#and maybe moore's stories

[thenotoriousscuttlecliff]

Maddening how DC largely ignores this entire era, never really collecting or reprinting any of it except for Death of Superman, which is far from the best story it produced. That and the Wedding seem to be the only bits of the Triangle era widely available, which is just crazy, but not all that surprising. DC has never been all that fussed about reprinting Superman stories from the silver, bonze and modern age, except for a select few.

[rebouks]

Previous // Next

[Darien turned the volume of his phone down only a little, gleefully enduring Wyatt’s continued expletives] Darien: Are you done? [Darien’s speaker crackled as Wyatt threw his hand up with an agitated sigh] Darien: It’s safe and he wanted to see you, I don’t see the problem. Wyatt: You just wanted to fuck with me. Darien: Well, that too. Wyatt: He didn’t even book a rental. Darien: I think you should let him stay with you; it’ll be.. cathartic. Wyatt: Fuck off, Darien. Darien: Gladly. [Wyatt tutted as Darien hung up-.. what a dickhead. Tossing his phone onto the bed in defeat, he stomped back downstairs; the audacity of his so-called friend was immeasurably irritating sometimes…] … [in Komorebian] Wyatt: I’m gonna let him stay for a few days-.. as long as it’s alright with you. Brynn: He doesn’t remember me, does he? Wyatt: Nope. [Brynn squinted suspiciously; if Kian recognised her, he certainly didn’t show it] Wyatt: Say the word and he’s gone. Brynn: Hm, I don’t think he has enough brain cells to be a threat on his own. Wyatt: Yeah, I doubt it-.. who knows, anyway; perhaps he’s a changed man. [Brynn briefly returned the mirthful look in Wyatt’s eyes and snorted over her shoulder, whisking Ellis upstairs with a well-practiced air of indifference] Kian: Putting her in her place, eh? Wyatt: Sure… Kian: Tch, women.

[whereisthedamndaddymanual]

The Cook's wife: just a year ago he was barely walking. This year he's running riot

[minutes1a]

smol tag drop.

[mollyrealized]

How Michael Met Neil

original direct link [MP3]

(Neil, if you see this, please feel free to grab the transcript and store on your site; I had no easy way of contacting you.)

DAVID TENNANT: Tell me about @neil-gaiman then, because he's in that category [previously: “such a profound effect on my life”] as well.

MICHAEL SHEEN: So this is what has brought us together.

DAVID: Yes.

MICHAEL: To the new love story for the 21st century.

DAVID: Exactly.

MICHAEL: So when I went to drama school, there was a guy called Gary Turner in my year. And within the first few weeks, we were doing something, having a drink or whatever. And he said to me, “Do you read comic books?”

And I said, “No.”  I mean, this is … what … '88?  '88, '89.  So it was … now I know that it was a period of time that was a big change, transformation going through comic books.  Rather than it being thought of as just superheroes and Batman and Superman, there was this whole new era of a generation of writers like Grant Morrison.

DAVID: The kids who'd grown up reading comic books were now making comic books

MICHAEL: Yeah, yeah, and starting to address different kinds of subjects through the comic book medium. So it wasn't about just superheroes, it was all kinds of stuff going on – really fascinating stuff. And I was totally unaware of this.

And so this guy Gary said to me, "Do you read them?" And I said, "No."  And he went, "Right, okay, here's The Watchman [sic] by Alan Moore. Here's Swamp Thing. Here's Hellblazer. And here's Sandman.”

And Sandman was Neil Gaiman's big series that put his name on the map. And I read all those, and, just – I was blown away by all of them, but particularly the Sandman stories, because he was drawing on mythology, which was something I was really interested in, and fairy tales, folklore, and philosophy, and Shakespeare, and all kinds of stuff were being mixed up in this story.  And I absolutely loved it.

So I became a big fan of Neil's, and started reading everything by him. And then fairly shortly after that, within six months to a year, Good Omens the book came out, which Neil wrote with Terry Pratchett. And so I got the book – because I was obviously a big fan of Neil's by this point – read it, loved it, then started reading Terry Pratchett’s stuff as well, because I didn't know his stuff before then – and then spent years and years and years just being a huge fan of both of them.

And then eventually when – I'd done films like the Underworld films and doing Twilight films. And I think it was one of the Twilight films, there was a lot of very snooty interviews that happened where people who considered themselves well above talking about things like Twilight were having to interview me … and, weirdly, coming at it from the attitude of 'clearly this is below you as well' … weirdly thinking I'm gonna go, 'Yeah, fucking Twilight.”

And I just used to go, "You know what? Some of the greatest writing of the last 50-100 years has happened in science fiction or fantasy."  Philip K Dick is one of my favorite writers of all time. In fact, the production of Hamlet I did was mainly influenced by Philip K Dick.  Ursula K. Le Guin and Asimov, and all these amazing people. And I talked about Neil as well. And so I went off on a bit of a rant in this interview.

Anyway, the interview came out about six months later, maybe.  Knock on the door, open the door, delivery of a big box. That’s interesting. Open the box, there's a card at the top of the box. I open the card.

It says, From one fan to another, Neil Gaiman.  And inside the box are first editions of Neil's stuff, and all kinds of interesting things by Neil. And he just sent this stuff.

DAVID: You'd never met him?

MICHAEL: Never met him. He'd read the interview, or someone had let him know about this interview where I'd sung his praises and stood up for him and the people who work within that sort of genre as being like …

And he just got in touch. We met up for the first time when he came to – I was in Los Angeles at the time, and he came to LA.  And he said, "I'll take you for a meal."

I said, “All right.”

He said, "Do you want to go somewhere posh, or somewhere interesting?”

I said, "Let's go somewhere interesting."

He said, "Right, I'm going to take you to this restaurant called The Hump." And it's at Santa Monica Airport. And it's a sushi restaurant.

I was like, “Right, okay.” So I had a Mini at the time. And we get in my Mini and we drive off to Santa Monica Airport. And this restaurant was right on the tarmac, like, you could sit in the restaurant (there's nobody else there when we got there, we got there quite early) and you're watching the planes landing on Santa Monica Airport. It's extraordinary. 

And the chef comes out and Neil says, "Just bring us whatever you want. Chef's choice."

So, I'd never really eaten sushi before. So we sit there; we had this incredible meal where they keep bringing these dishes out and they say, “This is [blah, blah, blah]. Just use a little bit of soy sauce or whatever.”  You know, “This is eel.  This is [blah].”

And then there was this one dish where they brought out and they didn't say what it was. It was like “mystery dish”, we had it ... delicious. Anyway, a few more people started coming into the restaurant as time went on.

And we're sort of getting near the end, and I said, "Neil, I can't eat anymore. I'm gonna have to stop now. This is great, but I can't eat–"

"Right, okay. We'll ask for the bill in a minute."

And then the door opens and some very official people come in. And it was the Feds. And the Feds came in, and we knew they were because they had jackets on that said they were part of the Federal Bureau of Whatever. And about six of them come in. Two of them go … one goes behind the counter, two go into the kitchen, one goes to the back. They've all got like guns on and stuff.

And me and Neil are like, "What on Earth is going on?"

And then eventually one guy goes, "Ladies and gentlemen, if you haven't ordered already, please leave. If you're still eating your meal, please finish up, pay your bill, leave."*

[* - delivered in a perfect American ‘serious law agent’ accent/impression]

And we were like, "Oh my God, are we poisoned? Is there some terrible thing that's happened?"  

We'd finished, so we pay our bill.  And then all the kitchen staff are brought out. And the head chef is there. The guy who's been bringing us this food. And he's in tears. And he says to Neil, "I'm so sorry." He apologizes to Neil.  And we leave. We have no idea what happened.

DAVID: But you're assuming it's the mystery dish.

MICHAEL: Well, we're assuming that we can't be going to – we can't be –  it can't be poisonous. You know what I mean? It can't be that there's terrible, terrible things.

So the next day was the Oscars, which is why Neil was in town. Because Coraline had been nominated for an Oscar. Best documentary that year was won by The Cove, which was by a team of people who had come across dolphins being killed, I think.

Turns out, what was happening at this restaurant was that they were having illegal endangered species flown in to the airport, and then being brought around the back of the restaurant into the kitchen.

We had eaten whale – endangered species whale. That was the mystery dish that they didn't say what it was.

And the team behind The Cove were behind this sting, and they took them down that night whilst we were there.

DAVID: That’s extraordinary.

MICHAEL: And we didn't find this out for months.  So for months, me and Neil were like, "Have you worked anything out yet? Have you heard anything?"

"No, I haven't heard anything."

And then we heard that it was something to do with The Cove, and then we eventually found out that that restaurant, they were all arrested. The restaurant was shut down. And it was because of that. And we'd eaten whale that night.

DAVID: And that was your first meeting with Neil Gaiman.

MICHAEL: That was my first meeting. And also in the drive home that night from that restaurant, he said, and we were in my Mini, he said, "Have you found the secret compartment?"

I said, "What are you talking about?" It's such a Neil Gaiman thing to say.

DAVID: Isn't it?

MICHAEL: The secret compartment? Yeah. Each Mini has got a secret compartment. I said, "I had no idea." It's secret. And he pressed a little button and a thing opened up. And it was a secret compartment in my own car that Neil Gaiman showed me.

DAVID: Was there anything inside it?

MICHAEL: Yeah, there was a little man. And he jumped out and went, "Hello!" No, there was nothing in there. There was afterwards because I started putting...

DAVID: Sure. That's a very Neil Gaiman story. All of that is such a Neil Gaiman story.

MICHAEL: That's how it began. Yeah.

DAVID: And then he came to offer you the part in Good Omens.

MICHAEL: Yeah. Well, we became friends and we would whenever he was in town, we would meet up and yeah, and then eventually he started, he said, "You know, I'm working on an adaptation of Good Omens." And I can remember at one point Terry Gilliam was going to maybe make a film of it. And I remember being there with Neil and Terry when they were talking about it. And...

DAVID: Were you involved at that point?

MICHAEL: No, no, I wasn't involved. I just happened to have met up with Neil that day.

DAVID: Right.

MICHAEL: And then Terry Gilliam came along and they were chatting, that was the day they were talking about that or whatever.

And then eventually he sent me one of the scripts for an early draft of like the first episode of Good Omens. And he said – and we started talking about me being involved in it, doing it – he said, “Would you be interested?” I was like, "Yeah, of course."  I went, "Oh my God." And he said, "Well, I'll send you the scripts when they come," and I would read them, and we'd talk about them a little bit. And so I was involved.

But it was always at that point with the idea, because he'd always said about playing Crowley in it. And so, as time went on, as I was reading the scripts, I was thinking, "I don't think I can play Crowley. I don't think I'm going to be able to do it." And I started to get a bit nervous because I thought, “I don't want to tell Neil that I don't think I can do this.”  But I just felt like I don't think I can play Crowley.

DAVID: Of course you can [play Crowley?].

MICHAEL: Well, I just on a sort of, on a gut level, sometimes you have it on a gut level.

DAVID: Sure, sure.

MICHAEL: I can do this.

DAVID: Yeah.

MICHAEL: Or I can't do this. And I just thought, “You know what, this is not the part for me. The other part is better for me, I think. I think I can do that, I don't think I could do that.”

But I was scared to tell Neil because I thought, "Well, he wants me to play Crowley" – and then it turned out he had been feeling the same way as well.  And he hadn't wanted to mention it to me, but he was like, "I think Michael should really play Aziraphale."

And neither of us would bring it up.  And then eventually we did. And it was one of those things where you go, "Oh, thank God you said that. I feel exactly the same way." And then I think within a fairly short space of time, he said, “I think we've got … David Tennant … for Crowley.” And we both got very excited about that.

And then all these extraordinary people started to join in. And then, and then off we went.

DAVID: That's the other thing about Neil, he collects people, doesn't he? So he'll just go, “Oh, yeah, I've phoned up Frances McDormand, she's up for it.” Yeah. You're, what?

MICHAEL: “I emailed Jon Hamm.”

DAVID: Yeah.

MICHAEL: And yeah, and you realize how beloved he is and how beloved his work is. And I think we would both recognise that Good Omens is one of the most beloved of all of Neil's stuff.

DAVID: Yes.

MICHAEL: And had never been turned into anything.

DAVID: Yeah.

MICHAEL: And so the kind of responsibility of that, I mean, for me, for someone who has been a fan of him and a fan of the book for so long, I can empathize with all the fans out there who are like, “Oh, they better not fuck this up.”

DAVID: Yes.

MICHAEL: “And this had better be good.” And I have that part of me. But then, of course, the other part of me is like, “But I'm the one who might be fucking it up.”

DAVID: Yeah.

MICHAEL: So I feel that responsibility as well.

DAVID: But we have Neil on site.

MICHAEL: Yes. Well, Neil being the showrunner …

DAVID: Yeah. I think it takes the curse off.

MICHAEL: … I think it made a massive difference, didn't it? Yeah. You feel like you're in safe hands.

DAVID: Well, we think. Not that the world has seen it yet.

MICHAEL (grimly): No, I know.

DAVID: But it was a -- it's been a -- it's been a joy to work with you on it. I can't wait for the world to see it.

MICHAEL: Oh my God.  Oh, well, I mean, it's the only, I've done a few things where there are two people, it's a bit of a double act, like Frost-Nixon and The Queen, I suppose, in some ways. But, and I've done it, Amadeus or whatever.

This is the only thing I've done where I really don't think of it as “my character” or “my performance as that character”.  I think of it totally as us.

DAVID: Yeah.

MICHAEL: The two of us.

DAVID: Yes.

MICHAEL: Like they, what I do is defined by what you do.

DAVID: Yeah.

MICHAEL: And that was such a joy to have that experience. And it made it so much easier in a way as well, I found, because you don't feel like you're on your own in it. Like it's totally us together doing this and the two characters totally complement each other. And the experience of doing it was just a real joy.

DAVID: Yeah.  Well, I hope the world is as excited to see it as we are to talk about it, frankly.

MICHAEL: You know, there's, having talked about T.S. Eliot earlier, there's another bit from The Wasteland where there's a line which goes, These fragments I have shored against my ruin.

And this is how I think about life now. There is so much in life, no matter what your circumstances, no matter what, where you've got, what you've done, how much money you got, all that. Life's hard.  I mean, you can, it can take you down at any point.

You have to find this stuff. You have to like find things that will, these fragments that you hold to yourself, they become like a liferaft, and especially as time goes on, I think, as I've got older, I've realized it is a thin line between surviving this life and going under.

And the things that keep you afloat are these fragments, these things that are meaningful to you and what's meaningful to you will be not-meaningful to someone else, you know. But whatever it is that matters to you, it doesn't matter what it was you were into when you were a teenager, a kid, it doesn't matter what it is. Go and find them, and find some way to hold them close to you. 

Make it, go and get it. Because those are the things that keep you afloat. They really are. Like doing that with him or whatever it is, these are the fragments that have shored against my ruin. Absolutely.

DAVID: That's lovely. Michael, thank you so much.

MICHAEL: Thank you.

DAVID: For talking today and for being here.

MICHAEL: Oh, it's a pleasure. Thank you.

[astronicht]

Okay I'm almost done with Fellowship, here's an incomplete list of shit I noticed and thought was buck fucking wild on my first ever read-thru: medieval edition.

In literally the second line of the book, Tolkien implies that Bilbo Baggins wrote a story which was preserved alongside the in-universe version of the Mabinogion (aka the best-known collection of Welsh myths; I promise this is batshit). This is because The Hobbit has been preserved, in Tolkien's AU version of our world, in a "selection of the Red Book of Westmarch" (Prologue, Concerning Hobbits). If you're a medievalist and you see something called "The Red Book of" or "The Black Book of" etc it's a Thing. In this case, a cheeky reference to the Red Book of Hergest (Llyfr Coch Hergest). There are a few Red Books, but only Hergest has stories).

not a medieval thing but i did not expect one common theory among hobbits for the death of Frodo's parents to be A RUMORED MURDER-SUICIDE.

At the beginning of the book a few hobbits report seeing a moving elm tree up on the moors, heading west (thru or past the Shire). I mentioned this in another post, but another rule: if you see an elm tree, that's a Girl Tree. In Norse creation myth, the first people were carved from driftwood by the gods. Their names were Askr (Ash, as in the tree), the first man, and Embla (debated, but likely elm tree), the first woman. A lot of ppl have I think guessed that that was an ent-wife, but like. Literally that was a GIRL. TREE.

Medieval thing: I used to read the runes on the covers of The Hobbit and LOTR for fun when I worked in a bookshop. There's a mix of Old Norse (viking) and Old English runes in use, but all the ones I've noticed so far are real and readable if you know runes.

Tom Bombadil makes perfect sense if you once spent months of your life researching the early medieval art of galdor, which was the use of poems or songs to do a form of word-magic, often incorporating gibberish. If you think maybe Tolkien did not base the entirety of Fellowship so far around learning and using galdor and thus the power of words and stories, that is fine I cannot force you. He did personally translate "galdor" in Beowulf as "spell" (spell, amusingly, used to mean "story"). And also he named an elf Galdor. Like he very much did name an elf Galdor.

Tom Bombadil in fact does galdor from the moment we meet him. He arrives and fights the evil galdor (song) of the willow tree ("old gray willow-man, he's a mighty singer"), which is singing the hobbits to sleep and possibly eating them, with a galdor (song) of his own. Then he wanders off still singing, incorporating gibberish. I think it was at this point that I started clawing my face.

THEN Tom Bombadil makes perfect sense if you've read the description of the scop's songs in Beowulf (Beowulf again, but hey, Tolkien did famously a. translate it b. write a fanfiction about it called Sellic Spell where he gave Beowulf an arguably homoerotic Best Friend). The scop (pronounched shop) is a poet who sings about deeds on earth, but also by profession must know how to sing the song or tell the story of how the cosmos itself came to be. The wise-singer who knows the deep lore of the early universe is a standard trope in Old English literature, not just Beowulf! Anyway Tom Bombadil takes everyone home and tells them THE ENTIRE STORY OF ALL THE AGES OF THE EARTH BACKWARDS UNTIL JUST BEFORE THE MOMENT OF CREATION, THE BIG BANG ITSELF and then Frodo Baggins falls asleep.

Tom Bombadil knows about plate tectonics

This is sort of a lie, Tom Bombadil describes the oceans of old being in a different place, which works as a standard visual of Old English creation, which being Christian followed vaguely Genesis lines, and vaguely Christian Genesis involves a lot of water. TOLKIEN knew about plate tectonics though.

Actually I just checked whether Tolkien knew about plate tectonics because I know the advent of plate tectonics theory took forever bc people HATED it and Alfred Wegener suffered for like 50 years. So! actually while Tolkien was writing LOTR, the scientific community was literally still not sure plate tectonics existed. Tom Bombadil knew tho.

Remember that next time you (a geologist) are forced to look at the Middle Earth map.

I'm not even done with Tom Bombadil but I'm stopping here tonight. Plate tectonics got me. There's a great early (but almost high!) medieval treatise on cosmology and also volcanoes and i wonder if tolkien read it. oh my god. i'm going to bed.

edit: part II

[rayroseu]

Wait this is actually interesting, so from what the story implies, Wild Rose Castle is weaker than Black Scale Castle because it probably has no magical atmosphere that serves as its defense, there's probably fewer troops here, and the fact that its just on a clear meadow makes the terrain not suitable for defenses unlike Black Scale who is atop a mountain and covered in a Valley.

So I kinda think that Wild Rose Castle is a newly built castle in Briarland. After all, Meleanor was a kid only 200 years ago so Wild Briar is probably that age as well (or more), i think that age is young (compared to Black Scale which probably several centuries old?) thats why it has weaker defense facilities.

Maybe Wild Briar is older as Black Scale, but this game says this is Meleanor's castle so I assume she's the one who had built this.

But I have this HC that this castle is actually built because of Levan. For his diplomatic mission between humans. Building a castle in an easy terrain would make sense to make it easier for magicless humans to transport in. Because I don't really expect(?) Maleanor who is a military commander, which she probably has knowledge of strategies, to not see how disadvantegous this location is considering its close to humans

But I also think Wild Briar was built as like a refuge for the faes that live far away outside Dragon City(I wont call it dragonopolis lol)

Wild Rose being a few centuries old also kinda makes sense since the Silver Owls only recognize Meleanor as the only ruler in Briarland, they probably arent aware theres a queen named Maleficia because she's ancient(?) atleast I didnt caught any silver owls mentioning her iirc(?) They went to the mountains near Dragon city yes-- but like it was to pursue General Lilia and not to besiege Black Scale as well even they kinda had the potential to do so since they took down Maleanor and Silver Owls' is implied to be very greedy--

I actually think its more interesting to not summarize Maleanor's cause of death as just her overestimating her win against Knight of Dawn-- I actually think its because of several reasons such as:

"Wrong time" in working out the diplomatic relations between the conflict between humans and faes, Levan's plan to educate wasn't pointless effort, but I wish the story states as well what he did to counter the fact that the faes hates humans not because of a misunderstanding, but because of their mistreatment towards faes(the story literally implies rhe humans kills faes meanwhile we have yet to see a royal guard fae that killed humans the story only tells us they chased them away), Levan does this when its clear that the Silver Owls was getting hostile, like objectively speaking, this was kinda not the right time to communicate and Meleanor was the receiving end of the build up hostility of the Silver Owls

This is kinda countering my first point, but Meleanor's decisions was kinda weird too in the story lol, why send your best Generals to the enemy fortress.... 😭💥 But I actually think this is interesting as well, because its likely a reference to the wars in LiveAction Maleficent... I remember watching that movie especially Maleficent 2: Mistress of Evil and just wondering why the Moors never plans (and even if they do its very simple, just charge in and overpower the enemy with strength), they just charge in instead of treating it "like a chess" where you save your best pieces in dangerous situations and everyone has a role in dispelling the enemy. They also hold this belief that only the strong ones would guarantee their success and heavily relies on them. Meanwhile, Queen Ingrid used deception and control to subdue all the faeries. Like Meleanor/Faes vs Humans, the faes never thinks about what the human enemy plans, they rely on raw dodging it lol probably alluding to the fact that the faes have trouble thinking like a human.

And lastly this point lol, poor choice of headquarters, the terrain is easy for humans to invade in, and the castle is still weak, also the fact that Wild Briar was alone in fighting several human nations was a factor as well because it couldnt get back up in time because it was too far away from Black Scale Castle, kinda adding Wild Briar was outnumbered too atp

[theholmwoodfoundation]

Welcome to the Holmwood Foundation

Sanguis Vita Est

The Holmwood Foundation is a Found Footage Horror-Fiction Podcast created by Fio Trethewey @fiotrethewey (Big Finish: Gallifrey War Room, 18th Wall Productions) and Georgia Cook @georgiacooked (Big Finish: The Eleventh Doctor Chronicles, Gallifrey War Room, BBC Books, The Dracula Daily Sketch Collection). It is a modern day sequel to the gothic novel Dracula.  We are currently working on building interest while we record and create the pilot episode ahead of crowd funding in October.

What is the Holmwood Foundation about?

Our story follows Jeremy Larkin (Played by Sean Carlsen) and Maddie Townsend (Played by Rebecca Root), two co-workers at the mysterious Holmwood Foundation, as they are possessed by the ghosts of Jonathan and Mina Harker, and embark on a road trip across the country in an effort to achieve their ghost's wishes: to stop Dracula once and for all. This is a story about identity and self discovery, family loyalty and devotion, all wrapped around a nightmare of a road trip with a rejuvenating severed head, incredibly sincere Victorian ghosts, and an analogue recorder. (Content Warnings for blood, horror themes and possession)

When can we listen to The Holmwood Foundation?

Find us on Acast here: https://shows.acast.com/667084e3abc94e79816dfa56/episodes/66e016252571af1294775f52?

We plan to release the pilot during the Kickstarter in October, 2024. However, once crowd funded, we hope to release the first season in Spring 2025. Follow for further updates as production progresses!

Social Media Links here: https://linktr.ee/theholmwoodfoundation

Who are the Cast and Crew?

The Holmwood Foundation are proud to present the cast and crew for our pilot episode: Across the Moors.

Rebecca Root as Maddie Townsend and Mina Harker, and Sean Carlsen as Jeremy Larkin and Jonathan Harker.

Other voice talents include:

Samuel Clemens as Arthur Jones Becky Wright as Thrall & Phone Voice Jessica Carroll as Newsreader Luke Kondor as Robert Swales and featuring Attila Puskas as Dracula

Joining our crew we have Samuel Clemens as Director, Katharine Armitage as our Script Editor and Benji Clifford as our Sound Engineer and Designer

Extra Content:

Between now and October, we will slowly be sharing small pieces of related content related to the Holmwood Foundation. These might be emails, or obituaries, maybe even interviews. Follow the links below to find all of that content together:

Frequently Asked Questions Production Updates OOC Answered Asks Extracts Foundation Emails Holmwood Foundation Art

[toggle1-mrfipp]

Something I really love about Elden Ring compared to the other Souls games is that its story is far more "present" than any of the others. In Demons' and the Dark trilogy, the world is tittering on the edge, all the big and major events have already happened and the major players are either gone or are something less than who they were by the time you show up, at this point you're basically just cleaning up. With Bloodborne, you get to Yahar'gul the first time and there's something off, there's this odd and tense atmosphere, you find this big locked gate but there's nothing you can do. Later you find out that while you were minding your own business killing werewolves, Micolash's people were conducting rituals and you then inadvertently help them pop things off by killing Rom. Seikro has a whole civil war going on in the background, everything Genichiro does is because of this war, but it is not in any way a concern for Wolf.

Elden Ring feels like the first time in these games where you feel like an active participate in the events of the story; yes Marika shattered the Elden Ring an age ago and lots of important things happen, but stuff is still happening in the present day, varying characters have their own goals and motivations that propel them forwards: Melina, Ranni, Morgott, Mogh, Rykard, Gideon, Goldmask Fia, Dung Eater, Shabriri, Gowry and so many other characters are all taking steps to push the world into the way they want it to be, and you are at the center of it. These plans living or dying depend on you and the actions you take, and how it fits in with your own ambitions. Even the background lore seems to be rather more connected than most of the other games because the relationships between all these majors characters and how they interact with one another is vital, which is different compared to how isolated from one another other lore important figures in the past games typically are.

It's why the Shadow of the Erdtree is maybe my favorite Fromsoft narrative; Miquella hasn't been in the Land of Shadows for an age and a half, he got there like a day or two before you did, and everyone is trying to figure out what exactly he's trying to do as he does it. Him leaving behind his Great Rune happens in real time, you can feel it across the map, and him dispelling his charms has changes in each of the characters who then pursue their own goals. The fight against Leda and her allies, a gank fight no less, is maybe one of the best fights in this series because it's the culmination of all these stories coming to head, of them all wanting something from this journey and fighting for it. It's the first time I think in this game that actual conversations happen, and I loved hearing Leda, Freyja and Moore exchange words with Thiollier and Ansbach because it cements that this was an active story.

God I love this game.

[bitterkarella]

Midnight Pals: 2 Fisted Tales

Stephen King: hey patricia is it true you used to write comics? Patricia Highsmith: [long cigarette drag] Highsmith: who told you that

King: well, i just heard- Highsmith: was it stan lee? Highsmith: musta been stan lee Highsmith: never met a cat who talked so much Highsmith: might as well be a dame with all the yap yap yappin

Dean Koontz: wowwwww did you really meet stan lee, patricia? Highsmith: yeah Koontz: wowwww! what was that like? [flashback] Stan Lee: hey there comics fans its me, stan lee Lee: how bout a date? Highsmith: no dice

Poe: steve King: i just thought she'd like to tell us about her Poe: steve Poe: just no Poe: no King: ok fine Barker: i'm gonna hear the comic story Poe: CLIVE NO

King: ah but patricia i think we'd all like to hear a comics story Patricia Highsmith: i ain't gonna tell no comic story King: well maybe I can't convince you King: but I bet I know someone who can! Alan Moore: [appearing in a flash] who dares summon the arch magus? King: the arch magus! Poe: the arch magus! Koontz: the arch magus!

Moore: speak! what boon ask ye of the arch magus? King: hey alan you've worked in comics King: how about you tell patricia that comics aren't stupid Moore: Moore: i cannot tell her that

Moore: comics are the bane of my existence! a curse upon them! Highsmith: now this guy, this guy i like Highsmith: he's got a real noodle in his noggin Moore: the arch magus would do well to hear your counsel, mortal Highsmith: sure, we could jaw a bit

Highsmith: how you feel about snails, archmagus? Moore: be these your familiars? Highsmith: "familiars" Highsmith: listen to this cat

Highsmith: ok fine you mooks wanna hear about my comics Highsmith: i'll tell ya Highsmith: but only cuz i'm here among bros Highsmith: long as its just dudes Highsmith: cuz these stories Highsmith: they get a little rough Highsmith: and you know how dames are

Highsmith: so this story's just for us dudes Highsmith: so franz Franz Kafka: what? Highsmith: you gotta go Kafka: huh? what? Kafka: why? Highsmith: you just gotta go Kafka: i don't understand Barker: oh my god franz get a clue Poe: clive

Highsmith: submitted for the approval of the midnight pals Highsmith: i call this the tale of the crime puncher Highsmith: it's about this real swole square headed guy who punches criminals Highsmith: pow! punch! bam! Highsmith: that's what comics are all about

Highsmith: so there're these 2 palookas who fight crime Highsmith: named steve and ploopie Barker: i'm sorry what Highsmith: steve and ploopie Barker: steve and WHAT Highsmith: what, you got cabbage in your ears? ploopie Barker: Barker: i'm sorry WHAT

Highsmith: anyway steve and ploopie gotta do some punching Barker: there's a lot of punching in these stories Highsmith: that's what kids want in comics Barker: huh sure yeah Barker: Barker: i'm sorry steve and WHAT Poe: let it go, clive

Highsmith: so this world war i playing ace crashes into a polish swamp Highsmith: when he dies, it creates a big mud monster Highsmith: who goes to america to harass some kid for his model air plane Barker: i'm starting to see why you didn't want to tell these stories Poe: CLIVE

Highsmith: i didn't just do action comics tho Highsmith: i wrote educational ones too Highsmith: like the two-fisted tales of oliver cromwell Highsmith: or don't mess with galileo Highsmith: or catherine the great takes out the trash

King: why didn't you stick with comics, patricia? Patricia Highsmith: eh you know how the comics biz is King: but I've heard its actually a growth industry Highsmith: is that so King: yeah they tell me that there's lots of opportunities in comics for girls Highsmith: ugh pass

[impala-dreamer]

Who We're Pretending To Be

A Story from the YOU Universe

~Joe finds himself getting too close to one of his grad students and he fights the urge to fall completely.~

Joe Goldberg (Jonathan Moore) x F!Reader

5,019 Words

Warnings: NSFW.

A/N: If you've not seen the Netflix show YOU, this may not be your thing. Still a great story, but it helps to know the show. Also, if you've not seen the show, I suggest you get right on that because it is AMAZING.

Set between Seasons 3 & 4. Slight spoilers for s4, but not really. 

Impala-Dreamer’s Masterlist  ~  Patreon  ~ Published Works

The classroom seems cold today, like there’s something missing. It’s distracting. I can’t quite put my finger on what’s off, but there’s a charge in the air like something’s about to happen; as if lightning could strike at any second.

I don’t mean proverbial lightning, as none of my students seem to have grasped any of the contextual undertones of the book we’re discussing, but actual, live lightning. If I opened the windows behind my desk just a crack, a bolt would sneak through and bury itself in the base of my skull. Maybe that’s what I need- a jolt of electricity, something to break me out of this fog that crept up around me and climbs forever higher threatening to suffocate me.

I think I’d take the lightning to the skull over suffocation, but we don’t always get what we want.

I’m perched on the edge of the desk when the door opens and Y/N comes rushing in.

Suddenly, all of my attention is on her.

She’s never late. Never rushing, always at least ten minutes early for every appointment, every class. She seems- off today, as well. Perhaps she can feel the imminent lightning strike as well. Wouldn’t that be funny? I find a kindred amongst these idiot grad students who can’t even seem to end this horrid debate.

“I am so sorry, Professor Moore.”

Y/N’s voice cracks a bit, which in itself isn’t very unusual. She’s one of the quieter students I’ve encountered, and the only American in my current circle of acquaintances. Her accent is faint, as if she’s attempting to hide it from her schoolmates. She’s been here a while, I can infer; sprinkling in local slang and adding letters to words where back home there would be none. She’s trying hard to fit in, but why? Why not be herself?

“I got held up by-”

I hold up my hand and smile softly. “It’s fine, Y/N. Please take a seat and try to catch up.”

For fuck’s sake, she’s only twenty minutes late, but it looks like every second has weighed her down like lead.

The others pick up their debate and I sit back a bit, cross my arms, pretend to listen. This teaching thing isn’t as hard as everyone makes it out to be. Occasionally, I toss out an idea and let them run with it. Sometimes, I pay attention, mostly I don’t. Mostly I’m thinking of You. Of how beautiful You looked at that art show, of how You gasped when you saw me like You couldn’t decide if You wanted to run to me or away.

From the corner of my eye, I see Y/N timidly raise her hand and You are temporarily pushed aside. She keeps her hand up but close to her chest, as if the very act of asking to speak is somehow terrifying.

How can someone so brave be so terrified to do something as common as speak in class? She’s clearly not a scared person by nature- she moved across an ocean to attend university when she could have gone for free back home to whatever state college she decided to attend. I’ve peeked at her transcripts- she’s smart. Not win a genius grant or a full ride smart, but smart. Why is she so nervous?

I smile and a bit of her nerves seem to quell. Her shoulders relax an inch and she smiles back.

“You know you don’t have to raise your hand, Y/N,” I tell her, laughing gently to put her at ease.

She dips her chin and then looks up with the most beautiful gaze I have ever seen. Her lashes flutter upwards in slow motion, the darkness of her pupils expand, pushing nearly every fleck of color away except the gemlike glow cast by the stained glass window over my head. She smiles and her lips shine like glass. Soft, pink, beautiful glass. I can’t look away and yet I absolutely have to. Thankfully, she speaks and I can act like I’m moving away to sit in my chair and not to get away from her.

“Sorry,” she says, sweet voice sweeping over the room. “I just didn’t want to jump in because I was late but-”

“But you have something to add,” I finish for her.

Her eyes float back to me and the atmosphere shifts. The foreboding of a lighting strike vanishes and the room seems to warm up. Quickly, I sit and scoot the chair close to the desk, set my elbows on the top, clasp my hands near my lips. I can’t stop staring at her.

She nods. “Yes. If that’s alright.”

There it is again, the tiniest speck of British on her tongue. How long has she been living here, and why? It can’t just be for school. She’s too interesting for that. She dresses to blend in; muted colors and clean jeans, her hair always swept back, face free of plastering makeup or too much color. There’s only ever that pink gloss and a gentle brush of mascara. It’s as if she doesn't know how beautiful she is, or perhaps, she doesn’t care.

Or was she one of those kids who never really got any attention until they blossomed but by then it was too late to fit into their personality?

She chews her lip nervously and shyly looks away from me.

No, she knows. She knows how beautiful she is, she just isn’t one to flaunt it; doesn’t need the attention. Or is that how she draws them in?

She’s already talking, but I can’t hear a thing she’s saying. I can hear her voice, that honey like glaze she adds to things when she’s speaking passionately, but the actual words, the meaning- I can’t follow a damned thing. I’m too busy trying to figure her out.

You flash through my mind for a moment; a sweet memory of a smile in the library when You didn’t think I was looking.

What is it about a smile that says so much without words? Does it show who we really are or who we’re pretending to be?

“I just think that love shouldn’t be so easily condemned.”

Y/N’s comment breaks through my thoughts of You and I clear my throat, straighten up in my chair, focus.

Across the room, Nadia rolls her eyes, clearly disagreeing with Y/N’s interpretation. “This isn’t love, it’s obsession. The two can’t and shouldn’t be intertwined.”

Y/N bites her bottom lip and shakes her head.

What does that lip gloss taste like? Berries, perhaps… No. Stop it. Focus.

“I disagree.” Y/N sits forward and tucks her hands below the table. “Love is obsession. Obsession is love. It’s not a tautology, no, but you can have one with the other. If you’re not even a little obsessed with the person you love, is it really love at all?”

My mind is zinging, my ears ringing. Does she truly believe that, or is it all for the sake of debating Nadia? They’ve been at war most of the semester, but this seems truthful, deep.

The bell rings before I can recenter and add anything. I give my head a little shake and stand up, the chair rolling back behind me.

“Class dismissed. Great job today. Lively, wonderful discourse.” I fake a smile at the rest and then settle on Y/N.

She’s taking her time, hanging back as she gathers her things. She stuffs a notebook into her bag and the pen she’s been using rolls away from her.

“Crap.” She lunges across the table for it, but it’s too close to the edge, too far from her reach.

I drop down at the last second and save it from a dusty fate of rolling across the floor. “Gotcha.”

She’s staring when I stand up. Our eyes meet and she doesn’t shy away, but looks even deeper somehow. A smile lifts her cheeks and my pulse quickens.

No.

She holds out her hand and there’s a fleeting second when I want to trace my fingers across her palm, feel how soft and warm she is, but no. I toss her the pen and turn, trying to get her out of my head.

I have more important things to do than become a tired cliche. Some professor falling for a student. It’s an outrageous thought, and besides, I don’t need Y/N, I have You.

I hear the zipper close and a chair being pushed in. She’s leaving.

She lingers in the door and turns back to me with a sweet smile. “Have a good weekend, Professor.”

Her tone is so genuine, so kind that it nearly knocks me backwards. I can’t remember the last time anyone has truly wished me a good time. It’s such an overused pleasantry, so common and boring, but not when she says it. Not when she smiles at me like that, with her eyes still and focused on me.

The warmth spreading through me is real as well and I can’t seem to push it away. “Thank you,” I managed, barely able to stand let alone return the sentiment. “You too.”

The rest of the day goes by quickly but it feels like forever. Two more classes, two more groups of students droning on about what the author really meant, when none of them, not a single one seems to be able to read between the fucking lines. None of them can step back and see the whole picture, capture the meaning as a universe unto itself and not just a line in black and white on an otherwise blank page.

Y/N could read between the lines. Y/N would understand the sum of it all. She would get it.

Stop. Thinking. About. Her.

On my walk home, I think about You. Wondering what You’re up to, where You are tonight. The sun is setting, dragging the sky down into a deep pink and I wonder if You are seeing the same colors where You are. Someday, we’ll sit together on an island in the Pacific and see what that sunset looks like. Would You paint it for me, I wonder…

Y/N crosses my mind for a moment as I gaze at the light reflecting off a window as I pass. Would the sunset hit her shining lip gloss in the same way? Would the pink deepen with the sky? Would she smile if she caught me staring, back away if I leaned in to drag my thumb across her juicy, pink bottom lip?

No.

Darkness has settled and I haven’t moved to turn on a lamp. I’m stuck, glued to my sofa, my hands nailed to my thighs. I keep my eyes open for fear of seeing her face, but bouncing around the room looking for a distraction is only giving me a headache. I need to get out. I need something to do. I need-

A knock at the door.

Who would be knocking at my door at nearly ten o’clock at night?

Curiosity pulls me off of the couch and I switch on the lights as I head to the door. The peephole is clouded as fuck, but I can see her outline. My stomach tightens, my shoulders tense.

What is she doing here?

Her hand raises to knock again, but I unlatch the door before her knuckles hand. I find her dangling in the air, her startled face the most appealing thing I’ve seen in ages. Her eyes go wide, her jaw drops just enough to give me a peek at her tongue. Quickly, she rights herself and shies her gaze away. She chews her lip and I notice the pink gloss is gone, replaced by a deeper red.

Everything about her is different tonight. Her hair is down and fresh, her eyes are lined in black and the color blended above brings out the prisms in her eyes. Her clothes are strange as well: a short skirt, tall boots, a blouse that’s too tight to hide anything. There’s a gold string around her throat, something old, a gift perhaps from a dead relative, or a chance find at an antique shop. She would like diving through boxes of discarded wares looking for treasures, wouldn’t she?

Or maybe I’m just distracted by her appearance. Maybe I should stop trying to pick her apart and send her far, far away.

I’m not that man anymore. I’ve changed. I’m good. I have to be good for You.

It’s been too long since either of us has said anything and the fact of it is hanging in the air between us like some kind of glowing, awkward sign.

Thankfully, she speaks.

“Um… Hi.”

It isn’t much, but it breaks the painful silence.

I smile, confused but curious. My ultimate downfall.

“Y/N. What are you doing here?”

I should say something about it being inappropriate, something about contacting me only during office hours, but she knows. That’s not why she’s here. I can see it in her eyes.

Her hands are tucked behind her back, I notice. She’s holding something, not just shoving her tits in my face, although, I can’t say that I mind. She sees that I’m looking and turns to the side a bit to hide it more.

She takes a deep breath and lets it out slowly, calming herself, steeling her nerves. Why is she so nervous? What secret is she hiding? What plan has been brewing all day in her head?

That’s it, isn’t it? She was late this morning, distracted and timid because she was planning to come here.

I should be flattered, but I’m too intrigued by her boldness as she slides past me into my flat.

“I know this is highly inappropriate,” she says, the confession like a song on her lips. “But… I… Well…”

Her nose scrunches up in the most adorable way while she searches for the right words. It’s endearing and makes me want to sit for hours and listen to her talk, discover exactly who she is and why.

I’m still standing in the open doorway, I realize, so I move aside and let it close. My back presses into the door and I hold my tongue, letting her get to the point.

She’s struggling, dancing around it in her head.

I want to crack open her skull and watch the thoughts spark through the gray matter like shooting stars.

“If you’re worried you’ll get in trouble,” I say, trying to get things moving, “you won’t. I’m just wondering why you’re here and how it is that you know where I live.”

She laughs and digs her tooth into the corner of her lip. “I’m not… stalking you or anything, if that’s what you’re thinking.”

I almost laugh. Almost.

“Nothing that nefarious,” she goes on. “But I did do something bad.”

The nerves seem to fall away from her the more she speaks and her demeanor changes. Her voice deepens ever so slightly and her hip pops to the side as she looks me over. Is she… flirting with me?

“I doubt you’ve done anything newsworthy, Miss Y/L/N…”

She takes a step forward and her lips pucker gently.

She is flirting with me.

“I hope not,” she says with a little laugh. “You see, I work part time in the admin office…”

I didn’t know that. I don’t know a lot about her. So many things to uncover, so many artifacts to dust off and examine.

“OK…” I push off from the door and take a step towards her. She counters, stepping backwards, guiding me to follow.

“And, well, I accidentally was looking at your files and-”

“Accidentally?”

She presses her tongue between her front teeth and smiles, eyes falling across my face. “Accidentally on purpose,” she clarifies. “I was… curious.”

“About me?”

Another step closer but she doesn’t move this time, letting me close the space between us by a few forbidden inches.

She sighs sweetly. “A little, yes.”

I dip my chin and look up, lifting my brows in question. She pulls in a quick breath, clearly enjoying the look I’ve given her.

“OK, maybe a little more than a little.”

One more step and I’m closer than I’ve ever really been to her, except just now when she invited herself in. I take a breath and she smells warm like vanilla, sweet like honey. The fantasy of berries on her lips falls away and I suddenly want to bury my face in the crook of her neck and do nothing but breathe in her scent, feel it invade my senses, infect my bloodstream.

Her chest heaves with a heavy breath and her eyes grow a little darker. She wants me.

“Maybe a lot curious,” she whispers, lifting her chin and blinking slowly.

Is she daring me to kiss her? Can she feel the lightning between us? Dare I?

No. She’s a student. She’s off limits. She’s not… You.

She must notice my hesitation and steps back a pace. She clears her throat. “Anyway. I saw that it was your birthday today.”

It’s not my birthday. Not my real birthday, anyway, just the one on the fake passport with the fake name and real photo.

I smile because I have to. “It is.”

Whatever she’s hiding behind her back shifts between her hands. “And, well, it’s presumptuous of me but I’ve never heard you talk much about friends or family and… you don’t wear a… ring. I just… Well, I know how hard it is to be a world away from what you know, and this city isn’t exactly kind in general, so…”

She’s rambling and I don’t ever want her to stop. Her voice ebbs and flows over me like a sultry tsunami and I can feel my fingers twitch, my blood rush through my system faster and faster.

“I just don’t think anyone should be alone or forgotten on their birthday so-” Finally, she reveals the mystery behind her back and holds out a green glass bottle. “I took a chance that you were a scotch man. At first I thought wine, but I know nothing about wine, and the guy at the shop said this one was good, so… Happy birthday, Professor.”

She hands me the bottle and without thinking, I take it. It’s not expensive by any means, but it’s the gesture that counts. She doesn’t let go right away, holding it with me, as if she can communicate her desires through the blown glass.

“Thank you.” I smile, let my finger brush against hers. “This is… very thoughtful.”

She lets go but doesn’t move otherwise. Her eyes are locked on me, her stare so pure.

I have to get her out of here.

Y/N shrugs and smiles, so confident now, so sure. “It’s nothing, really. I don’t even know if it’s any good.”

Her meaning lingers and I nod, gesture to the sofa as I start to peel off the seal on the top of the bottle.

“Join me for a glass?”

She bites her lip again and I nearly lose it.

“Love to.”

The scotch isn’t terrible but it’s not great. More like something you’d grab if you were just looking to get drunk, not necessarily gift someone you’re trying to impress.

Is that what she’s doing here? Trying to get me drunk? Surely, she knows she’s impressed me long before today. The looks between us in class, the lectures directed almost entirely at her have not gone unnoticed, but this, this is different. This is dangerous. She is dangerous.

The sofa suddenly feels too small. We sit close, drinking and chatting about life in London. She tells me about her family back home and how she had to cross an ocean to escape a misspent youth and an abusive father figure. I lie my way through a few answers but mostly, I let her talk.

The more she drinks, the looser her tongue gets, the freer her gestures. More than once, her hand falls to my knee and even though I should, I don’t push her away. Even though I should stand up, take her glass, ask her to get the hell out of my house, I can’t. I can’t do anything but stare at her lips as she speaks, drown myself in the tone of her voice, memorize the shape of her ears, her nose, slope of her shoulder. I’m lost in time with her and even though I know the clock is careening past midnight, I don’t care. I don’t want her to leave. I don’t want her to move. I want to be frozen in this moment with her. I want to die in her arms but not before…

“Professor?” She laughs gently, loose and relaxed from the alcohol. She leans in, her shoulder pressing against mine. “Are you even listening to me?”

Honestly, I have no idea what she’s been saying, but I can’t let her know that. I shift a bit, turning towards her. There’s barely room left for the Holy Ghost, as they say, but I doubt he’d begrudge me a little closeness, especially on my- on Jonathan’s birthday.

“I’m listening,” I whisper, captivated by the way she’s glowing. “I’m always listening to you.”

She squirms a bit and smiles behind her glass, takes another sip, downing the rest. There’s a drop of amber gold on her lip and it takes every ounce of restraint in me not to sweep it away with my tongue.

She pats the back of her hand against it and the moment is gone.

“Ya know, you’re one of the best teachers I’ve ever had. And I’m not just sayin’ that. You really are. I get you. I see you, Jonathan Moore. I see inside you.”

She slurs a bit, but not enough for it to be considered a crime if I touch her. That’s all I want to do, just a simple touch. Just to feel how soft she is beneath my fingers, how smooth the curve of her cheek.

Ripping myself away from the impulse, I take the glass from her hand and set hers next to mine on the coffee table. “I think you’ve had enough, Miss. Y/L/N.”

Her hand lands on my chest, right in the very center of me. Can she feel my heartbeat? Does she know how much I want her?

“You can call me by my name, ya know,” she says, dropping her chin and smiling. She’s so close that it would take but a tiny nudge to taste her. “Everyone just calls me Y/N/N.”

This is insane. She needs to leave. I need to slam the door behind her and never open it again.

“Y/N/N.”

Her name falls from my tongue like an incantation and her eyes go hazy. She leans closer, her breath fanning over my lips.

“Say it again,” she asks, nearly begging, “please…”

Fuck, this isn’t good. I can’t do this. I shouldn’t do this. I need to- Fuck, what does it all matter? She’s beautiful and interesting and smart and sitting next to me barely dressed and all she wants is me to whisper her name. What’s the harm?

“Y/N/N.”

The spell falls over her and I know it’s too late to back away. Her eyes fall closed and she leans in, pressing her crimson painted lips to mine. She exhales, pushes herself into the kiss, lets out a tiny moan.

She feels so good and it’s all I can think about. She pulls back and I lean in, needing more. My arms wrap around her, stealing her away. She melts against me, opens her lips to my tongue. The vanilla on her skin mixes with the scotch on her tongue and I’m blown away.

“Professor…”

If feels wrong, so fucking wrong, but I can’t stop tasting her, can’t stop breathing into her with every ounce of air in my body.

I let her go for a second, thinking she’s changed her mind, but no, she’s even more ready than I am.

She stands up, fits her knees in between mine and slowly unbuttons her blouse.

My eyes are huge, I know it. I must look like an idiot but I can’t help it. She’s here, beautiful and curvaceous, teasing me, undressing for me. It’s all for me. She’s here for me.

The blouse floats to the floor and she looks down at me, a hint of previous nerves returning. Her bra is pale pink and covered in lace. Something so pure and innocent covering up something I would kill for.

I would, I realize. I would kill for her.

She wiggles out of her skirt and her hips are distracting. I want to touch, to feel my bones crushing into hers, to sink myself deep inside just to see what it’s like, to know her, to feel all of her.

“You like?” she asks, innocence ringing in her soft voice.

What happened in her past that would make her ask such a thing? Who hurt her so badly, who crushed her self esteem to the point that she wouldn’t be able to tell if I was enjoying her delicious display?

“Of course. You’re… absolutely stunning.”

I can’t say more or I’ll break. I reach for her and she slides into my lap, locking her thighs around mine. She presses down on me and my cock responds, all blood and logic rushing down to push back at her ass.

She wraps her hands around my neck and bends to kiss me. Her fingers tangle in my hair, she curls them, tugs gently, testing, enjoying. Her kisses deepen and her hips roll. I’m about to lose my mind.

“I’ve wanted to do this since the first day of class,” she moans, scraping her nails across my scalp.

The sensation is intoxicating and my eyes roll back a bit as she tugs hard. Her right hand is locked in my hair and her left is dragging down my chest. I should stop her. I should stand up. I should…

“Fuck.”

Her hand sneaks into my slacks and she scoots back onto my knees for better access. I can’t even think straight as she rubs at my cock. Her hand is soft, warm, firm. I know I’m moaning, but I can’t help it. I might just die here beneath her.

Her tongue glides across my lips. “So hard to sit in class and not dream about fucking you…”

Something snaps inside of me and I let go. I grab at her tits, peel the delicate lace down and pinch her nipples hard until she’s crying out and arching against me.

“I can’t even read anymore,” she admits, nearly breathless as my lips seal around her left nipple. “Every page makes me think of you. I can hear every word in your voice. I- oh God-”

I bite down just enough to stop her train of thought and I look up to see a blank, beautiful stare.

“I want you,” she whispers, lips never quite closing after.

Fuck. This is what I was trying to avoid. This feeling, this hunger inside of me. This need to fall into someone else, this treacherous lust that forces me to act.

“Please…”

Her hand falls to the nape of my neck and it’s so delicate, so tender that I break.

Wrapping my arms around her, I stand and twist, flipping her over onto her back. She gasps and reaches for me, kissing through the shock while I tug the slacks from my hips. She yanks at my shirt, fumbling with the tiny plastic buttons, licking at every new inch of exposed flesh.

“Want you inside me so bad,” she sings, nearly praying as if I’m some ancient god on high that can make all her dreams come true.

I don’t know about all of them, but this prayer, I can answer.

I tear the lace from her hips and fall down over her, crushing her into the old sofa. Her breath stops for a blessed second and I swear I can hear her heart racing through the silence. She runs her hands across my shoulders and down, curling them around my hips while spreading her legs wider.

“Please… Please… Please…”

Her whine is pathetic but I can’t get enough. If I had it in me to drag this out, to tease her for hours, I would, but the scotch has clouded my head and the sight of her strung out and desperate makes it impossible to wait.

She inhales hard when I sink into her. I can feel myself falling but I press my hands beside her head and hold on as best I can.

She feels like heaven.

Or the closest thing to heaven I’ll ever know.

Wet and warm and tight, I can feel her throbbing around me. Every thrust is like magic, making her shiver and squirm and tighten up even more. She clings to me, nails digging into my arms, mouth searching and thirsty for more.

“Jon-”

I almost go insane. It’s not even my name, but it feels so right on her lips that I wish it was.

I feel her orgasm; her body clenching down on me and pulling me in deeper. It’s so hard not to scream her name at the top of my lungs. Nearly impossible not to stay here forever.

I fall down, shove my face into the crook of her neck and thrust a few more times. I know it’s over too soon, but she doesn’t seem to mind.

She rakes her hand through my hair, gently this time, and finds my lips, kissing me sweetly.

“Hi,” she laughs when our eyes finally focus and find each other through the afterglow.

God, she’s beautiful. So giving, so loving, so perfect in a million different ways that it’s actually breaking my heart.

I smile and peck her lips as I go soft inside of her.

“Hello, You.”

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[rebouks]

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Wyatt: That was quick. Oscar: You’re welcome. Wyatt: Thanks. Oscar: You better lay low, you’re still a wanted man. [Wyatt rolled his eyes, obviously] Darien: He’s kidding… Wyatt: Is he? It’s better safe than sorry… [Oscar snorted, wishing Wyatt were sorry-.. that he was rotting away with his brother in a grotty jail cell] Oscar: C’mon then, why Brynn? Wyatt: She helped me. Oscar: So? Wyatt: So, I owe her. Oscar: What’d she do? Wyatt: [sighs] She gave me a number to call-.. pointed me in the right direction. I turned Ashton in. Oscar: That was you..? Wyatt: You can thank her for your peace of mind-.. no doubt you were informed by your friends when it happened. Oscar: You should’ve turned yourself in whilst you were at it. Wyatt: It was over, what else would that have achieved? Oscar: My peace of fucking mind. Darien: I’m gonna let you two get yourselves there n’ sit this one out if you don’t shut up. [Oscar scoffed and folded his arms, waiting for a retort; nothing…]

Wyatt decided to let Oscar have the last word, instead turning his attention to the passing scenery. He didn’t expect forgiveness, nor did he even want it; he didn’t care what Oscar thought about him, after all-.. and the feeling was probably mutual. His thoughts drifted to Brynn. He hoped he was overreacting, hoped he was wrong about her being in trouble; to be honest, he’d rather she’d lost interest in him than whatever the alternative was. If Gael had hurt her in the slightest, he’d make sure it was the last thing he ever did. Wyatt didn’t particularly want to attract any unnecessary attention upon himself, but he wouldn’t mind getting rid of Gael if he had to, whether Oscar’s conscience liked it or not.

[bonefall]

.. opinions on wind runner? i feel like im one of the only ones that genuinely hates her sometimes

If you feel like the only one who genuinely hates her, I think you need to look around more. Wind Runner is a very widely disliked character, because she's often used within the story as a small antagonist who "threatens" the authority of Tall Shadow. Gray Wing dislikes her. Thunder is openly cat-racist to her. She spends several books trying to break through the moor cats' xenophobia to join a group that came to HER LAND.

Then, when Moth Flight is old enough to be a relevant character in Forest Divided, Wind Runner is turned into Yet Another mean mom the very moment Moth displays ADHD. She's contrasted to her mate Gorse Fur, who is a Soft And Good Dad, and ultimately MASSIVELY punished with the harrowing events of Moth Flight's Vision (even though, for most of that book, she's completely right.)

Ask yourself why they're especially harsh on WIND RUNNER for being mean to her child, in the arc with Tom the Fucking Wifebeater and his redemption death, plus Thunder being forced to stop being mad at his abuser Clear Sky, please.

To me, Wind Runner is an intense, ambitious woman who's demonized for it in a way that men just aren't. She's subject to several misogynistic trends within WC, plus a huge helping of xenophobia that goes absolutely unexamined. If DOTC cared at all about women, it would have treated her with the nuance she deserves.

Wind Runner is treated with nearly endless suspicion by Gray Wing through books 1 - 3, while he's bending over backwards to suck Clear Sky's toes.

Her wanting to join the group that came TO HER HOME and being a bit pushy about it earns a stronger reaction from Gray Wing than Clear Sky murdering people.

She's pressured into changing her name "to fit in," and it's still not enough. She wanted to join the group so bad she changed her name, at the request of the Mountain Cats, for a chance of being better accepted

This came after she'd already saved Jagged Peak's life when a burrow collapsed on him. She's plenty trustworthy.

She keeps doing shit to try and prove herself to this group of assholes. Remember Bumble being dragged back to her domestic abuser? Gray Wing interprets this as a power struggle, when WIND RUNNER WAS NOT EVEN PART OF THE GROUP AT THE TIME.

From Wind Runner's POV, she did something that the Moor cats wanted done. It was fucking evil. It was committing violence against another member of the out-group the cats see her as.

But who actually has the power here? Tall Shadow does.

Gray Wing said it himself that she could have come up with some excuse for Bumble to stay, and she didn't. In fact, any cat could have spoken up. No one did.

and still. STILL. Wind Runner gets nothing. Her reward is Gray Wing surmising that actually, her doing their sick dirtywork was a political move.

It's more consistent as a motivation with how Wind Runner wants to join their group. The thing she's been doing.

She only actually gets to join the group after Thunder starts publicly hurling slurs at her for suggesting they need to be ready for Clear Sky to attack them. "What do you know about peace? Last time I was here you were NOTHING BUT A ROGUE WITH A ROGUE'S NAME"

Gray Wing even starts purring when she gives birth, because her ambition goes away briefly and she "stops bossing everyone around." this is treated like a sweet thing. god forbid women retain their personalities when they have kids

She loses her first premature child to a seizure and Gray Wing starts proselytizing his religion to her. "Maybe it's a good thing your weakest child died because Jesus has them now" I want to beat him with a hammer

When her second child gets sick, Clear Sky has a bright idea that involves killing it. I refer to this as his "reverse leper colony" suggestion. He only develops a sense of humanity towards the sick when his brother's pregnant wife is in danger. Wind Runner and her kitten barely seem to clock as people to him.

It's only after her SECOND baby succumbs to a horrible, painful death that she decides the moor cats are assholes, and she goes to start her own group. It's LONG overdue. I was extremely excited to see it.

Now. Listen.

I've been treated just like Moth Flight before. I've practically heard the scolding in Book 6 Chapter 3 verbatim. I'm not downplaying anything about Wind Runner being harsh to her; being yelled at like that never fixed the problem.

What I'm saying is that this is the SAME arc that summons the hollowed-out ghost of Storm to coo that Clear Sky "never drove anyone away" with his abusive behavior and gives Tom the Wifebeater a heroic redemption death.

So why is the scolding from Wind Runner treated as unambiguously harsh? What's the difference between her and them?

Why is it that outside of this little bubble of the community, you can get buried in a flood of people crying about how "Clear Sky made Summisteaks Butt he thought it was the right thing :((( He feels bad about shoving Thunder's face in a weeping, pus-filled wound and trying to kill him :((((" but Wind Runner is mean about Moth Flight not catching a rabbit and she should be skinned alive

Why is WIND RUNNER held responsible for the death of Clear Sky's child in Moth Flight's Vision, WHEN IT WAS COMPLETELY HIS OWN FAULT??

So, why should I hate her? Because she's mean to the idiot protagonists? Because she's Yet Another Bad Mom whose actions ARE treated as Bad in the story, in the arc famous for openly weeping whenever someone's mad at their abusive dad?? When she has this whole horrific, unexamined story about how incredibly bigoted The Settlers are towards her and the extremes she goes to in order to please them?

I'm glad she's mean, actually. She should have been even meaner. I think she should have a gun

[nyarlathotep-thecrawlingchaos]

Woooo chapter 3 finally

Probably going to at least start the next chapter tonight because I’m so looking forward to writing Mihawk again. He is in this chapter as I promised, but...we do not wake him from his nap. We know better.

But Bogard and Garp have been so much fun honestly. Especially Garp giving Luffy vibes because the brainless dumbassery for sure runs in the family.

Not sure if that applies to Dragon but…look it’d be hilarious if it did—

Anyway, chapter threeeeeeeee

Flight Risk

Young!Mihawk x Marine!AFAB!Reader

Ch. 3 of like four or something maybe six at most idk, I have a clear ending in sight but I’m not sure how long it’ll take to get there

Brief summary of The Story So Far: So Garp, in his infinite wisdom, had this brilliant idea about how the Marines could use reader's devil fruit ability (zoan type, gray parrot) to spy on this particularly dangerous and elusive pirate up close, and now reader is stuck scoping out Kuraigana Island to see if there are any signs of him there. Bogard may have a coronary before this nonsense is said and done.

First Chapter link, Next Chapter link

SFW for now, but not in later chapters

Possible trigger warning for blood. Possible future trigger warnings for imprisonment, mild torture (definitely psychological, maybe physical)

Tags: Enemies to lovers, eventually NSFW, idk maybe more later

Word Count: 3,057

Haven't really proofread this much but I will in a minute I promise

No tag list yet, I do not expect one but if you're interested in seeing where this bullshit goes just lemme know

♫♬I’m Gonna Be Your Elvis — The Fratellis♬♫

I could not pretend that I was even half amused

When all they ever told me left me shaken and confused

It would have been a beautiful night for a flight, if not for the destination ahead of you.

Kuraigana Island loomed closer as your wings cut through the soft breeze in your transformed state, and catching the wind would ensure that you could simply glide most of the way there without expending too much energy. The chilly night air barely cut through your thick coat of gray feathers, and your dull coloration and the dim light of the crescent moon gave you some reassurance that you would be able to see any potential threat before it could notice you.

Something near the shore by the forest caught your eye, and you swooped in a bit closer to be positive of what you were looking at—and your stomach did a backflip as you confirmed it.

A small vessel was moored there, a boat in the shape of a coffin.

That was confirmation enough that he was here. Part of you considered circling back around the battleship cutting silently through the water a mile or so behind you and reporting this alone to Garp.

But…no. You had been told to fly over, to see what you could from a high enough elevation to avoid detection, and you intended to do just that. This was your first real chance to show your value as a Marine. You couldn’t blow it by turning tail and running the moment you felt the slightest pang of fear. Hardening your resolve, you regained your elevation with a few flaps of your wings, circling the island until you were at a height where you felt safe.

As safe as you could, at least.

The forest was quiet enough—there were no signs of the population of primates Garp had mentioned to you, perhaps all asleep for the evening. Save for the sound of nocturnal birds and insects cutting through the night air, nothing seemed out of the ordinary in the dense forest, or the narrow path that cut through it from the shore. You flew a bit lower, squinting down across the path.

His boat was there. You knew he had to be there somewhere. He never worked with anyone else, so chances were slim to none that he could possibly be anywhere else.

The clearing around the castle was half overgrown itself, littered with ruins and evidence of battles long since ended beneath a thin veil of fog, but the castle itself seemed mostly intact from your vantage point.

Intact, with a dim orange glow glimmering from one of the windows that made you briefly halt in midair, flapping your wings lightly to keep yourself aloft. Fire light. It had to be, there was no other explanation, perhaps the dim glow of a candle or a lantern. There was someone there, someone in a high room of the tower straight ahead of you. That would be enough for you to go back with, more than enough information to all but confirm the reports.

But…if you could get just a little closer, if you could confirm it with your own eyes…

This was a bad idea. It had to be a bad idea. Garp had told you to keep your distance, but you were already swooping down, stopping just beside the window and gripping your talons against the grooves between the stones that comprised the solid wall.

Folding your wings back behind you, slowly and quietly creeping closer to the window.

Closer, just a bit closer, craning your neck the slightest bit to the side to glimpse inside…

The light, as you had thought, came from an oil lantern situated on a small end table, illuminating what appeared to be a sizable den. Most of the visible surfaces in the room were covered with a fine coating of dust that glinted eerily in the flickering glow, from the bookshelves lining one wall to the adjacent hearth. It was quiet at the moment, still, but there was one sign of life that made your heart skip a beat and your breath catch.

Leaning alongside the hearth, unmarred by a single speck of dust, stood a massive sword with a jet-black blade and hilt in the shape of a cross, a glimmering blue gem set into the base of the hilt that seemed to glow in the firelight. Holding your breath as you stared at the weapon, unable to take your eyes off of it, you realized that the room wasn’t quite as silent as you had thought.

The faint whisper of slow, even breathing met your ears.

He was there. He was really there. You considered the likelihood that you were the first Marine to ever get this close without being killed within seconds, considered the idea of taking off back for your ship right that instant.

And then you slowly shifted a little closer to the window, looking around the edge of the windowsill to the other side of the room.

You barely stopped yourself from letting out a gasp.

Reclined back in an old armchair, a book open across his lap, his boots propped up on the table in front of him, arms crossed over his chest and head tilted down slightly—it was him. There was no question about it. Even with the small difference from his most recent bounty poster of the angular moustache and goatee, there was no question. You were barely ten feet away from the Marine Killer himself, Dracule Mihawk.

And he was fast asleep.

His chest rose and fell slowly with his deep, even breaths, his eyes closed. His plumed hat sat to the side on an end table, his signature trench coat draped across the back of his chair. You had done it—more than simply scouting for activity, more getting the lay of the land, you had found the man himself.

You jolted in alarm when he shifted in his sleep, quickly pulling your head out of the window, your heart racing.

That, you decided, was more than enough for you to report back. You shifted a careful distance across the wall of the tower, taking care to ensure that your talons didn’t so much as scratch against the stone surface, and took flight back toward the shore, toward the battleship barely visible against the dark water and midnight sky. Gliding just above the treetops, buzzing with adrenaline, you were already swelling with pride. You, a cadet that had spent weeks being taunted and treated like a joke, had managed to use the very ability that had made you a laughingstock to do what no other Marine had yet managed.

For the first time, you had more than just a glimmer of hope that this plan, however ridiculous it sounded on the surface, could actually work.

And then something whizzed past your left wing.

You faltered in your flight, looking around as you flapped your wings a few times to regain your equilibrium. Whatever it was had passed by so fast that you had registered no more than the whistle of wind around it. Maybe a smaller bird or a large bug—

And then it happened again.

And again.

And, as you realized that the objects were coming from below you and looked down, you let out an audible gasp that left you like a strangled squawk.

You were too close to the trees, you realized disjointedly, as you took in the sight of several enormous, ape-like creatures below you. You were also the only bird in the air, which you guessed had a great deal to with the fact that these particular apes were wearing what appeared to be some sort of armor and wielding very human weapons. Swords, spears, axes, and—to your stunned realization—bows.

Another arrow zipped past your right wing, close enough to brush across your feathers.

What the hell what the hell what the hell—

Soaring higher into the air did you little good. The beasts had already spotted you and were following your flight path with ease, still firing arrows, throwing spears (though these, thankfully, didn’t manage to come nearly high enough to pose any threat). You were more than halfway across the expanse of the forest, you could make it, you knew you could.

Nearly to the end of it, dipping higher and lower, zig-zagging through the air to throw off the aim of the strange primates.

Right there, right at the edge of the trees, when a searing pain tore through your right wing, causing you to screech out a swear, glancing down to watch the offending arrow fall and land on the shore below you.

You didn’t even dare glance toward your wing to see how bad the injury was. As long as you didn’t look, it might have only been a scratch. It might have just been a light graze. You tried to ignore how unsteady your flying was, to ignore the fact that you were slowly losing elevation and seemed unable to regain it, that you were swerving to the left no matter how hard you tried not to.

You did focus on the fact that if you fell now, you wouldn’t ever make it back. You’d fall into the nearly black waves below you and sink down into the ocean like a sack of stones, and that would be the end.

Your ship drew closer and closer, growing larger and larger in your line of sight, and you focused on that.

Until you were close enough to glide awkwardly onto the quarterdeck, where Garp and Bogard seemed to be arguing quietly in front of the doors of the Vice Admiral’s cabin, and skid past them across the floorboards, hitting the railing on the starboard side.

Whatever argument your superior officers had been engaged in ceased the moment you transformed, pulling yourself up to sit against the railing, already half-shouting at the older man, “You could have told me they knew how to use weapons!”

You didn’t like the way they stared at you for a long moment, both of their gazes flickering to your right arm, no more than you liked how limp the appendage felt at your side as you gripped at the railing with your left hand.

Garp mumbled something to Bogard, who gave a short nod before disappearing into the cabin.

Garp tilted his head the slightest bit to the side, lifting his eyebrows as he slowly approached you. “That—exactly who knows how to use weapons?” he asked slowly.

“The goddamned apes, that’s who,” you said through your teeth, briefly forgetting every ounce of formality that your time as a Marine had instilled in you. “They had swords! And bows! And armor and spears and—”

“The ap—never mind that for now,” he said slowly, holding up a hand. “You need to calm down, cadet. And we need to get you patched up.”

“Patched up—I could have been killed!”

You still hadn’t looked at your arm. The adrenaline still coursing through your veins made the sharp, throbbing pain seem like an afterthought, like a distant reality as you pulled yourself to your feet. “By a bunch of damned monkeys that evidently—”

“Enough.” You jumped at the harsh command, straightening yourself out completely and snapping to attention in an instant. Your eyes briefly darted to the cabin doors as Bogard emerged, unwinding a belt as he strode over quickly, tossing a quick glare at Garp before lifting your arm and wrapping it around a couple inches below your shoulder. “We can discuss it in a few minutes. We need to get you down to the sick bay first.”

You still didn’t look down, shaking your head at Garp as you stared at him in alarm.

“It was just a scratch, I’m fine—ow—” you added as Bogard abruptly tightened the belt around your arm, glancing over.

Your eyes widened at the sight of the large, deep gash extending nearly from your right elbow to your shoulder.

At the blood steadily spurting out from what was no doubt a pretty important vein or artery.

“O…oh,” was all you could force out, your eyes lowering to the puddle of blood at your feet, the adrenaline rush fading in nearly an instant, leaving you more than a little light-headed. “That’s…”

The makeshift tourniquet around your arm did gradually slow the bleeding by the time you sat down at the edge of one of the cots in the infirmary, but you were still woozy from the blood loss, still lightheaded from everything you had witnessed during your flyover of Kuraigana Island, only catching the vaguest gist of Garp and Bogard’s continued bickering.

“And you didn’t think to inform me of this hare-brained mission beforehand?” Bogard was saying, and while his face was shadowed by the brim of his hat you were sure his expression matched his sour tone.

“It was just recon,” said Garp, sitting at the edge of a cot a few feet away, striking a match and holding it to the end of a cigar clamped between his teeth. “In and out, ten minutes. Didn’t seem like a big deal.”

“And yet here we are,” he said through his teeth, not bothering to glance up at your flinching as he cleaned the gash with an alcohol drenched cloth.

“How the hell was I supposed to know a bunch of goddamned apes would know how to use weapons?” he said, slouching over against the wall. “Wonder if the psychopath trained them…”

“Seeing as we know next to nothing about him aside from the fact that he seems to derive joy from committing mass murder, I don’t suppose anyone knows,” said Bogard, tossing a sidelong glare at the vice admiral, who gave a noncommittal shrug. Bogard tossed the cloth aside with an irritated growl and shoved a clean one into your hands. “Put pressure on that.”

“Yessir,” you said automatically, wincing as you pushed the rag against the wound.

“With all due respect, Garp, this entire farce was your idea,” said Borgard, straightening out from where he had been kneeling next to your cot to cross the room and begin rifling through drawers and cabinets. “I’m sure you can imagine what we’d have to deal with were we to return to headquarters and have to inform Sengoku that our operative was killed en route by a bow-wielding monkey.”

“Eh…” Garp shrugged a shoulder, his own expression souring at the thought. “But hell, at least we know why no one’s made it out of the place now. So we did get some information.”

“And suppose the target had been there?”

“He was.”

Both men froze when you spoke up—Garp halfway through pulling his cigar from his mouth to flick the ashes from the end, Bogard with a drawer halfway shut, both of them slowly turning their heads to look toward you.

“You should probably tell someone at headquarters to update his bounty poster,” you added, tapping at your chin. “He, ah, has a goatee now.”

Both men continued to regard you in stunned silence for several long, tense seconds, glancing at each other as your words slowly sunk in.

Garp’s face split into a grin, and his hearty laughter a moment later completely drowned out his partner’s weary sigh. Bogard slowly closed the drawer, turning around to lean back against the counter behind him, rubbing at the bridge of his nose.

“Were you not instructed to keep your distance?” he said loudly, glowering over at Garp as the older man threw his head back in laughter. You sat up a bit straighter when Bogard turned his glare on you, crossing his arms, frowning at you with the same measure of exasperation. “Had you been seen—”

“I was careful,” you said quickly. “I noticed a light in one of the castle windows. Most of the place is in ruins but the castle is still standing. I only peeked through the corner of the window, he was asleep.”

You decided as his frowned deepened that it was best not to mention how long you had lingered in the windowsill.

“Sounds to me like the kid passed her test with flying colors,” said Garp, still chuckling to himself. He gave you a nod of approval, pointing toward you with the smoldering end of his cigar. “Good work, cadet.”

“It sounds,” said Bogard, pulling the drawer next to him open sharply, “as if our cadet was taking wholly unnecessary risks for the sake of an unnecessarily dangerous and unauthorized ‘test’ of her abilities.” Garp rolled his eyes at the indirect scolding, leaning against the wall of the infirmary again. “Needless to say,” he went on, fishing through the drawer and retrieving a suture kit before shoving it closed, “the next time any of your commanding officers sees fit to pose you with such a mission again…”

He grabbed a clipboard off of the counter, flipped over an empty medical report to its blank side, and tossed it onto the cot next to Garp, before heading back over to sit at the cot across from yours. You watched as he retrieved a large, curved needle and set to threading it, tossing a sharp look at you.

“…you are both advised and encouraged to run it by me first. Understood?” You nodded quickly as he pulled the cloth out of your hands and away from the expansive gash across your arm. “Good. Then you’ll relay what you witnessed during your reconnaissance, and our esteemed vice admiral will take down the report—”

“Why the hell do I have to—”

“Because you’re terrible at applying stitches,” Bogard snapped before Garp could finish his protest. The older man rolled his eyes, snatching up the clipboard and digging a pen out of his pocket. Bogard leaned over with the threaded needle in his hand and added, “This is going to hurt.”

“Probably not much more than nearly having my wing shot off,” you reasoned.

Garp snorted.

Bogard sighed, muttering something under his breath about being surrounded by idiots, before grabbing your wrist and pulling your arm straight, not bothering to give you any warning before jabbing the needle through your skin.

“Just stay still,” he said over the sharp hiss of air your drew in through your teeth at the pain, “and relay your report, cadet."

Next chapter link again, for your convenience

First Chapter Link again, for your convenience

[mermaidsirennikita]

Sadly, the Wuthering Heights furor has also led to people (many of whom, let us be real, simply dislike the book or otherwise only think of it when it's brought up) to discourse about the content of the novel versus the wrongness of Emerald Fennell's choices with regards to the movie, which of course, has opened up the classic "IT'S NOT A ROMANCE! IT'S NOT A LOVE STORY! BAD PEOPLE! HATE STORY!"

... Which is... also a bad take.

First off, to be very clear, "Romance" is not inherently "genre romance", which is the thing I blog a lot about that was solidified in the latter half of the twentieth century (and which, no doubt, was influenced on some level by WH as much as Jane Eyre, Austen novels and so on). Wuthering Heights is a romance, it's just not a genre romance/romance novel. And indisputably, Wuthering Heights is a love story.

It may not be a love story you like. It may not be a love story with a happily ever after (though I will say—this is one of the few books where I think it's pretty debatable, as "wandering the moors as ghosts", if that is what happened, is kind of... what Cathy and Heathcliff would've wanted... and their ultimate desire was to be TOGETHER, regardless of whether or not it damned them, so is it an HEA in their freaky minds? Maybe so lol). It may ALSO be an abuse story in which the lovers act horribly to each other.... though, I gotta say, MUCH WORSE to literally everyone else in their lives than they do to each other...

But it's a love story. That is one of several things it happens to be. The entire novel is driven by this central love story between Heathcliff and Cathy—a love that is, contrary to what a surface-level reading or reading by word of mouth would imply... very much mutual. I've already gone on about how Cathy Earnshaw is not Heathcliff's victim the way Isabella Linton is, and how Cathy is very much as involved in the love affair as he is. But truly, while their individual internal struggles are the framework and what keeps them apart in many ways—Heathcliff being a man of color and subject to racist abuse, Cathy conforming to society and classist pressures when her natural temperament is very much not of society—what propels the story is this romance.

Because they are supposed to be read as extremely similar, and as two people who do not truly identify with anyone but one another. They're supposed to be read as like minds. They're supposed to be read as thwarted. Some of the things those two say about each other and to each other are legitimately some of the most romantic lines I've ever read.

I mean, are they also kind of sick and wrong? Sure! But I do find it kind of rich to see people who are totally fine with reading dark romance wring their hands over the public at large interpreting Heathcliff and Cathy's relationship as an epic romance. I don't have an issue with anyone enjoying either! But. Let us be real. Part of why y'all are even enjoying work like that is the standard that books like WH set, and the fact that WH does speak to the lure of the dark and the tragedy of people who are super imperfect... and also super in love... continuously fucking up their own lives (and the lives of basically everyone around them) in this push-pull of denial and desire.

When people say "HOW COULD ANYONE EVER INTERPRET THIS AS ROMANTIC?" I just have to question... did you read the book? Because even if it's not for YOU, if it's not romantic TO YOU, surely you can see why other people (me and mine lol) read lines like these and go, "Wow, romantic":

“Catherine Earnshaw, may you not rest as long as I am living. You said I killed you--haunt me then. The murdered do haunt their murderers. I believe--I know that ghosts have wandered the earth. Be with me always--take any form--drive me mad. Only do not leave me in this abyss, where I cannot find you! Oh, God! It is unutterable! I cannot live without my life! I cannot live without my soul!”

(fun fact: I do have a part of the above quote tattooed on my body and I'm very happy about it)

"My great miseries in this world have been Heathcliff's miseries, and I watched and felt each from the beginning: my great thought in living is himself. If all else perished, and he remained, I should still continue to be; and if all else remained, and he were annihilated, the universe would turn to a mighty stranger: I should not seem a part of it."

"Hush, my darling! Hush, hush, Catherine! I'll stay. If he shot me so, I'd expire with a blessing on my lips."

[said when her damn husband is almost at the door lol]

"I’m not wishing you greater torment than I have, Heathcliff. I only wish us never to be parted: and should a word of mine distress you hereafter, think I feel the same distress underground, and for my own sake, forgive me!"

"'Heathcliff, dear! you should not be sullen now. Do come to me, Heathcliff.’

In her eagerness she rose and supported herself on the arm of the chair. At that earnest appeal he turned to her, looking absolutely desperate. His eyes, wide and wet, at last flashed fiercely on her; his breast heaved convulsively. An instant they held asunder, and then how they met I hardly saw, but Catherine made a spring, and he caught her, and they were locked in an embrace from which I thought my mistress would never be released alive..."

"Kiss me again; and don’t let me see your eyes! I forgive what you have done to me. I love my murderer—but yours! How can I?"

[Read: she is the murderer he is talking about. He's saying she doomed herself to death a long time ago, and he hates her for it. While also crying and kissing her lmao]

They're sickos! Nobody can argue otherwise. But that does not mean they're not in love, and it doesn't mean this isn't a love story, and wagging your fingers at people who read this as the obviously destructive love story this is and find it romantic... doesn't change that.

And the thing is that the book makes it pretttyyyy clear that even if Heathcliff and Cathy has assholery programed into their personalities, WITHOUT the contexts of how they were raised and the society that expects them both to conform to prescribed roles, they would probably just... be together. Like, they victimize people, especially Heathcliff. But they are also victims. The book isn't about a critique of two people Emily Bronte dreamed up; it's a critique of the CIRCUMSTANCES by way of Gothic, subversive melodrama. At the end of the day, their feelings, however passionate they are, are not inherently subversive. Their feelings are NATURAL. But they're twisted and contorted into something ugly through circumstance and the characters' responses to those circumstances.

For Heathcliff, A LOT of those circumstances that did twist him are in fact out of his control. Which is why we hate that casting, right?

But all that said, a love story being dirtybadwrong and about Bad People doesn't mean it isn't a love story, lol. Again—we don't even expect genre romance to be about good people.

Like. Yeah. We know Heathcliff and Cathy are assholes. You're not breaking new ground with that take. The book is still, in many ways, about those assholes being in love.

[themousefromfantasyland]

Was Star really supposed to be Asha's love interest in the beginning of the development of Disney's Wish?

I keep seeing this being brought up everywhere, appearing even on Trivia TikTok videos about the movie, but as far as I know this is coming from a deeply misunderstanding of the development process.

The main idea is that Star-boy was supposed to be Asha's love interest and that At All Costs was supposed to be their love song.

Seeing the concept arts of Star-boy I can see where most people are coming from. I'm also think that Asha and him are definitely shippable.

However, in the Art of Wish, Star-boy was just the third stage of the character development, and on that stage he was meant to be Asha's deceased grandfather reborn. On the first stage he was supposed to be a shapeshifter and on the final stage a ball of pure energy.

You can say they missed the opportunity of having Star stay as a magical boy like Peter Pan, but it's clear that on that stage his relationship with Asha was probably going to be platonic. No romance here.

Then why do At All Costs sound so much like a love song?

Luckily for us, Jennifer Lee, one of the writers for the film and chief creative officer of the Walt Disney Animation Studios, and Julia Michaels, the songwriter for the movie, gave an interview to Variety explaining their reasons.

The song “At All Costs,” sung by Asha and King Magnifico, was important to Lee. The song navigates the importance of the wishes to each of them, and the two are emotionally aligned here. Lee pushed for a song expressing this. “You had to understand what it felt like to hold someone’s wish in your hand. How do we viscerally understand that when you’re with them, you feel like you’re holding someone’s raison d’être?” she says. “You can’t do this in any other way but song.

Since there was no love song in the film, Michaels wanted to write a song that as a standalone sounded like a love song that could be played at weddings. Yet in the context of the film, it’s about the heroine and villain. Says Michaels, “How cool would it be if we wrote a song that if you listened to on its own, it sounds like a love song, it could be something you could play at your wedding, or be a lullaby to your kids, just something really beautiful, but when you watch the film, it’s the heroine and it’s the villain.” She continues, “You realize they’re coming about this both from various points, one from a very selfless standpoint and one from a selfish standpoint.”

Basically Jennifer Lee wanted a song about the importance of the the wishes for both Asha and Magnifico, but Julia Michaels wanted to write a love song. As there were no opportunities to write a love song, Michaels wrote At All Costs to sound like one.

But in the demo, they sing "Love you, as one does", instead of "Promise, as one does"?

Probably Julia Michaels wanted to write a love song, but had to tone it down so as to not confuse the audience. Clearly, it didn't work that well.

Disney is lying!

Why would Disney lie about the development of Wish? As far as I know, there's nothing to hide, no scandals, no controversies.

Jenifer Lee is literally the chief creative officer, the highest ranking position of the creative team within the Walt Disney Animation Studios. She along Allison Moore WROTE the screenplay and she is part of the team that came up with that story. Wish was her brainchild. Why would she need to lie?

Maybe higher ups like Bob Iger and Bob Chapek screwed with the project. That's completely possible. Maybe we learn later some big and super shady controversy in the development of the movie.

But, by the time being, with all the evidences available, Wish seems to be the story she and others of the studio wanted to tell, even if general audiences reacted badly.

And so far, no evidence of romance.

Unless someone comes out with some legitimate evidence of the contrary, Star was never supposed to be Asha's love interest, and everything else is consequence of fans being dissatisfied with the end product and wanting for something more Disney-like.