#almost done with episode one specifically

[prestonmonterey]

if you got to live in one of the seven *cough cough eight cough* kingdoms, which would it be?

options:

- corona

- galcrest

- ingvarr

- pittsford

- koto

- neserdnia

- bayangor

- selene/sceptra/dark kingdom

hmmmm

i mean

somehow corona seems the most functional from what i remember?

which is honestly. such a low bar.

but uhh

yeah i mean like

dark kingdom pre evil moonstone stuff

otherwise

i guess

corona

[cryptvokeeper]

once again begging hoping praying for zom 100 to blow up and get a bigger fandom this time because Akira is the protagonist ever. You guys could break him down to a single personality trait and misinterpret his character in so many ways the possibilities are endless.

you want a pathetic sad poor little meow meow? he can be that!

You want the plucky shounen protag whos uplifting the whole cast and changing the narrative singlehandedly? he's that too!

you want a dumb himbo with not a thought behind the eyes? boy do you got it!

You want a sorta nerdy socially awkward loser? Akira Tendou babey!!!

You want an anticapitalist king who says eat the rich? well maybe not totally that one cuz of that one time but i mean the themes of the story are definitely there-

[meetsthebones]

impossible planet + satan's pit such goooood dw episodes. ive seen fake gods and bad gods and demigods and would-be gods but out of all that out of that whole pantheon if i believe in one thing just one thing i believe in her!!!!!!!!!!!!!!!!!!!

[godzexperiment]

*posts that brain rot only to post more xD* -nix encountering gabriel is quite literally an inner dialogue like "ah yes I can work with fellow victim of Cosmic Horrors, if I am tolerated and just maybe ignore my own issues." (could be bloody, having just done some fatal stabbings *highly moody* and nix is just like unphased by it) -ironically, in contrast encountering michael for nix would be far more terrifying for nix (his internal everything would be like 'neat- this is cool and he seems pretty adjusted... so how about you feel like you're in extreme danger despite that' and nix is just forced to be cagey as shit more than normal by forces out of his control)

[prozach27]

.

[neo--queen--serenity]

This episode really highlighted how close Marcille, Laios, and Chilchuck actually are.

The viewer is used to seeing our main characters behave like coworkers up to this point—even friends—and they express normal, understandable levels of concern and fear when their other party members are in danger. But when the nightmare attacked Marcille, it brought out sides of Laios and Chilchuck that the viewer hadn’t seen before.

Laios immediately notices when something is wrong with Marcille, and he tells the others as soon as he’s sure of the problem. Chilchuck and Senshi then follow Laios’ lead as it becomes clear that he intends to make her get some rest.

We see Chilchuck’s hands lay out the bedroll and Senshi’s hands set up the pillow, working in almost perfect tandem as Laios physically wrangles Marcille into bed.

Senshi is in a similar perspective as the viewer, and mostly sits and watches the ordeal unfold. He doesn’t have a shared history, like these three do, so he helps in little ways, but mostly waits on standby for direction.

From here on out, it’s mostly Laios and Chilchuck who take over in planning how to help her.

It’s uncommon for Chilchuck to openly show such distress and worry for one of his party members. He’s used to Marcille being able to defend herself; he’s used to her being capable and strong. He immediately defers to Laios for instruction, (rightly) assuming he will know what to do.

This actually produces a reaction close to real fear from Chilchuck, who outright SMACKS her in a panic to wake her up before getting any further information.

Laios has to quickly stop him, explaining that he could truly hurt her if he interrupts the attack this way. He tells them how he’s going to wake her, and he doesn’t hesitate. He jumps straight in, explaining what he’s doing for the others so that they (Chilchuck) won’t be afraid.

Chilchuck doesn’t question him once. He just does what he can to hurry along the process. He tucks Laios in with his blanket as soon as he lays onto Marcille—an unnecessary action that betrays how much he cares for both of them.

And Laios succeeds in helping Marcille out of the nightmare’s grasp. While trapped in her mind, he reassures her, protects her, tells her how much she’s valued and appreciated. He isn’t embarrassed or sheepish about it, either; he openly declares these things like it’s the most normal and obvious thing in the world.

He gets her out, he saves her. He did the exact thing he set out to do, even though he’d never done it before, and only had Falin’s secondhand information to work with.

Once he wakes, Chilchuck immediately checks on him to see if he’s alright. Chilchuck is clearly still rattled, displeased with having to wait while both of his close friends were unconscious, fighting a battle neither he nor Senshi could see or help with.

Marcille wakes up shortly after Laios, but Chilchuck is still on edge, worrying that she’ll fall back asleep. Laios, too, has a moment of alarm when he makes sure she won’t close her eyes again.

Once he takes the subdued nightmares out of Marcille’s pillow, only then do Laios and Chilchuck relax.

Laios, for his part, remained calm and collected almost the entire time. He did not show panic or fear when it became clear that Marcille was being attacked, nor when he told the rest of the party what he’d be doing to help her. And once the nightmares had been collected from her bedroll, he gently explained what happened, to everyone else’s horror.

Seeing this, it’s not a huge surprise that the Touden party is so successful. We’ve seen Laios handle danger with a level head; we know he’s capable.

But it’s an entirely different kind of talent to face a threat that’s targeting one of your closest friends—which can make even the most competent fighter sloppy out of fear of losing them—one that requires a high-risk, specific rescue style that none of you have ever tried before. And then pull it off flawlessly. Like damn, these guys are lucky to have him.

[risestarkiss]

The “Ba” in “Baja”

Rise Ramblings #628

Mikey and Leo. Baja Blast. The Tide Pod Duo. Although this duo has limited dedicated screen time, they are an absolute joy to watch. First and foremost, you can’t help but notice how Leo does nothing but try to protect the little bean.

He’ll bend over backwards just to keep his baby brother safe.

Leo will also offer emotional support in very dire times.

It’s just so nice to see them together. Plus, you can tell that Leo loves Mikey to pieces.

Even when Leo’s being annoying.

All of these traits are expected from big brother Leo. However, it’s the other side of this relationship that I find intriguing.

Let’s discuss Mikey and how he interacts with the blue one.

I’ve summarized my thoughts about Mikey’s half of their relationship into two parts: “Emulate” & “Outdo.”

As the youngest of the four, it’s natural for Michelangelo to look up to his older brothers. Yet, throughout the show, I believe that Mikey seems to emulate Leo the most.

This thought leads directly into the “Outdo” portion of my hypothesis.

I've noticed that a competitive streak emerges in Mikey when Leo is in the picture, a streak that I cannot say I’ve seen him express with any of his other brothers, April, or even their rivals. It’s unique just to Leo.

It’s almost as if there is some driving force within Mikey that wants to prove something to Leon.

When it comes to Leo, Mikey is suddenly determined to see who’s the strongest, best, or fastest between them.

(I compiled all of the Air Hockey scenes from the episode, “Mrs. Cuddles”)

The most compelling aspect of their relationship is that this competitive streak seems to be one-sided, at least initially. It's almost as if Leo feels like he doesn't have to prove anything to Angelo.

Eventually, though, Mikey goads Leo into competing with him, and Leo gives in if not but to defend his title, satiate Orange, and give his antagonizer what he’s looking for. (It’s a “you mess with the bull, you get the horns” type of thing.)

Why does this dynamic exist? Who’s to say. But I believe that the dissonance between these two comes from Leo seeing their relationship as “Protector – Protectee” while Mikey sees Leo as a rival, or more specifically, Leo is the goalpost that Michelangelo has tasked himself with surpassing.

In my opinion, the concept of Mikey seeing Leo’s accomplishments as something he needs to “Emulate” & “Outdo” is a compliment in it’s simplest form. Mikey thinks that Leo is so great and awesome that he wants to be just as awesome, and even better than the brother he respects and looks up to so much.

…Or maybe Mikey just wants to knock Leo down a peg or two.

I can’t say that I’d blame him.

Also, do you know why Mikey is the “Ba” in “Baja?”

Because Leo is the "Jajajajajajaja" *laughs in Spanish*

All right. I’m done.

[youkissedareaderinthedark]

Grill the Kid

Synopsis: Y/n is the favorite for Grill the Grid. A few of the 2023 episodes are a reminder why.

young female driver reader x 2023 F1 Grid

A/N: a couple things; team doesn’t really matter here, I’m just using the drivers shown in the videos. i’m also using a challenge from previous years to make it more interesting

Grill the Grid Episode 1: Driver Heights

You walk in to see a tall easel. “Oh, what’s this for?” You ask Rosanna, the host of the games.

“We’ve got a heigh chart and magnets with all the driver’s names on them. And you’ve got to place them in height order in two minutes”

You nod. “I can do that”

“You ready? 3, 2, 1, go”

“Okay, how am I gonna do this?” You say, asking no one in specific.

“Let’s just do this in order I see them- actually, wait” You search for two names specifically, then slap one at the very top, the other at the bottom.

“We’re gonna put Yuki right below my name, he’s not as tall as me, but he’s close”

“Then...um...who’s the next tallest? Estie or Alex?” You look to Rosanna as if she can tell you.

“We’ll do Estie, Alex, then, Stroll, I guess? Lance is pretty tall, he can go right there” You flip through the magnets in your hands, eyebrows furrowed.

“Should we do shortest to tallest then? That might be easier”

“Lando is, of course, a midget and belongs all the way down there” You crouch, placing your friend’s name at the bottom with a grin.

“Who else is short? Fernando and Checo, they’re pretty short. I think Fernando is shorter than Checo, though”

“Umm, Lewis isn’t that tall, oh! Neither is Valtteri, sorry Valtteri. KMag, he’s also not super tall”

“I think from then on, everyone else is kinda similar in height- actually no, Pierre thinks that he’s tall, he’s not”

“Max- is Max tall? He might be, he’s just not tall in my mind. We’ll put him in the middle. Charles, we’ll put him right next to Max” A cheeky smile suddenly comes on to your face.

“Zhou is kinda tall, maybe, but we’ll put him below Charles and Max”

“Oscar? See, again he’s not tall in my mind, but he might actually be tall, so I don’t know. I’ll put him above Zhou but below Charles and Max, that might work”

“Carlos, uh, he can be tall, we’ll put him above right below Charles and Max”

“Oh, Hulk! He’s tall, Nico’s tall, we’ll put him below Alex and in front of Lance”

“Last person is Logan, he’s tall, I think, not that tall though, maybe below Lance” You place the last name on the chart.

“Okay, I’m done, I did great, but you can tell me what you think is wrong, anyways” you say jokingly, smiling at Rosanna.

“So, Y/n, I’m sorry to tell you but you are not the tallest on the grid” Rosanna says in front of you, fake sympathy on her face.

“What do you mean? Of course I am, I tower above everyone, clearly” You gesture to yourself.

“Okay then, well, Yuki is not the second tallest” The woman says as you shake your head.

“Rosie, I don’t know what you see, but Yuki is almost as tall as me” You look up to see her sighing.

“Are you really not going to change it?”

“There’s nothing to change” You smile, shrugging. “Alright then. Esteban is the-“ She pauses, then plays along with your game. “The third tallest” You smile successfully.

“Then in your books, I guess, Alex is the fourth tallest, and George- what did George do to you that made you put him on the bottom?”

“He’s George, that’s enough sometimes” You see Rosanna face palm, then ask again, “You’re not going to change his?”

“Nope” You shake your head. “Okay- moving on, you got Nico and Lance right. Max is actually taller than Logan, then goes Charles- are you not going to change them either?” She exclaims, exhasperated already.

“No” you say simply. She sighs. “So Charles, you got Oscar and Carlos wrong, Oscar is taller than Carlos”

“Really? He’s taller than Carlos? Okay, I’ll move them”

“Pierre goes right below Carlos, then Kevin-” You cut her off. “Actually? Wow, I was wrong”

“Yes, somehow” Rosanna rolls her eyes playfully.“Then comes Zhou, he’s shorter than KMag, then Lewis, he’s taller than Sergio. Checo is taller than Valtteri, then Fernando, and then Lando”

She finishes, refraining from voicing her opinion about yours and Yuki’s heights. “So I got them all right!” You exclaim, grinning. “Sure Y/n, you got them all right”

Grill the Grid Episode 2: Geography

“Alright, here we go” You walk into the studio, greeting Rosanna and everyone else behind the cameras as you go. “What’re we doing today?” You ask, standing on the mark on the floor.

Rosanna smirks, and you know this isn’t going to go well. “Geography”

Your face falls.

“In fifteen seconds”

Your jaw drops.

“Oh my god, I hate this game”

She hands you the clipboard. “You ready?”

“No” You deadpan.

“Okay, 3, 2, 1, go” She ignores you and starts the timer.

And then you’re dotting the paper frantically, your eyes trying to keep up with your hands. “Ten seconds”

“Shut up” you say dryly, but you’re grinning.

“Where’s Monaco?” You mutter.

“Five seconds”

“No”

“Time’s up” she tells you, the alarm going off in front of you.

“Wait” Your eyes quickly scanning the paper. “Okay, I’m done” You look up.

“The timer’s been off for like, ten seconds” Rosanna laughs.

“Oh well”

“Okay, Y/n, show me what you’ve done” You grin, turning the clipboard around to reveal a messily dotted paper.

“Oh my”

“Good, right?”

“It’s certainly something”

“Yeah, something amazing”

“Sure, Y/n. Tell me what it’s supposed to be”

“Okay so, we have Miami, Texas, Las Vegas” You point to the US on the map.

“You’ve got that bit right”

“Then Mexico, and Montreal is somewhere up here” You gesture to Canada. “Not where Mexico City or Montreal are, but I’ll give you the point”

“Australia, Brazil, and the UK”

“Yeah, then what’s the mess on the rest of Europe?” You grin. “There’s Russia, Singapore is like, down here”

“Russia’s right, Singapore isn’t”

You give her a look. “What? You got them wrong!”

“How am I supposed to win if you tell me I get them wrong?”

“Maybe you won’t win then. C’mon-”

You cut her off. “Are you doubting my skills? Fine, I’ll show you. Japan is here-”

“No it’s not”

“This is Italy”

“That one’s right”

“Belgium is here”

“Nope”

“This is the Netherlands”

“Switzerland, actually”

“That’s Bahrain” Rosanna shakes her head. “It’s not”

“Saudia Arabia is here”

“That’s right”

“See, I told you I know my stuff” You tap your head with the marker and grin.

“You’ve got like six wrong”

“That’s Baku”

“Not even close”

“And then there’s Monaco” “You did get that one” You smile proudly.

“Spain”

“Yeah”

“Austria?”

“You were on a streak! Not Austria”

“Hungary”

“You are back to being wrong”

“Qatar”

“Yes, that’s Qatar”

“And Abu Dhabi” You finish.

“And no. Congrats Y/n, you got 14/23 right”

“Yeah, I always get it right”

“I- okay Y/n”

Grill the Grid Episode 3: Youngest to Oldest

“Hi” You sing-song as you walk into the studio and on the mark on the floor.

“Today Y/n, you’re going to put the drivers on the grid in their age order, from the youngest at the top and oldest at the bottom. You have two minutes” Rosanna says, giving you 20 magnets with each driver’s name on them.

“Are you ready?” She asks as you flip through each name.

“Yeah, why not”

“3, 2, 1, go”

“Alright this is gonna be easy. Let’s find oldest and youngest first, so me, I go at the very top, and then... Fernando right here, goes all the way to the bottom” You turn to grin at the camera.

“I believe Oscar is the next youngest, and then Logan? He’s besties with Oscar and that means they’re the same age so yeah, Logan”

You flip through a few more, and suddenly pause.“Um, how old is Zhou? He’s gotta be like, 21? 22? We’ll put him above Logan”

“Then Lando, oh and Yuki, he turned 22 or 23 a few months ago?” You know you’re not getting any answers, you never do, but you ask anyway.

“Or maybe they’re the same age! Yeah, let’s go with that, Lando and Yuki same age”

“Then... Okay, this isn’t easy, who’s next? How old is Charles? I’m gonna say 25 because he’s definitely not 26 and I don’t think anyone is younger than him. So, Charles, I think Pierre because again, they’re besties and that means they’re the same age- or no, Pierre is like, a little older”

“And Max, he’s young, he’s 25 so- oh no”

“Is Pierre older than Max?”

“How old is- Pierre is 26 right? So it goes Chares, Max, then Pierre”

“No because how old is Alex? He’s gotta be like 25 right? He can’t be- how old is George?”

“Oh my god, because see, in my mind, George is like 27 but I know-”

You pause.

“I don't think that’s true so- but how old is Alex?”

“Oh jeez” You cover your face with your hands.

“Alright, let’s do me, Oscar, Logan, Zhou, Lando and Yuki, Alex, Charles, George, Max, Pierre, and then Esteban to top it all off. That makes sense”

“That brings us to like 26-wait! How old is Lance?” You groan and throw your hands up.

“He’s either 24, 25, or 26. We’ll put him in front of Pierre and behind Estie” You look at your work and nod.

“And Carlos! He’s like 27, maybe, so after Esteban, probably”

“Yeah, okay, I think after that no one else is in their twenties, so thirties”

“KMag is 31 I think, Checo is- Checo's on the younger side, 33 or like, 35, I don’t know”

“Bottas is somewhere in between, low thirties I’m gonna say, so after Checo”

“Then Hulk, I think he’s 35 actually, so we’ll put him in front of Valtteri” 

“And then Lewis right under Fernando. Wow, that was easy, I’m so good at this game” You place the last magnet and turn to grin at Rosanna.

“So, you got the first three right, but Yuki is the fourth youngest, then Lando, and then Zhou”

“I was close”

“Then Lance, George, and Charles”

You make a face. “Not so good then”

“Next goes Max, Esteban, and Alex”

“And you got the last seven correct, so you did okay”

“I think I should get extra points for trying though”

“No, Y/n”

(I only did 3 episodes because these were the only ones that I could really make a story out of, so… the end)

[tiredmamaissy]

Ralak te Sepawn ieyk’itan: Special Episode VI 

Labor of Love - Part II

Masterlist ; Rut/Heat/Knotting Info

🔞 minors, do not interact 🔞

Hyperlinks are attached to specific paragraphs that when clicked on will lead you to its illustration by Ralak's insanely talented creator @zestys-stuff. Thank you so much for allowing me to play around with your characters!

Characters: Metkayina!Ralak (25) x Sully!Omaticaya!Reader (20) featuring Metkayina!Zu’té (29)

Warnings: zero smut, angst angst angst, mention of past trauma, expletives, pregnancy, contractions, heavily described labour, blood, mild physical violence, reader is really going through it, ralak is too but he'll be alright i promise, brother!neteyam makes a star appearance, cute family fluff, let me know if i forgot anything

Word Count: 6.5k

Requested: Yes || No

Author’s Note: Hope you're enjoying your tour in angst town...we're almost finished. You could say we're nearing the final attraction, so continue to keep your seatbelts buckled. lol why am i like this? anyways... please don't hate me for this chapter, and i will try my best to get the next one out quicker so you guys can get some closure lool :)

Synopsis: You didn't plan for things to turn out this way. But no amount of denial can make reality go away...

<- Previous -> Next

And when Ralak sees it, he almost caves in on himself. His mask of indifference—of intimidation, cracks. Hell, it shatters. Into thousands of pieces, scattered at his feet. Tonowari’s previous right hand. The banished.  His karyu.

Time chips by at a torturous pace. You spend the first hour sitting on the beach, eating some fruit whilst watching what your brothers get up to. Neteyam, of course, is bearing most of the responsibility whilst Lo’ak and Tuk are taking a more easy approach to the day. Mom and dad made sure to leave them with a list of things to get done whilst they’re away—number one being to keep an eye on their sisters. 

Number one, check. 

All that floods your mind is your mate and if he’s okay. You try to process everything he’s said but it’s all too much to wrap your head around. All too new. Your brothers aren’t much help either, as they claim to be ‘out the loop’ as much as you are. You know it's bullshit, and probably just another thing that they’ve been ordered to keep from you so as not to ‘stress you out’. 

Regardless, it’s all you can think about. 

Until you feel your son do a flip in your womb, big enough to make you gasp. Your hands immediately fly to your belly, feeling around to gauge his position. A pressure begins to grow against your bladder. One so intense it presses into your tailbone too. The pads of your fingers sink into the skin, tapping around as you make out a leg, then a knee. A hand to the left. 

Is he…head down? You think to yourself. 

“Everything alright?” Neteyam asks, concern wrinkling his forehead.  

“Hm?” You look up, seeing the outline of his silhouette in front of the sun. 

“You okay? You’re…you look a little—”

“Oh, yeah. Everything’s fine. He’s moving a lot today.” You smile, catching Tuk excitedly running over in the corner of your eye. 

“Really? Can I feel? Please?” She squeals excitedly, falling to her knees in the sand next to you. 

“Of course, Tuk.” You smile, and place her hand on top of your stomach, right where his foot is. Only a few seconds pass by until your son gives Tuk a strong kick, making her mouth open with glee. 

“Wow! Tey, you gotta feel this!” Tuk exclaims, tugging your brother by the hand so he’s next to you too. Neteyam looks at you, unsure if you’re okay with it. You nod with a gentle smile, tugging his hand over to the other side of your stomach. His hand hovers as he hesitates for a moment, this is his first time feeling his nephew move. He gives you a final look, and gently rests his hand on your belly

A few moments pass and nothing. 

“Aww, he stopped moving.” Tuk sighs with a pout. 

“Patience, Tuk.” You whisper, feeling him kick on cue. Her face lights up with a beaming smile and Neteyam seems to be in awe with wide eyes and slightly parted lips. 

“Woah, y/n. Your tummy’s getting hard.” Tuk says innocently, looking at her brother to see if he feels it too. 

“Hm?” You hum, feeling a bit spaced out and achy.   

“It is.” Neteyam lets go and keeps his hands to himself, feeling like he’s invading your personal space. A heat floods your back, and you feel your thighs spasm. You begin to groan, holding your breath until the strange feeling subsides. “Hey. You okay?” 

You nod, finally release your breath, and hear Tuk’s excited voice. “It’s all soft now!” 

“All good.” You smile, but Neteyam doesn’t seem convinced at all. “Ronal says they are normal. They aren’t the real thing. Mom had them with Tuk, remember?” 

Neteyams' features soften as he nods, prying his little sister's hands off of you. “Ease up now, Tuk.” 

“Sorry, sis.” She says quietly, ears laying flat to her head. 

“Nothing to be sorry about.” You say as you roll to your side to get up, shamelessly using Neteyam to gain some momentum. “Think it’s time for me to take a walk, though.” 

“Yes, sure. Where are we going?” Neteyam asks, ready to accompany you anywhere.

“I’m going down to the rocks.” You emphasise on the first word, making it clear you need some alone time after being babysat all day. “I think Lo’ak needs some help with the net.”

Neteyam and Tuk look over to see their brother struggling with a tangled fishing net, and turn back to see that you’re already waddling down the beach. 

——

Suddenly, Ralak’s back inside of his family marui pod on his iknimaya night. Trapped. Small. Powerless. Cornered by a person he once looked up to. A person he trusted. Manipulated by her heat— her pheromones. A crime punishable by banishment. Forced to give, forced to receive. A betrayal he’ll never forget. A face he swore to himself that he would never see again. 

No wonder they ‘demanded’ his presence.

Tonowari and Ronal lose their colour when their eyes land on her. It’s been so many years. They quickly look over to Ralak, who is seemingly falling to pieces where he stands. The expression on his face is no short of pure shock and… terror. Truthfully, the last time they’d seen such an expression on his face was the deaths of his parents and spirit brother. Jake and Neytiri aren’t aware of what’s going on, but they know it must be serious for Ralak to be so…expressive. 

They can even see his shoulders heave from how hard he’s breathing, and how his face of terror quickly morphs into something of fury. Tonowari notices the way he tightens his grip on his weapon, and his eyes as they gloss over red with rage. It takes a lot to make this man blind with anger. Tonowari knows if he doesn't step in now that this could turn sour in the blink of an eye. 

——

Two.

Releasing a shaky exhale, you begin your walk back to your siblings. That was the second ‘practice’ contraction you’ve had since starting your walk, and your third since coming here with your brothers. Your waddle is becoming more sluggish with each step and the fire in your back is beginning to burn hotter rather than fade out. 

“Not now, little one.” You whisper as you caress your bump. “…please.” 

Weariness sets in as you make it halfway back, making you perch on your knees to take a break. The fire spreads from your back to your thighs, and up your stomach. You brace yourself for the tight feeling, holding your breath in the base of your chest. You grumble a little, swaying side to side until it passes, which thankfully doesn’t take more than a few seconds. 

Three.

Finally making it back to the beach, you see Neteyam and Lo’ak hauling a few sacks on their backs, with Tuk skipping behind them. You overhear Lo’ak trying to convince Neteyam to let him be with the other warriors, and Neteyam reminding him of your parents orders. They stop mid sentence when they hear your heavy, muffled footsteps, taking one look at you and knowing that something isn’t right. Lo’ak in particular, to your surprise. 

“Damn. You look exhausted.” Lo’ak says, earning a jab in the rib by Neteyams elbow. “What? She looks like she’s about to pass out.” 

“You can’t say that to a pregnant woman, skxawng [idiot].” Neteyam hisses.

“It’s fine. He’s not wrong.” You say, tail dragging low and heavy behind you. Ralak still clouds your mind, and you’re eager to know if he’s back yet. “I want to go home now. I really need to lie down.” 

Neteyam just nods, understanding that something deeper is going on. “I will take you.” 

“I got it, bro.” Lo’ak interjects, plunking the sack off his back and onto the ground.  

“Stay with Tuk.” Neteyam orders, clicking for his skimwing. 

“Why don’t you stay with Tuk?” Lo’ak snaps back. 

“Guys. Please?” You sigh, waddling towards the winged beast, throwing a leg over its tough back. “I’ll see you tomorrow. Come ‘teyam.” Neteyam smirks, making the bond with the beast and mounting it in one swift move. 

As you arrive at your marui, you see Zu’té at the outside fire pit, concentrating on not burning yet another type of meat-on-a-stick. Hearing your arrival, Zu’té turns and acknowledges your presence. He puts down the sizzling meat on a leaf, allowing the fire to continue to burn as he begins to make his way over to collect you. Neteyam and him exchange glances and silent greetings, and suddenly the air is thick. 

“Right…I’m going up. Thank you, tey. See you.” You say out of breath, giving him a quick hug.

“Let me—” Neteyam begins.

“No, I’m okay.” You cut off your brother, hualing yourself off the tsurak. 

“Right. Kìyevame [see you again soon]. If you need me, send your watchdog.” He speaks clearly, holding you by the wrist to steady you as you get off. 

“I will, tey.” You chuckle lightly and make your way to the marui. Neteyam waits patiently, making sure you get in safely. 

Zu’té is only half way there when you reach the bottom step, already offering his arm for the stairs. You sigh and shake your head, hurriedly climbing the stairs as fast as your swollen ankles will allow it. For some reason, his gesture really annoys you. Your mood is off and you feel queasy and achy—like your entire body is throbbing. 

All you want is for everyone around you to stop babying you, and let you be alone for the rest of the day. 

“I got it.” Your voice strains as you wobble ahead, leaving Zu’té and your brother behind. Neteyam remains silent for some time, locking eyes with Zu’té. 

‘Keep a close eye.’ Neteyam signs with disquiet wrinkling his forehead. Zu’té gives him a puzzled look at first, but slowly nods when he successfully deciphers the message. Neteyam nods as well and dives underwater. 

By the time Zu’té gets to the bottom step, you’re already at the top, clutching onto the railing as you lean forward in pain. You couldn’t even make it into the pod without another hitting you so soon. You take a few deep breaths rather than holding it in, waiting until the tight feeling subsides. 

Four.

Zu’té darts up the stairs to your side, offering a hand in support only to be swatted away. “What is it?”

“It is nothing.” You catch your breath and insist that it was nothing—because it was nothing, right?

His brows furrow in disbelief, a look of concern washing over his face. Zu’té allows his eyes to fall to your bulging, veiny belly for the first time, taking in the sight. “You were in pain.”

“I’m fine.” You’re short with him, stony eyes staring into his.

“Someone once told me no good comes from pretending that things don’t hurt.” 

“Well nothing’s happening until my husband is back. Okay?” You try to remain nonchalant, to believe your own words. 

He simply stares down at you for a bit, analysing your facial expression. Despite your stone cold facade, he can easily  see the fear etched into your features. Fear that this baby may come before Ralaks return and that if you allow yourself to accept reality, then it may really come true. He glances down at your hand still stuck to the side of your stomach and swallows, looking back up to you. 

“Understood.” 

“Right. Now...” You huff, contemplating if you should say what you want to say. You feel like telling him to back off—to give you some space. But he’s obviously just making sure you’re okay. “...I need to lie down. Just, keep an eye out for—” 

“My brother? Sure. Rest well.” 

——

“Ay’ana.” 

The Olo’eyktan lets out a lengthy growl, earning a look from the traitor herself. 

“Waari.” She sings with a grin, shifting her leer to his mate behind him. “Ronal.” Her eyes fall to her swollen belly, “You are expecting…again.” 

It wasn’t a, ‘congratulations’ either, no. But rather a ‘I see that you are the most vulnerable.’

Ronal scowls, hissing through her teeth. Tonowari steps in front of his mate, blocking her from Ay’ana’s view. 

It was one thing to commit kawngkem [a crime; evil deed] and be banished for it, but it’s another to seek uturu with the enemy. She is no longer considered to be among the ‘banished’, but is now the ‘enemy’. 

Ay’ana looks behind Tonowari, not at Ronal, but at the two deeper skinned, slender na’vis. She scoffs, the corner of her mouth pulling into an evil smirk, revealing her sharpened teeth. Tonowaris eyes widen when he sees that she’s completely adapted to this vile peoples’ ways by putting a file to her teeth. Her eyes flick past them to the last person, the most important. 

“Ralak.” She slowly moans his name as she peers up at him with sultry eyes, allowing her tongue to glaze over her canines. “Such a pleasure.” Ralak winces, chest heaving violently as it fills with repulsion and loathing. “Ah. I remember you being quiet, but not this quiet. Nothing to say to your karyu?”

——

A couple hours have passed and the pain is enough to disrupt your rest. The sunlight dulls with each passing minute, casting a familiar orange hue into the marui. It comes in waves, rippling through you like a bolt of lightning striking the tallest tree in the forest. Making it hard to tell yourself that things are okay—making it hard to keep things quiet. 

“Agh!” You groan suddenly, feeling another jolt of electricity shoot up your spine. It stops you in your tracks, the tracks you’ve been burning into the floor with your constant, nervous pacing. You quiet down into a whisper, “...please wait for your sempu [daddy], my child.” 

“You—uhm.” You hear Zu’té clear his throat at the door, projecting his voice so that you can hear him through the curtain, “You alright in there?”

“Mmn—yes! Fine.” You grate out, making your way back to the bed to lie down. Your feet are so sore.

“Hungry?” He asks, food in hand in the case you were. 

“‘m not.” You try to speak up, but you’re still in the height of the contraction. 

He grits his teeth, leaning into the frame of the marui door. “I didn’t burn it this time.” 

You wish you could laugh, but you can’t even muster up the strength to raise your voice.

Zu’té lingers at the door quietly, knowing plain as day that you weren’t okay. “...what about water?” 

“No...I’ve got.” You say at a normal volume, finally released from the constraints of your pain. 

You begin closing your eyes in hopes that sleep may find you, even if it's just for a few minutes. Zu’té remains at the door for a moment longer, feeling so helpless and useless. He sinks back to the floor, putting down the meat and picking up a new, special piece to weave. 

Weaving passed the time, distracting him from the tiny sounds that managed to escape your mouth. 

Until night fell, and those tiny sounds morphed into deep, lengthy groans and high pitched wails. 

——

“Let us begin.” Tonowari speaks over Ay’ana, averting all attention back to their leader, another female that goes by the name of ‘Varang’. 

She’s almost grey in colour, embellished with a red headpiece that resembles something of an ikrans wings. Her eyes narrow as she looks straight at Tonowari, standing close to his height. 

“Let us.” She hisses with a smile, leading Tonowari to a smaller, private room sectioned by a leather curtain. She motions to Ay’ana to accompany her, leaving the rest of her men to stay with the others. Tonowari lets out a soft grunt, and grits his teeth. He knows he must choose, but his mate is heavy with child and Jake has no interest in leaving his mate in such a place alone. Therefore, he must choose his right hand—Ralak. He motions with a quick tilt of his head, prompting Ralak to clutch his weapon close to his chest and follow closely behind. 

——

“Y/n.” Zu’té’s at the curtain again, half considering to pull it back and come in on his own terms. But he would never invade your privacy like that. And by the sounds of it, things are picking up. “Do you need the healer?”

“No!” You shout out of breath, wobbling to the door with a hand clutching your stomach. You lean all your weight against the wall, knowing he’s on the other side waiting. “No healer.” 

You’re drenched in sweat, sliding down the wall to sit on the floor. He hears your back slide against the surface, and he mirrors your movements, sitting on the floor too. Only a wall sits between your backs, separating you two. 

“You’re in labour.” Zu’té speaks, his poor attempt at urging you to face reality.

You know that. Of course you know that. But you don’t want it to be true—you didn’t expect it to happen this way—you didnt want it to happen this way. You take a few deep breaths, concentrating on breathing through the remainder of this horrible feeling. And when it’s finally over, you rest your head against the wall and close your eyes—leaving silence to fill the air. 

Where are you, Ralak? 

——

The room is much smaller than the one they were in, equipped with some sort of table or workbench with a few spears and bows mounted on the wall. Ralak stands quietly behind Tonowari, as does Ay’ana to Varang. 

As they negotiate the terms of the treaty, Ay’ana keeps her eyes locked onto Ralak with a smug look on her face. Her hungry eyes wander, shamelessly taking in every inch of the man before her, surprised by how much he has changed. He’s much bigger, more filled out in his warrior attire. His muscles—more defined, thicker. His skin—calloused and scarred. Inked, unlike before.

And as her eyes trail down the line between his abs they lay upon the six stripes that peak out over the band of his loincloth. Her eyes widen and glisten with greed before darting back up to his face, meeting his eyes that bore into her fearlessly. 

What’s worse is that she can see that his mind is elsewhere. 

That his mind runs on you. You’re all he’s been thinking about since he stepped off the reef. He feels deep in his heart that something isn’t right back home. That you need him. That perhaps, you’re calling for him right now, swollen and heavy with his child. 

And it bothers her. 

“It is decided, then.” Tonowari speaks in a confident tone.

“Yes, it is.” Varang’s smile is uncanny as she unsheaths a small, double edged knife from her hip. 

She grabs Tonowari by the hand, placing the blade in the middle of his palm, and closes his fingers around it. She rips it from his hand, drawing blood, and then hands Tonowari the knife and gives him her hand. He returns the unsettling act, slitting her palm. She keeps a smile on her face, locking hands with him until their blood combines and drips to their feet. 

Supposedly, it is a method of establishing some level of trust between the two. Where each has the ability to do much greater harm, but makes the deliberate choice not to. Then, when blood has been drawn, it is mixed by bringing the hands together, sealing the treaty. 

“Bound by blood.” Varang whispers, letting go of his hand to bring hers to her mouth for a taste. 

She sighs and smiles, popping a thumb in her mouth before gesturing to him that they leave. Tonowari fights the flinch on his face, disturbed by her behaviour. Ay’ana stays back, watching the two leaders exit the room. But as Ralak is about to leave behind Tonowari, Ay’ana calls for him. 

——

Another couple agonising hours pass, and you’re constantly changing positions in hopes of finding some relief. Desperation sets in, making you beg the great mother herself to guide you through this. To bring your mate back home. But there’s still no sign of his return. The night dew settles on all the surfaces around you. Pacing no longer helps, leaving you to take refuge in your bed, panting and shivering. 

No matter how much you twist and turn, your stomach only tightens more. Deep groans rip past your lips to cope with the feeling—the pain shooting through your core. Beads of sweat roll off your body at an alarming rate, soaking the sheets on your bed. You feel him move further down, his head now sitting plush in your pelvis, creating an immense pressure that’s almost unbearable. His feet press into your ribs, and with each strained breath you begin to yearn for your mate more and more. For his comforting touch. For the bond.  

“Ralak…” 

——

“Ralak.” She sings, making him stop dead in his tracks. “A word.” 

His ears tuck back and he looks at Tonowari, who gives him a begrudged nod. Ralak sighs and turns around, fixing his mask of indifference tightly to his face. He remains silent, his hand practically bonded to his spear. 

“Still tight lipped, hm? Come now, tak. That is no way to treat your karyu.” She speaks in a condescending tone, approaching him warily. 

Ralak nearly takes the bait, a heat growing in his chest so hot it makes his jaw tense. How dare she call herself that? To taint such a word? He swallows, taking a single, deep breath to recenter himself as he looks away from her. 

“I have to admit.” She steps towards him, the crown of her head meeting the bow of his shoulder. “You have grown into a fine man. You are taller than me now.”  

Ralak just looks down at her, still as stone, his mind consumed with the fact that he could be on his way home to you but this…vile creature is keeping him away. But he will do what he needs to keep you safe, even if it means to tolerate this for the time being. 

With no reaction, Ay’ana grows frustrated and begins circling him, a single finger tracing around his body. 

“You know…My body still yearns for you.” She speaks with a sultry voice, stopping at his side and bringing herself to the tips of her toes to whisper in his ear, “...especially when I’m in heat.”

For a second, Ralak succumbs to her tactics, the ones she used to use on him years ago. A memory, forcibly resurfaced, reminding him of the way she whispered in his ear on that night. It makes him feel so small. Impotent. But only for a second. Ralak recoils, stepping back to create distance between them. He towers over her, dwarfing this small, lanky woman, regaining his confidence and power. 

“Is that all?” He growls, looking her dead in the eye—facing his past with no fear. 

Facing the reason why he lived in a bottle before he met you. You. You. He can feel you. He can feel you yearn for him and he’s ready to come home to you. For this to be over. 

He’s too focused on you to even notice Ay’ana’s face of shock. Shock to know that she’s been releasing her pheromones this entire time and he’s been completely oblivious to them. Which only means one thing. 

“You’re mated.” She gasps. 

And he’s back. 

Staring at a mirror now that he is, too, in a state of shock. Ralak’s heart leaps out his chest, beating so hard that Ay’ana can hear it. How could she know that? He watches as a grin spreads across her face, ear to ear. She knows she’s got him now, despite the jealousy bubbling inside her. She could use this to her advantage—it didn’t matter to her that he’s called for, after all. 

“Using tsaheylu for such useless things.” She bellows a wicked laugh, which fades out when she sees an even more serious look on his face. A look that tells her he’s trying to mask something more, something deeper. “Oh? Is there more to it?” The twitch of his brows and quick flare to his nostrils reveals the truth. “I have to know. What is it, hm?” She nears him once more, two fingers walking up his chest. “Come now, you were never this hard to read.” 

Ralak remains silent, focusing on slowing his heart rate. 

“Is she ill?” She asks as she searches his eyes, fingers grazing across his quivering jawbone. “No, no. It’s not that.” She sighs, stepping closer and closer until his back hits the wall. He moves his head away from her touch, still looking her in the eye—refusing to be the first to break eye contact. Her eyes light up and her ears stand tall.

“She carries your child, doesn’t she?” Her eyes gloss over green with envy. “Pregnant.”

Ralak swallows his spit, the lump in the column of his throat quickly undulating. 

“There it is. I knew you would make strong babies.” Her hand slips down his chest, slithering over his abs and down to the twine of his loincloth, causing him to jolt. “Ralak.” She moans his name slowly, “Oh, Ralak. The last I see of you, you were barely covered in this vile ink with no one at your side…and now you are mated and a father to be.” Her fingers tickle the raised skin on his most intimate tattoo. “I have always longed to be bred by you.” Her fingers attempt to burrow themselves under the band of his loincloth.

“Enough.” He lets out a deep growl, shoving her away, dropping his weapon in doing so. She loses and quickly regains her balance in a few seconds, throwing herself on him. He grabs her by the wrists, restraining her with ease so that she can’t come any closer to him. 

“Perhaps we need to renegotiate the terms so that you are a part of them, yes?” Her voice is full of desperation, trembling as she strains against him. “How does that sound numeyu? You know we have a population problem, right? We could all use you.”

“I have no interest in being your stud.” Ralak spits, forcefully shoving her away, causing her to stumble back and for her head to hit the table. 

He moves quickly, picking up his spear off the ground and heading for the door. She lunges at him, dagger unsheathed from her hip and armed in her hand, whilst her other arm snakes around his throat to pull him onto the ground. 

During the struggle, Ralak drags her off his back, resulting in a nasty gash from his collarbone and down his shoulder blade. He hisses from the burn, instantly assuming an offensive stance to plunge his spear through. Ay’ana returns the hiss, crouching with her bloodied dagger ready to strike.  

“I will kill you.” Ralak threatens, nearing the pointed tip closer and closer to her chest. “And I will take great joy in doing so.”  

“Is that right?” Ay’ana hisses, tail wagging in excitement with unsettling smile spread across her face. She looks as if she’s toying with him. As if she’s playing a game and she’s winning. “Let me have a taste of you.” 

“Nìtam! [Enough!]” Tonowari roars as he yanks back the curtain, instantly averting Ay’ana’s attention to him. Perhaps it was her roots calling her to respond to her true leader. Varang appears beside him with a scowl stained on her face, displeased with her subordinate. One more move and the treaty would’ve already been broken. 

“Easy, Tak.” Tonowari murmurs, and Ralak relaxes into position next to him, blood trickling down his chest and back. 

“Come with me.” Varang snarls at Ay’ana, seizing her by the queue.

“Night has fallen. We will take our leave.” Tonowari speaks roughly, trying his hardest to contain his anger as he rests a careful hand resting on Ralak—leading him out the room.

“In another ten years, Olo’eyktan.”

Tonowari grunts as he and the rest push past the swarming ash people. As soon as they’re far enough, he stops Ralak and has Ronal safely look at his wound. It’s weeping and open, prone to a nasty infection if not dressed immediately. She unclasps her medicine pouch from her hip, and retrieves a small bottle of iridescent liquid, a viscous concoction of herbs, and a needle and thread.

“Come, son.” Tonowari speaks softly, ripping the cork from the small bottle with his back teeth and spitting it on the ground. “That vonvä’.”

Ralak sits on the nearest rock, elbows propped on his knees and head hung low to hide his face. Jake and Neytiri observe in silence, cringing as Tonowari douses the gash with the liquid as Ronal prepares the needle and thread. 

Ralak groans, biting down tooth on tooth. 

Tonowari leaves a little left in the bottle, offering it to Ralak who is visibly trying to keep it together. He plucks the bottle from Tonowari’s hand and knocks it back, puffing out a sigh. 

“Keep still.” Ronal orders, driving the wooden needle through his skin. 

Ralak grumbles, letting his head hang between his knees and his hair fall forward. At this point Neytiri looks away, but Jake can’t. His eyes are plastered to the scene unfolding before him as he recognizes his son-in-law’s strength and perseverance. 

“That should hold until we are back.” She declares, gathering her supplies and stuffing them back into her pouch. 

“Irayo [thank you], Ronal.”

“You’re strong, boy.” Jake mumbles, patting Ralaks back as he gets up. “Anyone care to explain what the hell happened back there?” 

Ralak just shakes his head, leaving Tonowari to speak for him. “I will explain on the way back. You all have someone waiting for you.”

Ralak’s ears spring up at the thought of you, giving him a burst of energy to spring to his feet, gather his gear and lead the trek himself. The women walk behind him, concerned about his wound. Tonowari and Jake are left at the back, sharing a look before they begin their journey. 

——

“Fuck. Fuck.” You pant, looking down at your trembling hands that sink into the bed through double vision. You sway from side to side, trying to take steady, deep breaths, but the pressure between your legs is starting to make you panic. The possibility that you may have to do this alone is quickly becoming a reality. 

Zu’té is the one doing the pacing now, unable to sit still in his spot for much longer. He has long abandoned his woven pieces, burning lines into the patio floor as he walks back and forth outside—conflicted on his next move. 

He doesn’t want to go against your wishes and call a healer without you requesting it. But he must keep his word to Ralak—to keep you safe—which means calling for a healer. He chews on the toughened skin on his thumb, listening to your continuous whimpers and whines. By the sounds of it, you’re in active labour now, ready to give birth at any moment. 

——

A few hours have passed since they started the trek back home. Everyone has fallen into new positions that work for them. Ralak, eager to be at his pregnant mate’s side, leads the pack, clearing the path for the others. Jake and Neytiri stay not too far behind him, keeping a vigilant eye on their surroundings. Tonowari and Ronal are far at the back, linked together as she trudges on despite her extreme weariness.

“Let us take another break.” Tonowari speaks quietly to his mate, hand on her stomach. They share a look, speaking to one another with their eyes. She doesn’t want to hold up the group much more than she already has. 

“No. We are almost there—ugh!” Ronal lets out a sudden groan, clutching her stomach as she doubles over. 

Everyone stops dead in their tracks, turning around with wide eyes. Tonowari supports her, and carefully walks her over to a nearby fallen log, lowering her down onto it. She takes a few deep breaths as Neytiri and Jake rush over to her. 

“Is it time?” Neytiri asks, crouching down next to her. Ronal nods once, completely in tune with her body and aware of exactly what’s happening.

Which is why she insisted they continue, or else she won’t make it back in time. Ralak watches at a distance, his face contorting with sheer worry. No, borderline distress. He looks almost mortified, but not for the reasons that one may think. They all know why, it's obvious. If Ronal is in labour,

…that means you probably are too.  

“Go ahead.” Ronal pants, beads beginning to form at her temple. 

But Ralak doesn’t move. He can’t move. He’s at conflict with himself. An internal battle of knowing that he should stay and help, even though he really wants to go—needs to go. 

“We got it, son. Go to her.” Jake huffs as he helps Tonowari lift Ronal to carry her. “Go on!” He shouts, prompting Ralak to look to his father figure for approval, to which he meets him with a quick nod before averting his attention back to his labouring mate. And with Neytiri’s soft smile of reassurance, Ralak takes a few steps back before turning his heel and booking it home. 

——

“Haah…holy fuck—holy fuck.” You moan, feeling another contraction start up and the pressure between your legs intensify. 

This one has you on your hands and knees, clutching the bed head so hard your nails dig into the wood. It’s undeniable now. This baby is coming whether you like it or not. And as the contraction reaches its peak, you scream. 

“Zu’té!” It pains you to cry out for his name and not your mates. Hearing your call—your permission to enter—he finally bursts through the door and rushes to your side. 

“I’m here, I’m here.” He’s out of breath and on edge.

“I think—oh god—I think the baby’s coming!” You cry out, swooping your hand between your legs to try and feel what’s happening. 

“Shit. Like now? Like right now?” Zu’té panics as he watches you, hands hovering around you, unsure of what to do. 

“I d-don’t know! I—I don’t—I want Ralak! Fuck, fuck. I want lak!” You cry out in sheer agony. “I want my mate. I-I need him!” 

“Y/n. Eywa.” Desperation is potent in his voice now. 

The fact that you’re calling out for his brother means the time has come and he feels like a fool to have let this get this far without stepping in. He swallows and takes a breath to calm down, just as your contraction ends and leaves you sobbing on your knees. 

“I’m getting the healer.” He says firmly, turning his heel to leave but you grab his wrist before he can walk away. 

“No! Don’t leave…Please don’t leave me alone.” You beg, fear glossing over your eyes until it spills onto your cheeks once more. He looks at you with furrowed brows, lamenting for you. Now he’s really conflicted, because this means…it’s him or no one. 

“Ah, shit. Shit. Uhm.” He rakes his fingers through his scalp, thinking about his next move. He’s seriously considering going regardless, able to see the situation for what it is.

“Please, Zu’té.” You plead weakly, slowly lowering yourself onto your behind and off your knees, leaning back into the bedhead. 

“Okay, okay.” He nods and you let go of his wrist, immediately using your hand to support your stomach. You let your eyes close, they’re swollen and heavy. “Uh–right, right.” 

For some reason he can’t stop repeating himself twice. Perhaps it’s his way of keeping grounded. He heads straight for the bucket of water and rag to bring it over to you. He dips the rag into the water, and wrings it out. You barely open your eyes at the sound of the bucket making contact with the floor, and see that he’s nearing you with a damp cloth and raised brows. He’s waiting for your go ahead. 

“Yes.” Your voice is hoarse and trembling. 

Zu’té begins to wipe away the sweat that’s dripping in your eyes, your forehead, neck and chest. Dipping the rag back into the water, he wrings it out once more and wipes down your shoulders and arms. You can’t help but sit there and close your eyes, allowing him to do it all, exhausted.

Feeling something press against your lips, you open your eyes in a daze. Zu’té holds a cup of water to your mouth, and you drink ardently, gasping for air and closing your eyes when it’s emptied. Sleep calls to you, taking you as you barely manage to mutter out a weak, “...thank you.” 

Zu’té calculates another five minutes before your next contraction, giving him enough time to fetch a fresh pail of water—something absolutely necessary for the birth. He leaves you sat up against the bedhead, rag on your forehead as you sleep. But not even three minutes go by before he hears your languid moan. 

Abandoning the bucket, he rushes back into the marui, finding you standing and holding onto the marui stilt with one hand as the other tugs at the strap of your top. Seeing you try to undress has him stopping in his tracks and turning his head to look away. 

“Y/n—”

“Ughhaa—” You grunt, untethering the knot of your top. Your body is trying to get comfortable for the birth of your son now, and these pieces of cloth feel suffocating. “Get out!”

With that, Zu’té turns and retreats back to the patio, hands on his head as he begins to make his plan. If he flew on his skimwing, he could make it to the village and back with a healer in about ten minutes. But would that be enough time? What if you didn’t have ten minutes? Your pained groan turns into a howl and it makes his ears twitch. 

By the sound of that, you might not even have five minutes. 

“Come on, baby brother. Don’t make me do this. Please. Don’t make me go back in there. Oh shit—I’m going to have to go back in there, aren’t I? Eywa. Eywa. Okay—It’s okay. I can do this. Childbirth. It’s just childbirth. Right? Right.” 

Zu’té tries to convince himself that he’s capable of this despite this not being what he signed up for. 

“Okay, Toto. Just do it. Go in there.” Zu’té sounds breathless as he speaks to himself, turning around to face the door. He hears your whimper and his jaw tightens. “Shit. Okay. Right.”

Just as he raises his hand to pull back the curtain, he hears a winded voice. 

“Brother.”

[blacktabbygames]

Hello! I absolutely love Slay The Princess! I was wondering, were there any major inspirations that helped you create this game that you wouldn’t mind sharing? I’m always fascinated by the art that inspires the art I love so I’d be very curious and happy to hear what vibes helped you all piece together this wonderful game!

It's always tough to pin down inspirations. I think there's kind of three types: 1. Hard inspirations — things that you know are sources of inspiration at the start of a project. Or things that become known sources of inspiration partway through a project. These are sometimes, but not always technical.

2. Soft inspirations — these are more vibes based. Kind of like "what's going through my head on loop while working on a specific chapter." Almost never technical, and for me, this tends to be music more than anything else. (But maybe it's music *from* something specifically)

3. Loose inspirations — these are more along the lines of formative pieces of media. Stuff that seeps into your soul and directs your development as an artist or person, but not in a way where you can specifically tell what its impact is. Sometimes overlaps with #2 Anyways, some examples for each. Hard Inspirations:

• Disco Elysium — IMO hands down the best piece of interactive media ever made, and probably one of the most obvious influences on Slay the Princess. The concept of using internal voices to represent the player's thoughts helped us get around one of the biggest writing challenges in Slay the Princess — if the Princess changes based on your perspective, how do we codify what the player's thinking? The voices were a solution to interpret those choices in sensible ways and inform our players of how the game was reading their choices. Much better than breaking immersion and outright asking players what they tought. • Soma — we didn't play Soma until we were about half of the way through our work on Slay the Princess, but it was one of those games that felt so thematically on-point. I still think about this game most weeks. • The Stanley Parable — I like when narrators get frustrated at players for doing silly things. It helps when your narrator is British, too.

• Madoka — it's like 12 episodes long. Just watch it.

• Evangelion — Similar bucket to Soma. Didn't watch it until we were most of the way done, but boy does it have some similar vibes. Soft Inspirations/Music I've Kept On Loop While Working On the Game I won't tell you what music was looped for what routes. • Ceremonials (Florence + the Machine) — one of my all time favorite artists, and just a phenomenal album.

• Presumably Dead Arm (Sidney Gish) — super underrated. No Dogs Allowed is a great album.

• Haunted (Poe) — another banger album.

• Black Holes and Revelations (Muse)

I'll leave that third bucket unanswered lest this post become 50 pages long.

[deconstructthesoup]

I've been thinking a little bit about how the Cat King expresses his affection, and specifically, how the fandom interprets it.

There's some people who see how he interacts with Edwin and think "oh my god, he's such a simp, Edwin really has this sexy catboy wrapped around his little finger," and there's some people who see how he interacts with Edwin and think "yowza, learn to take a hint, he's not interested in you and your fuckboy fur coat," which, y'know, are both valid. I love the Cat King, but he's clearly not a fan of boundaries---outside of his own, of course.

Which... is the point, isn't it? Because here's the thing---we all like to analyze the Cat King as if he's human, but... he's not.

He's a cat. And that's how cats are.

Let's look back at his first interaction with Edwin. Our sassy Edwardian boy has used magic on one of his cats, and he's pissed, because cats are protective over what they consider "theirs---" and seeing as he's the Cat King, all of the cats in Port Townsend are his. He's bitchy and rude, cutting Edwin off when he tries to explain himself, and doesn't exactly seem like he's a merciful guy.

Then comes the moment where he whisks Edwin away, and he gets a closer look. The Cat King realizes that he's handsome, he's clearly queer, and that there is something fascinating about him. So he gets closer, he gets intimate, and it's working. Even in the throes of internalized homophobia, Edwin's getting into it, and... the Cat King self-sabotages, slapping a binding spell onto him.

A cat hisses at you when you attempt to reach out your hand and reason with it. It changes its mind, and it comes up to you, purring. And just when you're about to scratch it behind its ears, it freaks out, scratching you on the hand.

Sure, right after that, the Cat King lays out the terms---the binding spell (which, honestly, is actually a pretty fitting punishment given that Edwin used a binding spell on that cat) can be taken off, "and I'm sure we can work something out." That's a line that's probably worked before, and that's a line that probably could've worked, but the damage is done. So the Cat King gets irritated, sneering at Edwin's "old-fashioned sensibilities," and gives him your classic trickster seems-easy-but-is-a-lot-harder-than-it-looks deal. And we don't see him again for a couple episodes... at least, not until Edwin gets that little cat-scratch at the lighthouse.

When a cat scratches your hand, you give it a wide berth. Even if it immediately changes its mind and meows for attention, you don't trust it anymore. So it gets pissy, getting more and more annoyed the more you ignore it, until it gives up and bites you when you won't give it pets.

Now, the Cat King has realized that Edwin's getting close. He's counted almost all the cats, and it won't be long before he completes the task and books it out of town. So, the Cat King starts flirting even more, even going so far as to mimic Monty and Charles if that's what it'll take. When that fails, and when getting Edwin to open up fails, the Cat King lets out a nervous little laugh and tells Edwin that he's way off, when in fact he couldn't be closer.

Once a cat realizes that it likes you, it becomes incredibly needy. It trots along after you, it begs for attention and love, it sits on your laptop and jumps up on the kitchen counter and will attempt to insert itself into any and all activities you might be doing. And while that may be the cat's way of expressing love, there's no denying that it is ignoring all of your personal boundaries and generally getting in the way of you doing anything---other than, of course, paying attention to it.

And then comes the moment in the forest. The Cat King shows up with a fancy chandelier to blow Monty's cover---why now? Because Monty isn't just a romantic threat, he's trying to do something that'll take away Edwin for good. Once the cover's blown, and once Monty storms off, the Cat King uses this as an opportunity---I just saved his life, maybe he'll notice me now---and Edwin snaps, dropping one of the best lines in the whole series.

This is the first time, mind you, that Edwin has really pushed back. He's been resistant before, sure, but he's never said or done anything that indicates that he really wanted this dance to end. And I don't even think the Cat King realized that he was crossing a line, had been crossing a line since he slapped that bracelet on. But when Edwin says that he's not the Cat King's toy to yank around, that he's nothing more than an inconvenience, that's a big old wake-up call for our boy---and of course, he takes it horribly, snarling after Edwin that he'll be stuck in this town if he walks away, that he'll stop playing nice, just fucking NOTICE me already why don't you?

There always comes a time when you're fed up with how invasive your cat's being. Maybe you've just had a bad day, maybe it's genuinely messing up something important that you're doing, but you break out the spray bottle. And how does it respond? With a hiss, with a scamper away, and with a baleful glare over its shoulder. It knows it's done something wrong, but it doesn't fully understand, and it's mad at you.

Afterwards, Edwin gets dragged into hell, and that breaks the charm on the bracelet. And the Cat King's left to think.

There's some conflicting emotions there, of course. He's moodily playing with the bracelet when Esther shows up, showing that he probably does care, but there's still something to be said about how he immediately calls Edwin a "tease" and hates himself for being willing to wait for him if and when he ever returns from Hell (which is very noble of you, Thomas, totally way more of a meaningful gesture than actually going down there to get him back---which, as a self-described eternal being, would probably be easier for you to do than Charles. Just sayin'). But as much as I love to clown on that, the Cat King does die in that scene, and it's only after that that he spills to Esther.

This, I think, is where the Cat King stops acting like a cat, and starts acting human. Because he doesn't go and see Edwin when he gets back---he's realized that he kind of was in the wrong, and he's giving him space. And I'm sure it can't have been fun knowing that Edwin and Charles only got kidnapped by Esther because of information that he let slip.

But when the boys and Crystal (and maybe Jenny) are about to leave, the Cat King visits Edwin to pay his respects to Niko. He gives Edwin a lily, which several people have pointed out is fatal to cats. He's still flirty, sure, but he's more understated now. No more tricks, no more spells. Just him. And that's the version of him that gets that little cheek kiss goodbye.

Because even cats can learn that there's a better way to love.

[maxwellatoms]

Hello Mr. Atoms, I'm an animation student in college and fan of your work. I got this assignment in which I need to ask questions to a professional in the area. Could you pretty please answer them? It'd mean a lot to me.

1- Are you happy with your career? How it's going.

2- What are your opinions, expectations and hopes about the independent animation industry that's developing?

3- What do you think about the advent of artificial intelligence? Do you fear for the future of animators?

4- If money wasn't a problem, would you still do what you do?

5- Any animators you admire and would like to mention?

Okey dokey.

1- Are you happy with your career? How it's going.

Not really, in that there seems to be no career left.

The animation industry swelled its numbers greatly before 2020. Almost immediately after that, corporate greed synergized with a pandemic to reduce animated programs and the number of people working on them to almost zero. It takes almost a year from beginning to end to make a single episode of an animated show (by the modern standard). There was nothing being made in 2020 and four years later, we''re not in a much better spot. It's going to be a long drought for (especially) Kid's TV Animation.

Recently, many of my former co-workers have hit the financial wall and can't continue, moving away after (sometimes) 20 years in the industry. I begin to wonder if I'm very far behind.

A "bounce back" a year from now would need to start today. There are still some animated shows being made now, but those are almost universally "library" properties. That means it's an existing I.P. (Intellectual Properties like Garfield/Mario/Batman/Star Wars) so as an artist you're immediately in that box. Depending on the property and the studio, it can be an unpleasantly tight box. I grew used to holding and maintaining the vision for a show, but it's less fun when it's not my vision. It's even less fun when you can't inspire someone to follow your vision because they've been so ruthlessly abused.

I'm pretty sick of how big media corporations treat their employees. If I inherit one more burnt out crew due to mismanagement, I'm gonna lose it.

Over a decade ago I fought hard to get board artists story credit for the episodes they were actually writing, and felt like I'd won a big victory for everyone. The second my back was turned, it all reverted.

Mostly... what is the point now? My career is/was developing ideas, crafting those ideas into a workable show, then managing teams of thirty to seventy people to produce a couple of dozen episodes per year. Studios actively do not want new ideas right now, and are actively searching for ways to eliminate what artists from the process. I'm not sure what my job would be under this new system, but it feels like they decided to hang onto the anxiety-inducing deadlines while removing anything remotely pleasurable from the experience.

2- What are your opinions, expectations and hopes about the independent animation industry that's developing?

It's the only way to get anything done, currently.

The current state of the industry is not sustainable. I (along with a lot of other animators I know) are trying to decide what's next, and pretty much everyone agrees that "you just have to make something".

It is (in that very specific way) a great time to be a young animator. The system was never going to treat you well anyway. If you can get something like a Hazbin Hotel happening without studio help, you can currently write your own ticket. I'm super proud of Vivsie, because that's a LOT of stuff to handle. I never had to handle my own marketing or drum up money to make Billy & Mandy happen.

There are opportunities there, but it's definitely "Hard Mode". The best idea is probably to team up with a few other people you like and like to work with.

Hopes? I hope that the young animators take over and make something new on top of the bones of the old industry, rather than just allowing that industry to patch its rotting hide with their collected works.

3- What do you think about the advent of artificial intelligence? Do you fear for the future of animators?

I suspect true AI might just peace-out like ScarJo in "Her", but we're not there yet. What we have now isn't Artificial Intelligence at all (though I do believe it may be the underpinnings of the Artificial Suconscious of what may one day become an actual Artificial Intelligence.)

The LLMs and "Generative AI" are (so far) a big dumb waste. They consume tons of energy and aren't great for doing anything creative. If you've sat down with Chat GPT for a creative writing session, you've probably run into the "out of the box" limitations which prevent it from talking about sex or violence-- which happen to be a major component of most stories.

Still, the technology has come incredibly far in an incredibly short amount of time. I imagine we're going to hit the point where we're being hazed by artificially generated political ads way before Generative AI can produce a consistent and usable character turnaround, so that'll be the test. Whatever the legal fallout is from this stuff over the next few years will set the tone.

Still, studios have a vested interest in pleasing their shareholders. Generative AI potentially has the capability of not only replacing swaths of money-eating artists, but handing that control directly to the billionaire studio heads. Mark my words: We're headed straight for billionaire-generated content.

I don't think the public at large will want to watch Elon Musk's fever dreams, so there's that. So law and general distaste might stave it off for a while, but I think there's just too much impetus for studios to continue to try to please their investors. "AI Art" is here to stay.

Eventually that will lead to millions and millions of bots generating millions and millions of songs and paintings and movies all day every day. Most of it will be utter trash. Right now (so I'm told) viewers are already burnt out, and will generally only click on what they already know. On Netflix, where there are twenty things you've never heard of and one you have, you're more likely to pick the thing that gives you comfort and gives you a guarantee you're not wasting your time. With exponentially more A.I. trash, how would you even begin to filter it out?

You'd need absolute control of an already existing distribution system. We currently have a few of those, and all of the media companies are desperately trying to merge with them to insure their own survival.

To me, the post-Gen-AI landscape looks a lot like old-school Cable, but with endless I.P. and fewer masters.

4- If money wasn't a problem, would you still do what you do?

The real question is, maybe, "What am I even doing?" These days I try to do a lot of gardening. I'm trying to learn new art skills, because suddenly twenty five years of experience managing, drawing, and writing isn't worth much. I recently worked on Jellystone until Zaslav lost 2.5 billion in the wash and had to find justification for his new yacht. The show before that? Also culled midway through to save money. The days of multi-year gigs seem to be over, and if I'm going to scrape by doing freelance, maybe I can do that somewhere else.

I'll always make art. I can't seem to help it. Ideas aren't my problem-- it's executing those ideas without the help of a structured pre-existing system. I honestly don't know if I'll ever be able to pull that off. My strengths are great, but were always supported by friends I worked with.

Can I start an indie cartoon with all of these cool friends? Sure, maybe. Most of those people have gone on to have other careers of their own and got used to being paid. Now nobody is getting paid and no one can pay anyone else. My immediate circle are all now middle-aged people with families and no jobs. Convincing them to give up a large chunk of their day for an idea that's not guaranteed to pay off is going to take some real effort.

I technically have fifteen years until I can claim my "retirement", assuming that still exists by then. That's a pretty big hole to fill with... I don't know what.

The difficult "What comes next" discussions at home are really just starting.

5- Any animators you admire and would like to mention?

There are a lot of cool animation people out there. I already mentioned I was proud of Vivsie. I was also reminded recently just how great C.H. Greenblatt and Mr. Warburton are. I know they're my friends. They're both just really upstanding, creative people who take good care of their crews.

The treatment of animation industry professionals by the studio system has been one of the most demoralizing and heartbreaking parts of this demoralizing and heartbreaking time.

---

So there ya go. If you want to look for someone whose attitude is a little more upbeat, I won't blame you a bit.

Wherever you are, I wish you the best of luck. For me, just climb up there and crush it. I would very much like to add you to #5 someday.

[descendant-of-truth]

This was presented with a very whimsical tone and I enjoyed it for that but also. it's such a specific side effect that I can't not analyze it

Like, on principle it makes perfect sense. Give an already fast and energetic character who talks to himself all the time a boost to his abilities, and he becomes twice as chatty to compensate.

But his external monologue has never taken the form of a conversation between two people before, and in a show that's all about having alternate versions of the same character, that's worth taking note of. Especially since this started after he was given energy from the Paradox Prism, the thing that presumably made all of those alternate versions to begin with.

(And even more especially since the show already played around with the idea of there being two Sonics only a few episodes ago with the existence of Chaos Sonic)

So, the other oddity regarding this whole thing is how one side is consistently just. uncharacteristically mean and deadpan towards the other?? I showed one example earlier, but there's two more, and that accounts for almost every instance of Sonic talking to himself in this form

Sonic's never really talked to anyone like this before, not even himself. It almost comes across like an emulation of Shadow more than anything else, which is just. so bizarre?? Especially when Shadow's literally right next to him in the last scene, and thus he has no need to substitute his presence.

In fact, he seems to catch himself and stops doing the self-banter thing entirely as soon as Shadow acknowledges him doing it

And he looks surprised when Shadow speaks, too, like he already forgot that other people can hear him. It really comes off like he's in his own little world, and again, this is a show about multiple worlds, so it's pretty fitting.

I'm not letting Shadow's phrasing off the hook, either - "a Sonic," hm? As if there's more than one?

Even Sonic gets confused about how many of him there are, which has quite the loaded implication for how short of a moment it is; something that could describe everything about this form, honestly.

It all gives me this impression that we're not quite done with this concept of there being multiple Sonics, or at least not done with this form being used in general. There's a lot of potential in what they've already set up for it, and I'd love to see it explored further.

Plus, this one frame of Sonic after he first gets it still gives me the impression that there's something... off about it

And I want to know what that something is

[sillyandquiteawkward]

sillys (not so) lil info dump about how to be a human being. smiles

htbahb is an album from glass animals, of which notably, all the songs align with different people's lives, perspectives, and feelings, also of which are shown on the (various) album covers. so the easiest way to go thru the story is song by song. but i will show you the album art so you can get a gist of things before we go into details.

these are just some of the various album covers for htbahb, theres a bunch of them, but we dont need to see all of them to see the different lives of our characters.

1, Life Itself

this is our main character for life itself. you can call him a bit of a nerd if youd like. apparently his name is chuck rogers. they dont all have names.

hes an inventor, loves ray guns and strange technology, but as noted in his song, feels like he was raised with expectations hell never be able to achieve. his father as a child said he would be a superstar, but nowadays, he cant get a job and he lives with his mom. hes struggling with finding himself and his place in society and hes doing drugs and feeling like hes absolute rock bottom with everyone being against him. he feels alone and attacked and retreats back into his car or grandmothers basement and keeps folding back into himself.

in the music video for life itself, hes only seen in a few scenes, leading the charge against [popular st] with a smoke bomb as [mamas gun] watches knowingly from the sidelines as perhaps the real leader behind the assault. they seems to be accomplices with each other, as they ride in the car together and seem to be specifically looking for [youth].

2. Youth

now the main character for youth is tricky, it seems like we have two characters for youth, the small child, and assumedly, his mother the waitress. i think i like the interpretation that the mother is the main character for this song, and the child represents the album as a whole. alternatively i also like the idea that the child is youth, and his mother represents [premade sandwiches]. but for the most part, they are just both the characters for youth.

youth is a mother talking about her child, and to her child, almost in a detached sort of way as if they arent able to see each other. a mother speaking her hopes and dreams to her child. somehow these two have been separated when the child was young, perhaps through giving up to adoption, or hinted in the music video, abduction. she wishes best for the child, urges them to feel their mother at their side, and notes that theyve got her eyes. she lists off her wishes for them to be happy and have friends, and be silly. this perhaps is for the best, that they can be happy even without her. i particularly like in this song, the wordplay makes it sound like the singer is counting one, two, three, four, five, when they are singing other words like boy, to, free, funny, and fly respectively.

in the music video for youth, the child is seen almost haunting the mother as she works as a waiter, appearing in several locations playing and running around as she remains dutiful to her job. they briefly sit looking at each other in the same hotel room he had been taken to in life itself's music video.

3. Season 2 Episode 3

this is the main character for season 2 ep 3 and i think one of the cool changes between album covers, as we see a fully done up girl all put together with her make up on, and in the other, someone a bit more silly with her makeup removed. this might be the way she sees herself vs how other people see her.

the song is the lament of a boyfriend to his girlfriend, who seems to be glued to the couch, watching shows, getting high, not changing her clothes, and eating day old leftover food and most notably, mayonnaise straight from the jar. at the beginning of the song, the two of them are high together, however he soon sobers and realizes she refuses to get sober along with him. he tries to convince her that their relationship wont work if she keeps being like this and doesnt try, but she wants him back the way he was (high as well) and views him as a nag. she still makes him happy, but sometimes she makes him sad to see how she lives. even after an acceptance from the boyfriend that she wont change and will never be vertical and golden like he wants and that the relationship will never work out, the song ends hinting that hes picked up getting high with her again due to her calling him a killjoy and wearing him down.

in the music video we watch the girl splay out on the sofa, surrounded by her mess watching tv and doing nothing. halfway into the video, we are brought into the game she plays, as she battles [life itself] [cane shuga] and [the other side of paradise], all of which are men who could possibly be the boyfriend figure.

4. Pork Soda

this is our main character for everyones favorite pork soda. hes an older man, who for the most part seems pretty happy. wonder if hes harboring some long lost feelings or something.

the song opens with a street performance unintelligible to a normal listener, its like passing by a conversation, you are only able to hear bits and pieces of the spoken words. once the song starts you hear a story about this guy's girl who used to be fun and adventurous and would take him along with her. in the same breathe hes begging to go back to the days they were happy together. it seems like they fell out of love, or are in a struggling relationship bereft of communication or the passion it once had. shes only happy when theyre having sex together, and just looking at each other causes him heartache. the song talks about pineapples in my head, and being brain dead, as well as other references to diminishing mental facilities, that perhaps in their age, theyd forgotten about each other.

the music video gives us probably the most clear story line, as we see the wife prepare a meal before sending it through a dumbwaiter into the basement for the husband. there he sits alone, watching tv. up above the wife plays with their dog, imagining the dog is the younger version of her husband. all of her time is dedicated to the dog, and all of his time is dedicated to the tv. they have forgotten they love each other and live in the same house, but live in separate worlds. only after the dog destroys his tv and the husband destroys the floor above him and under her feet, do they finally get back together as he catches her as she falls, surprised and exhilarated for the first time in forever. and things seem to be better as they finally occupy the same room together again.

5. Mama's Gun

This is the main character for mamas gun. shes a victim of the perception of her mental illness. i think this is my fav song of the album.

during the song, the woman initially admits that she took her gun and made her husband go to neverland. however she also says she loved him a lot and he was perfect. through bits and pieces of the lyrics you can come to the conclusion that she has some sort of psychosis, or perhaps schizophrenia in particular as she notes many different voices and figures talking to her. the song references dr swango, a doctor who killed his patients, however he insists to her that him and all the other voices in her head are too from neverland, and that she was a murderer just like him. is she really guilty of murder? what really happened? the flute played during various instrumental parts of the song is a sample from the carpenter's mr. guder, a song about a man who does what hes supposed to in society and his job and gets nothing from it. karen carpenter herself was a victim of her own mental illness and they say that theres a specific purpose for the sample chosen. once the lyrics pick back up, the voices again pipe up and tell her she was a murderer, even the voice who had never spoken says so, so he must be telling the truth right? during the final bit of the song, it seems like her husbands voice joins into her collection of voices, as he bears a cheshire smile and asks her to lay with him once again, and that hes waiting for her. in the end, its unclear what happened with her and her husband, as she goes back and forth saying she was violent, she was doing nothing. this song was inspired by a story they heard of a woman going into a drug induced black out for a month and reappearing in another state with no memory, and the lingering fear that shes done something terrible wrong, and never being able to have the closure of knowing what happened.

theres no music video for this song, but we see her appear in life itself. she and [life itself] drive to the hotel where [poplar st] is holding [youth] captive and attempt to break into the room hes in.

6. Cane Shuga

this is our main character for cane shuga. hes exactly how he seems, a rich white guy who is, of course, using that cane shuga all day everyday.

cane shuga presents a dialogue from two parties, two people in a relationship. the singer promises he wont do coke anymore, that he wont be a john doe in the hospital. the chorus however is the high he rides on, where he thinks hes hot shit, hes 007 james bond, hes as powerful as kim jong, with a popped collar as he looks into the glare of the mirror and hypes himself up after using in the bathroom at work. hes untouchable. the second chorus is his partner, giving up on him, their love has burned up, just like his drugs. theres a humorous line of putting their foot down saying ive had quite enough, but corrects themself and sarcastically says or lack there of, that they arent being given anything anymore by him. regardless, their verses and conversation is short. the chorus of his high is the main focus of the song, and repeat over and over as the days continue.

[cane shuga] appears in season 2 ep 3's music video as [season 2 episode 3]'s potential lover. their stories do seem to entangle, they both are drug users dealing with partners who want to stop using. some people say that he is her partner, that he stops using for her, but falls back into the habit. however this doesnt exactly line up with her song, as she doesnt want him to stop. i think its part of that unreliable narrator theme weve seen in previous songs. people have different experiences with each other and get different messages due to the issue of communication. im not exactly on board with these two being together, but i do understand where people are coming from with this take.

7. [Premade Sandwiches]

this is a spoken word interlude, sped up and pitched down. there doesnt seem to be a character paired with this song, and on cd this song is simply a bonus track hidden behind cane shuga. on first listening its very difficult to catch what is being said, but over and over the speaker is talking about standing in line for various things. this song discusses mindless over consumption of drugs, of buzz words, of natural foods for your dog, watches, new clothes made to look old, the junk drawer filled with phones you dont use, with pens that dont work, with random shit you never needed just piling up. people stand in line and they dont even know why.

8. The Other Side Of Paradise

this is our main character for the other side. hes gonna be a basketball player and make it big babyeee.

so its a bit unclear and vague in the lyrics, but it seems our narrator and the basketball player used to be close friends. he even seems to be in love with the basketball player, calling him my love. but the basketball player leaves their home in new orleans to go chase his dreams out west and make it big, leaving our narrator's side. he told the narrator not to worry but after phone calls, it seems like basketball boy got a girlfriend. hes gloating to the narrator, hes got a girlfriend now, hes got a gold camaro, hes made it big, meanwhile our narrator is at the payphone hearing all this and his world turns in slow motion. no longer is the basketball player his baby blue anymore. hes moved on, hell never have another chance to love his friend. hes so angry and hurt, but he balls up his fist almost in a fight or flight reaction, and settles for the ghost of his love. hed always hoped for a paradise where they could be together but it seems like fate had other plans. he laments the basketball player for ditching them, saying here in new orleans people dont leave and ditch their lady (him). he wants to be loved and pampered by him, not her. heres where the vagueness comes back, the narrator seems to be so distraught that he rather kills himself, or finds that his body looks wrong, perhaps that hes not a girl that couldve been loved by the basketball player.

he only ever appears in the music video for season 2 ep 3 as one of the bosses [season 2 episode 3] defeats, claiming ball is life. there is a music video that was recently released for this song, however it does not depict the basketball player.

9. Take a Slice

this is our main character for take a slice, hes a bit of a slut but he makes it work :) the spoken intro to this song is the real recording the band took while talking to a male fortune teller, so the sausage candle is rather real or a lie from the fortune teller.

take a slice regales the story of a young man who finds pleasures in the sultry sexual aspects of life. hes sucking on cigarettes in a way freud would roll in his grave, hes painted his nails dark, has piercings, hes asking for another slice of cherry pie, cherries being a symbol for all things sex and lust. hes smitten with the idea of being a prize to be sought after, and after trying sex work for the first time, realizes this is the job for him. hes going to fuck his way through college, and sleep during class dreaming of you. wink. hes rolling in the dough, hes got a gold car, hes maybe dabbling in drugs too, and hes filthy and he loves it.

10. Poplar St

ms moore is the main character of poplar st, and shes a cougar, and not the good kind.

a young boy lives a typical suburban life. hes got bandaids on his knees and hes climbing trees. but one day, he sees mrs moore and mr keats have sex. immediately this drags him out of his childhood, hes such a man now that he knows what sex is. this is the first step of her grasp around him. as he gets a bit older, his mother calls her prosti-tits and looks down upon her. but the boy looks up to ms moore, despite his mothers words. mrs moore sees his desperation and pulls him into her clutches. theres a very specific voice crack when her teeth sink in deep and the note hes singing falls flat. this bit of pain expressed is highly contrasted with the chorus coming back in, the boy once again considers himself a real man, a true romantic, this is what all men dream of, isnt it? but there are dead flowers in the sand, hinting that these roses arent just romantic. the next bridge plays and interesting word switch up. it starts out with her begging him for more as she sits in her underwear, and then switches to him begging her for more in his underwear. theyve both wasted their days, but when it comes to his youth and her age, the only one wasting their childhood is him. the song concludes with mrs moore calling him up collect (so he has to pay for the phone call, not her) one day and breaking up with him. and then it all gets pulled out from under him and hes just a boy again. this tells the sad tale of how men and boys' sexual assault and grooming often is pushed to the side because they think this is how things are supposed to go, that they are supposed to have sex and to be used and abused from a woman is supposed to be an achievement. but really all it is, is abuse that leaves him feeling terrible.

11. Agnes

this is agnes :) i think it was mentioned at some point that he takes pictures of people when they arent looking, so to me, i like to think hes the one capturing everyone pictured in this album. bear witness to other humans.

the song starts out where the singer is appearing to try and comfort agnes. how did it get this bad, agnes used to just take pills and smoke a little, somethings changed perhaps. the singer notes agnes is just going through the motions every day, numb, and nervous, but hes swelling with emotion all the same. here the singer laments he wants to hold agnes like hes mine. theres a longing sadness in the lyrics. the next verse confirms the worst, while agnes was perhaps a genius when it came to the romantic, he was a deeply depressed and lonely person. he started to rely on the drugs and the alcohol he used to use recreationally, just to live a normal life. and he ultimately commited suicide. the singer wonders where the agnes he used to know went. however the singer reconsiders, and accepts that agnes did his best, life must feel so unbearably long when its soaked in sadness, living a false life filled with depression. so it goes, the singer thinks, but cant help but to feel lost. the only thing he can think of is agnes, perhaps considering all the art agnes made, all the photos he took of other people, perhaps just thinking about his friend in any aspect. grief is funny like that. on the vinyl record, this song's last seconds repeat over and over until you stop the machine from playing, like a lingering memory you cant stop thinking about.

the agnes music video is much different than the others, as it focuses on the singer, dave bayley as he sits in a centrifuge and attempts to sing the song. this causes a very physical reaction and he struggles to even lift his hand, by the end of it hes sweating profusely and unable to catch his breath, but he persists and continues singing. he mentions this was a mere fraction of what someone going through depression could feel like. during the music video as well, he appears to be looking across from a mannequin, perhaps the stand in for himself once hes put himself in agnes' shoes.

thanks for reading if you did i love being insane. all of these are my personal thoughts on the album, and might not exactly match up with your interpretation, but i have tried to keep to what we believe is what glass animals had in mind for the album and these characters.

[fluentmoviequoter]

A Family at Your Side

Requested Here!

Pairing: Tim Bradford x shy!paramedic!fem!Buckley!reader

Summary: You, Evan Buckley's sister, are a paramedic with the 118. When you're called to a fire, it quickly becomes a crime scene when someone opens fire on you. Your boyfriend Tim Bradford and your fire station family have to work together to save you.

Warnings: angst, fluff, injuries (r is shot), depiction of arson/shooting, lots of teasing. [While r is Evan's sister, I don't put anything specific in here past some teasing, so it could be viewed as adoptive or some other relationship dynamic!]

Word Count: 2.6k+ words

A/N: I've only seen a few episodes of 911 (season 1), so I hope my characterization of them isn't completely terrible. I really like this dynamic though; it's so fun and complex!!

Masterlist | Tim Bradford Masterlist | Request Info/Fandom List

Picture from Pinterest

“There’s no escape,” you whisper under your breath, desperately wishing for some relief.

“Oh, c’mon, we’re not that bad,” Buck replies, knocking his fist against your shoulder. “We’re better than the cop.”

“In every way!” Hen adds, smiling at you. “Why you started dating him is one of the two things I will never understand about you.”

“What’s the other?” you ask.

“How you-“ she turns to point to Buck as she continues, “and him are related. He can’t shut up and you can’t make eye contact.”

“I got all the good genes,” Buck explains, smiling.

“Yet none of the smarts,” Hen argues, pressing her lips together as she tilts her head.

“Or looks,” Nash calls from his place in the kitchen. “Now if you’re done bothering her, can someone set the table?”

You stand to help, and Nash points a spatula at you as he says, “Not you. You do it all the time. Make your brother do something for once.”

“She has no power over me!” Buck yells dramatically. “I have leverage. Like that time she-“

Chimney hits the back of his head, telling him to stop, as your chin drops to your chest. The alarm goes off before you can wonder which embarrassing story he was planning to use, and as you rush to the ambulance with Hen, you’re glad Chimney stopped him. Their attention was bad enough without him divulging your personal information.

✯✯✯✯✯

“This is a suspected arson, meets the MO of a few previous fires. We need that fire out before the police get here so they can get in,” Nash announces.

“Anyone inside?” Hen asks.

As Nash answers, someone screams in pain, and you look at Nash. He hesitates before nodding, and you grab your bag before running into the clear side of the duplex.

“Los Angeles Fire and Rescue,” you call. “Is anyone in here?”

“Yes! I need help!” a man yells from the back of the dwelling.

Rushing through, you radio to the rest of the 118 that you’re looking for an injured resident.

“We can’t get the fire under control,” Buck answers, his voice tight. “You need to get out of there.”

“I see him. Keep trying, Buck. Sir, are you injured?”

“No, I don’t think so,” he answers shakily. “I smelled the smoke and- and I have asthma, but I couldn’t tell where it was coming from, and I was scared to leave.”

“Okay, take a deep breath, sir. I’m a paramedic, so I’m going to get you out of here and then we’ll make sure your airways are clear. Do you understand?”

He nods but refuses when you gesture for him to stand.

“It’s on fire!” he argues.

“Sir, we have a clear track to the front door, but the fire will spread with the Santa Anas blowing outside, so we need to go now,” you explain.

Something crashes outside, and you pull the man to his feet.

“Get out of there! If I don’t see you in ten seconds, I’m coming in after you,” Buck radios.

“We’re coming, Buck,” you answer, pulling the man along.

More sirens become audible as you reach the door, the fire much closer to the front of the building. Several police cars approach, and you breathe a sigh of relief. The man stops, and you turn toward him quickly.

“Sir, we’re almost there,” you remind him, pointing to the ambulance.

“He’s still out here!”

“Who?” you ask, your voice quieting again as the adrenaline wears off.

“The man who set the fire!”

You freeze, a sudden cold rush contrasting the heat from the fire.

“Where is he?”

“I- I don’t know.”

A shot rings through the air, and you drop to the small porch, pulling the man behind the railing beside you. The fire is moving toward you, but with no idea of where that shot came from, you can’t move and risk your life and this man’s.

✯✯✯✯✯

“Everybody down!” Nash yells, ducking behind the truck.

“7-Adam-19, shots fired at my location. LAFD 118 and LAPD in need of backup, dispatch air support for possible sniper,” Tim calls, kneeling behind his shop before rushing to the fire truck.

“She’s still up there,” Buck calls, squatting behind the ambulance with Hen.

“Who?”

Buck and Nash look at each other and then Tim, and he immediately knows they’re talking about you.

“Backup is on the way, but we can’t do anything yet,” Tim explains.

“Bradford, the fire is spreading, we can’t stop it with this wind!” Nash adds.

“Or a sniper taking shots at us!” Buck yells. He drops his head to his radio to ask, “Sis, you okay?”

“Yeah, I’m fine. What’s going on?”

“Bradford and Thorsen are here, they called for backup but we can’t do anything until-“

Another shot cuts him off, and you move back against the railing.

“Talk to me!” Buck yells into his receiver.

“I’m okay, Buck,” you reply quietly. “Our- uh- our guy passed out after working himself up, so…”

“He’s not our primary concern right now,” Buck responds.

“Careful,” you warn, your voice nearly inaudible.

“No, I happen to agree,” Nash adds to the conversation.

Tim pulls Chimney’s radio from his chest to say, “I do too. You take care of you, and we’ll worry about him when we can get up there.”

The radio stays quiet, and Tim looks around the end of the truck. He can’t see you, but knowing you’re out of sight and safe makes him feel better.

“Uh, Tim?” Aaron asks. “Eyes on our shooter.”

Tim turns quickly, looking up. He sees the end of the rifle, and when it lowers suddenly, he doesn’t think before yelling at you.

“Stay down!” he screams.

You drop lower, your face to the concrete as the shooter releases several rounds, making a line of bullet holes across the front of the duplex. The fire is moving slowly, but it’s still closing in on your hiding place.

The cold feeling hasn’t gone away, and as you look at the unconscious man at your side, you can only hope to make it out alive.

✯✯✯✯✯

“Where is your backup?” Buck asks Tim, leaning forward to look past Hen.

“Still a minute out. Aaron and I are going to go through that building, find a way to the roof,” Tim answers.

“Be careful. We all care about the woman stuck back there,” Nash reminds him.

Aaron and Tim nod before moving between the shop and the fire truck, rushing to the main entrance and entering quietly.

“Go left, I’ll go right,” Tim whispers.

As they move up the stairs, Tim hears their backup and the airship approaching. He hopes that the shooter doesn’t do anything stupid when he sees the police and gestures for Aaron to go faster.

“LAPD, put the weapon down!” an officer demands over the speaker of the airship.

“Thorsen, go!” Tim yells, kicking the door open to walk onto the roof.

The man turns the rifle up, shooting toward the helicopter before it moves. Aaron and Tim approach from different sides, and when the gun suddenly drops and the man begins emptying his ammunition toward you, Tim doesn’t hesitate to shoot.

“7-Adam-19, suspect is down,” Aaron radios. “Tim, go get her.”

Nodding, Tim stands, rushing down the stairs and out into the road. The fire has worsened, and the 118 is still in place.

Evan sees Tim and clenches his jaw, stepping toward Tim to yell, “This is your fault! It’s all on you!”

 Tim’s brows furrow, looking to Nash for more information.

“She’s, uh- she’s not responding to the radio calls, and we can’t get up there until we get part of the fire out, enough to get through with our gear,” Nash explains.

“You should have brought enough backup to begin with or gone up there sooner!” Buck continues.

“You think I don’t know that?” Tim snaps. “But she was already stuck when I got here, so work on getting to her and getting her safe, and then you can get mad at me!”

“And if it’s too late?” Buck demands, his chest heaving in anger.

Tim looks away, and Buck moves forward quickly, causing Nash and Chimney to lunge forward and hold him back.

“I’ll kill you if we’re too late!”

“Buck!” Tim yells, walking to him. “I know this is my fault and if she doesn’t make it, her blood is on my hands. I’m sorry, I really am, but there is nothing I can do now except keep people back so you can get this fire out and find out if- and make sure she is okay.”

Buck relaxes slightly, pushing Chimney and Nash off of him.

“Let’s get her out!” Nash calls, directing everyone to their positions.

✯✯✯✯✯

The man beside you groans as you tug him further against the wall. You’re caged in against the fire, and you dropped your radio, watching it burn as you kept your head down.

When water sprays onto your face, a steady stream coming from the street, you force a smile, hoping to get out, get warm, and hug your brother and Tim for as long as you can before they make you shy away from them. You love them for it, you remember, reminding yourself to think happy thoughts.

“Where’s the ambulance?” the man slurs before coughing.

“Just a minute, sir, keep your head down and breathe.”

The fire is driven back by two hoses, and when several feet are clear on the side of the railing, people begin yelling.

“Sis! Can you hear me?” Buck asks loudly, appearing in his turnout gear a moment later.

“Get him to the ambulance,” you reply, standing shakily as he pulls the man over his shoulder.

You walk into the small yard, looking for Tim. The persistent cold feeling is just beginning to concern you, and when you grow dizzy and stop in the yard, you realize that something is wrong. Raising your hands to press against your stomach, you begin to run through a mental list of potential injuries.

“Hey, hey, gorgeous, c’mon, we got to get back,” Tim calls as he jogs to your side. “Are you okay?”

“Yeah,” you murmur, ducking away from his hands on your face.

“Good,” Tim replies, laying his hand on your upper back and directing you to the curb.

“You got lucky,” Buck grumbles, joining your other side across from Tim.

“We all did our jobs, Buck, she’s safe, just leave it,” Tim says lowly.

“No thanks to you!” Buck responds, stepping forward.

You recognize the look in his eyes, an anger he seems to reserve for you. Without thinking, you move a hand from your navel and push it against Buck’s chest to stop him. He and Tim look at your bloody hand before yelling your name as you tip back.

Buck catches you, lowering you onto the grass as he rips your shirt open.

“Hen!” he screams, a pained, guttural sound that draws the attention of the entire 118.

Hen sees you on the ground, unconscious between Buck and Tim, and rushes to you, her bag thrown over her shoulder.

“GSW,” she decides quickly, looking at your stomach, a mess of tattered fabric and blood. “Roll her over, carefully.”

Tim keeps his hands on your side, helping Buck tip you onto one side as Hen runs her hand down your spine.

“No exit wound, we need to go. Now.”

Leaning back, Tim gives Buck room to lift you, running to the ambulance as fast as possible.

“Are you coming?” he yells, raising his arms as he looks at Tim.

“Go!” Nash, Chimney, Aaron, and newly arrived Nolan yell.

Tim nods, rushing into the ambulance and sitting as it lurches into motion.

“I didn’t mean it,” Buck says, looking at you while he speaks to Tim. “It’s not your fault, but I can’t- I can’t lose her.”

“You won’t. We won’t,” Tim promises.

Hen works quickly, muttering under her breath about needing your help.

✯✯✯✯✯

When you open your eyes, you first notice the unmistakable feeling of someone looking at you and touching your side, a gentle touch as fingers drag up and down your skin.

“Is he okay?” you ask, blinking against the harsh light above you.

“The man from the duplex?” Buck asks. “Yeah, he’s fine. Had an asthma attack and then a few panic attacks, but he’s good. You- you got shot and didn’t tell anyone.”

Tipping your head down, you’re surprised he’s standing at the end of your bed. This means the fingers on your exposed side belong to…

“Tim,” you whisper, glancing at him.

“You scared us, baby,” he replies softly, spreading his warm hand over your skin.

He smiles when your muscles tense beneath him, but it quickly disappears when you groan in pain.

“I didn’t mean not to tell you,” you say quietly, pinching the blanket between your fingers. “I didn’t know I got shot.”

“That’s kinda- that’s pretty epic, really,” Buck says, laying his hand on your foot. “Makes a good party story.”

“I don’t go to parties,” you grumble.

“I mean for me,” he replies happily.

“Are you two fighting?” you ask, looking between them.

“No,” they answer together, both squeezing you reassuringly.

“We were scared and upset, didn’t have anywhere else to take it out,” Buck explains with a shrug. “He’s just lucky you stopped me from hitting him. I would’ve removed him from active duty for six weeks minimum.”

“You wish,” Tim scoffs.

“Stop,” you say, chuckling when they look shocked at your bold demand. “Please.”

“You were in surgery for a long time,” Tim tells you. “How’s your pain?”

“It’s fine, manageable. I mean, I can feel it now, but it’s not too bad.”

You glance down, your brows furrowing as you realize why you could feel Tim’s skin directly on yours.

“Wondering where your hospital gown is?” Tim asks, a smile you know all too well on his face. “I put in a special request.”

“Gross. That’s my sister,” Buck interjects. When you look at him with wide eyes, he sighs and fills you in: “They couldn’t get to your stomach well enough with one on. If you want to cover up, we’ll make sure you’re comfortable.”

“It’s okay,” you reply, gently tugging the band of your sports bra down.

“More than okay,” Tim says, quiet enough that Buck can’t hear.

You look away quickly, and Buck makes a ‘tsk’ sound.

“The shooter is in custody,” Tim says, giving you a break from his ‘abuse.’

“Will I have to testify or anything?” you whisper.

“No,” Tim and Buck answer together.

Buck pulls his phone from his pocket, nodding before shaking your ankle, his hand still resting on you.

“I have to go, we’ve got a call, but when we’re done, everyone wants to come by,” he says.

You nod. “Be careful. I love you.”

“Love you, sis!”

Looking at Tim’s chest rather than his face, he takes the chance to tease you. “Maybe you should get a shirt before your team gets here.”

“Get out,” you mumble. “Or give me yours.”

“Whoa! You get shot once and become a whole new person.”

“Wasn’t worth it.”

“No, it wasn’t,” Tim replies, taking your hand. “And I’m sorry that I couldn’t do anything to keep it from happening.”

“’S not your fault.”

Turning your attention back to the blanket, Tim asks, “You get this shy with your patients?”

“No. But they’re not as pushy.”

“Hey,” Tim calls, using his hand to gently turn your chin toward him. “I love you. I’m so glad you’re okay.”

“I love you, too. Thanks for being here through all of it.”

“Try to get rid of me.”

“I do. You never listen.”

Tim laughs, loud and happy, and you smile, turning your face into his arm where it holds your hand, glad he’s at your side, and you have a whole team, a family, to be with you through everything.

[puff0o0]

Hes so goofy I literally love him

(credits to @niktocallofduty for the image !!)

It pains me how underrated Nikto is, he's such an amazing character with an amazing storyline. AND HIS VOICELINESS??? AUUUGHHSHSHSHSHSHHDHD

So little content for a guy with such an interesting backstory. Like he was a CIA agent??? and he was captured?? escaped with his life and then became this brave soldier that never stopped fighting to protect those who can't protect themselves??? the torture is sad though :( my pookie bear did NOT deserve that

I love how they wrote his lines and I LOVE the voice they chose for him. It fits him so perfectly it's unbelievable, Gideon emery did such an amazing job with voicing him

His personality is hard to analyze (because he has many) and I really wish we got to see more of him so we could see more of how he's like. The only thing that is helping me is researching DID (which is what I belive he has, if I'm wrong please correct me) and colliding his canon personality with it

its so worth it in the end though

hes so pretty

his eyes are gorgeous

i sob everytime

Not a single time where he looks bad in all these images

hes so perfect

I also feel like so much content can be done with him and it's not limited to one category. he is such a interesting yet complex character and honestly deserves the world for all he's been through 😢

ANYWAYS, SMALL HCs

☆ He is the type of man to distance himself from you when he's upset so he doesn't take it out on you. Most of the time it's him taking a long shower or spending time driving around.

☆ He doesn't really go anywhere except sometimes sports bars, but that's a rare occasion as he doesn't wanna leave you alone too long

☆ but he can't be perfect all the time, sometimes he snaps and it leads to him taking some of it out

☆ He understands when you don't accept his apology and that you were hurt by his words and he makes sure he does everything he can to make up for it and prevent it from happening again

☆ he never wants to hurt you nor does he mean to hurt you. He tries his hardest to be away from you while he's having an episode

☆ he adores cuddling but he will never say it outright. He doesn't even correlate it to the word, just seeing it as a means of showing affection. His favorite way is holding you at night on top of him, almost as if you were a weighted blanket for him. ପ(๑•ᴗ•๑)ଓ ♡

☆ You always wake up away from him or without him as he's already up

☆ He'll wake you up with breakfast in bed sometimes

☆ He makes you breakfast in the morning, usually he picks but if you want something specific he'll try to make it. He has to practice it if he's never made it before though 𖦹 ´ ᯅ ` 𖦹

☆ His favorite meals are Kasha or Blini ₍^ >ヮ<^₎ .ᐟ.ᐟ

☆ His nicknames for you are: Куколка (doll), принцесса (princess), драгоценная (precious), Родная (sweetheart), and ангел (angel) ꒰ᐢ. .ᐢ꒱₊˚⊹