Too Little
Part three of Jamil (not) dealing with feels here we go.
Jamil x reader, Jamil’s pov
Previous parts: part one, part two
This was stupid.
Here he was, rolling around in bed, unable to sleep because thoughts of you filled his mind.
It had been futile of Jamil to think that he could simply brush your presence aside, that he could treat you like just another schoolmate and not let you consume his mind.
Not when every quiet moment had him reach for his phone in hopes of a new message from you.
Not when you kept on finding new ways to make his heart skip a beat every time he saw you.
Not when he missed you more acutely every time you weren’t there.
So, despite his best efforts, his mind treaded those same paths, time and again, occupied by all the parts of you. Your expressions, your mannerisms, your words, every single detail committed to his memory and played over and over.
He suspected that at this point he’d be able to recreate most of your expressions just from memory. Your voice, too, playing so clearly in his mind.
Not to even mention those oh so tantalizing what ifs, supplying him with even sweeter temptations than the confines of reality and memory could provide.
What it would feel like to touch you, to hold you, to kiss you, to-
No. No no no. He would not go there.
Jamil could feel the heat burning in his cheeks and he rolled over, groaning into his pillow.
This was ridiculous. Absolutely preposterous.
Yet, there was no getting out of it.
He wanted you.
He wanted more of you, so much more than what he had.
Because each taste of you left him craving more, each glimpse made him want to uncover everything there was to you.
Even the parts you might consider ugly, as sappy as that was.
What kind of people did you like, anyway?
Charming? Intelligent? Funny?
Rich and influential?
Did you even like guys? Or relationships in general?
Just the thought - relationship - made Jamil's cheeks burn even brighter, made his legs twitch under the covers.
Yet, somehow, it did not sound so bad.
To have you.
To be yours.
To know and be known.
He huffed and turned over onto his back.
As if his duties left room for something for himself, left enough of him to share with someone like that.
And would you like what you saw in him, anyway?
Yet, his excuses were beginning to sound more and more hollow.
After all, he was nothing if not resourceful, and so far you’d shown no signs of shying away, even as you dug your way deeper.
Jamil stared at the canopy over his bed with unseeing eyes.
He’d have to do something about this.
Because if he didn’t, he might just lose his mind.
But was the alternative any better? Could he even handle it? The full force of you, if - and it was a big if - you were to accept him.
Even now, when you looked at him in that particular way of yours… He never could hold your eyes for long when that happened. The softness and the warmth he saw were far too overwhelming, always forcing him to turn away lest he made a complete fool of himself.
If he were to have that, with the full force of affection intention behind it… How could he even bear it?
Like the other day… You’d found Jamil in the middle of his chores and dragged him away, his to-do list crumbling when you grabbed his hand and led him outside.
He was all too aware of how his protests had been half-hearted at best. How your sudden appearance, your touch had shut down every sensible part of him, leaving him unpleasantly raw.
And by the time he’d gathered himself, nearly convinced himself he had other things he should be doing instead, you were sharing ice creams outside Sam’s, to celebrate the first warm day of the year.
As if it wasn’t warm in Scarabia year round.
As if he hadn’t been too preoccupied by your happiness and enthusiasm to bring himself to heel.
Sometimes, it was all he could do not to be swept away by you, barely keeping his head above the surface.
So, what choice did he have but to act?
You’d made a home in his heart already, whether he asked for it or not.
All he could do was take control of what he could.
Eta: you can find part 4 here and part 5 / the final part here.
Oh dear I'm starting to get tempted to write this from the reader's pov as well.
Or maybe I'll just have to ramble about the thought process behind this at some point to get that out of my system.
I also considered going to a more horny direction with this but decided to go with this kind of yearning in the end. But, if the horny version is of interest for y'all, maybe I can do that as an alternative / supplementary thing to this series, or some sort of a standalone at some point.
Hope y'all enjoyed! One or two more parts are still to come.
Tag list: @colliope @crystallizsch @diodellet @jamilsimpno69 @jamilvapologist
@mazapanmiau @perilous-pasta @twstgo
If you'd like to be tagged for any future works, do let me know! Also feel free to specify if you only want tags for particular kinds of works (like sfw/nsfw for example).
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Hey, you know what? It's a good day to remember that
- The hashtag #TheDreadWolfRises that was first used in the 2018 teaser is most definitely a reference to Sandal's prophecy in DA2, talking about how “All magic will come back” and “everyone will be just like they were, when he rises“.
- The now official title of DA4 "Dreadwolf" is an anagram for "World/Fade". “Dread Wolf” became one word, the space between the two literally and figuratively disappearing, like the World and the Fade coming together when the Veil is gone.
- The cover of Mark Darrah's "mysterious red book" from 2016.
Which was since revealed to be (quoting the BioWare 25th anniversary book) "an internal guide for developers and publishers to summarize the vision for "Joplin" (the first code name for DA4, until that project was revised in 2017 and renamed "Morrison", the version of DA4 we're getting now), but that "still contains plenty of ideas that will appear in the next Dragon Age", showing a flaming rook and a wolf head, which is suspicious considering that a rook is a piece in a game of chess...
“Rest assured, Solas is placing his pieces on the board as we speak.” (- BioWare in their blog post announcing the official title)
...A game in which a master strategist like Solas was willing to go so far as to sacrifice his queen (*cough* Flemeth *cough*) to win the "Immortal Game", but the word “rook” can also be used in the sense of a swindler/trickster/deceiver. Though if we take the alternative term for the rook and call it a tower instead, isn't it interesting how:
- Solas' final tarot card is "The Tower", commonly interpreted to symbolize massive change, upheaval, revelation, destruction, liberation and chaos.
Let me just quote bestselling author Brigit Esselmont's interpretation of the meaning of this card here and I’ll leave it to you to guess what it could indicate for DA4, but GOD, do I get CHILLS just reading this flippin paragraph:
"Your world may come crashing down before you, in ways you could never have imagined as you realize that you have been building your life on unstable foundations – false assumptions, mistruths, illusions, blatant lies, and so on. Everything you thought to be true has turned on its head. You are now questioning what is real and what is not; what you can rely upon and what you cannot trust. This can be very confusing and disorienting, especially when your core belief systems are challenged. But over time, you will come to see that your original beliefs were built on a false understanding, and your new belief systems are more representative of reality.”
“The best way forward is to let this structure self-destruct so you can re-build and re-focus. And let’s be real – with a card like The Tower, you have no choice but to surrender to the destruction and chaos, no matter how unwanted or painful. Change on this deep level is hard, but you need to trust that life is happening FOR you, not TO you and this is all for a reason. This destruction will allow new growth to emerge and your soul can evolve."
- Promotional stuff for DA4 keeps repeating concentric circles, which is widely believed to represent the Veil itself, and appears to get more broken with every new update. (There are also seven “spheres“ surrounding it = There are seven Old Gods/seven Evanuris that were banished when Solas created the Veil. With only two of these spheres still “lit” = There have been five Blights, two Old Gods left that are still sleeping.)
Also, the new background image of the official website showing even more broken pieces resembling those in the circle, completely falling apart...
What I’m trying to say is... If that Veil isn’t coming down some way or another in this next game, I’m calling false advertising! 😂
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The dialogue in Andor is so good. Every episode, I find myself amazed at how expertly written it all is--when usually, I don't tend to notice film writing unless it's particularly bad. But when I watch Andor, I feel like I'm sitting through a film-writing masterclass. Most recently, episode 9's dialogue stood out to me as particularly excellent. If I could take one lesson from this episode, it would be:
Good dialogue does not have to be elaborate.
It doesn't have to be flashy. It doesn't have to use complicated sentence structure or big words. It doesn't need people interrupting or talking over each other. Good dialogue just needs to do three things:
Convey information (plot exposition, characterization of the speaker, etc.)
Sound like something a person would actually say
In most cases, not say everything the speaker is actually thinking/feeling
(Point 3 might sound like a contradiction of point 1, but it's related to "show, don't tell." Besides, people generally don't go around saying exactly what they mean or what they're thinking, so it ends up sounding clunky and unnatural.)
And I have a perfect example from Star Wars to demonstrate my point. In my opinion, Episode II has some of the worst writing in the entire series, such as this teenage-poetry-worthy line:
Okay, no, we need the whole poem for context. "From the moment I met you, all those years ago, not a day has gone by when I haven't thought of you. And now that I'm with you again, I'm in agony. The closer I get to you, the worse it gets. The thought of not being with you...I can't breathe. I'm haunted by the kiss that you should never have given me. My heart is beating, hoping that that kiss will not become a scar. You are in my very soul, tormenting me. What can I do? I will do anything that you ask."
First of all, who talks like that? (They sure don't! This isn't how they talk, before or after this scene.) The whole conversation is awkward and stilted, and has all the subtlety of a foghorn in a library. It conveys information, sure, but in a very clunky, cringey way that takes way too long. (And I'm just talking about the writing here, not the delivery--Hayden Christensen and Natalie Portman both did their best with what they had.)
Contrast this with the dialogue in Andor:
"I can't help him. I can't help anyone."
Two lines. Two four-word sentences. Very simple sentences, too. No fancy words at all. And yet just think of how much they convey, whether you hear them in context or not. Yes, a lot of the power of this scene comes from the excellent acting, the expressions and body language that tells you so much more than just the words.
I don't even remember if we ever learn what this guy's name is. And yet, with those two simple sentences, we can glean so much of this man's story, his outlook on life, not to mention simply the impact he has on the plot unfolding right then.
Pretty much everything about this show is fantastic and keeps me thinking about it for days, and the dialogue is no exception. This is just one tiny example of the good writing in this show, and I can't wait to see more.
Full credit to Beau Willimon, writer of episode 9.
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