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peachesofteal · 6 months

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ghoap x reader / 18+ mdni / dark themes / prev here

‘C’mon, you never want to go out.”

You rub your temples, eyes closed in exasperation. “I’m broke, Case.”

“I’ll spot you. Come on, it’s Friday. I’ll get us into The Rook.” She pleads and pushes, tugging away your excuses and defenses until you’re backed into a corner with nowhere to run. Finally, you opt for a different tactic, lamely.

“Doesn’t that place have a waiting list?”

“Oh yeah, miles long. But the owner likes me.” The owner. How does she even know the owner of The Rook?

“I don’t know…” you linger, still bent over your tiny kitchen table, back bowed and tired, “isn’t it like, dangerous?”

“The Rook is neutral ground or something, I don’t know. It’s perfectly fine, I’ve been dozens of times.” A litany of stories exists about the speakeasy, from its origins to the current clientele, each as unbelievable as the next, and you’ve always imagined it to be this dark den of sin and debauchery, filled to brim with hitmen and lawlessness. “You have to do something other than work and sleep; you know. You’re missing out on your whole life.” She chides, attempting to launch into the same speech she repeats over and over every few weeks.

“Alright, alright,” you look down at your torn up cuticles and sigh, “I’ll go.”

You weren’t wrong about The Rook being dark.

It’s hollowed out under a club, nooks and crannies and little hallways splitting off in every direction, dim lamps and flickering candlelight casting shadows to the ceiling, bartenders dressed in all black working behind a massive, burnished wood bar along the back wall. Velvet couches, high top tables, overstuff armchairs flow in the space, and Case tells you there are more rooms if you’re keen to explore, explaining in hushed tones how there’s usually a band in one, a card game of sorts in another, a pool table somewhere, all with various styles of seating, and even another bar. It's elegant, decadent, sinful. Most of the people are startlingly beautiful, high heels and skintight dresses, perfectly made-up faces, polished onyx cuff links gleaming against expensive navy suits.

Even the drinks are licentious.

You decidedly do not belong here. Perched on a stool next to Case, you occasionally rub your wrists, casually wondering if it would have been acceptable to wear your braces, your carpal tunnel flaring into a swell of agony.

Wouldn’t that be a sight.

The bartender slides her two generous neat pours of… something, and you raise an eyebrow.

“On the house, from the boss.” He says with a wink, and she tips her head to ceiling with a bubble of a laughter, before pressing one of the tumblers into your hand.

“What is it?”

“Probably bourbon.”

“Oh, no thanks, I don’t-“

“Just shoot it.” She throws it back with ease, showing her teeth afterwards, a hyena leering in the lamplight.

Fuck it. Maybe it will the throbbing in your wrists will quiet down.

It’s thick, syrupy, hot in your throat. Burns all the way down and settles like lava in your stomach, uncomfortable until the sting ebbs into warmth, moving through your bones.

“Not bad.” You rasp, and she smiles.

There are more free drinks. They stick to your insides like tar, slicking you in a heavy cotton, weighing your limbs down, loosening the tension in your neck and shoulders, peeling away your layers of discomfort one by one.

You’re surprised by how at home Case seems in this place, how comfortable she is, smiling and waving to the occasional person, making small talk here and there. She practically floats in her seat, black dress taut against every dimple and dip on her body, hair artfully twisted into something that could be considered modern art. She’s a gazelle. A heron. Something graceful and gorgeous, fine feathered and fabulous.

And you’re… a tired girl in a tired dress, counting her lucky stars that there seem to be so many generous patrons buying drinks tonight.

“Having fun?” She whispers, nudging you with her shoulder.

“How often do you come here?” Her eyes wander, flicking past you and then back, wistful caution etched across her brow.

“Often enough,” She sips her drink and then folds her hands together on the bar top, looking over shoulder, “Most of these people in here… are connected to organized crime somehow.” The information doesn’t surprise you, but hearing it confirmed, knowing it’s not just some story made up, some fairytale about boogeymen, makes you shiver.

“Like, the mafia?”

“The mafia is Italian, but they have a presence in the city.” She shrugs, like it’s all common knowledge. Like you’re out of the loop. “The Rook belongs to Kyle Garrick.” You shake your head, unfamiliar. “Of The 141?” your mouth goes dry.

The 141.

The 141 were a notorious organized crime group who ran half, if not more, of the city. You knew they owned clubs, bars, restaurants, and hotels, but you were never clear on the details of their illegitimate work, and you didn’t want to know.

You knew, for sure: they were men to be feared. Men capable of terrible things. Destruction. Death.

Their ongoing war with The Shadows was the reason the city was soaked in blood.

“Don’t worry,” she rushes out, hand on your arm, “like I said, It’s neutral here. Nothing happens in The Rook.” You nod meekly, head swimming. You’re more than drunk now, stuck in a sloshing ship, floor tilting beneath your feet. The urge to get away, to disappear slams into you like a truck, and you slip off the stool.

“Which way is the bathroom?” She points to one of those dark hallways, and you stumble through the throngs of people like a fresh born fawn, unsteady and teetering on the edge, approaching a hallway that splits into two.

Which way?

You pick one, sure you’ll run into someone who can point you in the right direction, but when it zigs and zags up to a polished wooden door, you stop short, confused. The alcohol has rendered you fuzzy, and your vision spins, trying to look for a recognizable placard.

Is this the bathroom?

It must be.

The first thing you realize when you push the door open, is a chorus of men’s voices, stopping on a dime. You hear them, before you see them, and immediately try to backpedal, tugging the door handle towards you, trying to close it. You’re wayward, with heavy, tired feet, and the movement is slow, slow enough that an opposing force pulls on the other side and then-

rips.

You fly forward into the room, dragged by your grip on the handle, spilling onto your knees with a shocked gasp, and someone curses in the background, another voice barking out a name.

Then, the room goes Sunday church service silent.

You gape at the table of men, transfixed in horror on the two familiar faces staring back at you, the unforgettable Scot and his marble etched partner, who was just in the shop only two days ago. They’re frozen, half risen from their seats, a cigarette burning away in an ash tray filling the air with smoke.

There’s a nickel-plated flash, and your blood curdles.

He has a gun.

“I…” you croak, still on your knees, unable to categorize or rationalize why you’re seeing them here, why one of them has a gun, why any of this is happening. “I’m sorry, I was lo-looking for the bathroom.” There are many men in this room, you realize. More than just the two you’re acquainted with, and your stomach rolls, nausea creeping forward, trying to bring the too many drinks you’ve consumed up through your mouth. “I’m sorry.” You say again, more clearly.

Obviously, you’re interrupting something.

“These aren’t the toilets, little girl.” A Russian voice booms over your head. “Unless you’re going to piss on the floor for us?”

“Nikolai.” The blonde cuts, Manchester accent rougher than sandpaper, and you shake your head frantically.

“N-no, I just got turned around, that’s all.” Your brain screams at you to get up, but your body is immobile, and you look away in fear.

A warm hand takes yours, tanned skin soft and sweet, gentle touch urging your face back up.

“It’s alright, doe. Ye’re alright.” It’s the Scot, crooning in your ear, wrapping an arm around your waist to bring you to your feet. “Let’s get ye to the bathroom then, aye?” You lean against him, breathing in cypress and ocean spray, letting him guide you out of the room, his partner right at your back.

“We’re not finished.” Someone calls out, and the bigger man clips out a response.

“We are now.”

#ghoap x reader #peaches writes #simon riley #simon riley x reader #john soap mactavish #soap x reader

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xvysarene · 8 days

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𝔾𝕠𝕠𝕕 𝔻𝕖𝕖𝕕

Pairing: Sylus x Fem!Reader Prompt: “You’re pretty good at running away.” Words: ~2.8k Genre: Eventual fluff A/N: In a writing slump and kinda dislike how this one turns out but oh wells

[ᝰ.ᐟ MASTERLIST]

“Marry me,” you had said.

Those two words—whether they were your saving grace or the beginning of your damnation, you weren’t sure.

Then, he surprised you when he said, “Okay.”

Nothing more and nothing less.

It almost felt like he had anticipated your arrival, barreling your way into the base upon learning of your father’s, one of Onychinus’s highest-ranking partners’, demise.

Seeing your stupefied expression, he nonchalantly shrugged. “It’s a practical solution to an unfortunate situation.”

That wasn’t your first time meeting Sylus, and you’d be far too naïve to think he would ever do anything for free. Every favour, every exchange, came with an unspoken contract—an inevitable quid pro quo.

But it was a choice between marrying him or being eaten alive in the N109 Zone.

“Although, I must ask—have you truly thought this through?” Sylus inquired, his gaze sharp.

There was a reason why you chose to move to Goldwood City once you had the chance; far away from the lawless land to start anew, free from the shadow of your father’s association.

As if the death of your mother caused by his recklessness years ago wasn’t enough, the old man had to pull you back into the very world you had succeeded to leave behind.

Staying away was a luxury you no longer had with your old man’s enemies haunting you.

Head held high, you met his gaze directly. “I wouldn’t be here if I wasn’t sure of my choice.”

Oh, little did you know, that your return to the N109 Zone as Onychinus’s leader’s wife, would mean putting your heart on the line as well.

Perhaps it all started that one evening, when a nightmare jolted you awake, haunting you with the vision of your mother’s lifeless eyes and being captured by the people your father had entangled himself with.

Without even realising it, you were already standing at Sylus’s doorway.

“Why?” he questioned when you asked if you could stay the night in his. “Something wrong with your room?”

Indeed, he offered you your own space even though you were legally husband and wife now. It had been a relief at first, a perfect arrangement, until the nightmares escalated.

“It just feels too quiet tonight,” you lied, unready to fully bare your soul.

Sylus finally looked up from the papers he’d been reading, one eyebrow arched. “Not used to being alone at night back in Goldwood?”

Your face flushed at the implication. Just as you opened your mouth to deny it, something in his expression shifted.

It was so fleeting and subtle that you weren’t even sure if you had imagined it.

He raised a hand, halting your reply. “Actually, never mind about it.”

When he simply returned to his papers, offering no clear sign of whether you were welcome, you frowned.

You were about to take your bruised pride back to your room when you heard him let out a resigned sigh. “Are you coming or no? You’re letting the draft in,” he said, pulling back the duvet on the vacant side, inviting you to settle in.

His acceptance was surprising, but you quickly climbed into bed before he could change his mind, feeling a surge of relief and security with him close by.

If you were too close for comfort, he didn’t mention it.

Sylus was so warm that you shuddered from the sudden temperature change. The base, with its perpetual chill, was a stark contrast to his body heat.

“What are you reading?”

“Mundane proposals,” he muttered, tone laced with boredom as his eyes skimmed the pages in front of him.

With your interest piqued, you scooted even closer, your hair slightly brushing his arm. “Anything I should know about?”

When you told him that you wouldn’t settle for being a trophy wife, he offered you an administrative position in Onychinus, which you happily accepted.

“I feel that these are better off in the trash.”

A small chuckle escaped you, drawing Sylus’s attention. He cast a glance downward, amused by your reaction.

That somewhat prompted him to give a brief outline of the proposal, perhaps to get him through it too. And he was right, it was so dull that you felt your eyes fluttering closed, lulled by the deep timbre of his voice.

“—heard that the twins take good care of you.”

“Hm?” You peeked one of your eyes open, though it was futile as it soon closed again.

Whenever he was away, Luke or Kieran—often both—were always by your side, becoming more than just your guards; they were your mentors, teaching you the complexities of Onychinus’s operations, and they were slowly becoming your…

Friends. A foreign term to you.

Friendship had never been something you could afford, not with the constant paranoia of trusting the wrong person, no thanks to your father.

In your drowsy state, you remembered mumbling, “I feel at ease when I’m with them.”

“At ease, huh? That’s a rare concept around here.” Sylus’s voice cut through the fog of your drowsiness.

Your mind, still wrapped in the haze of sleep, seemed to speak for itself. “You also make me feel more comfortable than I expected.”

Looking back, you laughed mirthlessly at your own stupidness. Where was that defense mechanism you had sworn was ingrained within you?

You knew better than to allow yourself to be vulnerable, to let someone slip past your guard easily in such a short span of time.

Especially someone like Sylus—a man cloaked in power, whose intentions were always enigmatic.

“You’re pretty good at running away.” The voice, carried by the wind, reached your ears. “Pretty good, but not the best.”

“Here to claim your bargaining tool back?”

His footsteps stopped a few paces away from you. Refusing to meet his gaze, you remained looking ahead. The once vibrant colours of sunset faded into darkness, as if the sky itself mirrored the ache seeping deep inside your soul.

Sylus let out a deep sigh. “How much did you know?”

A few days ago, while you were sorting through Onychinus’s papers, you stumbled upon an old, yellowed document hidden deep on a neglected shelf, seemingly placed there to remain undiscovered.

As you read through the faded ink—an exchange made between your father and Sylus a long time ago, marked with their signs and bloodied fingerprints—it felt as though you heard your old man laughing from his grave, determined to terrorise you even in death.

That bastard had sold you to Sylus, bartering your life for a sliver of power within the N109 Zone.

“Did you have fun watching me pathetically beg you to marry me? Knowing all along that you’ve owned me anyway?”

The memory of his calmness that day burned in the back of your mind. Your intuition was right after all, he had anticipated you coming to him.

And if you were honest with yourself, it wasn't even your father you were so angry with—you’d always known what a monster he was.

No, what burned like a hot iron in your chest was the sense of betrayal, the sting of disappointment aimed squarely at Sylus.

How could you have been so blind, so gullible to believe that this man could be anything more than another player in your father’s ruthless game?

“I asked you that day if it was what you truly wanted,” he calmly said, “I never forced you to marry me.”

You bristled. He was right, of course.

“But you would make sure that one way or another, you would claim me as your possession, wouldn't you? Even from the moment we first met,” you spat.

It was a few years ago when you were first introduced to Sylus. Your mother had begged you to accompany her to a function, and how could you refuse when the guilt of leaving her in the N109 Zone with your father still weighed heavily on you?

For whatever reason you couldn’t understand, she had refused to move in with you.

The function was a blur of faces and conversations that made your head spin, the air thick with the aroma of expensive cigars and the tang of power.

You felt out of place, an outsider in a world that had once been your cage.

“Darling, I want you to meet someone.” Your mother’s tone was a strange mixture of joy and nervousness. She gently took your arm and guided you through the crowd until you stood before a tall figure, his presence commanding.

“This is Sylus, the leader of Onychinus,” she introduced. “He’s agreed to work with your father on some very important matters.”

You blinked in surprise. Somehow, you expected the leader of the most prominent organisation to be someone closer to your father’s age, but he was only a couple of years older than you.

Sylus’s features were sharp and striking, though it was his eyes that held you captive. They were intense, piercing, as if he could see right through you.

“It’s a pleasure to finally meet you, Ms. Y/N,” Sylus greeted. He took your hand in his, leaning down to press a soft kiss to your knuckles.

Your mother’s keen eyes noticed the crimson that spread across your cheeks, her lips pursing to contain a smile.

“Oh, Sylus, no need for such formalities,” she said lightly, elbowing you to greet him back.

You tried to compose yourself, but his unexpected charm and the way he looked at you left you flustered. “I—uh, nice to meet you too," you managed to stammer.

“Your mother speaks highly of you,” his low voice sent tingling sensation on your insides.

The soft rustle of grass as Sylus settled beside you made your skin prickle. Stupidly, you still craved his closeness.

The nightmares had ceased when you began staying in his bedroom altogether, finding security in the steady rhythm of his breathing beside you. But since fleeing the base, they returned relentlessly, creeping back each time you managed to get a shut eye.

He stretched out his long legs, the fabric of his jacket brushing against you slightly, his gaze fixed on the distant city lights glimmering on the horizon.

“I didn't want you to find out like this,” he finally said, voice low and measured, as if he had carefully chosen each word.

“Then enlighten me, Sylus, what was your grand plan? To control me? To tame me into the docile wife you always wanted me to be?”

He reached into his coat pocket and pulled out a sleek black box, pressing it into your hands. “This will explain better than any of my words.”

Slowly, you opened the latch, revealing a collection of emblems—some new, some tarnished—from various N109 Zone fractions. Resting on top of the seals was a folded envelope, its edges frayed.

Sylus nodded towards it, urging you to read the letter inside. As you unfolded the paper, the familiar handwriting of your mother’s came into view, despite the hurried and uneven scrawl.

What I could not say, his deeds will show. Have faith in him.

“Your mother approached me before the agreement with your father was finalised.” Sylus’s expression was unreadable. “She wanted me to protect you. From your father, and from anyone that might harm you.”

As the dots began to connect inside your spinning head, the realisation dawned. “And that’s why you asked for me in return? Why didn’t you tell me this when I first came to you?”

“Keeping you near would make it easier for me to ensure your safety, at least until I could handle all of your father’s enemies.” He shot you a sideways glance. “Do you think we’d be here now if I had laid it all out for you from the start?”

You both knew that if he had, you would have likely flipped him off and done everything in your power to escape his presence.

The cold metal emblems bit into your palm as you examined them, each one representing what had once been a looming threat. A deep understanding shifted your perspective entirely; this was what Sylus had been occupied with during the days he left you in the care of Luke and Kieran.

He had been thoroughly hunting down your father’s enemies, your nightmare, to ensure that you could finally be free from them.

It wasn’t his incompetence that had kept him from finding you days after your escape. No, he had been securing the final pieces of your freedom.

“What did you ask from my mother then? There must have been something you got, that’s how you grant wishes.”

Sylus gave a soft huff, as if he was on the verge of a chuckle, and shook his head. “Contrary to popular belief, I do grant wishes without expecting anything back.”

Your eyes flicked to him in surprise as he continued, “Nothing. I asked for nothing in return. Your mother earned my respect, and that was enough.”

Everyone understood that dealing with Sylus was a risk, a gamble that could even cost you your life.

Studying him intently, you searched for any trace of deception, but all you discovered was a grave sincerity. His eyes were unnervingly tender when he watched the shock painting your face.

“I’ve kept my promise to your mother. You're a free woman now, free to do whatever you want.” Sylus broke eye contact then, his voice dropping to a near whisper as he added, “We can also get a divorce.”

A divorce.

The word set something unsettling that clawed at your insides, sinking deep into your core, and catching you completely off guard.

For a moment, your mind replayed the way his intense red eyes met yours with kindness, to his touch that held a tenderness that couldn't be faked, and the subtle ways he had shown his care for nearly half a year now.

You hugged your knees tighter, the cold ground beneath you contrasting sharply with the warmth of your memories. “Is that what you want? For us to go separate ways?”

“What I want,” he began slowly, “never matters. This has always been about you. Your choice.”

A second passed, then ten, before you quietly whispered, “What if I choose to stay with you then?”

It was as if a wall had been erected again.

“You are not thinking with your head right now, but with your heart. You trusted me because you saw me as your only lifeline.” His voice was rough, edged with frustration.

“But what if underneath the leader of Onychinus, underneath the man that everyone fears, is the one I want to stay with, the one I feel at ease with? Not because of my father’s shadows nor his enemies.”

Sylus breath hitched, a sudden tension rippling through his frame as he struggled to keep his composure. “You don’t know me.”

His voice carried a warning, attempting to push you away, but you stood your ground.

In that moment, you understood why he often held himself back, creating distance whenever he found himself growing too close.

He was afraid of caring for you beyond what he thought his promise to your mother allowed, struggling to maintain the balance between his feelings and his commitment, fearing that crossing that line would mean violating his duty.

“Then show me.” You moved closer, invading his personal space. “Show me what’s behind all this.”

With resolve burning in your eyes, you cupped his face and leaned in. Your lips sought his, praying you hadn't misread him all this time.

That you wanted the warmth and tenderness you’d glimpsed in fleeting moments to be real and not just a reflection of your own desires.

For a breathless moment, he remained still. Then, something in him seemed to break, a crack in his armour. Strong, corded arms slid around you, pulling you closer until you both tumbled back onto the grass, entwined.

His hand brushed the back of your neck, fingers tangling in your hair as his lips pressed into yours with a ravenous need.

It was a kind of kiss that laid bare the truth, shattered every wall, and left you panting for air.

Your breaths intermingled when you pulled back just enough to look into his eyes. There was a vulnerable openness in there, a look concealed beneath the hardened exterior.

“You never read my mother’s letter, did you?” you suddenly asked him.

Confusion flickered in his eyes, his brows knitting together as he shook his head. With trembling fingers, you retrieved the letter from the box and held it up between you.

The dim light from the horizon cast soft shadows on the small message scribbled on the bottom of the paper.

Sylus’s eyes traced the words, his gaze shifting from the letter to your face as the message slowly registered.

Sylus—remember that you, too, deserve love just as much as she does.

It was as though your mother had not only seen the heart within him, but had also foreseen what he had struggled to admit.

With a gentle touch, your thumb brushed against his cheek, lips featherlight as it brushed against his once more. ��Take me home, Sy.”

#ᝰ.ᐟ 𝐱𝐞𝐩𝐡'𝐬 writing nook #love and deepspace #lads #l&ds #love and deepspace x reader #love and deepspace x y/n #love and deepspace x you #sylus #sylus x reader #sylus x y/n #sylus x you #fluff

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britomart · 2 years

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#another day another silly little poll 🫶#polling station

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embersofhope-if · 6 months

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What interactive fiction would you recommend (besides this one)?

oh anon i follow over 150 if blogs let me get you some of my favorites😊 This is very long so all of them are under the cut🫶

some of these you'll probably already have heard of bc of how popular they are, but trust me, they're popular for a reason, lmao

these ones all have demos (if i messed up and some dont uh ignore that)

@infamous-if - "You're going to be a superstar, no matter what it takes." genuinely one of my favorites ifs (seven lawless my beloved please come back home the kids are asking whats taking so long)

@coeluvr - "You play as the only remaining member of the royal family of Vesphire; living in the home of the man who took away everything from you." another ive been obsessed with recently. i will forever love revenge stories (and my pookie helios)

@merrycrisis-if - "As a late 20-something year-old fresh from a recent break-up and struggling to pay rent in New York, life throws up more questions than answers."

@ramonag-if - "When your village is razed to the ground, you're left fleeing with an exiled prince. You can trust no one but each other. Your father's dying wish was to protect the prince, but can you really trust a man who was exiled from his kingdom?"

@nyehilismwriting / Project Hadea - "Set in a distant future, you play the role of an elite operative of Scytha Industries, a private contracting firm. ‘Contracting’, in this case, refers to anything from political assassinations, to private security, to bodyguard services."

@vapolis - "You’re a mercenary, gun for hire, assassin, information extractor, delivery person – call it what you want, because the people that hire you for your services don’t give much of a shit what you call yourself as long as you actually get them what they want."

@godsandvillains-if - "As the only metahuman with the ability to wield the powerful Chaos Magic, your very blood holds the answers to unlocking the secrets behind the control of time and space, but it has the drawback of being almost completely volatile."

@hvllowheart - "LAMB TO THE SLAUGHTER is a spy game where you take on the role of an agent under the codename Wraith, who up until two years ago was one of the best agents TERRA has ever made. now the agency returns into your life and pulls you back into the field as agents go missing by the dozens."

@eyesofshan-if - "Years ago, you were uprooted from the only home you had ever known and captured to be sold as a slave. Now, war is at your doorstep once more while you are left in a delicate position — as a commander of the country that invaded your homeland. While investigating a case of illegal human trafficking, you come across a plot that threatens to rip this tentative peace apart."

@apt502-if - "Moving from your small home to New York City was supposed to be a dream. You were supposed to start your new life with your long-distance partner and dive headfirst into full-on adulthood. Everything was supposed to be perfect. How can you not love being in your mid-twenties in the Big Apple?That is until your put-together, white collar partner dumps you the same day you arrive. Fun."

@acourtofserpents - "As the only human in the Kingdom of Faerie, you're no stranger to shining eyes that hold looks filled with hatred, lips painted in the color of forest fruits whispering your name, heads with pointed ears turning at your every step. Though you long for their approval, for a place amongst the wicked immortals, they remind you with every breath you take that as you came from dirt, to dirt you will return."

@softlyopulent-if - "All of King Adder’s children are a mystery to the common folk, but you—you are nothing but a ghost. A ghost, that spends eighteen years locked away in the deepest part of the palace, so that no eyes may lay upon you.And those that do—they do not treat you kindly.And when you are finally of age, at last, you are betrothed to the child of the King of a far away kingdom, to secure an alliance that your father has been seeking for years.And you are swept away to a place even more foreign than your own land, to be wed to a stranger that looks at you with contempt. To live in a kingdom of citizens that despise you. And perhaps, just perhaps, fight a war."

@heromaker-if - "Stories of heroes, legends and chosen ones are commonplace. But you'd never thought it was your child who would have to save the world from the Demon Lord's clutches."

@theabyssal - "In The Abyssal, you assume the control of a powerful deity that was betrayed by their fellow gods. Imprisoned against your will for all eternity, you had a long time to plan your revenge."

@milaswriting - "By birth, and association, you are one of the most famous people in the big city of Lehsa. Your father's the mayor, and you're from a bright, vibrant, bustling city... and yet, until recently, you didn't realise all the secrets yourself and the city held."

@zico-if - "You were supposed to be a sacrifice in order to bring an eldritch god to your realm, a sacrifice that was never supposed to live. Instead of dying and summoning the god intended, you find yourself face to face with an ancient being that was chained and locked away for the horrors they once committed."

@collegetennisoriginstory - "Experience the ups-and-downs of life as a freshman on the Cargill University varsity tennis team amongst a colorful cast of characters."

@disenchantedif - "You used to be a beacon of hope. Now they only know you as the failure, the Unchosen. Will you rise above them? Will you become better or far worse than they could ever imagine?"

@bouncyballcitadel - "Play as a first-year surgery intern at Citadel Health. Will you become the star intern and curry the favor of the chief? Or will you uncover Citadel Health’s secrets and break a story or two? This will be the best and worst year of your life. Don’t forget to save lives and break some hearts along the way."

@leoneliterary - "You play as a thief pressed into the employ of a mysterious nobleman. With the your life, the fate of your guild, and your honor on the line, you'll have to navigate the perils of the royal court and combat a more mystical threat. The story is set in Cusmo, the naturally fortified, desert capital of Hashind, and will showcase the much praised Upper Cusmo, the crime ridden Lower Cusmo, and much more."

@doriana-gray-games - "Play as your version of Sherlock Holmes in this romance detective game!"

@fallenlightsif - "You are the half-sibling of High General Ezrah Rhys and have lived the past twelve years of your life in Kesdon, the capital of Ebia. You've spent most of your time training and honing your skills for the future that awaits you. A future that is entirely your own."

@shai-manahan - "They call you Ripper. It’s a horrendous name to give to a detective like you, and definitely not one you chose for yourself, but you suppose it’s to be expected given your reputation for putting powerful people behind bars. Businesses feared you. The other cops hated you. Local gangs despised your entire existence. Yet, despite all of that, you remained untouched. Until that day, when all the lies and the deception and the foolish mistakes turned your life upside down."

@larkingame - "someone is after you. for over a decade and a half now, you’ve traveled up, down and across the country--running schemes and hunting fiends with your mentor, con-man-by-day, vampire-hunter-by-night, Wyatt Abrams--the prolific vampire slayer and the living descendant of Gregory Abrams, founder and prophet of the Abrams Family, the nomadic vampire-hunting cult that raised you--and was wiped out years ago. carrying the abrams name means also means carrying on it's enemies--but that isn't to say you haven't forged a couple of your own along the way. now, it seems someone is trying to make good on old threats and promises. they've placed a bounty on your head. so you and wyatt do what you do best: you run away. to some little town, out nevada ways, where the title of town preacher is unexpectedly thrust upon you--bringing back years of trauma you thought long tucked away."

@evertidings - "you are a bounty hunter. responsible for taking in rogue supernaturals, you work for IAOS—the international agency of supernaturals—where, alongside your best friend and partner, you two have quickly become the best hunting duo of the branch. after a particularly tricky hunt, you brief your boss, Caine Atheron, and come back to work the next day to find that he has mysteriously disappeared overnight, the company is now in the hands of his best friend, Sebastian Mai. and though no one else seems to question it, something tells you that there's more to the story."

@rotten-games - Regrets Of The Traitor: "You are the Ruler of Hadaria after killing the previous Queens and betraying all who once trusted you. Sat upon the throne with all the power available to you, one would be forgiven for believing you finished with your quest. With a strange figure in your dreams speaking vague prophecies of magical artifacts, a mysterious cult moving into the city, and a group intent on unseating you from your place, perhaps you’re way in over your head for a farmer’s kid. City of Immortals: "You follow a pair of siblings worlds apart as they get accustomed to their new realities in two very different worlds. One trapped in an unnatural desert wasteland where every resource has a scarcity, not knowing if they’ll be the only one left when everything turns to dust, the other working as a private investigator in a sprawling underground metropolis of the undying. Each not knowing the other is alive, will they unravel the mysteries that somehow connect their two new homes?"

@shepherds-of-haven - "Shepherds of Haven is a dark fantasy interactive fiction game. In it, you play as a Mage living in a world where magic is outlawed and your people—those possessing supernatural powers—are oppressed and reviled. The world is ruled by humans who believe in science, technology, and industry: at best, you and your kind are nothing more than a fairytale, and at worst you are the state’s greatest threat."

@someoneverypretty-world - "As a child, growing up in the slums of Hvinir without any guardians, you believed you would not live to see 30. Until Haven, a thief guild, took you in and taught you how to survive. Facing hardships, the guild leader tasks you to sneak into the castle with the mission to take."

@northern-passage - "The Northern Passage is an 18+ horror fantasy CYOA, where you play as a hunter sent up north to investigate a series of missing people along the border of your home country and in the port cities of the Blackwater. Working with your handler, Lea, you will travel north and discover that things are far worse than you ever could have imagined, and that there is something powerful lurking out in the deep, dark sea…"

@thedecoy-if - "♔ The Decoy is a dark fantasy that follows you, a 21st century normal human, kidnapped to an alternate magical universe to play the part of the missing heir to a powerful throne...who also happens to be your doppelgänger. ♔"

@ripperplague - "You are a doctor, a prodigy in hiding. Deep in the underbelly of Valeris, you hide among the shadows. You work hard to wring the blood stains off your palms, your face...your soul. Redemption and revenge are parallel goals, the flames of rage and disgust mingling. How could anyone ever love you?"

These ones dont have a demo yet, but im still absolutely obsessed

@pavedinashes-if - "You're only 20 when suddenly your life goes bam! Throwing you into a whole new city, a different country even. Wasn't part of the plan, but you know how life loves to mess with plans. People happened, stuff happened, and suddenly you're on the move. The new chapter ahead? Buckle up, 'cause it's not gonna be all sunshine and rainbows. And guess what? Your step-mom? Yeah, she's right there in the same city. She's always had this knack for trying to steer your ship, like every decision's a GPS checkpoint. But hey, there's this one thing that's never let you down—your skateboard. It's like the buddy that's been with you through thick and thin, the one that never bails. Among all this craziness it's like your anchor. So, the big question is—can you break out of the loop you got in? Find your place in the world and restart or lose yourself in temptation? Time to find out."

@riptide-if - "Your dad has always said you swim as if your were born to be in the water; the rest of your family has always said that he is the whole reason you turned out like that. So, it's not really a surprise when you had used all the money you got for your 7th birthday to buy a surfboard. And even less of a surprise when you started joining small surf competitions by the time you were 10, later followed by bigger competitions. It seems you are the only one surprised when it turns out you're able to compete in the World Surfer's League's Ultimate Tournament Tour*. Thrown into a mix of fellow surfing prodigies, rookies, and pros, do you really have what it takes to win?"

@weepinwriter - "You are inmate No. 1441, incarcerated in Tartarus, the most notorious prison on the continent. You find yourself imprisoned for a crime that you do not remember committing, leaving you in a state of uncertainty about your own identity and purpose. The first memory you have is awakening to the sensation of a gun being shoved into your mouth."

@whatawaitsus - "Despite being one of the most expensive schools in the nation, nothing particularly interesting has happened at the school in the nine years you've been here— aside from the occasional accidental possession caused by a ghost or the common room getting flooded after a nixie gets too frustrated over their homework. That is until students start to go missing."

@evermount - "Blue-suited guards stand in every corner, but they're no threat—you're under threat. And this is how you keep safe. It's necessary; the council said so themselves. Under no circumstances shall Evermount be left, ever. So, no one has, and no one intends to. Why would you? It's peaceful—you're at peace. You have your spouse, and you have your house; everyone's happy. This is all you've ever known."

@forsakensword-if - "When the Deathless, an Ancient Evil that hasn’t been seen in over two million years, returns to Earth, it threatens the extremely precarious peace that has settled between the warring factions of Heaven and Hell. God, in an effort to protect Humanity from the consequences of a war between the Angels and Demons, sends Heaven’s best warriors to banish the Deathless once more. When that ultimately fails, it is declared that God’s Sworn Sword and Heaven’s Chief Angel will be charged with finding a way to destroy the Deathless once and for all. That Angel is you. The Archangel Michael."

@velena-if - "You wake up in a dark, cold place with no memories of yourself, save for one: the memory of your death. It becomes clear soon enough that you are in the Nav, the domain of the goddess of death, Morana, and the sanctuary of all the evil spirits and monsters. For you, Nav will be the place where your life changes forever."

@countdown-if - "Three months ago, life took a sharp turn. Your mother found herself entangled in a situation so bad, she couldn't dig her way out of it, like usual. This time, the hole was way too deep. She needed help, and the only people capable of aiding her were the same ones she had vowed never to allow back into her life, let alone introduce to you and your younger sibling. Who were they? Your grandparents—a powerful and well-established duo. In short, they did manage to help your mother back on her feet, but not without strings attached—never without strings. Now, you're facing a senior year in a private school, fully funded by none other than grandma and grandpa, dearest. The only task at hand: do what your mother couldn't—graduate."

@dropout-if - "This is your first summer home since you began studying in Stanford. That is what everyone thinks. This is your first summer home since you dropped out of college, thus becoming the biggest disappointment in your neighborhood. That is what only you know. "

@stonewall-if - "Stonewall Military Academy: the most brutal, merciless, and unforgiving boarding school in the country. Most recruits either desert or die by the end of their first year. It is where the fiercest and deadliest killers are trained and molded to be the military's steel fist. And it is not for the faint of heart."

@viperdove-if - "You are the Dove, the heir to one of the most powerful crime families in your country. The grip your family--your father--has on their side of the land is tight, and now that you've reached adulthood it's time for you to be fully absorbed into the machinations of gang warfare. That means opium, mercenaries, assassinations. In this ancient world, blood moves people just as much as money does."

@fallen-if - "You are an individual that has been known by many aliases over the years. Child of the dawn, the original sinner, star of the morning. But no matter the name, your identity remains the same. You are the one that defied the heavens, the one that cast aside the shackles of tradition and broke free from the constraints of the divine. You are Lucifer Morningstar - The Fallen Angel. "

@maboroshi-if - "Maboroshi is an Interactive Fiction Game based in the world of Naruto, however, all events within the story span during the end of the First Shinobi War and the beginning of the Second Shinobi War."

@greatprotector-if - "Forced out of your family's farm against your will, you are now an ocean away from home, and you have somehow been chosen to be the main protector of the heir to some kingdom you’ve hardly even heard of. The spot's only open because the former protector died of old age, so that's probably a good indicator that it won't be as strenuous as it sounds. But despite that, you pour yourself into your work. You can't help it. You feel safer decked out in armour, and you like having something you're trusted to look after. Protect some royalty, cover all your blind spots, and try not to worry about all you've left behind."

@retribution-if - "Retribution, He Cries is a revenge story set in the Dark Ages of the fictional world of [REDACTED] and other realms."

@thescarsilivewith-if - "You were a kind monarch once. After your mother’s brutal reign, you thought your people needed respite. Evidently, they didn’t think the same since their bloodthirst only increased. Three years after your coronation, your mother’s favourite consort dethroned you with the army and the clergy’s support. As you fled from the palace together with your spouse, from an arranged marriage celebrated only three months earlier, you were found by slavers. You managed to save your spouse but not yourself. Four years later, your spouse finds you, though you’re not the same person they knew. You are not changed in spirit alone, however, for your magic grew in your captivity and now you’re unbound. When the crown chose you as its owner, you wanted peace for your kingdom. Now the only thing you crave is revenge."

#thanks anon!#this took me way too long lmao #i was gonna add more but u can only @ 50 blogs in one post🙁#anyways! enjoy🫶#rec list #other ifs.

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fawnforevergone · 1 year

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The Ultimate List of Dante References in Hozier's "Unreal Unearth" !!

Hello and welcome to my new-and-updated ultimate compilation of all 'Inferno' references I found in Hozier's new album! If I think of anything else, or if anyone else suggests something, I will be sure to add it, but, for now, enjoy this ridiculously long (you've been warned) list I made!

Since I didn't wanna make a post for every individual song and spam you all, the songs are separated by their respective circles! I hope that organises stuff a bit more :]

Usual disclaimer: I could be wrong about some stuff! I've read 'Inferno' and try to stick to the objective references, but sometimes I let subjective interpretation bleed through. If anyone has any corrections for anything, just lmk!! Okay, cool <3

DESCENT:

"De Selby (Part 1)"

We start the album not in the circles, but instead at the Gates of Hell. One of the main themes of Inferno is darkness, and these first two songs are embodiments of that.

The lyrics mention the idea of this being a "new empty space", suggesting that Hozier is being introduced to the feeling of Inferno through the relationship he's singing about, and, so, we begin the descent.

"The likes of a darkness so deep that God at the start couldn't bear." God is obviously a large theme of Inferno and is, biblically, the creator of light, hence the absence of it in Inferno. In fact, the first three stanzas all reference the heavy darkness of the threshold and its estrangement from God.

The Irish/Gaeilge lyrics roughly translate to: "Although you're bright and light, you arrive to me like night fall. You and I, together. You and I, metamorphized. Although you're bright and light, you arrive to me like night fall. The art of transformation is a dark art." The imagery of light and dark mixing together mimics the idea of walking from the brightness of Earth into the darkness of Inferno.

This entire album appears to be the recounting of a relationship and how it feels like walking through Inferno. Here we see the beginning of this relationship, of Hozier losing himself to the threshold.

"De Selby (Part 2)"

Part one appeared to be the step through the gates, whereas part two seems to be Hozier being enveloped by the threshold. In 'Inferno', Dante says the entrance to Hell is a darkness that no stars could shine in. We hear this shift from Earth to Unearth through the production alone; the weightlessness of part one falling into the heavy grunge of part two.

"Your heart, love, has such darkness, I feel it in the corners of the room." The theme of dark continues, as it will through the entire album, but, this time, Hozier feels it radiating from within his lover rather than the space around them. Though, him saying his lover carries darkness is not an insult. This extra depth to his lover is something more to know, something more to love. This idea actually differs from Dante, who sees the darkness as deceitful.

"I want to be so far from sight and mind." Inferno is a lawless place. He would be far from sight due to the darkness, and far from mind due to the insanity that persists within the circles.

"Let all time slow, let all light go." This lyric shows me that he has been submerged in the threshold. Again, the lack of light, but also the slowing of time. Punishment after death is eternal, something that time has no grasp on. Hozier is willing to let these aspects take a hold of him.

"I'd still know you not being shown you, I'd only need the workin' of my hands." Christianity is a heavy theme of Inferno, and this lyric plays on the proverb 'Idle hands are the devil's workshop', a proverb Hozier also hinted at in his song "No Plan" (from 'Wasteland, Baby!') - "My heart is thrilled by the still of your hand."

Now, though, Hozier's hands aren't idle, instead the opposite, his hands are working as God intended. Drawing us back to that idea we were given at the end of part one, we get the feeling that Hozier is bringing something light/Godly to Inferno, and he and his lover are fusing the ideas of Heaven/Earth and Hell.

FIRST (LIMBO):

"First Time"

We now enter circle number one, 'Limbo'. Limbo is an uneventful circle for those not worthy of punishment but also not fit for Heaven. It is mainly for those who do not believe in God, the unbaptised.

Firstly, to get to circles, Dante and his guide, Virgil, must be chaperoned by the Greek Psychopomp Charon down the river Acheron, and we see that in Hozier's first couple stanzas.

"And the soul - if that's what you'd call it, uneasy ally of the body - felt nameless as a river, undiscovered underground." This appears to be Hozier mentioning the river Acheron, one of the five rivers of the Underworld that surround Hades, and, in 'Inferno', are used to transport the souls of the dead to their respective circles.

"The first time that you kissed me, I drank dry the river Lethe." The river Lethe is another one of the five rivers, and is one that causes anyone who drinks from it to forget everything they know. Hozier is simply saying that kissing this person wiped his mind clean, similar to the end of "De Selby (Part 1)" where he mentions partaking in a transformation.

"Some part of me died / Some part of me came alive the first time that you called me 'Baby'." Relating to the previous quote, souls that drink from the river Lethe usually do so before being reincarnated, so they forget their past life. Hozier seems to experiment with the idea of being reborn by his partner's love for him - an idea prevalent throughout his entire discography.

"To share the space with simple living things, infinitely suffering, but fighting off - like all creation - the absence of itself." This lyric tells us that we should not ignore the privilege of living just out of the fear of dying. This lyric is reminiscent of "All Things End" and the circle of Heresy. Since Limbo is home to those who don't believe in God, the theme of Heresy is a very fitting one.

SECOND (LUST):

"When I was young, I used to guess 'Are there limits to any emptiness?'" The punishment for those in Limbo is to exist eternally with the curse of a hollow, empty feeling meant to represent the lack of God in their lives. This punishment seems referenced in this lyric.

[ i ended up thinking about this song more so if you want even more "first time" content, here ya go: "first time dante references." ]

"Francesca"

Into circle number two, 'Lust', we have the story of Francesca Da Rimini, a woman Dante spoke to during his visit to circle two. Francesca fell in love with her husband's brother, Paolo, and when her husband discovered the affair he murdered them both.

Hozier seems to be singing from the perspective of Francesca/Paolo but throughout the album we see Hozier liken his lover to aspects of Inferno - darkness in "De Selby (Part 2)" or Lucifer in "Unknown / Nth" - so the story of Francesca and Paolo is fitting as another metaphor here.

"Do you think I'd give up? That this might've shook the love from me?" Even in Hell, Paolo and Francesca physically cling onto another. They do not let their death affect their love.

"My life was a storm since I was born. How could I fear any hurricane?" The punishment in Lust is an eternal storm meant to replicate the throws of passionate love - a storm also depicted in the production of the end of this song. Hozier/Francesca/Paolo says that it's impossible for them to care about this punishment when life was already as treacherous as it was.

The whole chorus emphasises the imagery of Francesca and Paolo not being able to let go of each other.

"When the heart would cease, ours never knew peace. What good what it be on the far side of things?" Francesca and Paolo lived their love secretly and anxiously, so what good would peace be in the afterlife when they've already become accustomed to difficulty?

"Heaven is not fit to house a love like you and I." In the opening songs of the album, Hozier describes his lover as darkness, akin to something God cannot bear. Due to the depth of his lover, the mix of light and dark they've made, he believes Heaven would crumble beneath the weight of their relationship. That something as corrupt as Inferno is the only place suitable for them to live.

"I, Carrion (Icarian)"

Still in circle two, Hozier plays on Dante's own metaphor. In Canto 17, Dante refers to his own dread of descending Inferno to the same dread that the 'ill-fated Icarus' must've felt on his fall from the sky.

Hozier twists this, instead comparing his love to the hope Icarus must've felt as he flew towards the sun. He said, during a live show, this song is based on the idea hat Icarus never realised he fell, and woke up dead, too clouded by joy to realise what had happened.

"If the wind turns, if i hit a squall, allow the ground to find its brutal way to me." Again, we mention the storm of circle two. Lust is also said to have treacherous terrain - sharp rocks and jagged stone - that seems to be hinted at in the second half of this lyric.

"While you're as heavy as the world that you hold your hands beneath." This imagery seems reminiscent of the Greek Titan, Atlas, who holds up the Earth on his back. Dante talks about seeing Titans and Biblical Giants at the transition point of circle eight to circle nine, 'Fraud' to 'Treachery', which makes this lyric a sad hint to where Hozier will end up finding his lover; Taking the place of Lucifer in the deepest part of Inferno.

THIRD (GLUTTONY):

"Eat Your Young"

We enter the third circle of Inferno, 'Gluttony'. There are no specific references to Inferno, but the concept of gluttony is apparent. Hozier does what he frequently does throughout this album; He refuses to see the sin as "right or wrong" as Dante so stubbornly implies.

Hozier often divulges in a grey area, a spectrum or sale of severity, when it comes to the sin. Hozier's perspective seems more nuanced than Dante's, seeing sin as layered rather than objectively bad. In this specific song, he displays the different sources of hunger in humans, and where the line should be drawn.

"I'm starvin', darlin', let me put my lips to something, let me wrap my teeth around the world." We start, and reference back to in verse two, a sexual hunger, a harmless passion between two people. This is an innocent side of the sin, not deserving of the punishment of Lust which is to be ripped apart by Cerberus (the three-headed dog from Greek mythology) for all eternity.

However, Hozier moves onto the hunger of politics.

"Pull up the ladder when the flood comes." The government refusing to help the people when the sea levels rise.

"Throw enough rope until the legs have swung." When you don't have a ladder, you use a rope. This lyric plays on the notion of when governments give the impression they are helping, but are only making things worse - a take on the saying 'Give someone enough rope and they'll hang themselves', since what else are they meant to do with it?

"Skinnin' the children for a war drum, puttin' food on the table selling bombs and guns." The hunger for power manifests in war.

"It's quicker and easier to eat your young." Here, Hozier uses the common saying in a more literal sense, saying that if these politicians are hungry enough to destroy the world, they may as well physically eat their young, since it'll have the same effect.

FOURTH (GREED):

"Damage Gets Done"

This song takes place in circle four, 'Greed'! The title of the song alone is already very meaningful. In circle four, the main punishment is that the inhabitants are split into two groups and are forever forced to charged into each other and fight. Dante describes them are being so injured and damaged that they have become 'unrecognisable'.

The song is about greed within the changing of the world. It's about growing up and losing the naivety and innocence you once had, no longer able to ignore the burden of politics and money. Hozier and Brandi sing about the excitement of being young and in love, but, with the rise of inflation, it's hard to exist like that anymore - You need greed to survive.

"Wish I had known it was just our turn being blamed for a world we had no power in." This seems to be a reference to two things. One, the idea that governments blame the people for their own poverty, and Two, the idea of arriving in circle four by no fault of your own. It's not their fault they wanted more money with the world being how it is, but, nevertheless, they're being punished for it.

"I haven't felt it since then. I don't know when the feeling ended, but I know being reckless and young is not how the damage gets done." They talk about the enjoyment of the love they're singing about fading, and how they miss that, but they know that, again, this is not their fault. They know they didn't change, the world did, and they won't take responsibility for their 'sin' when all they did was adapt.

As aforementioned, the inhabitants of the fourth circle suffer extreme injuries, so Hozier saying "I know being reckless and young is not how the damage gets done" is him saying "I know that we are not at fault for being served the punishment of Greed."

FIFTH (WRATH / ANGER):

"Who We Are"

We enter the fifth circle, 'Wrath', where the inhabitants spend their time fighting to stay at the surface of the river Styx, another one of the five rivers of the underworld.

"Falling from you drop by drop." / "To hold me like water." These lyrics obviously give the idea of water, representing the river Styx.

"Or, Christ, hold me like a knife." This lyric comes in quite loudly, Hozier's voice strengthening with it. The subtle blasphemy of "Christ" and the violent imagery of "knife" comes across as a sort of anger. Being held "like a knife" is representative of how those is Wrath must feel - like they are something particularly dangerous, but still desperate to be held.

"We're born at night, so much of our lives is just carving through the dark to get so far." Again, this theme of darkness that is so frequently displayed in Inferno is mentioned again. After this song comes "Son Of Nyx", which Hozier said was the transition into the darker half of the album, and Nyx is the Goddess of the Night. Being "born at night" would make Hozier the son of the night, the son of Nyx. This gives the impression that, if the album is following on chronologically, this is the point where the relationship portrayed in the album begins to fray as Hozier starts to be consumed by the darkness.

"And the hardest part is who we are." Those in the circle of Wrath possess a 'savage self-frustration' that Hozier seems to represent throughout this whole song - A fierce annoyance with the way he and his lover let things go: "We sacrificed, we gave our time to something undefined", "Chasing someone else's dream", Etc.

SIXTH (HERESY):

"Son Of Nyx"

We have no lyrics for this song (though you can hear him faintly saying some things, one of which is him saying "who we are...") but we know it takes place in circle six, 'Heresy'. Heresy is a belief or opinion that is contradictory to religious doctrine, especially Christianity. As aforementioned, Hozier said this track is a transition song meant to replicate a descent into the darker half of the album.

Nyx is a Greek Goddess and is often known as the personification of night. She had many children all representing different things but the title would essentially mean 'The Son Of Night', and, as dissected in the previous song, we can see that Hozier sees himself as reborn into the darkness.

Once again, darkness is a large theme of Inferno, but Hozier saying in circle six that he is the Son of Night is particularly meaningful due to the association of light with God. He has been reborn as something that could not be further from God, something that opposes the idea of God, something of a Heretic.

Nyx was feared and respected by all, including Zeus, and, though I believe there is no reference to her in Inferno, she was described as residing in the dark recesses of the Underworld, which is heavily incorporated into Inferno.

"All Things End"

This song does not have many overt references to circle six but definitely incorporates the idea of heresy. As mentioned, heresy is an idea that contradicts (especially, but not always) Christianity. In this song, Hozier talks about the ephemeral nature of all things, particularly romance.

"When people say that something is forever, either way it ends." Whether it be death or a break-up, God doesn't plan for you to be able to spend eternity with your lover.

"Movin' on in time and taking more from everything that ends." Hozier, however, argues that things still have meaning beyond their end. That, even after moving on, we will remember and learn from the things we have lost.

"Just knowin' that everything will end should not change our plans." Throws back to the idea of the second verse of "First Time". If you avoided something just because it was going to end eventually, you would never achieve anything. That's like refusing to finish a movie just because you don't want to get to the credits.

When this concept of ignoring the end comes to death, we ultimately cross the concept of God. There are many rules people follow in religion, avoiding certain things because they are against 'God's Will'. Although this practice can be kept in moderation, it can quickly become self-imprisoning.

Not living your present life out of fear for an unproven afterlife can be limiting, especially if you dictate who you love due to what supernatural punishment may or may not follow. Hozier sings that we should not let God's plan interfere with what we need from life, allowing ourselves to indulge in love even if it will end - ultimately, Heresy.

SEVENTH (VIOLENCE):

"To Someone From A Warm Climate (Uiscefhuaraithe)"

This song places in circle seven, 'Violence'. Violence is split into three subcategories, or 'rings'; Violence against others, violence against self, and violence against God. I believe this song gives an overview of all three.

With this song, we recognise that the title says "To someone..." and Hozier said this song was a gift to someone who was from a geographical warm climate, but there is also a lot of heat in circle seven.

"A joy, hard learned in winter, was the warming of the bed." Throughout this song, Hozier describes himself as cold, and his lover as warm. The idea of warming the bed is a concept Hozier mentioned in his song "Nobody" (From 'Wasteland, Baby!') where he sings that, if he had a choice between the warm bed of his lover or performing on stage, he'd go home to the bed. Since this song comes after "All Things End" (the break-up song), this call back to "Nobody" could be instead referencing a permanent distance, rather than a temporary one (like the temporary distance in "Nobody").

"And, darlin', all my dreaming has only been put to shame." This could have two meanings. One, Hozier waking from a dream about his lover to find them not here. Or, two, Hozier's expectations of his lover falling short as their relationship has finally fallen through. These expectations could be a form of violence against self, the second ring, as he set himself up for heartbreak.

"And I wish that I could say that the river of my arms have found the ocean. I wish I could say the cold lake water of my heart- Christ, it's boilin' over." As mentioned, Hozier is cold, his lover is warm. His wishes he could find something to to fill the loss of his relationship, but he still feels the heat from his lover in every part of him.

"It's boilin' over." References the river of boiling blood in the first ring, violence against others, Hozier could be talking about the way his partner loved him, how that was almost an act of violence with how hard it is to now let go.

"Butchered Tongue"

This song has less references to 'Inferno', and is more of a commentary on the act of violence itself. Hozier sings of places and cultures lost to the violence of man, and he mourns this deeply.

"To say 'Appalacicola' or 'Hushpukena', like 'Gweebara'. A promise softly sung of somewhere else." This grieving for a time when native land wasn't colonised and culture wasn't violently erased is prevalent throughout the song.

In the second verse, he sings very strongly of the brutal acts inflicted upon Irish rebels by the British forces in the Wexford Rebellion of 1789. As we know, Hozier is from Ireland, and he incorporates both the Irish language and history into this album, and recounting such violent acts for this song feeds into the grieving of what has been lost: "Between what is lost forever and what can still be known."

In the context of 'Inferno', it feels as though Hozier is listing the sort of actions that would land someone within the circle of Violence whilst also appreciating the efforts those above ground take to preserve erased culture. Altogether, the song is a very moving commentary on modern violence.

EIGHTH (FRAUD):

"Anything But"

The eighth circle is 'Fraud', split into ten subcategories that are positioned around the circle in trench-like ditches, known as 'Bolgia'.

"I wanna be loud, so loud, I'm talking seismic," follows up with, "I want to be as soft as a single rock in a rain stick." Who he wants to be fluctuates between moderation and severity. He is changing, unreliable, possibly referring to bolgia one, Panders and Seducers. Seducers tend to 'lead astray', as Hozier's unreliable narration does.

The punishment of bolgia one is to be marched backwards and forwards rapidly whilst being whipped, very much evoking the imagery of a stampede: "If I were a stampede, you wouldn't get a kick." This alludes to the fact that if Hozier were sent to hell for the various sins he commits for his lover, he wouldn't resent them for it at all.

"If I was a riptide, I wouldn't take you out." The second bolgia of Fraud is for Flatterers, 'the act of giving excessive compliments, sometimes for romantic courtship'. Obviously, the song is filled with these compliments.

"I hear He touches your hand and then you fly away together. If I had his job, you'd live forever." The imagery of "fly away" gives the idea of ascending, perhaps to Heaven, as hinted at again by the idea of the longevity of living. Bolgia three is for Simoniacs, those who would sell church roles, offices, or sacred things. This seems to fit with Hozier saying that if he had a divine role, he wouldn't follow protocol, he would allow his lover immortality.

Simoniacs were sinners because they were disobeying God's trust, because the selling of divine roles would lead to corruption in the Church. Hozier is using this hyperbolically, saying that if someone were to sell him the role of God, he would most definitely be a corrupt power.

"I'd lower the world in a flood, or better yet I'd cause a drought." In bolgia four we have Sorcerers. Although Dante used this term in a more logical sense for fraudulent sorcerers - false prophets, fortune tellers, those who lied about the plans of God - Hozier uses the term in a supernatural sense. Sorcerers were punished for trying to interrupt God's prerogative, whereas Hozier is blatantly saying he would summon another flood, usurping God's plan overtly.

"I'm talking seismic." The bridge that leads to bolgia seven was collapsed by the great earthquake and, as we know, seismic activity leads to earthquakes.

"Worry the cliff side top as a wave crashing over." There happens to be a cliff near the entrance of circle eight that a large waterfall plunges over.

"Abstract (Psychopomp)"

This song appears to be the crossover point from circle eight to circle nine that I mentioned when discussing "I, Carrion (Icarian)". Before we get to that, the title itself is significant.

A psychopomp is a chaperon of death; Someone like the Grim Reaper, or Charon from "First Time", or Dante's guide through Inferno, Virgil. Here, Hozier is describing the act of hitting an animal with your car as taking on the role of a psychopomp, whilst also relating this idea to the act of letting a relationship die, leading it from life to death.

In the crossover point from eight to nine, Dante and Virgil stand and look at the large well that leads down to circle nine, 'Treachery'. The Titians and Giants burst out of the well, to big to fit, but their feet stand stubbornly in Treachery. I believe that, at this point in the album, Hozier stands here, too. He's visited all eight circles, and has one last place to go before he leaves Inferno, and ultimately his lover, behind. This song is him realising he has to let his relationship end, he has to act as a psychopomp for his love.

"Sometimes it returns like rain that you've slept through." Circle nine, 'Treachery', is a frozen over lake, aka a memory of water, similar to the residue of rain. With viewing this song as the predecessor to "Unknown / Nth", we can take this as a hint of what's to come.

"The Earth from a distance." Since Inferno is arranged in rings (like a circular staircase), Dante could feasibly look up and still see where he started his journey. The same way Hozier could look up and see where his relationship began, "De Selby (Part 1)", The Gates.

"Streetlights in the dark blue." We have the mix of light and dark again, as mentioned in the opening track, referencing back to Hozier and his partner falling in love.

"Darling, there's a part of me I'm afraid will always be trapped within an abstract of my life." Of course, Hozier is talking about the memory of the animal hit with the car here, but the way this relates to circle nine is beautiful. As we'll properly dissect with "Unknown / Nth", sat within the most central point of circle nine, the deepest part of Inferno, is Lucifer, the fallen angel. Lucifer was thrown down to Hell from Heaven, and found himself trapped in Treachery, his body too big to escape. Dante says that the more he struggles, the more stuck he becomes.

That moment he was struck down to hell is a moment he finds himself forever stuck in, just as Hozier is saying here. In the next song, Hozier relates his lover to Lucifer, but these lyrics are a gorgeous mirroring of Lucifer's experience, and another hint at the final circle we will now head to.

NINTH (TREACHERY):

"Unknown / Nth"

Okay, buckle in.

The ninth circle, 'Treachery', is also one split into subcategories, yet Hozier appears to be singing about the centre. The frozen over lake of Treachery gets more frozen the closer you get to the centre. The inhabitants start half-submerged in ice to fully plastered in it. Throughout Inferno, and the deeper we descend, a soft breeze becomes a strong wind, that, as we reach the centre, we find is caused by the violent flapping of Lucifer's wings. Here he sits, stuck and chewing on Judas, another one of God's biggest betrayers.

After "Abstract (Psychopomp)" Hozier is now exploring the final stage of his relationship. The circles of Hell had mirrored the love he once had, and Treachery is where it shall be buried. He also represents his lover as Lucifer, though not maliciously. In interviews, Hozier spoke about the song being about a heavy betrayal he suffered from someone he truly loved, and likening this to God and Lucifer is just heartbreaking.

"You know the distance never made a difference to me." The song is about knowing someone in their entirety, discovering their best and worst parts. Hozier uses Inferno to talk about the tiresome journey of finally knowing someone. He says he would've made the trip all the same, that he would've walked this far for his lover no matter what.

"I swam a lake of fire, I'd have walked across the floor of any sea." This mirrors the previous lyric, but also references specific parts of Inferno. The are many fires in Inferno, particularly in circle seven, 'Violence'. The sea floor lyric reminds me of the lake of Treachery. Though a surface, not a floor, the lake would still be below any seabed, since Inferno is geographically below the Earth.

"Funny how true colours shine in darkness and in secrecy." You guys are probably sick of hearing me say it but... Darkness is a big theme in Dante's Inferno. It is meant to represent the deceiving nature of humans when light is not being shone. Secrecy is a running thread through 'Inferno', too, as Dante finds many people he thought had done no wrong residing there. Hozier is simply saying how (sarcastically) funny it is that he only truly knows his lover in the remains of their relationship; How he only knows them after seeing them in their cruellest form.

"Where you were held frozen like an angel to me." There are many angel lyrics, but this one specifically references the ice of Treachery. The fallen angel is indicative of Hozier's experience: Seeing someone he regarded highly, even heavenly, falling from that pedestal and turning into something that couldn't be further from God's work.

"You called me angel for the first time, my heart leapt from me. You smile, now, I can see its pieces still stuck in your teeth, and, what's left of it, I listen to it tick. Every tedious beat going unknown as any angel to me." Hozier references his ex-lover chewing on his heart the way Lucifer chews on Judas. He listens to it somehow still ticking, however slowly, and at the end of the song we hear something akin to a heartbeat. The beats are "going unknown as any angel to me" since he can no longer recognise his own heartbeat after it has been mangled by another, and, since he mistook someone alike Lucifer to an angel, the idea of angels must be "unknown" to him.

"Do you know I could break beneath the weight of the goodness, love, I still carry for you? That I'd walk so far just to take the injury of finally knowing you?" We again have this imagery of walking far, referencing the journey of Inferno, and, even though he's aching with the realisation of who his lover truly is, he can't help but be grateful that he does now know them, no matter how painful that may be. That he would do this all again if it meant he at least got to the answer of who they are.

His weak heartbeat follows him through to final track as we begin the Ascent.

ASCENT:

"First Light"

The title is very meaningful for the Ascent. The song references both Dante and Virgil's ascent and the creation of light by God himself. Dante and Virgil leave Inferno through a tunnel that Lucifer left in the Earth as he was thrown down to Hell, and they emerge on the other side of the hemisphere. This song signifies Hozier stepping away from the relationship as he also makes that journey out.

"One bright morning changes all things." Dante is disorientated when he exits Inferno. He'd become so accustomed to the darkness that he asks Virgil, 'How is it that the sun progressed so rapidly from evening to day?' Hozier seems to recognise here that his relationship is no longer fit for him, that the darkness has become too encompassing, just as Dante realises on his ascent.

"The sky set to burst, the gold and the rust, the colour erupts...the sun coming up." Not only does this give the imagery of the birth of light, but it also represents Dante's view on his exit: 'Until...I saw the lovely things the sky above us bears. Now we came out, and once more saw the stars.'

"Like I lived my whole life before the first light." Hozier says that the darkness from his lover was so overbearing that it was hard to believe he'd ever felt light before - that light could not have exists with a darkness this heavy alongside it. It is a call back to "De Selby (Part 1)" - "A darkness so deep that God at the start couldn't bear."

"One bright morning comes. Darkness always finds you either way, it creeps into the corners as the moment fades." He speaks of bringing light to a moment between them, but has it quickly smothered by the darkness inherent in his partner. Another call back, this time to "De Selby (Part 2)" - "And your heart, love, has such darkness, I feel it in the corners of the room."

"After this I'm never going to be the same, and I am never going back again." This lyric is heart-breaking. Hozier states that Inferno has changed him, but he has no wishes to re-enter it. At the beginning of this album, he was begging for the likes of Inferno - "De Selby (Part 2)": "Let all time slow, let all light go." - and now he is desperate to get away from it. In "Francesca", he said, "At the end, I'd tell them, 'Put me back in it.'", yet, now, he's at the end, he's ascended, and he has no desire to go back at all.

He is letting go of his lover because he recognises that this pain was not worth it, that this love was not worth the punishment he received, so he leaves.

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That was Hozier's Inferno !! I hope this was helpful to some people since it was very fun to make (I'm exhausted) and it's very enlightening to see how these lyrics relate to Inferno (I'm heart-broken) !! Okay, wooooo !! Enjoy !!!

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