional choice.

That is to say, the towel in his pocket isn’t for him.

You gain that elvish look to your face, of the same variety he fell in love with when you first appeared to him. He often forgets how otherworldly you can be; radiant, inhuman vision. Your mirror isn't so... remarkable. Frizzy hair, fleshly, bleeding behind round cheeks. Perhaps that's the appeal.

'F'course not. It is me, after all.'

"Is it?" The front door clicks behind him, new-washed breeze pushing it into place. It feels final, like casting his decision in stone.

'Hmm,' You pretend to think for a long, long while, prancing a solid two paces behind no matter what speed he sets. A new moon blights the fields around his home, sparse raindrops reflecting only your glowing figure. It lights the way until he reaches the skirts of town, when street lamps bleed gold down onto him. Only then do you speak again. 'I should think so, yes. Take a left here.'

John does as you say.

'Though she won't be as receptive to it all. Right.'

He turns right.

'You’ll have to decide how to deal with that.'

"I'd appreciate a few pointers."

'What do you think I'm doing, daddy?' You murmur, materialising before him as he comes up on an avenue known for its nightlife. 'Take a right here and keep going.'

"And you?" He asks, though he already knows the answer.

'I'll be there.'

You are. Though you’re not alone.

Two cretins crowd you into a brick wall, lanky arms anchored by your head to form a flimsy aviary. John hears their badgering a block away; crowing voices, placatory promises they wouldn’t be able to uphold even if they knocked back a viagra each. The wind carries it, works their whispers into fine dust. Powder. Negligible. He’s seen this dance before – this dreadful caper, a little bit of force behind what is otherwise an insipid show – but he’s usually above such drama. The men he keeps know not to ask for what they want. Not when it hazards a bird flapping out of reach.

You’ve got to clip their wings, first.

Though you look like you’d be indebted to any sort of hero. The hem of your dress rides up your thigh, snapping away from restive hands. Shortening what is already… He resolves to admonish you about it later, traipsing closer to the scene. Given your ornament, he can’t blame these men beyond covetous reason, but he won’t topple it onto you either.

Everything flays out before him. Of the bunch, you demand the slyest hand.

“C’mon, love. It isn’t that far of a walk.”

“Yeah. You’re pissed out of yer mind a’ready. Can’t go home now, huh?”

“Would be so cute between us both.”

“The best. Look at those wide eyes.”

“Busy checkin’ out the arse on her, but I’ll get to her eyes in a minute.”

Your face crumbles in on itself. He’s closer now. Can make out the mascara painting black tracks down your cheeks, lips smeared by the rain – or, the alternative, pecking vultures having claimed them already. Either way, a green-eyed serpent seethes in the curls of his gut, blood imbued venom coursing. He feels it wind, poising for attack, strength compressed into a tight ball of anger.

Then, when one of them – ginger, juvenile – snakes a hand between your legs, it strikes.

He rips his gun from the inner lining of his coat. The other kid is shorter, more on edge, so John doesn’t worry about the force it’d take to daunt him. When the cold press of his muzzle fixes to his companion’s temple, he dashes away with a pathetic screech, tripping over the loose ends of his shoelaces. Par for the course. Weasel.

The ginger isn’t so lucky.

“You get off on scaring defenceless girls, lad?” He barks into his ear, one hand gripping both floundering wrists. The boy cringes, fear rattling his throat. Any response he tries to shape turns out a nasally wheeze.

“P-Please-”

“Shut your fucking trap. You’d have a better shot at mercy carving your little cock off.”

“I w-wo– we were just-t having fun. No harm… harm done, right?” The pleas recourse to you. In his periphery, John registers your frown. Half-hearted. Scared still – of both the unfamiliar, violent men. He peels the commotion two steps back to show he means no harm.

(To his narrow definitions, of course. His plans for you constitute harm in anyone else’s book. He’s sure that, if you were wise to them, you’d slip in the other direction.)

“She doesn’t seem to think so.”

“No! No, p-please, p–” He silences the boy with a pistol-whip, blunt end of the gun breaking skin off his jaw. The message couldn’t have been clearer – twice now, he’s demanded silence – but no one seems to listen. His cries peak, out-of-tune in the pitter-patter shower. Tortured, like a mangled cat.

“Here’s what you’re going to do, yeah?” The air flutters around you. He’s trained to tread carefully, like you’ll disappear at any moment. Better make this quick, then. “You’re going to go home, lock your windows, and try to sleep with an eye open tonight. The young lady’s welfare matters more than your fate, but I don’t forget. There will be a time where I come to break every finger off your hand. Enjoy them in the meanwhile.”

Perfunctory, he shoves him to the muddy floor. Blood joins the streams sluicing to the sewers, inky swirls of gore a welcome sight. He hasn’t felt this alive since–

Well, since Serbia.

And the boy must see the predatory gleam in his eyes. The dead, inbred callousness. Shark out of the water. Knows what’s good for him as the fin breaks the surface, rows of teeth just underneath, because he runs off before they can snap around his clumsy legs.

(You, on the other hand, don’t have that instinct. Instead, you blubber, seal on a floating icecap.

And dive headfirst into his jowls.)

“T-Thank you, I can’t thank you enough. I- My friends left me and I didn’t have a ride home and no one was picking up my calls so I thought it would be safe to ask them, but I couldn’t have predicted how nasty they’d be. Really, they seemed like nice guys–”

John censures you with a stare.

“You should know better than to be out at this time.”

He’s gotten good at imagining your responses. He needn’t hear what you have to say next. Before you can even open your mouth, the chloroform-doused towel in his pocket is out and pasted to your pretty face.

There’s a brief pause where he expects you to fall through to the floor. But your body slumps, ragdoll boneless, right into his arms.

That’s what brings him here.

Here: cotton rope hitching your elbows together behind your back, a column of square-knots parallel to both arms. It was what he managed while you were unconscious. Could have managed more – so much more, tick off the beginnings on a cosmic index of all the things he wants to fucking do with you – if it weren’t for patchy effort. He went a little rabid, see. Clipped off the leash, chain to the doghouse broken. Saw the time better spent fondling your supple curves, your body lax beneath his.

Weakened or willing, it doesn’t matter so much as you’re corporeal. That he can.

(A book he bought as a much younger man details seven different ways to harness a chest. If he had a grip, he would have seen to it – your breasts purpling, ensnared in a lattice of his own construction. It’s this new, foul fascination. How many ways can a body bend before it breaks? He’s never been mindful of the line before, on the field, but he’s got one to do with as he pleases, now.)

Little one. New toy, fix. His wife.

You process it all in your own time, sleepy eyes peeling open to find that you’re no longer in some dingy alleyway. Though your hair has yet to dry, he’s made good work of paring the damp dress off your form, the steady warmth of a fireplace making for a gentle come-to. John takes it as encouragement when a tired yawn splits your mouth, lips quirking up. Smiling.

“Look at you.” He hums, thumb working quicker over your clit. With legs notched apart, your cunt’s been made vulnerable, bared to every ministration he couldn’t wait to inflict until after you woke. Thus you’re already weeping a steady stream of slick, folds lacquered in arousal. Leaking down the line of your ass, too. Desperate thing. He scrutinises the sloppy mess of it, doughy and swollen and wet, shoulders flexing over the possessive swell in his throat.

It’s comical, the turnaround. Reality overruns your face, peaky infestation from his carcass to yours. Your eyes well with teary distress as you take him in. What a monster he must make; frothy longing turned savagery, held too long under the blighted mass of his tongue. Festered. Ugly. He sees it himself in the contrast of his skin and yours. Where you’re satin, all incandescent sweat-slicked stretch, he’s 60 grit sandpaper. Sun-hardened leather and crooked scars.

“Hnmphh!”

But he can ignore that. Doesn’t have to concern himself with rejection, not when the bit gag between your teeth renders you mute. Simple knot sandwiched by your molars. Subtle. He doesn’t want it to hurt today – not any more than necessary, at least – but conversation has gotten old. There’s a reason he brought you home. Why thick fingers work your hole, breaking it to house something bigger. He isn’t interested in soft-soaping anymore.

(The two of you have had your honeymoon already.)

No. Purpose, he thinks. His mum laid it all out for him. A family to bear you company during those long weeks he isn’t home. Family, linchpin to making this all work. To crowd this house with not just one, or two, but multiple sweet things that’ll extinguish the lonely flame at its hearth. He celebrates it already – boisterous corners, crowded kitchens, the cable he pays for finally being put to use.

And you–

“Promise I’ll suck that pretty pussy like I promised, little one. Just– fuck- daddy just has to do something first, yeah? You gonna be good for me?” John huffs, shucking his trousers to fish himself out of his pants.

Your muffled protests launch into something else entirely, feral defiance compelling your limbs like electric shock. It’s fusillade, violent devastation. Your legs flail, unhinged, compensating for the lost mobility in your arms. He manages to slip his fingers out of your clutch and tuck a hand under either knee, but not before your heel connects to his jaw. As is true on the field, adrenaline primes a strong kick. Metallic warmth swathes the inside of his cheek, strength waning for a second.

And through it all, you have the audacity to cry.

When he regains his bearings, anger has supplanted care. He hoists your thighs up onto your chest, calves upright in the air, and pushes a knee forcefully into the space exposed. It flattens your cunt with the pressure, clit crushing in on itself. Agony bulges fine lines at your temples, veins bloating as a miserable scream tears from your throat.

“I’ll cane your ass raw if you keep up with this. Strike your hole until all you’ll feel for weeks is your punishment. That what you want, mm? Want the memory of our child’s conception to be filled with pain?”

His nose fits to yours, beard tickling the canyon of your upper lip. It's intense, the proximity. Heat flush between you, sustained fire you can’t pull away from. John watches the hesitancy flit over your eyes, the reluctance of a burn, breaths erratic and shallow. You didn’t breathe, before. Didn’t need to. But he finds that he likes the new rhythm of it. Like watching the life drain from a quarry, game bleeding out into Serbian snow. He never thought he’d miss hunting for survival – not until he had you pressed to his side, lured from those other predators into something much worse.

(And perhaps that’s what’s been absent, all along. You used to come too easy, allowed him to grow permissive and lazy. But this–

His skin fits the moniker again. Captain, revitalised in his bones.)

You shake your head no, just as he rubs his cock along your entrance.

The feeding is effortless. You practically draw him in, needy for it, walls conforming to the fat intrusion until his head nestles against a hard spot. Steel-wool pubes tangles in your own, scratching the sensitive hood of your clit as he adjusts to the balmy suffocation. Tight. So fucking tight, more so than he could have imagined, your struggle working against you as it contracts the muscles around the area.

His teeth knock into yours, borderline bruising kiss closing the gap. Should he give it a moment’s breath, his lips would swell blue. But he keeps you to him, your reluctant mouth slow against his own – impeded by the gag and your own stubbornness, snivels sucked into his gluttonous abyss. It tastes like seawater and vanilla, the wires crossing in his brain.

This, he thinks, is the taste he’s been searching for all his life.

This petty space separating you, a carpet of chest hair laid over our thighs. Breathing one another in, memorising the scars behind your cheeks. Pistoning into your cunt, making room for himself in the years and years to come. He’ll never get enough of you. You’ll never get enough of it – once you learn to embrace the pleasure wrought out of you.

In due time.

He batters parallel to your cervix, plunging deep as he can go. You’re slippery with the effort, wet where you thrum fierce, depravity stringing the oscillating gap of your mons and his pelvis. Binds you to him like gauze on a day-old wound, sticky and raw, and you must be a masochist if the stiffening of your joints is anything to go by. Your pupils roll, stupid, to regard the back of your head. Fucked dumb. Nerves snapping, limbic system miswiring.

“Can’t wait to see my seed take, have you grow round and glowing.” He growls, speaking into your cheek. The faint hints of your cologne, long faded under rain and sweat, cram temptingly into his synapses. It’s all he can do not to take a whole bite of you, now that he can. Wants to see the evidence of his ownership mark your skin; violent, a little bloody. Physical. Carnal. Imperfect presence honing in the fact that it is better than none at all.

“Mmmmff,”

“Yeah? Want me to keep you pumped full of my cum? Think that would be nice. Plugging you shut. Maybe suspending you upside down so it’s a sure process. How does that sound, sweet thing? Y’like it?”

Your feet thump weakly on his back.

“Then cum. Go on, be a good girl f’me.”

And with the orchestration of it all; your already tense pelvic floor, the rippling liquid of your eyes, the stifled voicing of your plight–

John can’t tell whether or not you do.

You tire yourself out, eventually.

It’s much later; the rise of a new morning flooding his home in sheer blues, illuminating last night’s mess. Without the orange glow of firelight, it looks a lot less romantic. Torn clothes, cotton fibres. Body fluids matting the pelts he uses to break up the floors. He would have it in him to blanch at the forfeiture of his self-control, cringe a little for appearance sake. He’s grown, now. Should know better.

But there’s no one around. No one. Just him, christening a loveseat instead of his wingback, and–

You, knocked out on his lap, rope burns raw up your arms.

(When you wake again, he’ll make it official. A passing of the torch, so to speak, from one fix to the next. He hasn’t a band, or really any certification to make it legal. But–

The lit end of his cigar should do. Touched, fittingly, to the proximal length of your ring finger.)

John’s always had his fixes.

He finds he’s finally had his fill when you cradle his child close to your breast, and reach out a hand for him, too.

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friedwizardwhispers · 2 months ago

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This idea that Xie Lian needed to "be humbled and needed to learn his lessons from his youthful and naive days as a prince" is not the point of Xie Lian's story at all. It's not where his character arc goes either and it's very much not the lesson Xie Lian got out of this.

He doesn't change his morality and point of view from his days as a prince to his day as a scrap collector and this idea that he needs to "be humbled" is something Jun Wu is trying to teach him. The 800 years of suffering is part of that torture to teach that "lesson". Also in general trauma doesn't teach you any lessons, it just makes you more traumatized and for Xie Lian, it is kindness that helps him back up (and not just the bamboo hat but his own and Wuming's).

The story of Xie Lian is about someone trying to corrupt him and his morality in any way necessary and ultimately failing to do that.

What he actually learns (or relearn actually), his character arc is about getting out to a place of safety where he can express pain and his needs and wants after 800 years of being in situations where he couldn't and because of that, he dismissed his own physical pain in a: "I can't die anyway so why does it matter if I suffer, better me than the other people ?"

That place of safety is given by Hua Cheng. His character beat are when he is finally feeling the pain of the needle (something painful but relatively small), when he realizes his own dismissal of his pain hurts Hua Cheng, when he doesn't hurt himself as a solution for a problem.

Xie Lian, as an 800 year old would have still saved the kid falling during the parade. Xie Lian, as a 800 year old would have still descended to help people through the draught and the war, he would have still given the earrings. He would have still used the hat from the rainmaster to bring water to Yong'An even if he was on the opposite side of the war. He might not have said "live for me" as an 800 years old (because he seems to find that embarrassing) but he would have given the red umbrella and maybe another piece of advice that would have stopped Hong Hong'er from commiting suicide.

#tgcf #tian guan ci fu #xie lian #heaven official's blessing #hua cheng #hualian

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serpentface · 5 months ago

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An old wildwoman, a fae-like mountain spirit closely associated with scimitar deer, as described in folklore in the Greathill region.

Wildfolk are depicted as petite humans, always naked, usually unnaturally pale, with older adult adult men and women both having long, shaggy beards and eyes that reflect light. Wildfolk youths are described as preternaturally beautiful in stark contrast, only gaining their unsettling appearances and unkempt beards as they age.

These spirits are said to make their homes in hills, forests, and mountaintops beyond the immediate borders of human habitation, where they live in dispersed parallel societies as herders and sorcerers. They are often depicted as mischievous, and take joy in meddling in human affairs and harassing travelers. Most of their pranks are not particularly malicious (though their victims may not see it that way) but they are said to be capable of inflicting curses and transforming victims into animals.

They are very fond of alcohol, and offerings of murre (a fermented milk beverage, usually made with berries for extra alcohol content) wine or ale may grant their boon. It is typical in villages to leave offerings out to any local wildfolk on the night of the new moon to maintain good relations and avoid their harassment.

Scimitar deer are said to be their livestock, herded and milked like cattle by the wildfolk but never eaten (most traditions hold that they eat no meat at all). Wildfolk themselves have the ability to shapeshift into deer (in some traditions, recognizable by retaining human eyes in deer form), and spend most of their lives in this form, only taking human form at night.

Their society is believed to be led by witches, powerful sorcerers who can influence weather patterns and shapeshift into any animal, most commonly taking the forms of eagles. Witches in particular are seen as highly dangerous (though not intrinsically malevolent), and areas believed to be inhabited by them are generally avoided. Exceptions are made in times of trouble, when offerings of grain and fine wine are left to plead for their boon. Exceptions are also often made by rowdy teenagers, trespassing on a witch's territory as a dare.

One tale describes a king of ancient Ephennos who, while on campaign, abducted the young and beautiful daughter of the famed wildwoman witch Bernike to take as his wife. In revenge, Bernike transformed him into a gazelle, and he was (unknowingly) hunted, killed, and eaten by his own men. The butchered carcass reverted to that of a human by the next morning, and the men committed suicide or were driven mad in the face of their cannibalistic transgression. Their restless spirits are said to still haunt Bernike's pass, while the ghostly gazelle-king is her personal mount.

Livestock raiding is of cultural significance in the region, and raid tales are another key part of the wildfolk mythos. These tend to involve a wily hero who steals a wildman’s deer herd, and manages to keep his prize and avoid being cursed by outsmarting the spirit's trickery. Once his, the deer provide milk that extends the lifespan (the folk hero Kulyos is said to have lived for 200 years), and plow fields with tremendous speeds without tiring. The native-bred khait stock of this region is said to have been hybridized with Kulyos' stolen deer, which affords these khait their hardy, surefooted nature and pointed horns.

The other common theme in folklore is a wildfolk youth as a bride or groom. Mortals with supernatural grooms are luckier, as the child is usually deemed fully human but has the blessing and protection of their supernatural sire (who inevitably transforms into a deer and leaves). Tales of marriage to a wildwoman usually end in the bride becoming restless and lonely, and transforming both herself and her child into a deer and fleeing back into the hills. Both bride and groom tales sometimes end with the wildman spouse returning to their human lover on certain nights, or meeting again at certain times of the year (usually new moons or midsummer).

These variants often involve elements where the returning supernatural spouse has developed their beard and rugged appearance, being almost unrecognizable from the beautiful youth that was wed. (Well kept beards are considered handsome, but the beards of wildmen are seen as humorously long and unkempt). Comedic versions of the tale involve the returning spouse being insulted by their human lover’s lack of enthusiasm for their appearance and laying a (usually humorous) curse on them. More romanticized tales involve the human spouse so overcome by their love that they are unbothered, and they often live a long life with the boon of their supernatural lover and child.

An example of such a tale under the cut:

A highly romanticized, 'uh' and projection-laden version of the wildwoman bride folktale as orally recited by Brakul, probably at least a little drunk:

---

“So, there is this young herder. He’s a man grown but still unmarried, so he’s still tending his mother’s cattle. He has them out to pasture high into the mountains, right? He's from a lesser clan, so most of their land is poor grazing. His cattle are so skinny and sickly that no one's going to the effort of stealing them. So it's not worth sending any warriors along, and he will be up there all alone for many weeks.

Every day he is very bored. Very lonely. And every night he starts to see a herd of deer moving among his cattle. I don’t know if you’ve ever seen them, they are mostly like gazelles? But bigger, and the males have one horn.

Anyway, the deer are up in his pastures, and there is not a lot of grass to go around, but he knows not to chase them off. Deer all belong to the wildfolk, yeah? You let them do their thing if you know what’s good for you.

Obviously there is a wildman or woman living on this mountain, so each night he leaves some of his murre- um. Is that a word here? It’s fermented milk and fruit, like ale. Wildfolk love it. He leaves some murre out in a cup just outside his camp each evening, and the cup is empty each morning.

So, yeah, the deer come every night, but they all keep their distance. They're very scared of humans, right? They keep well away. Except for this one doe. This doe walks right up to him. Every night she walks up to him, just out of arms reach. No fear. And this is a beautiful, fierce animal, so he becomes quite fond of her.

Anyway, there is many days of this. The herder moves the cattle around, and at night the deer come to graze, the doe comes to meet him, so on and so forth. His cattle are growing huge and fat and have plenty of milk, even with the terrible forage. He suspects the wildfolk of these hills have given him their blessing. So, things are looking pretty good for him, but he’s still quite lonely.

One night, it’s the new moon. Very dark. And it’s very cold up there. He is sitting at his fire, all wrapped in his blankets, you know, shivering and miserable. And he sees the deer herd making their way towards him, but something is different. There is a girl with them. And she’s completely naked. So, uh, you know, why is she naked? Isn’t she cold? No shoes, even. It’s crazy.

And this girl would’ve been walking for days to get up there, but there is no dirt, no cuts on her feet. And she's strange looking too, she's very short and has long, dark hair, and big, dark eyes. But the thing is, uh, she is the most beautiful girl he has ever seen. She's so beautiful, she frightens him.

She comes up by the fire and sits right down next to him. I think he’s probably going, uh, are you okay? And he’s trying to give her his blanket or something, but she laughs at him. She’s just fine. Better off than he is.

So they talk, and he shares his food with her. And this guy is not stupid, so yeah, he figures out that this is a wildwoman, this is probably the same doe that had been visiting him. So he’s careful and polite with the strange, lovely girl. But he is not too careful to fall in love with her. Which, uh. He does. Immediately, I guess.

She visits every night from then on, and I think they probably have a lot to talk about. A lot to learn from each other, right? She really likes him too. She is a powerful wild spirit, but she’s still young, and has feelings just like any other youth. She’s fallen in love with this human too. Wildfolk are probably just as lonely as herders, I think. Just up there on the- the hills. Not a lot going on up there.

So. She’s there each night for the rest of the season, and they are, uh, having sex a lot too. You have to pass the time up there somehow. You know how it goes.

And finally, the day comes that he has to take the cattle back down the mountain. Soon it will be too cold, and the grazing too poor to stay. He doesn’t want to leave her behind, and she doesn’t want him to go. And she could just turn him into a stag and keep him there forever, but she would never do that to him. She truly cares for him. So she agrees to leave her mountain home and go back with him.

So he dresses her in his cloak, because she’s been naked this whole time and that, uh, doesn’t fly. And they descend to the village. He went up alone with a skinny, sickly herd, and came back with fat cattle and the most beautiful girl anyone has ever seen.

He lies and says he found her as a stranded traveler. Some people probably have their suspicions, but if they have suspicions of her nature, they, y’know, also know better than to cross her.

The herder and the wildwoman marry, and she realizes that she is pregnant soon after. It’s probably scary for both of them, but, uh. They’re both very happy. For a while.

But he’s a young man, so. When he is not out herding he has to protect the village livestock, and go out on raids. So he is often away from home. And she often finds herself alone. She does not fit in well with the villagers, right? Many of the men covet her, many of the women are jealous of her, and all are a little afraid of her. She’s very lonely, and misses her deer and her hills. At night, she sneaks out naked and roams the foothills, calling out to her herd, but they are too far away.

Months pass this way, and she is close to term. The herder desperately wants to be with her for the birth, but he is called away. They, uh-. The stories don’t usually elaborate why. He’s probably oathbound to protect his ruling clan’s khait, that sort of thing comes up a lot during the foaling season. You get- people always try to steal the foals as a, uh, political statement. It’s a whole thing.

Anyway, all he can think of is his wife and child, and he hurries back as soon as he can. His mother is waiting for him upon his return, and tells him that his wife gave birth in the night. Both new mother and child are safe and healthy, and the herder is now the father of a little boy.

He's sad to have missed it, but mostly just relieved that everything went alright. So he rushes to his home, all excited. But the house is empty. His wife and newborn are nowhere to be found, and the wildwoman’s clothes are shed in a pile beside the open door. There are prints leading away from the home, and he follows them as fast as he can. He’s running with all his might, you know, calling out for her, 'hey, come back'. He gets to the foothills, and looks up to the top of a great ridge. The doe is standing there next to a newborn fawn, all shaky on its little legs. He begs her not to leave, but she turns and runs away. By the time he gets up the ridge, both mother and child are long gone.

The herder has nothing else to do but go back to his old life. He is heartbroken. He did not realize she was so unhappy in the village, he was such a fool. He should have known better.

And he also should have long since been wed at his age, and is now, uh, kind of maybe divorced? His mother hates to see him sad, so she finds him many fine matches, all lovely young women. But he refuses them all. Probably causes all sorts of drama, it’s- uh. That sort of thing gets ugly.

So, after a while of this, the herder's friends and family pity him. They’re annoyed with him, really. They’ve figured it all out by now, and they just think he’s insane. He should feel lucky that he came away from a tryst with a wildwoman unharmed, right? It was never going to work. He should just move on. But he can’t. He doesn't want anyone else. He wants her, and he wants his son. He is so depressed that he falls ill, and can’t go up to pasture that summer. Everyone is just all, 'gods above this guy is so fucking useless', haha.

Um. It’s funny.

The next year, the herder is still depressed, but he's put himself together, a little. So he is back up in the mountain pasture again that summer. Days go by, but there is no sign of the deer herd, much less of his wife or child. He has never felt more alone.

Then, on the night of the new moon, he is awoken by the sound of hooves on rock. He cannot believe his eyes. The doe is back, and with her a strong young buck, just beginning to grow his first antler. The herder is overjoyed, he runs up to greet them. Both doe and buck change shape, and before him stands the wildwoman and a young boy. His bride is older now, so she has started to grow her beard and is much less beautiful. But he doesn’t care. He embraces her, and holds his little son for the very first time.

Uh, the herder can barely speak. He’s sobbing, he’s a mess. The wildwoman tells him she regrets leaving like that, and she's missed him too. But she needs the hills, she needs her herd. She can never be happy in his world.

They come to an agreement that night. They will have to spend most of their life apart, there’s no way around it. But they will meet again every summer, up in the mountain pastures. And their son is both human and wildfolk, so, maybe he can be happy in both worlds? They agree to hand him off year after year. The child will spend half of his life in the village with the humans and his father, and half of his life in the hills with the deer and his mother.

So, the family spends that summer together, and when the time comes to part, the herder returns to the village with his son. The child is rather eccentric. He's only a toddler, but can already run like a deer. He takes a long time to learn to speak. And he hates clothes. His father eventually gets him to stay dressed, but the kid never wears any shoes. His little feet are strong. Like, uh. Hooves.

Anyway, yeah, the herder misses his wife every day, and dreads each year that he will be apart from his son. But he can live with it. He knows he will see them both again.

And that’s how he spends the rest of his days. His son stays with his human father one year, and with his wildwoman mother the next, and all three meet together during the summer. It’s not a normal life for a herdsman by any means. He has no wife in the village to run his home and manage his livestock, and his son is often away, and-. Usually there’s a bit here where the kid grows up and has babies with, um, normal deer. So the herder doesn’t exactly have grandchildren either.

So, yeah. He lives a strange life, and he leaves no heirs behind, but he would not be happy any other way. Uh. That’s it.”

#The 'uh's and repetition might make this a pain to read but writing a story being interpreted and told in a character's voice/POV is #really fun for me.#A (PROBABLY CONDENSED LOL) version of this might appear in the final product it's like .~thematically significant~ or w/e #hill tribes #folklore

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folkdances · 2 months ago

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let’s talk about franziska and grief in justice for all.

the narrative that the games, at first glance, appear to be pushing is that franziska is aware edgeworth has not committed suicide. she repeatedly affirms this, most notably in turnabout bigtop, when she tells phoenix that she believes her brother to be alive and hiding somewhere. however, one thing we need to keep in mind is that franziska and edgeworth were not shown to be close in the interim between jfa and the prequel cases in aai — in fact, it would go against both their characters and the writing of their relationship for them to have kept in much contact at all.

franziska is, if anything, rooted in the past. her hair is cut almost boyishly short and choppy. she carries around a whip because she is so used to being spoken over and ignored, having started her career so young. her youth underlies her every professional achievement; and if not her youth, then her lineage. her physical design is meant to reflect the uniform of a jockey, and taking her aristocratic surname into account, it makes sense: horseback riding, obsessive as it is, remains a pastime for the social class she inhabits. it’s only logical that, in the absence of a real connection with her brother, she would base her understanding of his character on the most recent version of him that she knows, being the vain and easily affronted rookie prosecutor wracked between ambition and guilt that she grew up with. she has no way to know how to fill in the gaps between a suicide note and the brother she knew, because to her, there is no gap to fill in; it seems a logical conclusion to her brother's story and life that he would rather run away than face his own failures. it is consistent with the younger version of edgeworth that we see in trials and tribulations. it is difficult to reconcile that individual with someone who might actually take his own life, at least outwardly speaking. franziska has no hands-on knowledge of her brother and his mental state beyond what she might have seen in the press or heard filtered down from her father. it’s only natural that she draws the conclusion that he simply turned tail and ran away in order to preserve his dignity. it is an obvious conclusion to make.

however, this interpretation completely overlooks the fact that franziska is not stupid. she is well aware that her brother had very recently been 'betrayed' by the man to whose standards he strived to rise to almost his entire life and is aware that the driving force behind this desperation to prove himself was his father's murder. manfred von karma was their father; there is a tendency in both the games and their surrounding fanbase to portray the senior von karma as being nothing more than a teacher and mentor, but if we examine the (limited) dialogue the three share in aai, edgeworth and franziska address von karma as one might a particularly volatile and austere parental figure, and he responds in kind. he employs and underlines a pattern of the same types of verbal abuse and neglect present in many fictional case studies of the paternal abuser; to edgeworth, he shows the former and to franziska, often the latter (what comes to mind is a piece of dialogue wherein franziska, aged 13, asks her father if he will attend her courtroom debut, to which he responds, "i'll consider it"). she frequently demonstrates her emotional intelligence, again, particularly as a child, such as a short exchange in which von karma berates edgeworth rather cruelly and is met with silence. rather than let the topic linger, franziska very deliberately changes the subject, asking von karma who he thinks is the culprit behind the current investigation. later, when edgeworth thanks her for it, she acts as if she does not know what he's talking about.

back in the 'present day', her insistence that she defeat phoenix wright in order to avenge her family name is also rendered moot; franziska places a lot of pride in her family name, but her defense of her father is lackluster at best. she, too, is left to grapple with the weight of his legacy and has (seemingly) decided that her father simply does not live up to expectations. he instilled in her such strong convictions regarding the meaning of the law and the von karma family name, and it only makes sense that, once he failed so utterly to exemplify them, she would instead shift her understanding of those convictions onto herself and the only other person she believes she can see those qualities in, being miles edgeworth.

the initial theory, that franziska believes edgeworth to be in hiding, while a version of the truth, would not appear to be the truth to someone who has repeatedly demonstrated the emotional intelligence and understanding of the subject necessary to read between the so-called lines; to me, it is obvious that franziska believed, at least in large part, that edgeworth really had killed himself, and her actions and dialogue in jfa shift subtly into a much more interesting light if one runs with this interpretation. she goes from presenting herself — something i'm going to touch on in a moment — as an almost cartoonishly dense and vain girl into someone desperate to deny the truth staring her right in the face; that she has been virtually abandoned by every figure she loved and trusted in her life, left to uphold a legacy with no room for error, bound to rules so straight-edge and self-imposed that no single person could ever walk only in their light. anyone would resort to staunch denial — and franziska, so attached to her past, does so with aplomb.

finally, i want to point out that it's very easy to take franziska at face value. as unfortunate as it is, she's only present in four games — aai, aai2, jfa, and t&t — and she usually isn't in the majority of cases in those games. there is a stark yet subtle difference in her comportment in the investigations games, though, which can be very clearly explained: in every game she speaks to the player character, and in jfa, the player character is phoenix wright, her self-ascribed enemy. it makes complete sense that she would present herself a certain way, speak in certain manners, and act rash and overconfident in front of him, because she hates him.

all this to say, franziska is a very potent case study of grief and how it can change people, especially when that grief gets caught up in a messy tangle of ambition and a legacy whose stipulations border almost on mania. also, i love her very dearly and thought this would be interesting to talk about. obviously, this is not the entirety of the situation, as i mostly focused on franziska's relationship to edgeworth, but i think this is long enough as is.

#i'm crazy i'm crazyyyyy #ace attorney #franziska von karma #miles edgeworth #manfred von karma #txt #court record

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greenwire · 1 year ago

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Are all of these people now irredeemable bigots? Can we finally discuss ethics in medicine without being called Literally Hitler yet, or nah?

If you're not registered to vote and not in the US, you might not understand how HARD the far-right is flogging medical transition of children to argue their politics, especially the current attack on abortion rights. Because if doctors can and do act unethically, then why should we trust doctors and patients to come to their own decisions? The far right has never been small government when it comes to medicine and medical procedures you're allowed to get.

This - and by this I mean the push to transition, medical transition in minors and vulnerable adults - will set everyone's rights back for decades. Including, perhaps especially, the so-called "truly trans." If being told to complete counseling is oppression, if minors being prevented from seeking elective surgery is genocide, wait until the far right actually makes headway in the culture war by reposting Dr. "yeet the teats" tiktok videos.

#sources #like why medical transition in youth #children should wait until adulthood. there is so much time.#adult trans activists need to stop telling children that puberty will be ''too late''#adult TRAs need to stop telling children that they will die by 35 or commit suicide also #who does that help #puberty blockers

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wolverineluvr · 1 year ago

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(This is in response to an ask but I accidentally deleted it, so, whoever that was, here it is!<3)

You won't leave me.

Content Warning ⛈️: Suicide, attempted suicide, mentions of making reader limbless, kidnapping, nonconsensual nonsexual touching and kissing, suggestive thoughts and thoughts of r4pe! Reader uses she/her pronouns. Ft. Yandere Xiao, Scaramouche, Venti and Kazuha x reader!

So, just dark content! If you don't like it or can't handle it, please, just leave. If that sounds rude I apologize but don't read something you might not be able to handle! ♡

Summary🔎: They're finally leaving you alone for a little while, maybe, just maybe, you'll be able to escape?

Part 1

I don't condone these actions. If you are having thoughts about taking advantage of someone, do not do it and get help.

If you have thoughts about hurting yourself or commiting suicide, know that you aren't alone and please try to reach out for help.

Words: 1k!

Estimated read time: 5 minutes!

You hate it here. You can't even cry, when you do, you get coddled or yelled at. You haven't been left alone for a year. Showers, going to the bathroom, sleeping, eating, everything! You don't want to feel anymore. Everything hurts. You're so tired of it all. But, finally, you have some alone time. "I will miss you, Dove, but I don't have a choice! Xiao will be back quickly, alright? So you won't be alone!" Venti coos as he holds your cheek. When they leave, and come back, they always hold onto you so much. It's so horrible. You miss your friends.. You know not all of them are still alive. Some of them have even been killed right in front of you as a punishment for acting out! Just a little protest!

You nod in response to Venti, forcing back the tears that threaten to spill except, for the first time in a long time, they're tears of joy. You quickly snap out of it, though. "Oh, poor Dove! Don't cry my love," Venti says, reaching to cup your cheek. You didn't even realize you were crying. But you play along with Venti, you have to, or there's a chance he won't leave. "I'll just miss you so much!" You say, internally cringing as you force yourself to hug Venti. You make yourself cry harder, thinking of everyone you've ever cared about dead. It works. "Don't worry, my love, I'll be back soon enough!" Venti coos, as a grin breaks out on his youthful face. You know he doesn't really believe you. Venti pats and rubs your back, kissing your forehead before lifting your face up to his, pressing his lips to yours. Kissing you.

You want to scream, to tell him to stop, to leave you alone! But you just comply, kissing Venti back as you cry a little more. The kiss is vulnerable, soft, in Venti's mind at least. To you, it's invasive, predatory, disgusting. You hate it. You hate him. Venti breaks the kiss. "Buh bye my love! Don't do anything stupid, alright?" Venti smiles, petting your hair. You nod, looking at him as he kisses your cheek and walks out of the door, unlocking the many locks before leaving the house and relocking all of them. You're sure there are more locks outside. You breathe out a sigh of relief and joy, a grin breaking out on your face, one that you were holding back before.

You laugh to yourself, you probably look so stupid, don't you? You wipe your tears. They've proofed the house so you can't hurt yourself without it being painful, and they know knew that you couldn't do that, you're you were scared of pain. So it's picture frames after picture frames of them and you, no knives or sharp objects, no weapons, plastic baby utensils, baby cups, etc. It's so dehumanizing. But, not anymore.

You break everything you can in the house. One last picture frame stares at you. It's a picture of you, Xiao, Kazuha, Venti and Scaramouche. Although Scaramouche and Xiao didn't really want to be in the picturenot rlly w Xiao. You rip it off of the wall, throwing it against the ground like you've done all the others. Yeah, maybe that's wasted time. But you wanna get back at them. At least a little.

Route 1

(I have never attempted to hurt myself in such extreme, so forgive me if I don't write it correctly)

You pick up a shard of broken glass, you tightly grip the glass, causing yourself to bleed as the glass cuts into your palm. You wince. You press the glass to your wrist. But, you hesitate. You don't want it to hurt. But this is the only way to escape. But you don't want to die. You press the glass against your wrist, cutting into it. You wince, tears start to stream down your face again. It hurts. You take the glass from your wrist and wince as the cold air reaches the wound on your wrist. You move the glass down, cutting into it again, this time, lower. You continue to cut, until you feel dizzy from blood loss. You pass out.

You...

☆ bled out! ☆

Route 2

Suddenly, the door is broken open. It's Xiao. "What is it you think you're doing!?" Xiao yells, quickly at your side and puting pressure on your wrist wound. He flings the shard of glass out of your hand, it shatters on impact against the wall. You struggle to get away from Xiao, trying to move back as you sob. "No! Stop! Let go of me!" You yell, but Xiao grabs you by the back of your neck, stepping over the shattered glass and various other objects, and he brings you to the bathroom.

Xiao starts to bandage and patch up your wrist. You didn't cut too deep, you were scared after all. Xiao softens. "Come on." Xiao grunts, lifting you up and bringing you to the bedroom as you sob and plead. Normally, the ones with the worst punishments are Venti or Scaramouche, and sometimes Xiao. So that's what you assume is going to happen. "Shut up. I'm not going to hurt you." Xiao says, laying you down on the bed and laying beside you. He hugs you close to him. He's glad he got here before you did anything more. But he's angry. Angry that you tried to leave him.

Maybe he'll cut off your arms or legs so you can't run or do anything without him. Just a compliant little bird. He would feed you, bathe you, have you drink things, have you be absolutely unable to do anything as he slots himself in between your thighs(that's where your legs would end, just above your knees), sinking himself inside of you inch by inch-

"Xiao..?" You tiredly whisper, snapping himself out of his thoughts. "Yes?" Xiao says, sharply. "I-I'm sorry..." You murmur, barely awake. Xiao curtly nods in response. Xiao feels you cry as you start to fall asleep. It's been a few minutes, probably around ten or twenty. Huh. Guess he just lost track of time.

You fall asleep. When you wake, Scaramouche is yelling at Venti. "Why did you leave her alone!? You stupid archon!" Scaramouche yells, glaring at Venti. "Says the puppet." Venti snaps, glaring back. Kazuha is cooing to you, realizing you've woken. You're laying in-between his legs, your back against his stomach.

You...

☆ Survived without a punishment! ☆

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aronarchy · 2 years ago

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Why we don’t like it when children hit us back

To all the children who have ever been told to “respect” someone that hated them.

March 21, 2023

Even those of us that are disturbed by the thought of how widespread corporal punishment still is in all ranks of society are uncomfortable at the idea of a child defending themself using violence against their oppressors and abusers. A child who hits back proves that the adults “were right all along,” that their violence was justified. Even as they would cheer an adult victim for defending themself fiercely.

Even those “child rights advocates” imagine the right child victim as one who takes it without ever stopping to love “its” owners. Tear-stained and afraid, the child is too innocent to be hit in a guilt-free manner. No one likes to imagine the Brat as Victim—the child who does, according to adultist logic, deserve being hit, because they follow their desires, because they walk the world with their head high, because they talk back, because they are loud, because they are unapologetically here, and resistant to being cast in the role of guest of a world that is just not made for them.

If we are against corporal punishment, the brat is our gotcha, the proof that it is actually not that much of an injustice. The brat unsettles us, so much that the “bad seed” is a stock character in horror, a genre that is much permeated by the adult gaze (defined as “the way children are viewed, represented and portrayed by adults; and finally society’s conception of children and the way this is perpetuated within institutions, and inherent in all interactions with children”), where the adult fear for the subversion of the structures that keep children under control is very much represented.

It might be very well true that the Brat has something unnatural and sinister about them in this world, as they are at constant war with everything that has ever been created, since everything that has been created has been built with the purpose of subjugating them. This is why it feels unnatural to watch a child hitting back instead of cowering. We feel like it’s not right. We feel like history is staring back at us, and all the horror we felt at any rebel and wayward child who has ever lived, we are feeling right now for that reject of the construct of “childhood innocence.” The child who hits back is at such clash with our construction of childhood because we defined violence in all of its forms as the province of the adult, especially the adult in authority.

The adult has an explicit sanction by the state to do violence to the child, while the child has both a social and legal prohibition to even think of defending themself with their fists. Legislation such as “parent-child tort immunity” makes this clear. The adult’s designed place is as the one who hits, and has a right and even an encouragement to do so, the one who acts, as the person. The child’s designed place is as the one who gets hit, and has an obligation to accept that, as the one who suffers acts, as the object. When a child forcibly breaks out of their place, they are reversing the supposed “natural order” in a radical way.

This is why, for the youth liberationist, there should be nothing more beautiful to witness that the child who snaps. We have an unique horror for parricide, and a terrible indifference at the 450 children murdered every year by their parents in just the USA, without even mentioning all the indirect suicides caused by parental abuse. As a Psychology Today article about so-called “parricide” puts it:

Unlike adults who kill their parents, teenagers become parricide offenders when conditions in the home are intolerable but their alternatives are limited. Unlike adults, kids cannot simply leave. The law has made it a crime for young people to run away. Juveniles who commit parricide usually do consider running away, but many do not know any place where they can seek refuge. Those who do run are generally picked up and returned home, or go back on their own: Surviving on the streets is hardly a realistic alternative for youths with meager financial resources, limited education, and few skills.

By far, the severely abused child is the most frequently encountered type of offender. According to Paul Mones, a Los Angeles attorney who specializes in defending adolescent parricide offenders, more than 90 percent have been abused by their parents. In-depth portraits of such youths have frequently shown that they killed because they could no longer tolerate conditions at home. These children were psychologically abused by one or both parents and often suffered physical, sexual, and verbal abuse as well—and witnessed it given to others in the household. They did not typically have histories of severe mental illness or of serious and extensive delinquent behavior. They were not criminally sophisticated. For them, the killings represented an act of desperation—the only way out of a family situation they could no longer endure.

- Heide, Why Kids Kill Parents, 1992.

Despite these being the most frequent conditions of “parricide,” it still brings unique disgust to think about it for most people. The sympathy extended to murdering parents is never extended even to the most desperate child, who chose to kill to not be killed. They chose to stop enduring silently, and that was their greatest crime; that is the crime of the child who hits back. Hell, children aren’t even supposed to talk back. They are not supposed to be anything but grateful for the miserable pieces of space that adults carve out in a world hostile to children for them to live following adult rules. It isn’t rare for children to notice the adult monopoly on violence and force when they interact with figures like teachers, and the way they use words like “respect.” In fact, this social dynamic has been noticed quite often:

Sometimes people use “respect” to mean “treating someone like a person” and sometimes they use “respect” to mean “treating someone like an authority” and sometimes people who are used to being treated like an authority say “if you won’t respect me I won’t respect you” and they mean “if you won’t treat me like an authority I won’t treat you like a person” and they think they’re being fair but they aren’t, and it’s not okay.

(https://soycrates.tumblr.com/post/115633137923/stimmyabby-sometimes-people-use-respect-to-mean)

But it has received almost no condemnation in the public eye. No voices have raised to contrast the adult monopoly on violence towards child bodies and child minds. No voices have raised to praise the child who hits back. Because they do deserve praise. Because the child who sets their foot down and says this belongs to me, even when it’s something like their own body that they are claiming, is committing one of the most serious crimes against adult society, who wants them dispossessed.

Sources:

“The Adult Gaze: a tool of control and oppression,” https://livingwithoutschool.com/2021/07/29/the-adult-gaze-a-tool-of-control-and-oppression

“Filicide,” https://en.wikipedia.org/wiki/Filicide

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convenientalias · 5 months ago

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Why Nirvana in Fire Wins at Revenge Story with Identity Porn

Nirvana in Fire was my first ever cdrama that was a revenge story with identity porn. Since then, I've seen many other dramas along similar lines. A League of Nobleman. Blood of Youth. City of Streamer. Fighting for Love. Legend of Anle. Long Ballad. Princess Weiyoung. Rise of Phoenixes. Sword Dynasty. Weaving a Tale of Love. Word of Honor. Some of them are quite good but none of them really hit the same way. So, apart from the fact that it was the first one I ever watched, I thought I'd made a brief list of reasons why I think Nirvana in Fire is the best.

Lin Shu's Identity

I just appreciate that when shit went down and Lin Shu's whole family and army and many of his friends were killed and he became a man on the run, he was a full-grown man (okay, still pretty young, but definitely not a child) with his own life and even an army position.

A lot of these identity porn dramas will have their MCs meeting ppl for the first time in many years, in disguise, but they only knew these ppl when they were children. Childhood friends are great and all that, but can they hit as hard as the complicated, fleshed out relationships that Lin Shu had and lost? He had a friendship of many years with Jingyan. He had an engagement and a longstanding friendship with Nihuang. He has friends from the army, younger cousins playing the role of "we don't even understand what happened back then and maybe that's better", older friends and relations who he actually knew as an adult.

Simultaneously, his past identity increases the threat of discovery for Lin Shu. He's a known factor to many, many people in the capital. Yes, they think he's dead. But small things like a hazelnut allergy or his mannerisms or his previous friendships with people are still memorable enough that even with a completely different face, if he's not careful, he might give himself away. He's not infiltrating a group of strangers or people who only knew him as a kid. He's infiltrating a group of people who were close to him for many, many years of his life.

HOWEVER. Lin Shu's identity is not so important that everyone in the capital is still obsessed with him twelve years later (with some exceptions). This isn't Mysterious Lotus Casebook where we're all still pining for Li Xiangyi, because...

2. The Chiyan Case Wasn't Even About Lin Shu?? (Also, No One Cares About That Ancient History Anymore (Jingyan, Sit Down))

The Chiyan case wasn't about the Lin family at all, really.

No one specifically wanted Lin Shu dead or had a big grudge against his dad or anything. It's all about power, military and political. For some conspirators, it was just about getting a leg up in court. But mostly, it was about Prince Qi, the previous crown prince. The Lin family just happened to be friends with him and ended up in an uncomfortable (highly murderable and frameable) position.

Lin Shu may mourn his family, but for the majority of the show, he doesn't talk about it. He doesn't talk about his mother and his family back at the capital either committing suicide or being killed indiscriminately. He only mentions his father's name a handful of times in the whole show. Lin Shu's drive is that his father's ARMY was killed, tens of thousands of men. That's the weight on Lin Shu's shoulders: the death of all these innocent men because they were in the way. The Chiyan Case; the Chiyan Massacre. The denouement of Lin Shu's victory (not to give too many spoilers) is not just his father's name being cleared of a treason charge. It's when there's finally a memorial put up for the Chiyan Army, with memorial tablets that he can publicly visit to pay respects.

Why does this make it a better revenge story with identity porn? A couple reasons. First, Lin Shu is very much the center of the story and has very personal beef, but he treats himself like a tool and his objective isn't about himself or familial connections (they're part of it but they're not everything). He doesn't even know all the people he's avenging. That's fine; he'll still carry that weight. I just think it's neat.

Second, the fact that the Lin family (and the whole Chiyan Army) were really just collateral damage for getting rid of Prince Qi really emphasizes just how careless the current regime is of the value of human life.

Third, as Meng Zhi says when Lin Shu comes to the capital, everyone at court is busy with their own little power struggles and no one has time to care about Lin Shu or protect him. Lin Shu's like yeah that's fine :) I'm not anyone's focus anymore and the Lin family has been swept under the rug like we never existed :) and no one even talks about the Chiyan case anymore for fear of being accuse of treason :) that's all okay because I'm about TO MAKE THIS EVERYONE'S PROBLEM ANYWAY and honestly the fact that everyone's trying their hardest to forget will just make them more oblivious when I come to fuck them up.

3. All Of This is Whose Fault, Again?

That's right, folks, we're in a show that knows that when shit goes down at court and your family gets framed for treason and the emperor orders them executed, sure, you can blame the conspirators who framed them all you want, but also, YOU KIND OF DO HAVE TO BLAME THE EMPEROR.

People have said enough about how great this is on a thematic level of accountability but seriously I've seen so many shows dodge this. ~It's not the emperor's fault bc he was misled by these conspirators~ or ~the emperor is only a puppet emperor, if he actually had power instead of this evil person, he would put everything right.~ Or, if they dare to blame the emperor, maybe he's just an evil emperor and was bad all along. NIF says yeah, he was lied to on many levels. There was a whole complicated conspiracy going on and many people to blame. But he could have taken things slower. He could have required better evidence. He could have trusted people who had supported him for many years, at least enough to listen to their side of the story BEFORE KILLING THEM. And why didn't he? It's not because he's an idiot. It's because he's an emperor, and emperors don't like seeing other people gain enough power to even potentially become a threat. It's because he wasn't looking for the truth, he was looking for an excuse to kill. And he's not unusually evil for that; this kind of callousness towards murder and grasping for power at all costs is more the norm at court than any kind of honor or morality.

The Emperor's a nice guy sometimes! He used to fly kites with Lin Shu when he was young! His sons give him a headache, but honestly, relatable, they'd give you a headache too! He likes Consort Jing and honestly, who wouldn't! And he killed one of his sons, one of his closest friends, and an entire army, and he would do it again without hesitation. He's not especially evil. Being an emperor is bad enough.

4. Other Bad Guys

It's worth mentioning that Lin Shu's opponents are not stupid.

Xie Yu and Xia Jiang, Prince Yu and the Crown Prince, even the Empress and Noble Consort Yue: They aren't all geniuses, but they aren't idiots flailing around in spite. They're pretty smart, and if Lin Shu wants to take them down, he has to be smarter.

It's also worth mentioning that this is not one of those shows where the protagonist happens to take down his opponents mostly by standing still and just defending himself when they lash out at him. This seems like an obvious thing in a revenge drama, but the number of times I've seen the opposite, the protagonist swearing revenge and then just struggling with self preservation.... but no. Lin Shu has A Plan. He is going to be proactive and actually take his enemies down. Admittedly he will do this by revealing their past misdeeds but this isn't a case of "the misdeeds will just happen to pop up". This is a case of "I will actively unearth skeletons from where you threw them in a well in an abandoned manor".

TO SUM UP

Without going into the things that make Nirvana in Fire a great show in general (great acting, good pacing and plotting, good costuming, and so on and so forth) I think the main things that make it hit for me as a revenge story with identity porn are 1) letting the MC's past identity be that of a grown man who actually had a life (more connections to the past, but also more to lose and more danger in the present as a result), 2) the fact that the offense that the MC is avenging wasn't even like a personal thing to the offenders (bc! it's fucking infuriating!), 3) the fact that the drama is willing to face the root of the problem (the problem is both corruption at court and the fact that the highest arbiter is flawed, not just individual conspirators), 4) the supply of multiple good antagonists, and 5) LETTING THE MC ACTUALLY, ACTIVELY PURSUE REVENGE AND THAT'S THE MAIN PLOT AND WE AREN'T SPENDING MOST OF OUR SCREENTIME ON SIDEPLOTS AND ROMANCE OR MERE SELF PRESERVATION. These may not seem like large things but my friends, you would be surprised how many revenge dramas I've watched at this point that can't do them.

ok I'm done ranting. Feel like most of this is actually stating the obvious but I'm just in a mood and had to get it out. (...also possibly I've been let down by some revenge dramas lately but I won't get into it. it's okay. we can't all be Nirvana in Fire; only Nirvana in Fire can be Nirvana in Fire.)

#nirvana in fire #just some ramblings really

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