#this is totally what happened right?

[lambcow]

Belgian: no he was a German - AN INFILTRATOR American: HE WAS AMERICAN I TALKED TO HIM FOR AN HOUR! Belgian: WHEN WE ASKED HIM TO SING THE STAR-SPANGLED BANNER HE DID IT, BUT HALFWAY THROUGH HE SWITCHED TO GERMANNNNNNNNNNN!!! American: NOT TOMMY!!!!!!

[bluntandsaucy]

"Tell the men to come out after the storm. Tell them to look up at me tied here. Tell them I’ll open my eyes and look back at them, and they’ll know that I survived."

he is so jesus coded

[ghost-bxrd]

Prompt:

When Jason wakes up in the Pit and finds out about what happened while he was essentially brain dead it’s not Bruce his ire falls upon, but Dick.

Dick, who never accepted him and had to be coerced into spending any amount of time with him but is now regularly seen patrolling with the Replacement. Dick, who had an open ear for everyone but Jason. Dick, who never put in any kind of effort with Jason but has an entire Wikipedia article dedicated to his wholesome bond with the Drake heir.

Dick, who couldn’t even be bothered to attend his funeral but never missed a single of the Replacement’s photography exhibitions.

So when Jason first dons the helmet and begins his stakeout to start planning his big debut he doesn’t only do it in Gotham, he branches out to Blüdhaven.

But when he first get to Blüd it’s to the tail end of Blockbuster having been murdered.

And when he finds Nightwing it’s to the sight of a woman stalking towards where the vigilante is sprawled on a deserted rooftop, unresponsive.

[incorrect-league-of-villains]

Tomura: Fuck off, old man.

All for One: I'm not that old. How old do you think I am?

Tomura: The last number.

[inamindfarfaraway]

I would find Blondie Lockes very annoying in real life, but I love her in fiction. She's a genuinely good journalist in terms of both skill and ethical integrity, who only occasionally forgets to check the facts because she's fifteen and holds herself accountable when she does. She has incredibly high standards for everything and believes herself to be the ultimate authority on quality. She has magical lockpicking powers because her fairytale is about Goldilocks breaking into a house. She somehow completely ignores the story's moral that Goldilocks was wrong to break into the house, feels entitled to go wherever and help herself to whatever she's able to and cannot comprehend why people dislike this. She's been terrorizing an anthropomorphic bear family with her cheerful disrespect for privacy and is convinced that they love her. She has a non-anthropomorphic pet baby bear. Her motivation is dependence on external approval rooted in deeply internalized classism. She's desperate to be useful and important to those with higher social status and feels the need to lie that her family is technically royalty to fit in with her royal friends, even though they treat commoners like equals all the time. She positions herself as a conduit of true greatness; closer to it than the masses, but never the hero, always reporting on other people and evaluating what they've done. Because what she's done isn't enough to be worthwhile. What she is isn't enough. But this performative lifestyle makes her anxious about being judged as a fraud and an interloper, and ashamed of selfishly transgressing against social norms. Her microphone head looks like an adorable little bear head. That's one hex of a character alright.

[losthalfelf]

guillermo referring to his vampire turning as his „first time“ and then repeatedly mentioning how he had always envisioned nandor to do it, how he wished he would’ve waited for him to do it instead-

[petricorah]

lee from the tea shop boutta get it (wip) [id in alt]

edit: completed illustration here

[thechy-fychannel]

y'all ever think abt how it was julie having the affair and it is even said multiple times that she was the one who left him, yet wilson was still the one who left their home and moved in with house. like. he couldn't bear to stay in their home alone. he immediately ran to house and stayed on his couch for weeks. suffered through his pranks and his laziness and his manipulation. telling him he wants him gone while sabotaging his attempts to leave. and he only left once he got a girlfriend again.

[galacticlamps]

ok I have A Lot of thoughts about the staircase confession (well really about Edwin's whole character arc, but all roads lead to rome) but for now I just wanna say that, yes, I was bracing myself for something to go terribly wrong when I first watched it, and yes, part of me was initially worried its placement might be an uncharacteristically foolish choice made in the name of Drama or Pacing or Making a Compelling Episode of Television but at the expense of narrative sense--

But I wanna say that having taken all that into account, and watched it play out, and sat with it - and honestly become rather transfixed by it - I really think it's a beautifully crafted moment and truly the only way that arc could've arrived at such a satisfying conclusion.

And if I had to pinpoint why I not only buy it but also have come to really treasure it, I'd have to put it down to the fact that it genuinely is a confession, and nothing else.

That moment is an announcement of what Edwin has come to understand about himself, but because it takes the form of a character admitting romantic feelings for such a close friend, I think it can be very easy, when writing that kind of thing, to imbue it with other elements like a plea or a request or even the start of a new relationship that, intentionally or not, would change the shape of the moment and can quickly overshadow what a huge deal the telling is all on its own. But that's not the case here. Since it is only a confession, unaccompanied by anything else, and since we see afterward how it was enough, evidently, to fix the strangeness that had grown between him & Charles, we're forced to understand that it was never Edwin's feelings that were actually making things difficult for him - it was not being able to tell Charles about them. 'Terrified' as he's been of this, Edwin learns that his feelings don't need to either disappear completely or be totally reciprocated in order for him to be able to return to the peace, stability, and security of the relationship with which he defines his existence - and the scale of that relief a) tells us a hell of a lot about Edwin as a character and b) totally justifies the way his declaration just bursts out of him at what would otherwise be such a poorly chosen moment, in my opinion.

Whether or not they are or ever could be reciprocated, Edwin's feelings are definitively proven not to be the problem here - only his potential choice to bottle it up - his repression - is. And where that repression had once been mainly involuntary, a product of what he'd been through, now that he's got this new awareness of himself, if he still fails to admit what he's found either to himself or to the one person he's so unambiguously close with, then that repression will be by his own choice and actions.

And he won't do that. Among other things, he's coming into this scene having just (unknowingly) absolved the soul of his own school bully and accidental killer by pointing out a fact that is every bit as central to his self-discovery as anything about his sexuality or his attraction to Charles is: the idea that "If you punish yourself, everywhere becomes Hell"

So narratively speaking, of course it makes sense that Edwin literally cannot get out of Hell until he stops punishing himself - and right now, the thing that's torturing him is something he has control over. It's not who he is or what he feels, but what he chooses to do with those feelings that's hurting him, and he's even already made the conscious choice to tell Charles about them, he was just interrupted. But now that they're back together and he's literally in the middle of an attempt to escape Hell, there is absolutely no way he can so much as stop for breath without telling Charles the truth. Even the stopping for breath is so loaded - because they're ghosts, they don't need to breathe, but also they're in Hell, so the one thing they can feel is pain, however nonsensical. And Edwin certainly is in pain. But whether he knows what he's about to do or not when he says he 'just needs a tick,' a breather is absolutely not what's gonna give him enough relief to keep climbing - it's fixing that other hurt, though, that will.

Like everything else in that scene, there's a lot of layers to him promising Charles "You don't have to feel the same way, I just needed you to know" - but I don't think that means it isn't also true on a surface level. It's the act of telling Charles that matters so much more than whatever follows it, and while that might have gone unnoticed if anything else major had happened in the same conversation, now we're forced to acknowledge its staggering and singular importance for what it is. The moment is well-earned and properly built up to, but until we see it happen in all its wonderful simplicity, and we see the aftermath (or lack thereof, even), we couldn't properly anticipate how much of a weight off Edwin's shoulders merely getting to share the truth with Charles was going to be, why he couldn't wait for a better, safer opportunity before giving in to that desire, or how badly he needed to say it and nothing else - and I really, really love the weight that act of just being honest, seen, and known is given in their story/relationship.

[moonlightseve]

Viktor Nikiforov’s association with the blue rose is particularly notable, both for how pervasive the symbol is and the meaning behind it.

Within both Hanakatoba (the Japanese language of flowers) and western interpretation, the rose is most commonly used as a symbol of love and passion. Love is, by far, the most readily identified motif throughout the show, making the choice of this flower unsurprising. What does make it exceptional is the fact that it’s blue.

I have been unable to identify any possible meaning of blue flowers broadly within Hanakatoba, but the color is often associated with sadness and loneliness. Emotions that are calm, but negative (i.e. listlessness, depression, boredom) are typically classified as blue, whereas reds are passionate and lively. It is also the color representing the cold, whereas the reds more often associated with Viktor’s clothing speak of warmth.

So here you have Viktor Nikiforov, absolutely covered in a flower that means love, but instead of any of the hues that actually occur in nature, he is specifically given the unnatural, man-made shade that relates to the cold and unhappiness. It is commentary on what he lacks. Viktor does not have the red rose, the one that means passionate love, and is instead given the antithesis of what a rose is meant to be: sad, lonely, and loveless. He himself said that he neglected life and love for over twenty years, so why would we be surprised to see a representation of this during his younger days?

He is crowned by this quality. He has the fame, the recognition, the success, but this does not take away from the emptiness of his personal life and the lack of emotional fulfillment he feels.

I’d say we shouldn’t even discuss this in relation to the other usages of color we see in Viktor and Yuuri’s relationship, but let’s be real, it’s me, so of course I’m going to bring it up.

Viktor is always the one dressed in reddish-pinkish hues, while Yuuri is given blue. Whether it’s the frame of his glasses or his costume for the Stammi Vicino duetto, he is dressed in a deep blue. It’s almost as if he gives meaning to this part of Viktor’s life previously defined by its emptiness, slotting into place like a piece of a puzzle.

It’s almost the exact same shade.

[myrkulitescourge]

imo karlach’s soul coin usage seems like it should have been a little more significant than it was.

she only ever really stops to consider the magnitude of burning through a person’s soul for power during an origin playthrough—otherwise she rationalizes to the player that they’re doomed anyway, and if using them gives her an edge in combat, why not use them for good instead of leaving them to be used by evil? the dialogue with lann tarv in act 2, where he tells the story of each soul he's handing over to her, tries to humanize each soul coin, and still she doesn’t really budge and disapproves pretty heavily if she's told no in regards to using them.

it just seems like something that could have caused some kind of conflict between her and wyll, given he sold his soul to a devil in dire circumstances and takes issue with the player for sleeping with mizora, because she 1) is mizora, and 2) similarly expends tormented souls during her romance scene, even if for a different purpose. but it just... never really comes up?

i love karlach. but that seems like it should have gone Somewhere, from a writing standpoint? karlach values wyll as a person but is willing to use currency forged from souls like his for the sake of a temporary power up. she knows the soul is consumed when she uses them. that whole exchange with lann tarv is there to emphasize that every soul coin she destroys was a person once. but it all kind of loses narrative purpose if this combination of factors doesn't mean anything? karlach doesn't change at all in her willingness to use soul coins, no matter what the player says or how much she cares for wyll.

idk. missed opportunity that wyll doesn't have any dialogue about this, of all things.

[kingofanemptyworld]

genuine question, am I really not supposed to read into the fact that Kaneki ate part of Hide’s face, of all things? his mouth??

[greenerteacups]

oooh please someday tell us what you think of GOT

oh, no, it's my fatal weakness! it's [checks notes] literally just the bare modicum of temptation! okay you got me.

SO. in order to tell what's wrong with game of thrones you kind of have to have read the books, because the books are the reason the show goes off the rails. i actually blame the showrunners relatively little in proportion to GRRM for how bad the show was (which I'm not gonna rehash here because if you're interested in GOT in any capacity you've already seen that horse flogged to death). people debate when GOT "got bad" in terms of writing, but regardless of when you think it dropped off, everyone agrees the quality declined sharply in season 8, and to a certain extent, season 7. these are the seasons that are more or less entirely spun from whole cloth, because season 7 marks the beginning of what will, if we ever see it, be the Winds of Winter storyline. it's the first part that isn't based on a book by George R.R. Martin. it's said that he gave the showrunners plot outlines, but we don't know how detailed they were, or how much the writers diverged from the blueprint — and honestly, considering the cumulative changes made to the story by that point, some stark divergence would have been required. (there's a reason for this. i'll get there in a sec.)

so far, i'm not saying anything all that original. a lot of people recognized how bad the show got as soon as they ran out of Book to adapt. (I think it's kind of weird that they agreed to make a show about an unfinished series in the first place — did GRRM figure that this was his one shot at a really good HBO adaptation, and forego misgivings about his ability to write two full books in however many years it took to adapt? did he think they would wait for him? did he not care that the series would eventually spoil his magnum opus, which he's spent the last three decades of his life writing? perplexing.) but the more interesting question is why the show got bad once it ran out of Book, because in my mind, that's not a given. a lot of great shows depart from the books they were based on. fanfiction does exactly that, all the time! if you have good writers who understand the characters they're working with, departure means a different story, not a worse one. now, the natural reply would be to say that the writers of GOT just aren't good, or at least aren't good at the things that make for great television, and that's why they needed the books as a structure, but I don't think that's true or fair, either. books and television are very different things. the pacing of a book is totally different from the pacing of a television show, and even an episodic book like ASOIAF is going to need a lot of work before it's remotely watchable as a series. bad writers cannot make great series of television, regardless of how good their source material is. sure, they didn't invent the characters of tyrion lannister and daenerys targaryen, but they sure as hell understood story structure well enough to write a damn compelling season of TV about them!

so but then: what gives? i actually do think it's a problem with the books! the show starts out as very faithful to the early books (namely, A Game of Thrones and A Clash of Kings) to the point that most plotlines are copied beat-for-beat. the story is constructed a little differently, and it's definitely condensed, but the meat is still there. and not surprisingly, the early books in ASOIAF are very tightly written. for how long they are, you wouldn't expect it, but on every page of those books, the plot is racing. you can practically watch george trying to beat the fucking clock. and he does! useful context here is that he originally thought GOT was going to be a trilogy, and so the scope of most threads in the first book or two would have been much smaller. it also helps that the first three books are in some respects self-contained stories. the first book is a mystery, the second and third are espionage and war dramas — and they're kept tight in order to serve those respective plots.

the trouble begins with A Feast for Crows, and arguably A Storm of Swords, because GRRM starts multiplying plotlines and treating the series as a story, rather than each individual book. he also massively underestimated the number of pages it would take him to get through certain plot beats — an assumption whose foundation is unclear, because from a reader's standpoint, there is a fucke tonne of shit in Feast and Dance that's spurious. I'm not talking about Brienne's Riverlands storyline (which I adore thematically but speaking honestly should have been its own novella, not a part of Feast proper). I'm talking about whole chapters where Tyrion is sitting on his ass in the river, just talking to people. (will I eat crow about this if these pay off in hugely satisfying ways in Winds or Dream? oh, totally. my brothers, i will gorge myself on sweet sweet corvid. i will wear a dunce cap in the square, and gleefully, if these turn out to not have been wastes of time. the fact that i am writing this means i am willing to stake a non-negligible amount of pride on the prediction that that will not happen). I'm talking about scenes where the characters stare at each other and talk idly about things that have already happened while the author describes things we already have seen in excruciating detail. i'm talking about threads that, while forgivable in a different novel, are unforgivable in this one, because you are neglecting your main characters and their story. and don't tell me you think that a day-by-day account tyrion's river cruise is necessary to telling his story, because in the count of monte cristo, the main guy disappears for nine years and comes hurtling back into the story as a vengeful aristocrat! and while time jumps like that don't work for everything, they certainly do work if what you're talking about isn't a major story thread!

now put aside whether or not all these meandering, unconcluded threads are enjoyable to read (as, in fairness, they often are!). think about them as if you're a tv showrunner. these bad boys are your worst nightmare. because while you know the author put them in for a reason, you haven't read the conclusion to the arc, so you don't know what that reason is. and even if the author tells you in broad strokes how things are going to end for any particular character (and this is a big "if," because GRRM's whole style is that he lets plots "develop as he goes," so I'm not actually convinced that he does have endings written out for most major characters), that still doesn't help you get them from point A (meandering storyline) to point B (actual conclusion). oh, and by the way, you have under a year to write this full season of television, while GRRM has been thinking about how to end the books for at least 10. all of this means you have to basically call an audible on whether or not certain arcs are going to pay off, and, if they are, whether they make for good television, and hence are worth writing. and you have to do that for every. single. unfinished. story. in the books.

here's an example: in the books, Quentin Martell goes on a quest to marry Daenerys and gain a dragon. many chapters are spent detailing this quest. spoiler alert: he fails, and he gets charbroiled by dragons. GRRM includes this plot to set up the actions of House Martell in Winds, but the problem is that we don't know what House Martell does in Winds, because (see above) the book DNE. So, although we can reliably bet that the showrunners understand (1) Daenerys is coming to Westeros with her 3 fantasy nukes, and (2) at some point they're gonna have to deal with the invasion of frozombies from Canada, that DOESN'T mean they necessarily know exactly what's going to happen to Dorne, or House Martell. i mean, fuck! we don't even know if Martin knows what's going to happen to Dorne or House Martell, because he's said he's the kind of writer who doesn't set shit out beforehand! so for every "Cersei defaults on millions of dragons in loans from the notorious Bank of Nobody Fucks With Us, assumes this will have no repercussions for her reign or Westerosi politics in general" plotline — which might as well have a big glaring THIS WILL BE IMPORTANT stamp on top of the chapter heading — you have Arianne Martell trying to do a coup/parent trap switcheroo with Myrcella, or Euron the Goffick Antichrist, or Faegon Targaryen and JonCon preparing a Blackfyre restoration, or anything else that might pan out — but might not! And while that uncertainty about what's important to the "overall story" might be a realistic way of depicting human beings in a world ruled by chance and not Destiny, it makes for much better reading than viewing, because Game of Thrones as a fantasy television series was based on the first three books, which are much more traditional "there is a plot and main characters and you can generally tell who they are" kind of book. I see Feast and Dance as a kind of soft reboot for the series in this respect, because they recenter the story around a much larger cast and cast a much broader net in terms of which characters "deserve" narrative attention.

but if you're making a season of television, you can't do that, because you've already set up the basic premise and pacing of your story, and you can't suddenly pivot into a long-form tone poem about the horrors of war. so you have to cut something. but what are you gonna cut? bear in mind that you can't just Forget About Dorne, or the Iron Islands, or the Vale, or the North, or pretty much any region of the story, because it's all interconnected, but to fit in everything from the books would require pacing of the sort that no reasonable audience would ever tolerate. and bear in mind that the later books sprout a lot more of these baby-plots that could go somewhere, but also might end up being secondary or tertiary to the "main story," which, at the end of the day, is about dragons and ice zombies and the rot at the heart of the feudal power system glorified in classical fantasy. that's the story that you as the showrunner absolutely must give them an end to, and that's the story that should be your priority 1.

so you do a hack and slash job, and you mortar over whatever you cut out with storylines that you cook up yourself, but you can't go too far afield, because you still need all the characters more or less in place for the final showdown. so you pinch here and push credulity there, and you do your best to put the characters in more or less the same place they would have been if you kept the original, but on a shorter timeframe. and is it as good as the first seasons? of course not! because the material that you have is not suited to TV like the first seasons are. and not only that, but you are now working with source material that is actively fighting your attempt to constrain a linear and well-paced narrative on it. the text that you're working with changed structure when you weren't looking, and now you have to find some way to shanghai this new sprawling behemoth of a Thing into a television show. oh, and by the way, don't think that the (living) author of the source material will be any help with this, because even though he's got years of experience working in television writing, he doesn't actually know how all of these threads will tie together, which is possibly the reason that the next book has taken over 8 years (now 13 and counting) to write. oh and also, your showrunners are sick of this (in fairness, very difficult) job and they want to go write for star wars instead, so they've refused the extra time the studio offered them for pre-production and pushed through a bunch of first-draft scripts, creating a crunch culture of the type that spawns entirely avoidable mistakes, like, say, some poor set designer leaving a starbucks cup in frame.

anyway, that's what I think went wrong with game of thrones.

[aw-shizz-here-we-go-again]

•|| Seally Cute ||• (Mermay 2024)

Prompt 3: Seally Cute

Featuring: Geno, Goth, and Reaper!

Ship(s): Afterdeath.

Summary: Playtime with the kiddo! <3

Warnings: Blood from a hunt

Credits: Leviathantale and the Mermay Bingo I'm using are both by @skumhuu!

Read tags for notes.

"Dad? Dad??? Daddy!"

Geno woke up to a small, high-pitched voice yelling in his ear. He let out a tired grunt, then rolled over on his side as his tail gently swatted the other person away.

He smiled as he heard them let out a playful squeak, and he was almost immediately bombarded by a small body barreling into him. He yawned, then blinked blearily at the mischievous attacker as he rubbed his eyesockets. "Oh? What's up, my little clamshell?"

The young selkie in front of Geno puffed out their cheeks, flipping their black-and-white seal tail back and forth as they responded. "Mama's out huntin', and 'm boreddd! I wanna do sumthin'! Sumthin' else then jus' sleepin'!"

"You could practice walking, you know." Geno suggested, raising a bonebrow up at the child. He sat up and stretched, slight popping his bones as he did so. "You still haven't even tried taking your seal skin off yet, Goth."

Goth grumbled something under his breath, glowering down at the iceberg they were both on. ". . ."

Geno tilted his head to the side, wrapping his arms around his kid and hugging him close. "What was that? Is there something wrong?"

"...'s scary." Goth muttered quietly, burying his face into his father's chest. "A-an' I did try. Couldn't do it though..."

"Oh, Gothy," Geno squeezed Goth a little tighter in his embrace, wrapping Goth's tail around his own as he kissed the top of Goth's head. "It's alright, we'll figure something else out then."

"Swimmin'?" Goth asked hopefully, gazing up at Geno with big shiny eyelights. There was no mistaking it, the kid really knew what he was doing when he chose to pull the puppy eyes on his dad.

Geno sighed, giving Goth a defeated look. He didn't even attempt to resist, knowing that he would cave quickly anyways. "Okay okay, let's go swimming."

"Yay!" Goth wiggled his way out of Geno's grip, then proceeded to nudge and tug Geno towards the edge of the iceberg where the water was. "C'mon, c'mon, c'mon!"

Geno chuckled, relenting as he playfully shoved Goth into the icy sea before hopping in to join his kid. "Rather eager, aren't we?"

"You never lemme go swimmin' without ya, so duh!" Goth pouted, swishing his tail as he drifted around Geno in a lazy circle. He then sped up, swimming around Geno in faster loops. "C'monnn! Let's play tag or something!"

"Oho, you want to challenge me?" Geno asked in amusement, raising a bonebrow as Goth nodded in response. "Well then, let the games begin..."

.

.

.

Reaper was returning back home from... doing whatever he was doing while he was out, most likely hunting due to the blood on his teeth, and he surfaced to get a breath of air just in time to see a certain small selkie fling themselves out of the water to do a flip.

What the heck?

Diving back under the water, Reaper sped up towards the main iceberg that he and his family called home. As he approached, he could see the love of his life- ahem, Geno, ahem -and their child swimming around in circles, seemingly sportively goading each other on.

As Reaper watched, Geno suddenly thrashed his tail as he shot up towards the surface of the water, erupting from the sea and doing a double flip before he came crashing back down.

The leviathan let out a small, quiet laugh at the smug look that Geno shot at Goth, and at the pouty look that Goth had returned back at Geno.

Then Reaper had an idea. A smirk crossed his face as he dove down, deeper and deeper below his family. Once he was down deep enough to not be noticed if he shifted, he activated his leviathan form as he circled around in the icy cold depths, staring up at the two selkies above him.

He then silently and slowly swam up behind Geno, his now massive size absolutely dwarfing his mate. He watched as Goth noticed him, and he saw how the child's eyelights grew as big as saucers as his presence registered in Goth's mind.

Reaper held a finger up to his mouth, gesturing for Goth to stay quiet. He drifted ever so slightly closer to Geno, who seemed mildly confused by Goth's reaction since he hadn't realized that Reaper was behind him yet.

"Hello, darling~"

Reaper purred out an amused giggle as Geno yelped in shock, and he backed up a little bit as the selkie whirled around to face him.

"You-! Seriously, Reaper?! Ugh..." Geno groaned and rubbed the bridge of his nosebone in annoyance, glaring at Reaper in half-hearted anger. "I swear, you are so immature."

"Oh, my dearly sweet beloved, I'm so wounded by your insults!" Reaper whined pitifully, shrinking down into his normal form before dramatically leaning against Geno while holding his hand up to his forehead.

Geno grumbled something under his breath and pushed Reaper off, then narrowed his eyesocket at Goth, who had started giggling. He then sighed in exasperation and threw up his hands. "Both of you! Both of you are so immature! But at least Goth has the excuse of actually being a child."

He swam back up to Reaper and poked the leviathan in the chest, swishing his tail in mild irritation. "But you don't have any excuse!"

"B-but... Geno-senpai, it's just my personality!" Reaper blinked innocently at Geno, intertwining his orca tail with Geno's seal tail.

Geno rolled his eyelight and groaned again, pulling his tail away from Reaper and gently swatting Reaper over the head. "Don't even get started with that! Enough is enough."

Reaper sighed in mock defeat, backing away from Geno to give his love some space. "Alright, alright, if you insist."

Geno hesitated, then swam back over to Reaper to give him a soft, brief kiss before letting go again. "Love you, starfish~"

Before Reaper could sputter out a flustered reply, they both suddenly heard snoring coming from behind them. A quick glance revealed that Goth had fallen asleep, and Geno let out an amused snort. "I suppose playing around tuckered him out. We should be getting back to our iceberg anyways."

"I- uh- uhm, yeah! Mhm!" Reaper replied quickly, still blushing from the kiss. He rapidly flicked his tail and scooped Goth up in his arms, carrying the child as he started swimming to the homeberg. "Let's go!"

Geno followed suit, letting himself be half dragged in the current that Reaper's tail made since he was tired.

.

.

.

"You know, you should really wash up. You still have blood all over your teeth." Geno said with a small yawn, tilting Reaper's head with his hands on Reaper's chin so that he could see the orca's face better.

"Aw, what? Too shy to clean it off for me~?" Reaper purred teasingly, then hesitated and averted his gaze in shame almost immediately afterwards. "...Oh, yeah, right-- nevermind. Uh, forget I said that. Sorry."

Geno winced slightly, shivering not from the cold of the iceberg but rather from the reminder. ". . ."

Reaper shrank in on himself a bit, tears suddenly pricking his eyesockets "I'm sorry, okay? I- I really just can't help it... I'm sorry..."

Geno was quiet for a long moment, then he pulled Reaper into a hug. "It'll... it'll be okay. Just... let's not tell Goth, okay? I'd rather not scare him..."

"Okay..." Reaper muttered back, nuzzling into Geno's embrace. By the True Leviathans, he felt awful, but it wouldn't be an easy fix.

After all, it was his nature.

______________________________________________________________

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[kineticallyanywhere]

Monkey’s Paw pages 133-136 ( START HERE || ao3 || previous || next ) AU after episode 62. The Omega Dads try a more desperate gambit, but   careful what you wish for. Our dads find alternate versions of themselves in a strange dreamscape. Ifyou die in the dream, doyou die in real life?

...heeeeeeeyyyyyyyyyy

[p1x1x]

what indeed…!