#warning for gory drawings under the cut

[birdmitosis]

I've mentioned it before, but Voice of the Cold fascinates me and I really keep wanting to pick at his character until I figure him out better, so this is my attempt to do that. (Pretty long essay under the cut!)

There are a few things about Cold's character that really stand out to me, and it's because he's very much a contradictory person. This isn't true of all the Voices; some of them are them all the way through, though there are some others who break out of what you'd expect from them (Contrarian and Paranoid being the most obvious examples, but also Hero, Smitten, and Skeptic IMO). Cold, though. All the way through, he is consistent, but what he is is consistently… odd. "Stop feeling anything" is basically his motto, and honestly a lot of his dialogue circles that concept. He makes it clear that he thinks the best thing, the only logical thing to do in fact, is to just stop feeling what their physical body feels and to stop feeling emotion while they're at it. The former, at least, he does seem 100% on top of, not at all bothered by anything physical that ever happens while he's present -- whether it's having their heart ripped out, their ankle snapped and twisted, or being drowned or burned to death. But even with physical sensation, there's something odd about Cold. For someone who's like "stop feeling what it feels" about the body, Cold's response to The Grey trying to kill them is consistent across both chapters, no matter you choices to get there or your choices while there:

(IMO, Cold sounds noticeably more interested in response to The Drowned Grey; I personally think this might be explained by the fact that he at least theoretically understands what the process of burning to death should feel like, as he explains to the others that the pain will stop when they don't have nerves anymore, but he has no equivalent words of wisdom about the drowning experience.) Following on from this is the way Cold responds to The Razor, where he gets a tone that is… not unique but rare for him:

These are, as near as I can tell, the three times in the game when Cold registers interest in the sensations of having a physical form. They're in response to immensely unpleasant sensations, or at least what Cold imagines to be such, and it seems like the less he can imagine it, the more intrigued he is: He sort of knows about what the body goes through when burning to death, he seems unfamiliar with what it would feel like when drowning but could probably imagine it at least a little, and the Razor just fucking exploding due to blades twisting from under her skin and erupting out until the only thing left of her is her heart is something that a human being (or rather a bird person) could not ever actually experience themself and could probably barely even imagine. So he can tune into what his body is feeling, or he would like to be able to at least in certain circumstances. (Negative ones! Cold please!!) So let's veer away from physical sensation into feeling emotion. Because Cold is imo fascinating in this respect. Cold is a complete contradiction when it comes to emotional shit. It is wild and I absolutely love it actually? He says he doesn't feel emotions and repeatedly advises that the best thing is to stop feeling emotions, particularly in The Moment of Clarity but also in The Grey chapters.

(I'll return to that last screenshot later…) He's not emotionless, though. He has an understated emotional effect, might not feel emotions as strongly naturally as others, and he's very good at letting go of something when, for example, a preference he states doesn't happen or an action he tries to take doesn't work, but… Remember how I said above that the tone he gets in response to The Razor is "not unique but rare for him"? Well, the other time he does it, I first interpreted as being about him anticipating violence. But I don't think that's quite it. I think that of two major times he gets that tone of voice, one is in response to imagining a physical sensation, but the other is in response to the threat/promise of an emotional one:

This clip is a bit longer than the others (like 30 seconds instead of 5-10 seconds), but you can see what I mean, right? When Smitten is just threatening violence or killing them again, Cold is completely blasé about it in his usual way; it's the "I'll make you feel what I feel if it's the last thing I do" part that seems to make Cold suddenly get… intense. (Which is an emotion in and of itself, or at least is inherently a, well, an intensifier of an emotion, so like. Again, Cold please.) But while that's the most obvious, notable moment, there are a lot of moments where it's obvious that Cold… does feel things, if again in an understated way.

(Thank you so much to @butwhosgonnafindhim for the last two screenshots, from this amazing post which shows even more interesting context!) There are also so many times he talks (quite negatively!) about some things being boring, implying that he does feel boredom, and/or something that isn't boredom when there's a new experience:

…And also too many times for me to share screenshots where he's just not letting comments from the other characters pass unremarked-on, needling them if not outright goading them, totally unnecessarily; this is most obvious in The Burned Grey chapter with The Smitten, but also with both Paranoid and Cheated if you choose to jump into the abyss with The Wraith. The thing is, Cold is also inconsistent when it comes to the other characters in a way that really interests me. He needles them, talks about not listening to them (though I want to revisit this in a minute), if you choose to reassure the Voices in front of the mirror if he's there, he even says "You don't have to comfort them." (Sorry I can't find a screenshot of this, I've been looking for ages!) But over and over again in various routes, he also repeatedly tries to advise the characters on how not to be broken down by physical or emotional pain:

(I also noted in another post that in The Wraith route he straight-up says, as shown above, "let's throw the Narrator into a place that never ends and see what that does to him" but then if Paranoid is the other Voice with them and they go with Paranoid's plan to toss yourself into the abyss, when Paranoid gets elated that it worked Cold just has to chime in with a comment basically implying it's silly to prefer this outcome over any other:

Which I like in and of itself but he also does stuff like this kind of a lot as you can see.) (And also thank you for these screenshots, @phospolipid-bilayer!) (And can I also just make a small aside that there are fascinating implications in the phrasing of "if you can tolerate joy"?) I want to wrap this up before it goes on too much longer, but there are three last things I want to cover quickly that I think are other fascinating facets of his character. First, very quickly, I would like to note that Cold is both espousing an absolutely useful way of dealing with horrific situations if you can actually manage it, but is also advising it far beyond the point where it's useful and the usefulness of his approach is limited even in the very specific circumstances that the Protagonist and the Voices are in.

It's not just Hunted and Contrarian making some vague note about a shared experience you can't remember, though; consistently, Cold underestimates threats and is as likely to suggest a course of action that will get you killed as one that won't. Try to kill The Spectre, let The Spectre possess you and let her leave, let The Spectre possess you and stab yourself, just let The Wraith possess you and see what happens… half of those end in death, and in The Razor and The Grey chapters, his advice in the end boils down to "we're going to die, just accept it." While his lack of feeling can be of great use to push through situations, it's not so helpful when he isn't placing any value on survival at all, and that's only not a disastrous trait for him to have because everyone's trapped in a place where death doesn't stick. And now let's look back at The Moment of Clarity. All the Voices in The Moment of Clarity are shattered. This is obvious all throughout the chapter, where they're confused and have for the most part given up; they've been broken down and while they certainly aren't numb the way Cold talks about, they've been numbed and worn down in a lot of ways. It's most obvious in the mirror scene at the end of the chapter, how none of them are afraid anymore of what feels to them like the end in a very final way. But Cold doesn't seem very different, not through the chapter and not in front of the mirror. Right? He's never bothered by the mirror (IIRC he's the only one!) and he's always talking about how the other Voices need to stop feeling. But I think he is, actually. I think he broke too, and I think Cold breaking takes the form of him actually shutting out the other Voices. His trauma response in The Moment of Clarity is the most subtle, but I think it proves that he usually does care -- in The Moment of Clarity, by the time you come back to yourself and everyone is there (and has been there many, many, many times already), he just can't anymore.

Nowhere else in the game is he quite like this. In front of the mirror every other time, he either tells the Protagonist that they don't need to reassure the other Voices, or if the Protagonist decides to tell the Voices it's the end for them he tells the Protag that he wouldn't have told them Voices that/would have kept that to himself. When the mirror is actually approached, where the other Voices usually have some fearful dialogue, I'm pretty sure Cold is always silent. This lack of care, this level of coldness, is actually unusual for him, and is specifically associated with the one chapter where all the Voices have been traumatized and broken down. And I think that actually says a lot about him. (And that line about thinking he was special is also unique, only coming up if you don't do anything and let the world unravel in The Moment of Clarity chapter... I'm not sure what to make of that one, though.) Finally... just... what?

(I said we'd return to that screenshot! 🥳) But you all see what I'm getting at here, right? The former makes the most immediate sense, at least to me. The Voices are shards of the Long Quiet, and I theorize that they're sort of the equivalent of how the Princess changes completely; the Long Quiet can't change the way the Shifting Mound can, but has a part of her in them, so when her perception of them starts to change them a piece just breaks off instead. Whatever is happening, though, the Voices sprang into being the way they are, defined by their descriptions. It makes sense, then, that Cold has always been the way that he is; he comes into being in a very specific way and with a very specific identity and personality. But the latter... That has some potentially interesting implications. It's the "trust me" at the end; it makes it sound like he has experience with this, doesn't it? So is he simply talking about what the Protagonist went through when he was created, implying that this is how he was created (or how he sees it)? Or is he acknowledging that he is in fact trying to stop his own feelings, because he wants to, because there's something about them that makes him want them to stop? That would potentially work with the rest of this analysis, with Cold's inconsistencies and subtle shows of emotion (and, uh, occasional less subtle ones). Including him talking about "tolerating joy." (And even The Wraith's choice of words: "you think you are numb" but "you are hopeless and paranoid.") TL;DR... There's a lot to this particular Voice, and hopefully actually writing all this out will quiet my brain down some!

#warning for gory drawings under the cut #slay the princess #slay the princess spoilers #under the cut #voice of the cold #the voices #the moment of clarity #image heavy post #video heavy post too actually #Youtube

[malkaviian]

the unhinged mav drawing posts the day after tomorrow and i've debated a million times whether to let it post or create an account for these type of not-so-sfw drawings

#then again i put it under a read more + tagged it as much as i could + still put warnings before the read more. #so idk what else im supposed to do. imma be honest and say i created a kinky sideblog to reblog shit im too embarrassed to reblog here #but i have yet to use it lol. i could use it maybe?? but then having a following is kinda hard ooooof. #i still dont have that much on the general art blog. it took me a lot to get 9 fucking followers. its ok though #i appreciate the 9 people who saw my art and decided to follow; thats more than i think i deserve lol (and i have 55 on insta) #but thats also why i dont want anyone to unfollow i will die. #theres the chance i either attract kinky people who like to see a boy with a collar and a leash all bruised and with cuts #or 🐜s who will cancel me for having not so approved kinks; or just kinks in general #(i never talked about mav's paraph1l1a directly on there; although i have a drawing queued for tomorrow that very vaguely hints at it) #(but you literally need to know more about his character to even realize lmao and i have yet to write his toyhouse) #also; you know how 🐜s are. violence ok but sex no. i could draw someone all gory but if the context is kinky #then suddenly is irredeemable and how can i do that to the poor pixels who belong to me. #anyway this whole post was me wondering whether i should cancel the posting and post it in the kink blog i have #or let it post in the regular art blog and god knows what will happen. idk as i said getting even the slightness of disapproval #will send me into a spiral. a. #lilith whispers

[stellar-skyy]

♡ - LOST & FOUND - Platonic Arlecchino & reader

i. SUMMARY: Hell hath no fury like a parent whose child has been taken from them. ii. CWS & NOTES: description of blood and injury (mildly graphic but not gory), violence, mentions of kidnapping, swearing (like once), implied murder. PLATONIC arlecchino & gn!reader. house of the hearth!reader. angst & slight hurt/comfort. 2.5k words. iv. A/N: i am... so normal about parental arlecchino... so normal... i hope you enjoy because i loved writing this!! i have a little written for an epilogue featuring the lyntwins + freminet reuniting, so stay tuned for that ♡

It had been fifty-eight hours, and twenty-seven minutes since [Name] had vanished.

Freminet sat curled up in a velvet armchair that dwarfed his small frame, with Pers on his lap and his brother and sister flanking each side. They had both refused Father’s offer of a seat, which showed the severity of the situation more than words ever could.

No one ever refused Father. Even she had raised an eyebrow at their sudden rebellion.

“Lyney, Lynette. Defiance will not make [Name] come home faster. Take a seat.” Father sipped her tea, poised as ever. Even with that impassive mask, Freminet still noticed the tension in her shoulders.

He always noticed.

“There’s no need,” Lyney said shortly, adding on a respectful “Father.” as an afterthought.

“What my brother means—” Lynette cut in smoothly. “—Is that we do not want to draw this conversation out any longer than necessary. We only came to get permission to postpone our current assignment and search for [Name]. I’m sure you can see the circumstances are dire enough to warrant such action.”

“I’m afraid I do not, Lynette.” Father placed her cup down and folded her hands over her lap. “They are a very skilled agent, and this mission was hardly out of their ability. No need to compromise your current—and very important, I might add—mission, for trivial matters.”

“It isn’t trivial, it’s our sibling!” Lyney burst out, causing Freminet to flinch. He reached out a hand blindly to settle on Freminet’s shoulder, squeezing it quickly in both a comfort and apology for startling him.

“I would be mindful of your place within this household, Lyney.” Father said mildly, the warning clear. “I have given you a direct order, and you will follow it. Do not stray from your assigned mission. [Name] will be fine.” She paused for a beat. “You are dismissed.”

“That’s it?” Lyney hissed. “So, you’re going to just leave them to die?”

It sounded like less of a question and more of an accusation. Freminet winced, feeling Lynette stiffen beside him as well as they waited for the consequences of Lyney’s bluntness.

Arlecchino rose from her seat, the tension in the air thick enough to choke all three of the siblings.

“I never said that. [Name] will be home in due time.” Her gaze shifted from the left to the right side of the armchair. “Lynette, you will have tea with me later, won’t you?” Father asked, causing the girl to freeze.

She bit her lip, answering carefully. “I may. Maybe if [Name] returns, we can all have tea together.”

“A good plan,” Father agreed, ignoring the quiet angry undertone of her words. “When I see them, I shall invite them.”

“It had better be soon; it’s getting late.” Lynette countered. Freminet’s eyes darted back and forth between the two of them. Lynette was always better at matching Father’s games. Freminet crumbled under the weight of her gaze, and Lyney wasn’t any better at handling the pressure without his emotions causing him to crack and splinter.

“Lynette, Freminet. Let’s go.” Lyney said sharply.

Throughout the entire exchange, Lyney’s hand had not moved from where it was planted firmly on Freminet’s shoulder, as if he was refusing to let another of his siblings out of his grasp. Freminet might have remarked that Lynette was handling her worry better, but he noticed how her tail kept curling around his leg when they walked into Father’s office. Neither of the three was willing to part with the others for even a second; not when one of their own had gone missing by doing just that.

As he drew back his hand and moved away, Freminet caught his arm.  

“Just… a moment, please. Wait outside, I’ll join you soon.” Freminet murmured, letting go. Lyney pursed his lips.

“Be quick.”

The twins vanished through the doorway, leaving Freminet alone with his Father.

“Freminet dear. You’re hesitating.” Father raised an eyebrow. “Are you waiting for something? Do you want me to give Pers a kiss on the head before I leave?”

Freminet flushed at the memories of holding the toy up to Father when he was young, insisting the penguin deserved a proper goodbye too. “Ahem. I’m not a child anymore… Father.”

“No? Then why are you still here?”

He swallowed awkwardly, forcing himself to look her in the eyes. He met her stare

“I know you’re just as worried as I am.” He said bluntly.

Father’s expression was almost impossible to read, but Freminet managed to catch a hint of surprise at his words. “I see. How did you come to that conclusion?”

It wasn’t denial, nor was it defensiveness. That was a good sign. Freminet continued, “There is a pinch between your eyebrows that you keep trying to smooth over. You’re gripping your teacup much tighter than usual. Your shoulders are tense. And you were far too quick to dismiss the twins’ concerns. You of all people would know that the situation is severe enough to allow a brief pause to their investigation, but you were swift in making sure they were kept as far away from the situation as possible.”

Arlecchino stared back at Freminet silently. She always had that unsettling way of watching him, as if she was picking apart the cogs and wheels spinning in his mind to know exactly what he was thinking.

“Observant as always, Freminet.” Freminet stood up straighter, pink touching his cheeks. “So, tell me this: what am I to do next?”

“You’re… going to find them yourself?” He asked slowly.

“That is correct. I will be.” Father agreed, and something inside him swelled. If only Lyney was still in the room, he would have collapsed with relief. “And what will you be doing?”

“Helping.” Freminet said without a thought.

“Incorrect. You are going to return to your room, go to sleep, and not say a word to your siblings.”

“But—”

“No. You are not involved here.” Arlecchino turned her back on him, looking out the window with her arms folded behind her.

“Father—”

“Do not forget that if you or your sibling’s interference costs me my mission, [Name]’s blood will be on your hands.”

Freminet recoiled sharply, as if she had struck him across the face. Arlecchino refused to lay a hand on any of them, but her words were more than enough to wound them.

“I—”

“I’m not looking for an argument, Freminet.”

Freminet shut his mouth with a click, lowering his head. He forced back the wave of emotions sweeping across him, sinking them so far into the depths of his mind that not even a champion diver like himself would be able to reach them.

“I am looking for an answer.” Father raised an eyebrow.

“Yes, Father.” He said quietly.

“Good child,” She murmured, laying a gentle hand on the top of his head. “You are dismissed.”

-----

Arlecchino made her move at the stroke of sundown.

It was disgustingly easy to track them down, and the sheer incompetence only fuelled her rage until it burned brighter than the flames that curled beneath her skin. The assailants were sloppy, leaving plenty of traces for her to find, as if they were waiting for her to find them.

One of her agents had returned with a slip of paper that evening—a ransom note, crudely explaining that they had captured a House of the Hearth agent, and demanding a hefty sum in exchange for their safe return. She had chuckled at that last part. They would be lucky for her to leave them with their lives after what they have done, let alone a reward.

Their hideout was located in a quiet cave near the ocean, with an entrance half-hidden behind a curtain of vines. It was a quaint spot, a cosy place to sit back and watch the sun set over the water. She was sure the view behind her was breathtaking, but she made no move to take a glance for herself.

The vines made way for a long, narrow tunnel, ending with a wooden door. Arlecchino quietly turned the handle, scoffing under her breath when it turned without a key being inserted, and slipped through without making a single sound.

Six were scattered around the dingy room; one woman, five men. Seeming to be aged between their mid-twenties at the youngest, and early-forties at the oldest.

“Have we got a response yet?” The woman muttered impatiently, tapping her foot against the floor.

“How should I know?” One of the men grunted. “We left the note. Eventually it’s gotta make it’s way to the boss herself, and we’ll get the reward.”

“Just gotta be patient,” Another murmured. “Gotta be patient.”

Slightly past them was a wooden cage, secured with a metal lock.

They were in a heap on the floor of the cage, breathing weakly—Arlecchino quietly thanked the Tsaritsa that they were breathing at all—and looked to be passed out.

The fire inside her sang, and she could hardly breathe under the heat of it all.

“How long is this woman gonna take?” The woman rolled her eyes. “I’m tired of waiting.”

Arlecchino chuckled, causing all of the six to jump. “Oh, then allow me to assure you that you won’t have to wait much longer at all.”

Instantly they were on their feet, grabbing whatever weapon was closest. Their expressions ranged from outright fear, to an egregious amount of confidence for how weak they were in comparison to her.

“Knave,” the closest man grinned crookedly. “How kind of you to join us. I’m assuming you’re here for—” he jerked his head towards the figure still unmoving. “—that one?”

“‘That one’?” Arlecchino repeated slowly, drawing her scythe to her side. “I am here for my child.”

Two of the men—the ones closest to the cage—looked at each other nervously. Arlecchino smiled. It was a pity the rest of the group didn’t share the sense to fear her, but they would learn soon enough.

“Well you see, we’ll be happy to hand them over—” the man’s grin widened. “For a price, of course.”

“A price, you say?” She mused. “How about this. You step aside, I retrieve my child, and offer you a quick death. I would say that is more than fair, considering what you have cost me.”

The smile dropped off the man’s face. “That ain’t an option, lady.”

“Then I think you misunderstand.” She took a step towards him, then another, eyes glinting dangerously in the low light. “I wasn’t asking.”

“Boss—” one of the men tried to say.

“Shut it.” the first man hissed, bringing his shovel up in a defensive position. It was almost laughable, how he thought that would protect him.

“You made four mistakes tonight,” Arlecchino said smoothly. The tip of her scythe brushed the floor, sending a loud scraping sound across the walls. All of the people inside the room winced at the sound, but Arlecchino was unfazed as she continued prowling towards them.

“One… you failed to cover your tracks, making it remarkably easy to track you down.” In one swift motion, she lunged. The group barely had time to blink, before her scythe sliced across the chest of the closest one.

There was silence, before the man made a low gasp, bright crimson blood spilling down his shirt. He collapsed forward onto the ground with a thud, and the room erupted into chaos. A scream tore from the throat of the woman, and she dropped to her knees at his side, desperately clutching his shoulders. Arlecchino aimed a quick strike at her back, and she fell against the man heavily.

“Two, you left the door unlocked.” A pair charged towards her, hammers and shovels swinging. She knocked the weapons from their hands with one hit, and knocked them down with a second.

“Three—” One snuck up from behind, quickly tossing a string of rope over her head and around her neck, pulling harshly to cut off her breathing. An elbow in his ribs winded him enough to loosen his grip, and a knock to the head with the hilt of her scythe sent him to the floor. “You brought far too few people to last in a fight against me.”

The final man stumbled backwards until he hit the wall, shrinking against the bricks. Arlecchino walked with slow steps, stalking towards him like an animal cornering their pray. He shielded his face with his hands, in a desperate attempt to protect himself. Once she was about a foot away, she stopped, leaning in close.

“And four.” Arlecchino grasped the man by the throat, digging her nails into his skin hard enough to draw blood. “You hurt my fucking child.”

She tossed his body to the side, watching him hit the wall with a thud and collapse to the ground like a ragdoll.

“Pathetic.” She scoffed under her breath, stepping over his limp body. Her anger wasn’t nearly quelled—an inferno is not easily cooled, after all—but seeing them all lying lifelessly across the floor of their own base at least brought some vindication. She turned her back to the man, looking over at her child.

They were curled up in the cage like a trapped animal, rattling breaths ringing through the bars. Arlecchino gritted her teeth at the sight, making sure to step on the nearest captor’s fingers as she walked over. She swung her scythe against the lock, shattering it into bits of metal.

Her hands were gentle in reaching into the cage, hooking a hand under their knees and cradling their back with the other. They made a pained cry, and Arlecchino hurried to pull them out. She held them close to her chest, letting their cheek rest where her heartbeat pounded against her chest. Her face didn’t falter from that stony expression, but inside she was burning with fury.

“My child,” She murmured, more to herself than the shivering form in her arms. There was something dangerous in her tone, a note of warning to the assailants still conscious enough to hear her voice. She kissed their forehead, a tender gesture out of place among the bloodshed. “Didn’t I promise you that while you’re with me, no one can hurt you?”

“F-Father…?” A broken whisper slipped through their lips, followed by a sob, first sinking Arlecchino’s heart then shattering it into two.

“Shh… it’s okay. It’s okay, darling, I’m here.” She crooned, carrying them out of the room and through the tunnel. All throughout the journey through the tunnel and back onto the beach, she didn’t stop murmuring comforts and pressing kisses to their head in the most maternal way she’d ever remembered acting.

“I’m sorry, Father…” they mumbled, cheek pressed against her chest.

“Darling…” Arlecchino hummed, even as the smouldering ashes in her chest began to spark and flicker. “You have nothing to apologise for.”

The night was cold, but her child was a warm weight in her arms. She revelled in the warmth, a gentle reminder that they were still alive.

“We’ll be home soon,” Arlecchino promised, even though they were barely conscious enough to hear her. “Soon.”

reblogs are appreciated ♡

#✒️ — writing #genshin impact x reader #genshin x reader #platonic genshin impact x reader #platonic genshin x reader #platonic x reader #arlecchino x gender neutral reader #arlecchino x gn reader #arlecchino x reader #genshin arlecchino x reader #platonic arlecchino x reader #platonic arlecchino x gn reader

[zuureleena]

i now present to you!!! NOCOVEMBER 2023

i decided to give you guys two options for each week this year and i wanted them to correlate to one another in some shape or form + an extra month to work on it!

the rules are simple!

⋆ use #NocoVember2023 and tag me when you post your art/story (i wanna see it so badly u guys 🥲🫶)

⋆ comment/reblog saying that you'll be joining and tag 3 people who you think might be interested (it is totally okay to still be unsure and not participate in the end okayyy :D)

⋆ you can pick one theme, both, or mash them together for each week! the choice is yours, and you don't even have to do all of 'em

⋆ feel free to post your work at any point in november (or if you want to do it a month earlier or later, it's up to you :0)

⋆ for the angst and older prompt, please don't do anything nsfw related. i'm asking you to not draw/write smut, but if you want to do something gory for the angst prompt, always put a proper warning!

⋆ remember to have fun, never hesitate to ask me questions, and don't feel pressured to join <3

each prompt is explained under the cut

Week 1 - Sun & Moon / Cat & Dog

these can either be taken literally (as in you make them into for eg; noah, a black cat, and cody, a golden retriever) or metaphorically (noah has moon energy so you include things that symbolize that, and same goes for cody with his sun energy)

Week 2 - Monsters / Angst

you can turn them both or one of them into (a) monster(s)! this could be tethered to the angst genre or you could make a completely different angsty scenario between the two of them

Week 3 - Older / Childhood Friends

they can either be in university, full-grown adults, or heck! even elderly men 😭 so how do they look now? what's changed in their lives and in their relationship? do they still keep in touch or have they strayed away from each other? who knows! it's all up to you

as for childhood friends? they could be toddlers like on dramarama, maybe prepebusecent teens? just make sure they are younger than they are on the show (aka 16)

Week 4 - Canon Divergence / Reality TV Duo

i wanna see you put these two nerds in a completely different reality tv genre! it could be a cooking competition, something like wipeout or love island, a quizz show! anything as long as it isn't total drama.

unless,,, you do want them to be a duo in TD then you could make a canon divergence situation where these two are the ones participating in ridonculous race, or write/draw them in a scenario that's based off any scene in total drama (one that either has them or has nothing to do with them whatsoever) and twist it in a way that makes Noah and Cody's relationship the main focus

PLEASE GO ABSOLUTELY WILD WITH YOUR CREATIVITY!!! I HIGHLY ENCOURAGE IT :D

#td #tdi #td noah #td cody #noco #noah x cody #cody x noah #td noco #total drama #total drama island #nocovember #nocovember2023 #art challenge #art prompt #fic prompt #writing prompt #total drama noah #total drama cody

[lauraneedstochill]

Cry me a river

summary: Aemond finds her wounded and left to die in the middle of nowhere. her desire for vengeance helps her survive — and her unbreakable spirit inevitably draws the prince to her. author’s note: her betrothed does what Daemon did to Rhea... this time, the woman survives 🔪 also, couples who kill together, stay together, I don’t make the rules warnings: archery (described in unprofessional language), slow burn (... and then not so slow), mentions of blood and murder (duh), it gets a bit heated words: ~ 11K song inspo: Tommee Profitt ft. Nicole Serrano — Cry me a river (cinematic cover) 🔥

>>> Aemond is caught in heavy rain midair, in the depths of a starless night. The storm rips through the clouds, and the lightning flickers across the sky that’s bowed over the Vale. He tries to resist the voice of reason that urges him to land, he’s no little boy to be afraid of the whims of nature. But the downpour only grows more ferocious, and the rattling of thunder soon drowns out Vhagar’s displeased roars.

Begrudgingly, Aemond sets his pride aside and peers into the darkness that stretches as far as the eye can see. He can barely make out a vague outline of the mountains but the rocky terrain is a poor resting place, that much he knows. Exasperation slowly claws at him as the wind howls, his clothes drenched and heavy, and the ribbon of moonlight slips away into the gloom.

When his gaze suddenly catches a flicker of light, a faintly lit cave in the distance — Aemond thinks it’s the Gods' mercy as it is. He is yet to find out that the Gods are leading him that way for a reason.

>>> The landing is rough but Aemond holds back complains and runs for cover, breathing a sigh of relief once he gets to the cave. Vhagar curls up in a heap, and her enormous silhouette can easily pass for just another mountain in the valley.

The prince tiredly wipes the raindrops off his face — and only then notices a spot of crimson right under his feet. He recognizes the color of blood in an instant, and the realization fills him with dread. Slowly, he turns around, his eye following the gory trail, his hand reaching for the dagger. But the sight he’s met with leaves him frozen in place.

Aemond is sure he’s never been so stunned and horrified all at once.

At the far end of the cave, a woman is lying next to a waning fire, with her eyes closed and face drained of color. She is dressed in bright red, and the blood on her hands blends into the laced fabric of her long sleeves, and Aemond is struggling to locate the injury that left her unconscious. She looks so helpless, a breath away from irrecoverable, he throws caution to the wind and rushes to her side without much thought.

Aemond kneels, examining her bare and bloodied feet, the torn hem of her dress, the smudges of dirt on it. With timidly blossoming fascination, he takes in the softness of her features stained with tears, green leaves tangled in her hair. Aemond reaches his hand to smooth a strand of it when he sees a splash of red framing the side of her face. His fingers barely graze her temple — and once he sees them stained with red too, his breathing hitches.

He’s no stranger to cuts and bruises but he doesn’t know how to treat a head wound. And his fighting skills won’t be of use against the Stranger.

A feeble voice brings him back to reality:

“I am not dying.”

Startled, Aemond lets his gaze fall on her lips, parted and faintly tinted with pink. Her eyelids flutter before she opens her eyes — they meet his in an instant. The feeling he gets bears no explanation: it’s sudden and overwhelming, raging like a hurricane that hits right at his chest. She doesn’t look away while her hand finds his — his fingers are still in her hair, and he shudders at the touch; her skin is cold but the grip is surprisingly firm.

“I’m not dying tonight,” she repeats, her tone a bit steadier. “I will not give him the satisfaction.”

His brows furrow from the lack of understanding. His body tenses at the very clear hint that he gets.

“Who did this to you?” Aemond asks with concern.

But she already drifts out of consciousness, back to where she can’t hear him. The thunder rolls and the lightning tears the cover of darkness, illuminating uninhabited mountains and valleys. The terrible weather seems like the least of Aemond’s problems.

>>> It rains all night, and the dawn comes shrouded in white mist. He cannot sleep a wink. The woman tosses and mumbles incoherently as her mind lapses back into the grasp of the unknown suffering. Aemond finds the sight so unnerving, it’s almost painful to watch, but he doesn’t take his eye off her.

He keeps the fire burning to help warm her up, ignoring his own discomfort. Not his shivering but hers eventually compels him to peel off his wet outer garment to dry it off faster. He hastens to put the clothes back on but leaves out his coat to cover her with it, black material over red, a night draping over sunset. Hesitantly, he rubs her arms and back, his usually deft fingers now tentative, until he sees the life returning to her cheeks. It puts Aemond’s nerves at ease, and he belatedly realizes how stiff his body has become from hours of sitting in agonizing suspense. And yet, he never leaves her side.

The mountain tops stay hidden by the clouds, the sky coated in gloom the sun can’t peek through, but around midday, she wakes up again. Her eyes dart to Aemond who moved to feed the fire with branches. He doesn’t rush into conversation, giving her a chance to come to her senses. She is looking at him with distrust but without a hint of fear.

“You stayed,” she concludes in a hoarse voice, slightly shifting in place.

“Leaving you all alone didn’t seem fair,” Aemond responds, which only earns a huff from her.

“I am perfectly capable of managing on my own,” she rebuts, trying to prop herself up on elbows — and instantly groans at the ache in her temple.

Aemond comes closer in a blink of an eye, and it’s hard to miss the empathetic look he gives her. He politely stays at arm’s length which she is thankful for.

“Your bleeding stopped but such a serious wound must be examined by a maester,” Aemond tells her peacefully. “How far away is your home? I shall accompany you there once the weather calms down.”

He sees emotion flashing through her face, and for a moment it gets so quiet, he can only hear the rain still drizzling outside the cave.

“I do not have a home,” she forces out, and Aemond is surprised to notice that she doesn’t sound sad. If anything, there is ire in her words. “You shouldn’t bother.”

“I am sure your family is worried by your absence and —”

“My family valued me so little, they got rid of me at the very first chance,” she cuts him off, her voice stern. “So I am not going back to them, I’d rather you leave me here.”

He looks her over — her ruined dress and anguished face, dried-up blood in her disheveled hair. No doubt, she is hurting, and it would be unbecoming of a prince to leave a lady in such dire straits.

“I can do no such thing,” Aemond insists. “You survived a severe injury but whatever discomfort you are now feeling can be eased.”

“Complaining would only make me look pitiful. I need none of that,” she is sitting with her fingers pressed to the aching part of her skull, her brows knitted.

“Only seems reasonable to pity anyone with a ble—”

“Did anyone pity you?” she interjects, looking straight at his eyepatch.

The question is meant to cut him yet it doesn’t — too much time has passed, and his once painful memories are now dust-covered images at the back of his mind. But he finds her intent amusing. Wounded and weak, she is supposed to be at his mercy, but her spirit stays unbendable, and her gaze is so blazing, it’s nothing less of a fire. She keeps her eyes on him, waiting for his reply, confident that she will get it.

“Hardly anyone,” Aemond admits. “But I wasn’t left in a cave to die, so the comparison doesn’t work in your favor.”

He expects her to snap again, he almost wants to have another taste of her insolence — a trait so uncommon among any women he’s met, Aemond deems it not offensive but thrilling. She only hums in response, throwing him a glance, and he sees curiosity shining through her cold stare, like a ray of sun in the storm clouds. Their exchange of pleasantries is cut short by another one of her groans. He is usually patient but the sound of her suffering is a test that he fails.

“You will not get better on your own and you know it,” Aemond tries to reason. “I can take you to the greatest maester there is,” — and his persistence is akin to a plea. He anticipates her fears and allays them before she can utter a word: “You will be free to leave at any moment, you have my word.”

“What’s in it for you?” she narrows her eyes at him, her whole demeanor a clear evidence of her refusal to give in just yet.

Aemond thinks for a moment. The real answer to her question lies on the surface and is as vivid as her dress and as her blood: he knows nothing about her and he wants to know everything. He has trouble not only voicing but coming to terms with his desires.

“I am afraid that guilty conscience will disturb my sleep,” Aemond says, and it’s not entirely untrue. He can already tell he’ll think of her many nights to come.

She looks at him appreciatively, slowly, as if her gaze can cut through the cotton of his shirt, flesh, and bones his body is made of. Whatever is her verdict, he can’t tell because in the next moment, she is stricken with pain again, and talking isn’t of much help.

“We shall leave at dawn,” Aemond recapitulates, helping her lay down to have some rest while he can’t find any.

“Do you happen to have any water?” she mumbles more humbly. He senses that showing weakness doesn’t come easy for her; he’s not the one to gloat at something he can perfectly understand.

“I will fetch you some,” he reassures and pulls his coat over her again — and hurries outside.

The mountain valleys welcome him with stillness, and Vhagar’s eyes are two beacons in the mist. The dragon seems comforted by the rain and pays Aemond no mind as he climbs up to get a flask with water he luckily brought, and some lemon cakes Helaena insisted that he take (“should something happen on the road”, she said; he makes a mental note to thank her later).

They eat in silence — she has no appetite, and Aemond feels food stuck in his throat. She tells him nothing but her name; he savors the sound of it, a weave of letters he can now put to her face. Aemond studies her discreetly and although he can’t read her yet, he puts everything in memory, down to the smallest detail. The slight tilt of her head, the pensiveness of her gaze, a blizzard of feelings trapped in her irises, the stubbornness in her lineaments paired with beauty. The curve of her neck and a thin golden chain around it, her collarbones flowing down in that hollow spot his thumb would fit in... He stops himself from looking further down; his face flushes nonetheless, and something sparks inside him, dangerously unnamed.

The evening approaches stealthily but comes chilly and dank. They go to sleep early, both laid next to the fire, and Aemond courteously keeps his distance. She notices the goosebumps that snake under his shirt; her suspicions are soon confirmed when she catches the sound — and can’t tell if it’s the hammering of rain or his chattering teeth.

She considers him: his sharp profile, tense angles of his jaw, lines of his cheekbones seemingly chiseled by the Gods themselves. With his silver hair and eye the color of wisteria, she expected a different attitude; everyone knows the Targaryens to be self-righteous at best and prideful as a given. But the man next to her is instead stoically enduring the hardship he can easily avoid — if he only rolls closer and allows their bodies to trap the elusive heat; he doesn’t dare to. She realizes he could’ve taken advantage of her if he wanted, but it seems like the thought hasn’t even crossed his mind. She finds it way more endearing than her vigilance would usually let her — the pain must’ve dulled her sanity, she thinks, reminding herself that it’s the sole intent of surviving that should motivate her.

No words will work against his wit so she wastes no time snuggling up to him, with her forehead against his shoulder, her hand resting on his chest as she shares his own coat with him. A quiet gasp escapes Aemond’s mouth, but he stays still.

“I can hear you shivering,” she can feel it now too — his skin trembling under her fingers. “You are risking to catch a cold.”

Aemond is frozen for a minute, his heart thrumming at that unexpected boldness, at the feeling of her — malleable curves and no rigid edges, their ribcages in contact, their thighs brushing. Calming his breathing is an arduous task; he’s used to fighting off opponents but now he’s battling with himself, with the need that’s treacherously strong, almost primal. He barely quells it, and only by some miracle his inhales are soon steady again.

He moves his arm — the one she’s lying on — a little to the side, giving her more space to settle into, tips of his fingers stopping at her lower back. He does feel undoubtedly warmer. Aemond glances down at her, his voice a whisper tinted with mirth:

“Isn’t this called pity?”

He hears a faint cackle. “Call it rationality,” she refutes. “Since we are to leave soon, and only one of us can fly a dragon.”

The words roll off her tongue like it is the most mundane thing, not a century’s worth of power encased under the thick-scaled skin of a creature the size of a castle.

“You do not find the beast scary?” Aemond can’t stop himself from asking.

“Why would I? It is only a dragon,” her voice grows smaller, eyelids become heavier. “Unlike some men, the dragons are at least not known for their ill intentions.”

At that moment, a wish is abruptly made — to find out who harmed her, make sure it happens no more. The fury in Aemond is a mounting force meant to cause destruction, tamed yet never really dormant. But he listens to her breaths and pushes his anger aside, and the full moon is the only witness of his surrender. As he falls asleep, he tries not to think how nice it is to have her body pressed to his.

>>> What he should be thinking of is how to explain all this — him, unwed, bringing a woman to the castle; a scandal, no less. And yet, it is the last thing on his mind. It’s only occupied with this moment he wishes would never end — with gusts of wind tucked under the dragon’s belly, clouds spread out around; and, most importantly, his arms snaked around her waist, her back touching his chest.

It is bittersweet, truth be told because her pain isn’t gone overnight, and he can’t heal her with just his hands and his words. The splotches of dark maroon are even more visible in her hair in daylight, and she winces at loud sounds, at the harsh flow of air that bites her skin while Vhagar soars up, and she has to grab onto Aemond a little tighter.

But soon they reach the clear canvas of the sky, the serene emptiness, and she looks around, taking it all in — and then the corners of her mouth curl up. There are sparkles of delight in her eyes, and still no sign of fear. And he thinks that her smile is the closest thing to the sun.

They cover many miles, crossing the lands as Vhagar bursts through the clouds, and the time allotted to their inadvertent closeness runs out, mercilessly as ever. Once they land and he helps her climb down, his anxiety comes back, like a wave approaching shore. But then a sound of her whimper reaches him, almost inaudible; he only has time to turn around, to see her pained expression. She passes out — he catches her; it’s his heart that falls, and no other thoughts and explanations matter.

When Aemond is seen at the castle, he’s carrying her in his arms, his lips pressed into a thin line, and not a word slips out after he calls for the maester. The prince pays no attention to the guards and the maids exchanging glances, to his mother stopping dead in her tracks upon seeing him, her hand over her heart. There is a question hanging in the air, parting Alicent’s lips, but she doesn’t voice it and only watches her son walk away, hurried and fearful in a way she forgot he was capable of. She struggles to remember when was the last time she saw Aemond in the company of a lady. And if he ever looked at a woman the way he looks at this one.

>>> Aemond is pacing the corridor, his eye on the floor, on the pattern of the stone surface. His mind is treading at the doors that were closed in his face after she was carried into the room. She was breathing still, and that’s what helps him keep it together, his hands clasped so tightly his fingers go numb.

He wonders if maester Mellos has always been so annoyingly slow. That’s the only wondering he can allow — otherwise the noxious thoughts will flood his head: how much blood did she lose before he found her? What if he was the one being too slow? What if —

“Her life is not in danger as she regained her senses” the maester moves with the pace of a cat, his face wearing the same unbothered expression. “The long flight might’ve been tiring for her impressionable female nature.”

That assumption is disregardful and uncalled for — Aemond hates it; still, he’s glad to hear the rest. He lets out a breath that frees his chest from the chains of agitation.

“I will fetch her some herbal ointment to help the cuts and bruises heal faster,” the old man then adds.

Aemond’s expression hardens; clearly, he knows the meaning behind the words but he cannot fathom them. Violet marks of violence blooming on her skin, how could he miss it? How did she get them? He accidentally thinks of it out loud.

“It is a rare luck to get only bruises after taking a fall from a horse,” the maester looks at him askance. He gives his final verdict before leaving, followed by a sigh: “The young lady surely must rest.”

The displeasure is a tiny tongue of flame at Aemond’s ribs. He is vexed by not knowing (nothing new in that, not with his eagerness to learn all and everything ever since he was a kid). Unexpectedly, he is equally vexed by not seeing her — so much so, that he almost reaches for the handle of the door that separates them.

Aemond stops himself, his reticence a fetter but also a necessity: she needs her rest, and he shall leave her be. He will not go beyond the bounds of decency.

She can’t be niched into any bounds, he soon will learn.

>>> Aemond is good at many things but not at waiting, as it turns out. In the morning, after he wakes up, anticipation already laps up in him, his day a blur — breakfast, sword practice, the lines in a book he picks at the library all merge and bore him. He only glimpsed the maids leaving her chambers once; it took all of his willpower to go the other way.

In just three days, his impatience smolders — then flares up, then erupts into a wildfire, his head in a haze that makes him lose focus. The more Aemond tries not to think of her, the harder it gets.

He pushes yet another thought aside as he sees Ser Criston approaching, armed with a longsword and perseverance. Aemond’s training is never a dull routine — the knight makes sure of that and doesn’t make concessions. Their swords lock and clank, and time is a whirl; in the midst of it, Aemond finds himself reminiscing about her shining gaze. He almost misses the hit aimed at him and ducks at the very last second — spins, glares, strikes, his blade stopping an inch away from Criston’s face. 

The knight chuckles in good spirits, and the pride he feels is almost paternal. “Such a shame you aren’t the one for tourneys,” he pants, wiping the sweat from his brow.

Aemond rolls his eye, a brief respite not helping with his frustration. The subtleties of his emotions are unknown, unreadable like an ancient language: he’s daydreaming of her hands, her face, her —

“What a shame, indeed.”

Aemond turns to the sound of her voice. The whirl is silenced in an instant.

It’s different from his memories and his dreams — better than both: she is alive and well, she’s right next to him. She isn’t wearing a dress but a tunic and a pair of breeches, cool-toned material against her sun-kissed skin. Her wound is cleaned and healing, the mark left is a lightning peeking from her hair, the waves of it loosely braided. The simple attire doesn’t take away from her beauty (nothing can, he thinks), and it takes him a second to blink the enchantment away.

Aemond’s voice comes back, a tad low. “Aren’t you supposed to be resting?” He’s looking too joyful for it to sound like reproach.

There’s laughter in her eyes. “No one forbade me from stretching my legs. Am I interrupting?”

“Not at all,” Ser Criston chimes in, cautiously curious. “If only you don’t find the sight too unsettling,” he twirls his sword, the steel soundless in his hands.

“On the contrary, I find it entertaining. Although that wouldn’t be my weapon of choice,” her gaze follows the blade up.

Aemond throws her a surprised look but Ser Criston is the one to raise the question. “You have your preferences? Do tell,” he turns his head to the weaponry on a nearby table. “We’ve got shortswords, flails, axes...”

“All of which lack speed,” she remarks pertly, leaving the knight mystified.

Aemond sees no mystery; he knows that in the highlands catching prey is way trickier than killing. Knives, swords, blades of any kind won’t cover a long distance. Something else will.

“Archery, then?” the prince guesses.

“Doesn’t seem like the type of weapon you Targaryens prefer,” she shrugs but her disinterest is feigned.

Ser Criston catches onto that. “Can’t have preferences if there is nothing to choose from,” he grins, then calls for one of the guards, giving short instructions.

The man runs back in a minute, with a bow and arrows, and her eyes light up. They glide over the tight string, the polished wooden bend, concave at each end; it’s crafted beautifully.

“I must ask you to spare the guards,” Ser Criston jests while she takes the weapon, laying hold on its grip. “But do not be shy about taking your pick,” he points randomly at a stack of barrels, about thirty yards away. “These might be nice for a start.”

“That is too easy of a target,” she barely glances that way, then takes a good look around. “Do you truly think so little of me?”

The knight’s cheeks heat up. “My apologies, I didn’t mean to —”

“Oh, I do not find it offensive,” she grants him a meek smile without looking, already eyeing something much further away. “To tell you bluntly, it only spurs me on,” she mounts the feathered end of the arrow against the bowstring — and then pulls it.

Both men follow the direction the arrow is pointed at. Right outside the castle gates, there’s an apple tree, tall and branched, bent slightly over the stone wall. The fruits are bulked and ruddy, mouth-watering; but from where they are standing, the apples can barely be seen, obscured by foliage the wind breezes through.

Ser Criston raises an eyebrow, not incredulous but intrigued; Aemond only gets time to take a half-breath. The first arrow is fired with no warning — it cuts through the air, a flash of color above everyone’s heads, — and pierces an apple, pinning it to the trunk. A moment later she takes another shot; after the second one, Aemond isn’t looking at the apples, his eye instead drawn to her.

He suddenly can see nobody else.

Her every move is concise and simple, but her gaze is dead-set on the tree. She repeats each shot with a honed precision, controlled yet gracious; one of her arms set in a straight line, the other one follows a well-learned pattern — an arrow out, an apple down. That’s where, he thinks, her intrepidity comes from: the deadly weapon in her hands sings like a musical tool. The chance to watch her is bliss, and she’s a vision.

Only when she’s down to the last arrow, her hand unexpectedly flinches. She doesn’t miss, still, but the iron tip veers off and knocks the apple to the ground; a shadow of discontent glides across her face. Ser Criston is too impressed to notice yet Aemond knows that feeling all too well. He’s always strived to be the best too, and he knows how poisonous the pursuit of excellence can be.

“With that level of skill you might be unrivaled,” the knight praises, his words backed up by some of the guards and passersby clapping.

She seeks no praise, her quest is more troublesome. “I can do better,” she says, with her disappointment forced down. Her voice wanes a little when she adds: “I will do better by the next full moon,” and that hidden meaning holds unfathomable weight.

Aemond is too eager to bring her comfort to read between the lines. “The bow and arrows will be waiting for you, shall you decide to train more. But do have mercy on the tree,” a smile ripples her lips, a warmth ripples his heart. “I will ask for some target rings to be made.”

That gives her a dollop of contentment, and their fingers brush when he takes the weapon back. As Aemond gazes after her, he wonders if she feels it too — blood stirring, sweet dizziness, limbs lightweight.

Ser Criston watches the prince with a knowing look, a smirk tugging at the corners of his lips. “It is so rare to find a lady with such a competitive spirit and a talent to match,” the knight muses. “Her husband must be a lucky man.”

Aemond’s joy shrinks, that mere word disturbing. “She doesn’t have one,” he responds. The uncertainty of his answer leaves a sour taste in his mouth. Doesn’t she really?

“That might not be for long,” Ser Criston carelessly comments. The prince’s cold stare makes no impression on him. “Shall we resume our training?”

Aemond goes to pick a shorter sword, his blood now boiling for another reason. There’s a gaze that’s akin to a caress, to a gentle tap on Criston’s shoulder — he turns readily to meet it, dark brown eyes that are a mirror of his own. Alicent casts a glance at her son, questioning and worrying, then holds the knight’s gaze once more. The looks they share are hand-written letters — both of them write the same thing.

>>> Alicent goes looking for answers first — she walks into the woman’s chambers the very same day, with the elegance of a Queen, with the benevolence of a mother. She doesn’t push but guides the conversation; she faces no resistance from the woman she’s facing.

When they are both seated, she tells her a story as old as time, a tragedy lived out by many. Her mother died when the girl was ten years of age, too weak to carry on her blank existence, and her father couldn’t even bear to look at her, no matter how much she tried to please him. Growing up in the Vale felt freeing but lonely, so she preferred archery over embroidery to leap at every chance to get away from home, into the beauty of the wilderness she had no one to share with. But she held out to hope that her life would change. She couldn’t predict that said change would start as an accident — her horse slipping on wet grass.

Alicent can’t help but bring her into a compassionate embrace at the mention of it. Her embrace turns into an offer — of a place to stay, of a shelter, and a friendly ear (maybe those were all the things her younger version wished for but was robbed of). The lie Alicent heard was so skillfully woven into the truth, she didn’t get suspicious. 

Once Aemond learns the story from his mother, he discerns the misleading part in a second. All the other pieces fit together like a puzzle — her being self-reliant and guarded, her brazenness a shield, just like the one he’s grown accustomed to. But that last bit was made up, he can tell. And yet, he just doesn’t know how to approach the subject and not scare her off.

Aemond takes a task on earnestly.

>>> He looks for an opportunity to talk — he ends up tirelessly watching her, and he can’t say that there is no pleasure in it. She does resume her training, and every morning she’s the first one at the training yard when the sun is barely up, and no prying eyes can witness her dedication. Him having an eye on her doesn’t seem to be a problem.

His relentlessness has always been something Aemond prided himself on but it’s hers that he grows to enjoy. He carefully notes her refined movements, her sharp focus, her gaze cutting through any target before an arrow does. It’s easy to be fascinated by her; it takes him a couple of days to look past her outward calmness to catch a flicker of a feeling he can effortlessly recognize — an undercurrent of fury. And then he grasps that each time she aims at the wooden boards, she means to hurt someone. And maybe that is the exact reason she struggles with her every last shot, and her hand keeps flinching, unsure, or maybe too overwhelmed with certitude instead.

On one of those mornings, Aemond gets an idea, an outburst of bravery (or madness, but he’s too excited to care). She’s grimly collecting the arrows, inspecting them for damage when she sees him out of the corner of her eye.

“I couldn’t help but notice that something’s been troubling you,” Aemond comes closer, hands behind his back. She gives him a look that holds no denial but no explanations, either.

Aemond goes to the wooden boards, round and lined up on a hastily built frame, — and stands in the middle, right in front of them. He then puts out a hand with an apple in it, ripe and deliciously red. “Maybe I can help.”

Nothing short of shock flashes through her face, her eyes darting from him to the fruit and back. “What— ” her jaw drops as the words escape her; she strings them into a sentence. “What are you doing?”

“Helping you focus better,” Aemond offers in the calmest tone he can master.

It’s not uncertainty that leaves her speechless, her proficiency hard to deny. It’s the genuine, borderline naive trust that he shows her — with his open gaze on her, his body not moving from the spot, his faith in her as unwavering as his posture.

The moment is fleeting, soft like a morsel of a gossamer cloud, with so many words not shared; in another blink of his eye, it ends. The change in her isn’t drastic but chilling, like a touch of steel blade to the skin — her hand doesn’t waver when she reaches for the arrow, her gaze firmly locking on him.

As her last attempt at leniency, she notes: “There is no stopping an arrow once it’s shot.”

Aemond doesn’t think twice before replying: “You trusted me with your life once. I trust you not to kill me.”

She lifts the bow without hesitation, and he keeps eye contact with bated breath. The never-ending movement of life abates and the pale sunlight fades, and Aemond is deaf to everything but his booming heart. She drops the bow out of the way just a little and pulls the string up to the tip of her nose. She waits at full draw, the passing seconds endless and fulminant at once, before her hand flows back, her fingers relaxing — and the arrow slices through the air.

The first one hits somewhere above the apple; Aemond doesn’t dare to even take a glance, standing motionless, rooted to the ground. The second one follows soon. It’s a blood-curling contrast — how quiet is each shot until it reaches the target, and then the arrow rips right through the board, a deafening crash, a waft of death he’s spared from. Until she draws the bowstring again.

Aemond hears the third and the fourth hit, his hand unmoving, every muscle in his body tense. He is rarely scared, and it’s easy to mistake the fluttering of his heart for fear. But with how his eye is riveted on her, his gaze rapt and throat soar, — he thinks, it might be some other feeling. He gets no time to guess as the fifth arrow — finally — plunges into the apple and pins it to the board.

It’s a momentary reprieve, a quivering wave going through his body; and yet, she doesn’t lower the bow, eyes still fixed on him. Aemond can see her inhaling, the metal tip of the arrow pointing in his direction — and then released smoothly. In a split second, it lodges into the gap between his ribs and his arm, the feathery end stopping right next to his heart. When Aemond looks at her, he catches fiery glints of mischief in her gaze — and then something else, bright but short-lived like a glare on the water.

She puts the bow down, and they both know — her hand didn’t flinch once.

Only when Aemond steps away, he sees that the six arrows form the letter “A”, with the red apple right in the middle.

>>> He’s afraid the change is transient but it lasts — she is now watching him, too. Aemond finds it befuddling at first, not considering himself worth the attention, not used to being seen as something other than a wreckage of man, intimidating, and lonely, and harsh. She doesn’t look daunted. On the contrary, every time she sees him, the ice of her concentration thaws, and her gaze softens and lingers on him, mending every part of him that’s been broken by his insecurities.

She doesn’t recoil from the parts that are irreparable, either. She shows the same understanding when he can’t find the right words and shrinks into his shell — in the middle of conversations, in between rows of bookshelves, at bustling dinners; her company is a haven he can retreat to without a word. She welcomes his every impulse to talk and to share — thoughts, meals, books he thinks she will like (she bites down a smile thinking how much time he spent looking for any mention of archery).

She stays by his side when he doesn’t want to talk and when he overshares, when he’s bleakly taciturn, and when his temper gets as rigid as his sword; she’s enthralled by his anger, never burnt by it. One week turns into two, then into three. Day by day, Aemond wakes up earlier to watch her hit every target without fail, and she then watches him win one bout after another with evident amusement. They explore the castle, get lost in the library, take rides to the woods — she laughs as her horse breaks into a gallop, she basks in the sun, wind ruffling her hair, and his heartbeat raises to a clamor upon seeing her like that.

Her seat is next to his at the dining table, their chambers not too far away, and he persistently walks her to her doors, and every evening he dithers before saying goodnight and parting ways. Her presence soon becomes a warming light nurturing his days — and simultaneously the reason for him losing sleep. But as he lays at night, watching the moon wax, he thinks of another constant, bothering him like a page missing from a book, a closed door he’s got no key for — it’s her secret that he is yet to uncover.

He gets his chance when he least expects it.

>>> The month is nearing its end when Aemond is nearing the dining hall, brimming with emotion he cannot capture — excitement, unrest, sprinkling of anguish. He last saw her hours ago, when his mother came to her in the training yard, and the two of them hastened to leave, seemingly in some agreement he knew nothing about. He caught bits and pieces of words — mentions of fabrics and seamstresses, but it didn’t help with his confusion which soon turned into worry he had trouble coping with. And it wasn’t the worst part.

What’s worse is the comprehension, icy and unforeseeable like a blast of northern wind: it’s only been a few hours, and he’s already missing her. He looks back at the days she wasn’t with him, but they all seem too far away and forgotten, his life before her a blank canvas that she’s now painting with colors. He keeps thinking of her, getting more pensive with each step, until he reaches the doors, and walks in, and — 

the ground is cut from under his feet.

All is the same in the hall: long table in a cloud of mindless chatter, silverware clanking, a rich palette of scents. What stands out is the color, bright like rubies formed within the earth’s crust. It’s the red of her dress — the same old and brand new — and he can only catch a glimpse but it’s enough to leave him dazed. It lasts a second before she senses him, her conversation with Helaena interrupted; she springs to her feet, the dazzling hue stirs up his ardor — he’s almost blinded when he gets an eyeful.

He is staring at her, everyone’s staring at him.

Helaena stands up with a laugh in her attempt to smooth things over: “It isn’t very nice of you to keep a friend waiting,” they both sit down then.

Aemond goes to join them with cotton feet.

He must’ve been too busy last time, her injury too big of a disturbance, so he paid the dress no mind. But once he’s seated, he can’t help but notice: the layers of fabric, flowing lines of her body, the cut in the front, the golden chain now ten times brighter. She casts him a wondering glance, he drinks half the cup in one swallow. The minutes that follow are like a fog, and although the conversations carry on, Aemond can’t bring himself to take part in any.

That is until he hears vaguely his sister’s delighted voice. “The stitching is barely noticeable! What an excellent work,” she marvels at the red dress, then looks at him with the spontaneity of a child. “Wouldn’t you agree, dear brother?”

He’s certainly grateful he’s not drinking otherwise he’d choke. Aemond manages to cast one furtive glance. “A fine work indeed.”

His mother gently picks up the discussion. “It was only fair to help repair the thing your friend holds so dear,” Alicent’s gaze is directed at her. “You can now wear it on more than just one occasion.”

Why would she hold so dear the dress that only carries the memories of her pain, he wonders. The dress that was covered with blood, with fingerprints of someone who wanted her dead. He takes a peek at her, and her face expression gives away no answers but for a second too short to comprehend he sees the undercurrent again; only it never takes shape. She puts on a smile that doesn’t reach her eyes, and he’s the only one to notice.

“I greatly appreciate you taking your time to help me,” she says, and Alicent’s smile — a genuine one — only grows wider. Maybe even a bit too wide for it only to be about some stitching.

“I suspect we tired you out with all the measuring and dressing up,” his mother points at her plate. “You hardly ate, my dear.”

“It’s been a long day,” her fingers close around a cup but she doesn’t drink from it, “And the dress brought back some memories,” her grab tightens, the only sign of everything she’s keeping covered. “But I am glad to get a chance to wear it one more time.”

“And I am happy to help,” Alicent assures, “But please, go have some rest, you have seen enough of our boring dinners.”

“I was never bored,” there’s a glimmer of gratitude, a tone of sincerity as she gets up from the table and looks at the faces sitting at it. For a moment, it seems that she wants to say more — grand, meaningful, closer to the truth. And yet, she just opts for a short, “Thank you for having me.”

She barely has time to take a step before Aemond all but jumps to his feet. “I will walk with you,” the words leave his mouth as he stands up with unflinching determination. And it’s not that he wants to leave as much as he wants to follow her.

His eagerness doesn’t come off as a surprise. No one says it but it seems that everyone knows — Alicent and Criston sharing the same looks, Helaena beaming, Aegon smirking into his cup. Aemond only waits for her reaction, his eye focused on her face. She isn’t against it — just like she’s never been before, every time he found a reason to come to her and be with her, and even when there was no reason to do so. She gives him a nod, a tad guiltily but more so accepting (and maybe just as eager as he is).

While they are on their way out, Aegon turns on his chair to say something but Helaena covers his mouth with her hand.

>>> Aemond breathes a little deeper and walks a little slower, gathering his words, — and before he knows it, they are talking again, his infatuation receded, although never truly gone. He asks about her day, and in the corridors and hallways curtained with silence, her voice flows lightly. He can tell that she’s abashed by all the fussing over her.

“Our seamstresses are quite fierce,” he chuckles. “I fear no sword of mine will stand a chance against their needles.”

“They said this dress was made for feasts,” she quotes, fiddling with the material as if she can’t see what’s there to admire.

“Well, Aegon’s name day is approaching. That will surely be a feast we are all invited to endure,” Aemond jests.

“I don’t think that I will —” she doesn’t finish the sentence, biting down her lip. He’s too distracted by that movement to pay attention to what’s left unvoiced. “You do not find those celebrations to your liking?” she changes the topic swiftly.

“I find them boring,” Aemond huffs. “The same old lords boasting about their wealth, making up achievements that are each so hollow.”

“Sounds like ladies aren’t a part of those conversations?”

“Theirs are hardly better so you should keep your expectations low,” he ruefully remarks. “Сourt gossip is one thing you can’t avoid. And then they’ll either lament about their husbands or try to find one for you,” he doesn’t think much over his words until he sees her smile dropping. And then, before he can find a reason not to, he adds: “...Assuming you are not already married.”

As soon as she hears it, she stops — Aemond does too, and he can tell that she isn’t looking for lies and excuses. She only timidly looks around, as if she’s afraid the walls have ears, and the truth she’s about to tell him is only meant for his. They managed to reach his chambers first, so without a single word Aemond goes to open the doors, and she accepts the nonvocal invitation.

They walk in — both are hasty and agitated, but he gives her space and scarcely hides the trembling of his hands. She finds it hard to utter a particular word. “I was... betrothed but not anymore. The man in question now believes I am dead.”

Her face is turned away from him, her gaze gliding over every object in his room, searching for something to fall on. She hesitantly walks to his table, glancing over a stack of books on it.

Aemond gives her a minute, then inquires: “Was he the one to hurt you?”

Her pain is still fresh, her face briefly splashed with it but she pushes through. Her response is not affirmative and yet, it’s enough of a confirmation. “I should’ve known better than to trust him.”

His anger rears up its head, a beast on a chain readying to get loose. “There is no excuse for what he did,” Aemond punctuates. “There cannot be —”

“There isn’t,” she cuts him off, not harshly but with a weary acceptance, her finger grazing thick book covers. “And I’m the last person to ever make excuses for him. But I should’ve known.”

Aemond is hurt by the thought he gets, but her torment is even more hurtful so he says the words, each letter scorching his heart. “You can’t take the blame for having feelings. Love often makes people let their guard down.” (And for years, he never did. Not until her).

With how fast she retorts, his ache is cured: “It wasn’t love.” Whatever it was, she regrets it so deeply, it’s written all over her face. “Now that I think about it, it never was.”

Her fingers travel down to the table surface, her thoughts straying back to the time that’s too distant but too haunting to forget.

“Lord Dykk Hersy is a son of my father’s friend, we’ve known each other ever since we were kids. He was always too noisy, then turned too self-centered, not much to like about that. And I never thought he fancied me, either. But my father made a decision about us some years back, and he wouldn’t take no for an answer. So Dykk started coming more often, following me around, being very nice. And I wasn’t...,” she stops fumbling with strewn parchments and lets out a sigh. “Not a lot of people were nice to me back then. I was naive to mistake his kindness for something else, and he was smart enough to say all the right words to make me believe him.”

Her fingertips reach his dagger, unscabbarded and left in plain sight. His eye is drawn to her every movement.

“We were betrothed when I was ten-and-six. I grew to like his company, and I think he did try his best, at first. For a couple of years, he was courteous, generous enough to give in to my every whim. Not that I had too many,” she’s glassy-eyed, and Aemond’s glare would be enough to kill. “But the illusion didn’t last for long. I soon began to notice pitiful stares, taunting whispers behind my back, maids dropping their gazes in shame. Three years in, I found out one of them was carrying his child.”

“Am I right to assume he denied it?”

“He did,” she chuckles bitterly. “He seemed taken aback by my anger, tried to persuade me he was falsely accused. But I could never blame the girl, it’s not her fault he was so good with words... I fell for them too,” her sadness is washed off with virulence; her fury awakened again, flames of it rising from the bowels of her restraint.

Aemond finds himself only a few feet away from her, pulled in by empathy at first, enamored somewhere in between the first and second steps.

“From that day, the complaints began, the excuses — he was too busy to stay for long, then got too busy to visit.”

“Was it so hard to saddle a horse?” Aemond bristles.

She casts him a glance followed by a half smile. “He lives in The Reach.”

“So chivalry is dead,” he snorts, and her laughter gives him a spark of joy. “It isn’t far away from here,” Aemond notes.

“Takes way longer to reach the Vale,” she explains, then pauses. Her memories eat up the merest hint of cheer. “Only he wasn’t road weary. He was burdened by me.”

Aemond almost reaches out for her, but clasps his hands together, his knuckles whitening. Her finger traces the very edge of the blade.

“And then, on his latest name day, my father made a poor joke,” her smile is crooked, hating. “He said me and Dykk were meant to stay together unless death do us part. That’s when, I think, he got the idea.”

“It is unworthy of a man to ever nurture such a thought,” his voice is embittered, his chest ablaze with wrath.

“I should’ve known,” she sounds dull like an echo. “He’s always called himself a man of traditions — the start of the month was meant for hunting, and he preferred the grounds of Grassy Vale, the shore of the Blueburn river. But then, all of a sudden, he wanted to explore the mountains of the Vale,” she wraps her hand around the hilt. “Said he wished to reconcile, that the trip would bring us closer, made me wear a dress,” she stumbles over the words, “And I didn’t even want to come or to see him, and all the signs were there, but I put on the stupid dress, and I was the one being so unbelievably stupid and —”

His palm covers hers in a rush of tenderness, his gaze more telling than a poem, confessions embedded in it — so many of them, it would take all night to unravel. They stand still, their eyes locked, his affection sweeping in between his fingers and her skin.

“None of that was your fault,” Aemond asserts. “And no one is to blame but him. Your fortitude is only worthy of admiration.”

It’s alluring how unrelenting he is in his desire to please her; the shift of her body toward his is barely noticeable, and she looks a second away from giving in. Something stops her, a sign of regret on her face, her gaze averted.

“And yet, he continues with his life thinking he got the last laugh,” she bemoans. “And I fear I... will never forget the feeling of his stranglehold as long as we are both alive.”

“You survived the unthinkable,” he tugs at her hand, caring in a way no other man ever was with her. “Why can’t it be enough?”

She ponders, hesitates, her outrage tempered by his solicitude. “I guess some lessons can only be learned the hard way,” she draws conclusion.

There it is again — the puzzling implication, a mystery wrapped in an enigma; it leaves Aemond with a sense of unease. “You deem that lesson to be worth it?” he questions.

The truth slips away from his grasp, but her hand stays, and it is too disarming of a sensation for him to think clearly. “I am afraid it’s too soon to tell,” she deflects, her thumb pressed against the flat of the blade. She can’t resist glancing briefly at it.

“You seem to like this little thing,” Aemond observes. “If so, you can have it.”

Her face is so bright with glee again, all the light in his room grows dim in comparison. “I’ve never seen such an intricate pattern,” she clarifies shyly, then adds with appreciation: “It’s truly beautiful.”

“It is,” he’s only looking at her.

“Teach me how to use it,” she unexpectedly asks. She looks at him again, her gaze exulting, and his heart skips a bit. “Properly.”

“And why would I do that?” he asks, undeniably willing.

“Why wouldn’t you?” she teases, her hand moving from his, clamping the dagger tightly.

Aemond misses the feeling — her skin against his, tighling with warmth, — and he catches her fingers in the same second. The distance between them is shortened down to a few inches; they don’t seem to care.

His touches are light and feathery. “You need to make sure your grip is strong,” he gently presses his forearm to hers, her hand positioned in his palm. “Not too tight so there’s some room for maneuvering. But with all your fingers in place,” he gives instructions, and she eagerly follows.

The red of her dress is a striking distraction; as is the softness of its lace, of her touch, of her lips parted in wonder, her diligence bewitching. She waits, his blood rushes; Aemond gulps.

He continues. “It is a common mistake to take a swing with a pommel up,” two of his roughened fingers latch onto her palm. “But the backhand grip works better,” Aemond rotates her hand in the right position, a steady motion with unsteady breath; her shoulder comes in contact with his chest.

He halts all movement, she makes no attempt to step away. He wonders if she can feel... He lacks the words to describe it. But he can discern her bosom heaving with every breath, and his heartbeat is caught in his throat.

He keeps the dagger pointed down, then calmly guides it up and away, their fingers intertwined. “This way, the point of the blade always comes first,” her eyes are on the steel, on the veins scattered on the inside of his wrist. “Which means that the threat also comes faster,” his eye is on the curve of her neck, on the necklace gleaming, beckoning him to glance lower.

Both of them feel the pull, too spellbound to resist — she takes a half step back, he meets her halfway. Her back is now fully propped against him, every bit of his body overflushed with yearning. Their hands stay adjoined as his words vine through her hair: “You try it.”

And so she does. The first time she repeats the movement, it’s almost reluctant, and his long tenacious fingers lead the way. He inadvertently leans in, his forearm molding into hers, a touch that edges towards embrace; her bashfulness then disappears without a trace. The metal shines coolly as she dexterously twists the blade, and Aemond should be concerned with how easy it comes to her; he is instead utterly transfixed.

She looks at him over her shoulder, his breath fanning out over her cheek, the space between them almost nonexistent. She makes a turn, torturously slow, their hands an inseparable duet, bodies longing to share heat.

“Seems like you did have some practice beforehand,” Aemond notes, voice barely above a whisper.

“Or you are a good teacher,” her eyes slip over his lips.

“And you are a fast learner,” he says under his breath.

This once, his gaze wanders, like a wayward traveler in search of means to satisfy his hunger; she is the one he craves. His fingers are itching for every curve of her body — she’s burning in all the places she wishes he could touch her. The tension rises, floods their bloodstream like fever, and —

“Hardly fair to leave me deal with our grandsire on my own!” Aegon bursts through the doors without knocking, a cup in his hand. “Did I ask for a lecture on table manners? I did not!”

He then sees them, already a step away from each other, and there’s a hint of surprise in his eyes which quickly turns into suspicion. He’s about to voice it when she blurts out: “Aegon would make for a good target.”

The cup he’s holding doesn’t reach his mouth. “...I beg your pardon?”

“I talked your brother into teaching me how to throw a dagger,” she lies slyly. “Would you mind stepping back to the door?”

Aegon blinks, incomprehension evident on his face for a moment, until he frowns and does move back to the door — only to open it and rush out, grumbling: “Both of you are utterly insane.”

The second he leaves, she bursts into laughter, and the same sound, low and hearty, spills from Aemond’s lips. She glances at him — his face relaxed, cheeks adorned with dimples, and he catches her gaze. The moment is lost but their desire isn’t, still swelling in both, unabated fire under the navel.

But now she tarries, her delight eclipsed by a grim understanding she chooses not to put into words. She tries giving him the dagger but Aemond gently pushes it back: “I meant it, it’s yours.”

“Thank you,” she puts it into a scabbard he hands her, then murmurs, sincerely grateful: “For listening, too.”

“I am glad to be worthy of your trust,” he replies warmly.

There’s a ringing urge in the back of his head to come closer to her again. But she is unanticipatedly avoidant of any intimacy, mumbling something about the late hour, moving out of his reach — and then the urge turns into a need so desperate, he can’t keep it bottled up.

“I think he is the biggest fool in the Seven Kingdoms,” Aemond lets slip.

She turns to him when her hand is already on the door handle. “Because he couldn’t manage to kill a woman?” the smile she gives him is acerbic, but her gaze is sad.

“Because he didn’t love you the way you deserve,” he breathes out.

She looks astonished, her mouth falling open, and he wants nothing more than for her to say another word, just to give him a reason to spill his every feeling out. But she slumps her shoulders and purses her lips, and then pulls the handle and gets out so quickly, the door slams behind her, and the sound makes him wince.

He is left all alone, with an unsaid revelation at the base of his throat — the way I would’ve loved you, he wanted to say. And with another heartbeat, Aemond realizes: he already does. He is already hopelessly in love with her.

>>> That realization is a ball lightning that swirls in his chest, and he cannot close the eye all night. It’s liberating to say it to himself — love, the word that sounds and tastes so sweet; it’s also absolutely terrifying. Chaotic thoughts run through his mind, and he is racked with indecision that’s paved with his self-doubts and fears. Amidst the chaos, Aemond finds himself reminiscing of her shining gaze — and then of a touch of her hand, of her eyes on him, of her body leaning toward and her lips not shying away from his. He couldn’t have made all that up, he thinks. He also can’t let fear dictate his future.

Aemond leaves the room with the first rays of the sun, while its light only shyly skims the ground, but the prince’s never been more awake. His intent is a vital force, a fuel that makes him quicken his pace. He all but runs — down the stairs, through the doors, through the castle, and out of it; her name and his proclamation on the tip of his tongue 

— only she isn’t in the training yard.

And neither are her bow and arrows.

Anxiety scrapes his ribcage and spreads like ice, then creeps, sluggish and squeaking, into his subconscious. His gaze roves over every corner of the yard, but he can’t catch the slightest hint of where to look for her.

He does break into running on his way back; the corridors and walls all flash before his eye. Her chambers greet him with her absence, the maids all share his concern. Aemond tries to look for clues — a letter, a piece of anything that once belonged to her — but she had no belongings, he remembers then.

Despair crawls out, like a predator sensing blood; Aemond isn’t about to give up without a fight. He goes to question the guards — surely, she couldn’t just disappear into thin air, no matter what her talents are. The men in silver-plated armor are doubtless striving to help, but only one of them recalls her visiting the yard not long before the sun emerged. That knowledge is rather scant and hardly helpful, and Aemond’s determination traitorously falters.

Help comes in the form of a stable boy passing by who gleefully chirps:

“The lady must be a skilled hunter,” he says to no one in particular, dreamingly impressed. “Not many people stick to traditions these days.”

“...Come again?” Aemond throws him a glance so piercing, the boy stammers.

“I only m-meant that it’s a full moon,” he hurriedly explains. “They say, on that day deer move more at night hence why the hunters favor it so much.”

That’s when her words resurface in his mind —

“I will do better by the next full moon.”

“Lord Dykk Hersy always called himself a man of traditions.”

He thinks that for a man who’s only lost one eye, he surely couldn’t have been more blind. Because the clues he’s been so desperate to find were all before his eyes this entire time. He promptly knits together all the fragments — her tireless training, haunting memories, her asking to repair the dress. Only, the one occasion she wanted it for was not some silly dinner.

Disappointment clashes with worry in his chest as Aemond leaves the castle once more, this time with a destination in mind. He blames himself for not guessing sooner; he hopes and prays that it’s not too late.

>>> The grounds of Grassy Vale are robed in green, a canvas of valleys and flats with lone wooden shacks interspersing; Aemond reminds himself he didn’t come for sightseeing. He gazes into fields sprawled underneath, and Vhagar’s body casts a shadow that sweeps along the earth like a water stream. With how low they are flying, it won’t be hard for any of the smallfolk to spot the dragon but Aemond can’t find it in himself to care.

His gaze is searching for one person only, his longing for her immense against everything in his life that’s been measured. But soon he sees the river, and the valleys smoothly give way to forests; Aemond admits with increasing concern that he’ll have to continue on foot. Vhagar grudgingly plops into the high grass, burying her claws in the ground, the flap of her wings so strong, it brings down a couple of trees. Once their rustling is stilled, the sullen peace settles in the vale.

As if to add to his unrest, the sky gets blanketed with clouds, and he can hear the thunder humming in the distance, his heart already hammering in tact. The Gods, it seems, certainly have a penchant for drama.

The sound of the branches crackling is what catches his attention first, and he discerns heavy footsteps fast approaching. In just a second, Aemond sees a man running out of the forest, and there’s no need to take a guess — not only does the stranger look clearly aghast, he’s also got an arrow sticking out of his shoulder.

Aemond throws him a disdainful glance but Lord Hersy is too distraught to notice. “Please, help!” he begs and whines, “I am being chased by a mad woman!”

The prince holds back a snicker, trying not to wrinkle his nose at the sight. “Oh, how unfortunate,” he drawls, and every feature of the man looks hideous to him. “A woman instilling that big of a fear? It is the rarest of things.”

Lord Hersy can’t seem to share his amusement. “She’s truly evil!” he assures with wide eyes, his legs unsteady, hand pressed to the wound, red seeping through his fingers. “She led me into an insidious trap, and I am left completely disarmed!”

“It sounds like it required quite a lot of planning,” Aemond notes. “Might it be that she has a reason to be cross with you?”

“I am a righteous lord, I wouldn’t hurt a fly,” the man lies profusely, and a dark look crosses Aemond’s face. “My only fault was trusting her, that scheming wen—”

With one hand movement, Aemond grabs him, his fingers holding the man’s collar so tightly, Lord Hersy has trouble breathing. “But you are surely cross with her, it seems,” the prince remarks in a dry tone, his gaze blistering cold. Underneath the ice, there’s a flare, a spark; he is actually enjoying this. “Would you mind, my lord, telling me more about her?”

Lord Hersy seems taken aback by the request but obeys implicitly. “She’s n-not lacking beauty, that I will admit,” he weakly tries to free himself yet to no avail. “But ignorant of manners and so terribly short-tempered!”

“Is it her temper you are so afraid of?” Aemond doesn’t hide his mocking.

“She’s got a dagger!” the man complains in distress. “An angry woman armed poses a horrid threat! Gods know, I’ve done nothing to merit that mistreatment!”

He opens his mouth to accuse her some more — but then finally takes note of the frighteningly stiff look on Aemond’s face. The prince’s lips curl up into a wrathful and malignant smile, and the air gets heavy with silence.

His anger is a beast that breaks the chains with its teeth.

“Hm,” Aemond shakes his head with derision. “Worry not, ser, you are in good hands,” the prince lowers his face to his, his voice spewing poison when he hisses, “I was the one to give her the dagger.”

Lord Hersy does attempt to escape Aemond’s grip, he’ll give him that. Pathetically and weakly he twitches and wails, tries scratching his face, then reaches for the eyepatch, wobbly fingers tugging at the stripe of leather, gasping and swearing and —

all of his efforts fall short, and Aemond’s iron grip doesn’t loosen one bit.

And then, out of nowhere, another hand grabs a fistful of the lord’s hair, yanking his head back so harshly, that he gasps. They both were too distracted by the scuffle to notice her draw near, but once she reaches them — engulfed in red, her gaze equally flaming — she truly is force to reckon with. The fury looks so good on her, it makes Aemond hold his breath.

“I see your luck did finally run out,” she says to the man, words filled with resentment.

Lord Hersy grows unsure about his every accusation. “I think there’s been a grave misunderstanding,” he protests in a whiny tone. “I deeply regret causing you any offe —”

“I don’t remember you regretting dragging me down from a horse to try and crash my skull with a rock,” her voice is low, biting. The grin that follows makes her face look sinister. “I knew you couldn’t finish.”

His frown betrays his irritation — he puts it out the second he pulls out the dagger. “There are still ways for me to make amends,” Lord Hersy pleads so sickly sweet, Aemond lets out a growl. “I made a terrible mistake, I shall admit, but I did search for you! Day and night, I prayed to the Gods to find you, I cried my eyes out!”

Her face seems empty while she listens, and Lord Hersy is enough of a fool to mistake it for reluctance. But Aemond thinks she’s never looked more sure, and there’s no mercy she can grant the man whose fate has long been sealed.

She tilts her head, the corners of her mouth twitch, and the prince reads this expression with ease — she’s finally facing her most wanted target. He loosens the grip, and Lord Hersy falls to his knees, gulping air, the breath of death no longer tickling his neck; but his relief is premature.

The blade in her hand pale-glimmers in the vanishing rays of the sun — the man only catches a dreadful glint before he feels the metal pressed against his throat. Her gaze is just as sharp. “Go on then, dear lord,” she sneers without a sign of mirth, each word hastening his end, “Cry me a river.”

He barely gets a breath in when she swings — unmerciful and with the backhand grip; the dagger draws a scarlet cut across his throat. The wound is deep and fatal, and the blood runs fast and thick, cascading down his chest, his body going limp and falling lifeless to the ground. The red seeps out into the grass, splashed beads of it shining dully against all the green, and it’s almost alluring to look at.

Unceasingly and invariably Aemond only looks at her.

The trees sway in the wind, and the clouds race, the sky now veiled with the darkness of the unfolding storm. He’s never been the one to value landscapes, but it makes him think: the same lush wilderness surrounded her while she was growing up, a rose among the weeds, her thorns repellent to most but no obstacle for him. With bloodied hands, disheveled hair, dirtied clothes — she’s still the only one he wants, irresistible as life.

She stands in reverie, her gaze boring into the huddled body of the lord: “I must admit, this is poor planning on my part.”

As if on cue, Vhagar’s roar echoes in the distance, and Aemond smirks: “I know of a way to get rid of a body.”

She hums and slightly leans over the dead man, wiping the dagger off on his coat, and Aemond sees that she ripped the dress again; he finds it funny.

“Not the best choice of clothing, I might say,” the prince notes.

She follows his gaze and doesn’t even bother to adjust the damaged hem. “He thought I came back from the dead to hunt him,” she lets out a dry laugh, “I counted on that.”

“Wish I could see it,” Aemond says, a gentle admiration in his tone.

Her mask of concentration crumbles, replaced by the expression he remembers from the day before. The same astonishment mixed with timorous indecision, with a tint of shyness, washes over her face as their eyes meet.

“You came for me,” the words fall from her mouth as if she only now becomes aware.

“Why do you find it so surprising?” he wonders because leaving her was never an option for him.

“Unreasonable, mostly,” she bashfully remarks. “You’ve been so kind to me, and yet I left without saying goodbye.”

“You did,” he agrees, thinking that shyness only adds to her charm.

“And I never told you of my plans,” she admits, even more coyly, and he just nods.

Her gaze falls, mouth unsurely half-open, as if she’s trying to pluck the right words from the grass. He watches her, and there’s that pull again, the flowering desire in his chest.

“I think it’s time for us to go our separate ways,” she musters out, and it knocks the air out of his lungs. She’s curbing her own pain, deeming it to be a relief for his. “You’ve done more than enough for me... I think your conscience should be clear.”

The wind picks up, and so does his pulse. “And where will you go?” Aemond asks, his voice faltering.

“I am my father’s only heir” she shrugs, mostly burdened than pleased. “He will take me back and,” she works up the courage to find his gaze again, “I won’t be a problem of yours any longer.”

The thunder is approaching, a rushing sound disrupting the peace of nature. Aemond knows he will never find peace if he lets her leave.

“So you can go,” she offers but they both don’t want it, and he instead allows himself a step to her. “If this is what you want,” she blurts out in a shaky voice that gives away her struggle no matter how much she tries to put up a face. “If this is what your heart desires,” she adds so quietly, she isn’t sure he will hear her. But Aemond does.

Something snaps in him, and his body is an arrow shot out — he closes the distance in a heartbeat, and his lips all but crush into hers. She kisses him back with the same fervor, without a moment’s hesitation, and neither of them is timid or holding back. His hands find her waist, follow the gentle bend of it as she presses herself to him, as her mouth opens more, and his craving turns into hunger, his desire not hidden any longer, erupting right through.

Aemond grabs onto her hips, desperate to feel more, ravenous in his need, and each of his kisses is a plea for her to heed to; she does. Her fingers frantically travel up, then tangle in his hair, untieing knots of his restraint, his quivering sighs all disappearing into her mouth. There are no other sounds but their shuddering breath, their lewd touches, moans — hers or his, he can’t tell.

The massive storm is brewing when they part, both breathless, their lips still brushing.

“It’s you,” his confession is hot against her mouth, “You are the only thing I desire,” the syllables flow, pouncing like a waterfall, “He was undeserving of you, foolish, pathetic excuse of a man, and if only I—”

His words die down at the feeling — her fingers dancing right above his cheek. The one that’s scarred, unloved, detested by him; the gruesome sight that was supposed to be covered by the eyepatch. He must’ve missed the moment when he lost it, too wrapped up in his anger to notice the despicable lord succeed in his attempts. Aemond can’t find it in himself to ask for confirmation, to even move his hand to cover half his face.

She never looks away. And then, in the gloomy evening, she smiles — the sun rises again, a crack of dawn formed by every feature of her face. Her fingertips tenderly graze his scar.

“You asked me once if I thought it was worth it,” she recalls, her gaze affectionate, without a shadow of a doubt. “It was. Because I would do it all again if I knew the fate was leading me to you.”

The warmth of her touch heats him up, then ignites every part of him. She’s still caressing the side of his face when he reaches for her — his kiss so searing, her hand trembles, while his confidently moves to the hollow of her throat; this time, the sound of pleasure is undoubtedly hers. With his eye closed, his mouth on hers, Aemond sees the vision, bright as day: him going through the layers, lace and red, until she is all bare in his sheets, and he can put his lips to every inch of her skin. And feel her, drink her, worship her, their limbs intertwined, him drawing moans from her until the night sky lets in the first streaks of light.

He has to take a labored breath to blink the dream away, to hold his ardor back for just a little longer. By the look on her face, she’ll welcome his every offering.

“It seems that all those years I’ve been searching in all the wrong places for you,” Aemond whispers, holding her tight in his embrace.

“But you found me,” she follows the contour of his jaw with her finger, her smile never fading. “And you can have me,” she makes a vow, and her lips trail for his to seal the promise.

And no storm can compare to the love for her that rages deep in his heart.

✧ if you are into stories about revenge (enemies to lovers, with angst, fighting, and quite a bit of fire involved), I have a multi-chapter fic for you ✧ two more stories inspired by songs (modern!au): with Aemond & with Aegon ✧ my masterlist tagging @amiraisgoingthruit who was kind enough to ask (girlie, I’m sorry this one is so enormous…) also big thank you to arcielee for approving the gif it was driving me insane 💙

English is not my first language, so feel free to message me if you spot any major mistakes. reblogs and comments are very much appreciated!

#aemond targaryen #it took me 3 (THREE) months to find inspiration to finish the gif and I can't say I'm 100% happy so I will take NO criticism #to the ten people who will read this — I am forever grateful (I'm sending you cups of cacao as a treat) #my stuff #aemond targaryen fanfiction #hotd fanfiction #aemond x y/n #aemond targaryen x y/n #aemond targaryen fanfics #aemond targaryen fic #aemond one eye #aemond one eye x y/n #hotd fic #house of the dragon fanfics #hotd fanfic #aemond x reader #aemond x you #aemond #aemond the kinslayer

[inthedayswhenlandswerefew]

When The World Is Crashing Down [Chapter 4: These Words Are All I Have So I'll Write Them]

Series summary: Your family is House Celtigar, one of Rhaenyra’s wealthiest allies. In the aftermath of Rook’s Rest, Aemond unknowingly conscripts you to save his brother’s life. Now you are in the liar of the enemy, but your loyalties are quickly shifting…

Chapter warnings: Language, warfare, violence, serious injury, alcoholism/addiction, prostitution, references to sexual content including noncon (18+), pregnancy, methods of ending pregnancy, speaking High Valyrian at a third-grade level, no Larys Strong this time yay!!!

Series title is a lyric from: “7 Minutes in Heaven” by Fall Out Boy.

Chapter title is a lyric from: “Dance, Dance” by Fall Out Boy.

Word count: 6.7k.

Link to chapter list: HERE.

Taglist (more in comments): @tinykryptonitewerewolf @lauraneedstochill @not-a-glad-gladiator @daenysx @babyblue711 @arcielee @at-a-rax-ia @bhanclegane @jvpit3rs @padfooteyes @marvelescvpe @travelingmypassion @darkenchantress @yeahright0h @poohxlove @trifoliumviridi @bloodyflowerrr @fan-goddess @devynsficrecs @flowerpotmage @thelittleswanao3 @seabasscevans @hiraethrhapsody @libroparaiso @echos-muses @st-eve-barnes @chattylurker @lm-txles @vagharnaur @moonlightfoxx @storiumemporium @insabecs @heliosscribbles @beautifulsweetschaos @namelesslosers @partnerincrime0 @burningcoffeetimetravel-fics @yawneneytiri @marbles-posts @imsolence @maidmerrymint @backyardfolklore @nimaharchive @anxiousdaemon @under-the-aspen-tree @amiraisgoingthruit @dd122004dd @randomdragonfires @jetblack4real @joliettes

Let me know if you’d like to be tagged! 🥰💜

She gives you a new dress to replace the one that is sopping wet and algae-stained from your tumble into the fishpond: a deep gory maroon, low-cut across the chest, a slit up to your thigh. It is the most revealing thing you have ever worn. You keep crossing your arms and tugging at the fabric, trying to make it cover more of you, incurably out-of-place in this room, this world. The madam is seated at her desk and jotting down notes in a thick, ancient book. When you steal glimpses of her words, they are messy and often misspelled, the script of a child. If you had parchment, you could write a letter. Your hands itch for it; your fingers flex to grasp nothing.

A woman glides into the madam’s bedroom—a tiny kingdom where no men exist—and hands you a cup of tea. She appraises you with a swift, intrigued glance; her hair is long and coppery red, her belly rounded out. She is perhaps five months pregnant. The madam casts her a stern look and the woman dutifully vanishes. “What is this?” you ask as you take a sip. It’s hot, lemony, bitter. “Moon tea?”

The madame chuckles. “No. We have moon tea for if that doesn’t work.”

Because I’m going to be doing things that could result in a child. Because I’m going to be violated here, again and again, I who was so terrified of being possessed by even one man.

The madam says: “Can you play any instruments?”

“No.” You draw into yourself—eyes and ears and the pores of your skin—every detail, every tapestry on the walls and creaky board of the floor and shift in tones of voice, anything that could help you escape. You are a traveler in a strange land. You have no map, no compass. You can bandage burns and set bones, but you know nothing about brothels in the suffocating, squalid entrails of a city.

“Sing or dance?”

“Not well at all.”

A furrowed brow. “Can you sew?”

“Barely.”

“Cook?”

“No.”

Disappointment, palpable and shaming. “Can you read or write?” the madam asks, scratching disorderly lines of black ink into her book.

“Both.”

Now she has perked up a bit. “How well?”

“Fluently.”

A raised eyebrow. This is unusual. “Any other languages besides the Common Tongue?”

“No.” Then you add desperately: “But I know about medicine! I’ve studied herbology and wound tending, and I can act as a healer for the women here, I can—”

“You could, perhaps,” the madam says, smiling with sad, aged patience. “But that is not what the prince regent intended.”

You stare at her, aghast, petrified. There is no swaying her. You consider revealing yourself and attempting to bribe her with the renowned Celtigar fortune, but this is inadvisable. It is one thing to be raped; it is another to be raped and then murdered and then probably raped again. The Greens are the true heirs of the throne in this establishment, which means Rhaenyra and all those who aid her are traitors. Already you have overheard the women gossiping about King Aegon. They do not appear to fear or dislike him; on the contrary, they fret over him like anxious mothers or wives. They hope his recovery is quick. They are grateful he survived. They wonder if he will return to visit them again soon. They do not seem to be under the impression that he is vile, amoral, cruel, a threat, a curse. When they look at him, white hair and ocean-deep eyes, they do not see a monster.

“You aren’t bleeding currently,” the madam continues.

“How do you know that?”

“You didn’t ask for a rag when I gave you that dress.” New words springing to life on those yellowed pages, pricelessly valuable and yet forbidden to you. “Ever borne children?”

“No.”

“Are you a maiden?”

You can’t decide how to answer; you aren’t sure if either reply will help you. You settle on the truth. “Yes,” you admit tentatively.

“Good. We can charge more for you.”

“Wait, no, I’m not. I’ve been with lots of men.”

The madam laughs, shaking her head as she makes her notes. Her necklace and earrings jangle merrily, too large, glinting and gaudy. “Have no fear. I will make it easier for you. I will find a slight, young lad to be your first. He won’t be too big, he won’t last too long. And if you’re fortunate, he’ll even be handsome!” Her prominent, pale eyes go distant; she is orchestrating myths, the trade she deals in like some women sell silk or wool. “A soldier home on leave, perhaps. Looking for a taste of dwindling innocence before he marches off again to be butchered by a Costayne or a Darklyn.” She snaps back into the room. “It will be over before you know it. You’ll be more underwhelmed than anything else, trust me.”

You picture it, red, rust, rage, resignation: the impossibly large stain of blood on your cousin Theodora’s bedsheets. “What if I’m frightened? What if I cry?”

The madam shrugs. “Some men like that. It will convince them of your inexperience.”

You gape at her. “That’s appalling.”

“That’s the world we live in.” She sets down her quill, closes the book, and stretches out her back as she stands. “Follow me. I’ll show you around.”

There are rooms where the women sleep, rooms where they get ready, servants to arrange their hair and moonlight-silver mirrors and a cluttered array of cosmetics and closets bursting with sheer, sensuous gowns. As the madam momentarily diverts her attention from you to scold a servant for knocking over a tin of rouge made from ground cinnabar, you swipe a small stick of kohl eyeliner off a table and tuck it into the pocket of your dress. You might be able to write with it.

What is that pocket supposed to be for? A vial of perfume to mask the sweat of men, mint leaves to clear away their taste? A cloth to mop their mess off your thighs? You shudder, then trail after the madam as she floats out into the hallway.

There are bedchambers, six or seven of them, but the doors are shut. You can smell incense burning; you can hear moans and wet slaps of flesh beneath plucks of harps played by servants. Outside there is a courtyard where women sit on the stone rims of fountains simpering and stroking men’s beards, necks, chests, thighs. It is surrounded by a wall nine feet high. Armed guards pace through the maze of rose bushes and elm trees and proliferate quilts of ivy, keeping uninvited men out, keeping women in. They are protected from their own ambitions of some other kind of life. They are prisoners. The sky above them is a mosaic of spilled wine and gold; the sun is setting.

Downstairs in the kitchen, the madam leaves you in the care of the same woman you saw earlier, long coppery ringlets and a bastard in her belly. The dress she wears is a cleaner red than yours, not blood that has dried and flaked but a heart that’s still beating. She is chopping vegetables and tossing them into a pot boiling over the fire. The long wooden table is strewn with carrots, onions, potatoes, leeks, mushrooms, fresh dark green herbs.

She flashes you a wily smile. “Our cook dropped dead last week. We’ve yet to procure a new one, so I’m making myself useful. All the house laments.”

You laugh and join her, though you don’t know the first thing about working in a kitchen; you pick up a knife and begin slicing through a carrot. It takes more muscle than you anticipated.

“On a cutting board, you idiot,” the woman says kindly, passing you one.

“Sorry. I’ve never cooked before.”

“What? Never?” Her auburn eyebrows spring up. “Where did you come from?”

The cliffs, the sea, salt and waves and mist. “The Crownlands.”

She is studying you with interest as her blade hovers over a half-chopped leek. “Were you a handmaiden to a lady there, or…?”

“It doesn’t matter. Whoever I was, I’m not the same person anymore.”

“No,” the woman agrees softly. “None of us are, I suppose.”

You glance down to her belly. You don’t wish to offend her, but you are curious.

“Go on,” she prompts. “You may inquire. I am well aware of my predicament whether you speak of it aloud or not, I assure you.”

“Did the moon tea not…expel the child?”

“No,” she sighs as she resumes hacking away at the leek. She speaks with vague, weary fondness. “The lemonweed tea did not prevent it, the moon tea did not kill it. I nearly died of fever and vomiting myself, but the child held on. It’s alive in there, I can feel it kicking sometimes. A fierce little thing.”

You nod, still gazing at her belly, undeniable evidence of the act that built it. The copper-haired woman is almost certainly younger than you, and yet she knows exactly what it means to be opened by a man, pillaged, conquered, used, left. This time tomorrow, you will know it too. “The madam let you stay?”

“Not very enthusiastically, but yes. I cook, I clean, I do the shopping in the market. She does not fear letting me venture out into the city. She knows I have nowhere else to go. I only have to entertain clients if they ask for a pregnant woman. Some men have a particular liking for that, you know.”

You did not know. “Right.”

“Besides, there might be some advantage in it for the madam,” the woman tells you. She grins. “When the child is born, there’s a chance it will have the silver hair of a Targaryen. Then the madam could approach Otto Hightower for a reward of some sort, money, protection. Royal bastards have never been more valuable. Little princes are dying left and right.”

“King Aegon’s?” you say numbly. “The child could be his?”

“Yes, obviously. Who else?”

So Aemond does not frequent this place as a customer. You wonder how he met the madam.

Aegon was here before the war began, you think, blood hot in your face, your guts twisting and nauseous. How many women know what he feels like, tastes like, sounds like when he is moaning in pleasure instead of agony?

The copper-haired woman is staring at you quizzically. You have to say something. You hear your voice like the distant cry of a crow through fog: “What was he like? The king, I mean.”

She considers this. “Drunk. Sad. But perfectly pleasant. I wouldn’t mind serving him again. He’s well thought of on the Street of Silk. I do hope he recovers. I think Rhaenyra would hang us all from a gallows. She knows Daemon has a wandering eye, and she’s not the type of wife to look the other way.”

You are trying to clear it out of your skull, like a room full of smoke: Aegon was here, Aegon was here, Aegon was here. “When you met with him, it was in this brothel?”

She hesitates. “Mostly.”

Mostly…? “Have you been inside the Red Keep?”

“Once. Ages ago. There is a network of secret passageways beneath the castle and behind the walls. The king has been known to use them for…well. You know.”

It should not hurt you. You’ve spent all your life listening to the tales of his failings. Yet it does, more than you thought was possible. You’ve never wanted a man before. But you want Aegon now. You do, you must, otherwise you wouldn’t be so pained by the thought of others touching him. You wonder if he feels the same way about you, if he ever lies awake at night with his stomach in knots over your nameless betrothed.

You try to focus on this moment, this kitchen, this copper-haired woman.You need to find a way out of here. “So the madam will decide what happens to your child once it’s born.”

“Of course,” she replies simply.

“You don’t want to keep it yourself? You are not attached to it?”

The woman is suddenly serious, quiet, melancholy. “I have no choice in the matter.”

She’s my chance. She’s my redeemer. “Can I ask your name?” you say.

“What my family named me is of no account. As you said, we’re not the same people anymore.” She smiles, warm like embers once again. “People here call me Autumn.”

“Autumn,” you echo. A woman with hair the color of crisp, dying leaves, the color of a dying world hurtling towards winter. “I think I can help you. You and your child, no matter its parentage.”

She does not want to believe you—hope is a dangerous, taunting creature, one that builds a home in your ribcage and then taps taps taps its claws along the ladder of bones—but she does. You can see it flickering in her small, upturned hazel eyes. “You…what?”

“When you go to the market, do you take a list with you? Of items that you require?”

“Yes,” Autumn replies, puzzled. “The madam always gives me one.”

“Do you have any parchment here in the kitchen?”

Autumn shakes her head. “The madam keeps it in her room. Shall I ask her—?”

“No,” you say. “Definitely don’t ask for any. Is there an old list lying around, perhaps?”

“Um, let me see…” Autumn rummages around the table; onions go rolling, leeks are flung aside. She snatches a tattered, folded sheet of parchment from under a pile of potatoes and surrenders it to you. “Here. This is the one from yesterday.”

You open it and lay it flat on the table. Sure enough, there is a list written in black ink; but not in the Common Tongue. The items are sketched. There’s a carrot with a cloudlike plume of fronds atop it, a bee (meaning honey, you imagine), a pig and a chicken, a round bottle with a heart drawn above it. Perfume? you guess. “These are pictures.”

“Well, of course. I wouldn’t be able to read it otherwise.”

You take the stick of black kohl out of your dress pocket and flip over the list. The back is blank. You write as Autumn watches, baffled, fascinated.

Your Grace, you begin, and then scratch it out. You start again.

Aegon,

Aemond has imprisoned me in a brothel. He knows the madam (middle-aged, brown hair, clever).

“What is this place called?” you ask Autumn.

“The Pink Pearl,” she says.

Autumn works here, if you recall her. She says the establishment is known as the Pink Pearl. Please send someone to rescue me at once. I am to be put to work soon, and I am afraid.

You pause. What will he have been told? What will he think of you now?

I beg your forgiveness for my deceit. I did not mislead you out of malice. I knew you needed help, and that I would not be able to provide it if my true identity was known. I have not done anything to undermine your cause. I have not written a word to my family. I assume they now believe me to be dead. I do not want this, but it is a sacrifice I have made so that I can continue to serve you.

Please help me. Please allow me to return to the Red Keep.

My name was a lie, but none of the rest was.

Angel

“You’re highborn, aren’t you?” Autumn says, hushed, awed. “You must be, to write like that.”

“Yes. And I am a friend of King Aegon. If he knows I’m here, he will pay for me.” You don’t know that for sure, but you have hope, that risky rattling beast.

“He will pay to fuck you, you mean?”

“I believe he will buy my freedom.”

“And if he doesn’t?”

Then I will slit my own throat with one of these knives. “It’s better for everyone if he does.” You fold the parchment closed and then give it to Autumn. She takes it, perplexed but willing. “I cannot leave this place. But you can. I need you to get that letter to the king. You know the way to the Red Keep; you have been inside these secret passageways. Hand the letter to him directly if possible. If you are intercepted, ask to see the Dowager Queen Alicent or…” You debate this. Sir Criston is closer to Aemond than Aegon, but you believe the opposite to be true for the youngest Targaryen brother. “Or Prince Daeron. Tell them that the letter must be read by the king immediately, and by him only. If he is resting, he must be roused. If he is speaking with someone, he must be interrupted. Explain this and then leave. And do not allow the prince regent to see you.” Aemond’s words blow through you like a cold wind: If she tries to escape, kill her.

“This is a difficult task,” Autumn says uncertainly, the folded square of parchment disappearing into the bodice of her gown. “I cannot promise you anything. But I can try.”

“If I am rescued, I will see that you and your child are provided for. You will have your own home, one far, far away from here. You will never have to answer to the madam again. You will never have to lie with a man who is not of your choosing. Your life will be your own.”

She stares at you, dazed and wonderous. She cannot even fathom this, but she knows she wants it. You’ve begun to feel that way about certain things as well. When Autumn speaks, it is in little more than a whisper. “I would like that very much.”

“You will have my most fervent gratitude.”

“I will depart tonight after supper. I will tell the madam that I am craving apple cake from a street vendor.”

“Thank you, Autumn,” you say, lips trembling as they curl into a smile, tears blurry in your eyes.

She points to the stick of black kohl you’ve used as a makeshift quill, smirking. It’s still clutched in your dominant hand. “You’d better hide that before people start showing up looking for soup.”

Hours later, you are trying to fall asleep in a room you share with half a dozen other women who are not presently working, beds so close together they almost touch, soft snores, mattresses shifting when people roll over, a thin wool blanket pulled all the way up to your chin.

Aegon will read the letter. Aegon will send someone to rescue me.

In the darkness, your hands wander down to your belly, your hips, lower. Skating over your white silk nightgown, your fingertips press cautiously at a place where you sometimes feel an indistinct, uneasy sort of pleasure. You rarely touch yourself; you cannot do so without remembering that your body is not your own and never has been. But now, for the very first time and without any premeditation, you picture Aegon—his murky oceanic eyes, his crooked grin, his hands, his bravery, his gentleness, his shock of white-blond hair adorned with that single tiny braid—and instantly your once-ambiguous desire sharpens, strengthens, is accompanied by a wetness that you can feel blooming warm and needful beneath your nightgown.

But it’s not going to be him. It’s going to be some stranger who doesn’t know me and doesn’t want to.

You roll over onto your side and thrust your hands under the pillow, squeeze your eyes shut until they ache, try not to hear the moans that creep through the walls like dark veins of blood poisoning.

~~~~~~~~~~

All day you wait for someone to cross through the doorway of the brothel to claim you, a guard, a messenger, Daeron, Criston, anybody. But no one does. The women here keep strange hours: late to bed, late to rise, breakfast at noon, lunch at four or five, supper long after nightfall. You pick listlessly at a breakfast of biscuits with butter, honey, and blackberry jam, bacon, weak wine, pomegranate juice, lemonweed tea to prevent an unintended child like Autumn’s.

“I was stopped by a guard just outside the Red Keep,” she mutters to you in a stolen moment, huddled together at the end of a hallway by a window that opens out onto the courtyard. “They agreed to let me see Prince Daeron. He took the letter and said he would deliver it. That’s all I could do. I hope it’s enough.”

I hope so too, you think to yourself as you thank her, marveling with brick-heavy horror at how all the Valyrian ancestry and riches in the world cannot save you from the fate of being born a card for others to play, trade, bet on, use until it is worn and faceless. I hope so with everything I’m made of.

The other women take you with them to the bathhouse down the street, and in the labyrinth of sweltering pools and swirling steam you scrub yourself all over until your skin is tender to the touch. You use perfumed soaps and luxurious floral oils, not for healing but for vanity, so strange men will imagine you to be an intoxicating fantasy, so any human imperfections can be ignored. You pluck some stray hairs and trim others. You inspect each other for bruises or scratches or bitemarks that will need to be covered. No one mentions how they got them. Everybody knows.

Back in the brothel, the women show you how to wear your hair and do your makeup: black kohl on the eyes, beeswax dyed with berry juice on the lips, powder on the face to even out your complexion. Servants flit around fussing over hairstyles and switching ripped seams on dresses. Your silk gown—the one you will be raped in—is a soft, helpless, feminine lavender. You are shown to a bedchamber: flickering candles, a mountain of pillows and jewel-toned throw blankets, harp music and fresh air breathing in through the windows. You sit on the edge of the bed wringing your hands. You are waiting to be rescued. You are waiting to be harmed.

The door opens, and he enters. The madam was truthful: she has found you a slight, benign-looking young man. He smiles shyly, clanging in his light armor. He is indeed a soldier on leave from the front. He wears the crest of his family as the clasp for his cape, a white shield with a black cross. He is a Norcross, the same as the dying boy you were tending when Aemond pulled you off the battlefield at Rook’s Rest. How easy it would have been for you to not be here right now; a difference of a few minutes, a few meters, and Aemond never would have found you.

“Hello,” the man says pleasantly. He is yanking off his boots.

“Hello.” You are still sitting on the edge of the massive bed, big enough for four or five occupants. This is not a coincidence, you’re certain. But that will come later, once you have been sufficiently broken in. Your stomach lurches; you try not to show it.

Now he is taking off his cape. “You’re nervous,” he observes. There is a pitcher of wine on the table in the middle of the room. He pours two cups and hands one to you. You take it—intending to be dignified, ladylike—and then gulp it down. The Norcross laughs. “You needn’t fear me, maiden,” he says. “I am here for pleasure, not pain. I have paid a considerable price for you. You are a piece of treasure, a rare gem, and I will handle you accordingly.”

Then he reaches out to stroke your cheek, and something in you shatters, splits open, screams. I don’t know this man. I don’t trust this man. You shrink away from him and retreat to the center of the vast bed. The Norcross blinks at you, a little amused, a bit bewildered. “Sir, you have stumbled upon a great opportunity,” you tell him. “I am no ordinary woman.”

“No?” he says. But he is smirking beneath gleaming eyes, like this is a joke; and he is removing his armor as well.

“I am here as the result of a dreadful misunderstanding. You see, I have actually already been claimed. There is another man who has the right to take my innocence if he so chooses.”

“Oh?” the Norcross says. He is unbuttoning his white cotton shirt. “Who?”

“King Aegon.”

He throws his head back and guffaws, dark hair long enough to cover his ears and brush against the nape of his neck. “This is a very charming jape. Me? Getting to deflower the king’s chosen whore? Yes, yes, very good. Delightful. Delicious.” He crawls onto the bed; the mattress shifts beneath your palms. A cold sweat slicks across your skin. Goosebumps rise on your arms. He doesn’t hear me. He doesn’t want to.

“I’m not joking,” you implore the Norcross. “I am well-acquainted with King Aegon, he cares for me. I was brought here by mistake and against his knowledge. If you assist me in returning to him, I’m sure you will be generously compensated for your trouble—”

The man’s hand juts out, snags in your hair, yanks and tears at it. You yelp and struggle as he wrestles you down onto the mattress and settles his weight on top of you. “You’re mine, all mine,” he growls, smiling, playing along with what he has chosen to believe is a fantasy. “Not the king’s whore. The king has plenty of those already, he probably has thousands. But you’re all mine.”

“Get off me,” you order him, as if you are still the daughter of one of the wealthiest houses in Westeros and not some powerless, penniless woman imprisoned in ornate walls and perfumed silk; and isn’t this where you always would have ended up anyway? Flinching on some stranger’s bed as he tried to claim you, subdue you, force pieces of himself inside you?

“I will show you, maiden. The king is a cripple now. He could not satisfy you anyway. I will give you what he could not. And I’ll give it to you more than once, if you ask nicely.” He presses his lips to yours, a sickening mockery of a kiss, all flesh and no heat. He is wearing only his trousers; they could be gone in an instant. He is tugging your sleeves off your shoulders to get to your breasts.

“Please don’t do this, please stop, I’ll give you anything—”

“Everything I want is right here.”

Just let him do it, you think. I can’t leave this place, I can’t fight him off. There’s no way out. Just let him do it, and live to see if freedom will arrive tomorrow.

Aemond’s words fill your skull like flashes of lighting: If she tries to escape, kill her.

The Norcross man is pulling off his trousers. It strikes you like a closed fist: the terror, the injustice, the rage. You swing at his face, your knuckles rapping against his cheekbones. “Get off of me—!”

There is a tremendous fracturing noise, and at first you think the man must have snapped one of your bones, your radius or your tibia or your clavicle. But no: it was the bedchamber door being thrown open so violently it hit the wall behind it and cracked down the middle. And now there are footsteps, and now there are guards pouring into the room, and now the point of a blade bursts through the Norcross man’s windpipe splattering blood across the bed, the walls, the wood boards of the floor. You are shrieking; scarlet rain peppers your face, chest, hands.

“You’d take an unwilling woman?!” Aegon demands of the dying man, who gapes at him with rapidly fading eyes and a mouth hemorrhaging dark, lethal red. The king is wearing all black, tunic, trousers, boots. Half of his hair is pulled back from his face and secured with a black ribbon. You have never seen him like this before. You have never seen him brutal, formidable, furious. “You fucking animal. Enjoy drowning in your own blood.”

Aegon wrenches his sword free from the dying man’s throat and he falls face-down onto the mattress as you scramble away. And then Aegon falls too: his legs give out and he collapses to his knees, kneeling in a pool of the Norcross man’s blood, the hilt of his sword tumbling out of his grasp. You bolt off the bed and drop down onto the floor beside him.

“Aegon?!”

“Are you okay?” He takes your face in his hands—they’re shaking, they’re weak again, but just strong enough to cradle the slope of your jaw—and looks at you, turning your face one way and then the other, his eyes searching for bruises, lacerations, more fuel for the vengeful fire that blazes in him. The burn on his own right cheek is inflamed, blistering. He does not seem to notice.

“I’m okay, I promise.”

“Did they hurt you?”

“No, no, you got here just in time.”

And Aegon—this so-called monster, this alleged beast, this man who the Blacks swear is a villain and a degenerate and soulless—slips the sleeves of your silk lavender gown back up over your shoulders so your chest is covered. “If it’s any consolation, you’re fucking beautiful.”

“Of course you would prefer me dressed like a prostitute.”

He laughs, embraces you, holds you to him, the first time he ever has. Your arms link around the back of his neck, your fingers knot in his hair. You are so close, yet not nearly close enough; you want him completely, always. You can’t claw your way back up the cliff you’ve fallen down.

There is a commotion as the guards that accompanied Aegon to the brothel part to allow two new arrivals into the bedchamber. Aemond and Criston now stand just inside the doorway, breathing heavily from their sprint across the city. Your gaze meets Aemond’s and you clutch Aegon tighter. The king kisses your temple—so quickly and unceremoniously it feels like a habit, something instinctual, something innately right—and reluctantly unravels himself from you. He grabs the nearest bedpost and hauls himself to his feet, wincing, groaning, bracing himself against it with both hands.

“What the hell are you doing?!” Aemond shouts at his brother.

“You will not harm her! You will not take her from me!”

“Aegon, she’s not a Thorne, she’s a Celtigar! Her father sits on Rhaenyra’s council, he funds her war effort, when our men are killed it’s with arrows and steel that he paid for—!”

“We’re all different people now!” Aegon roars. “All of us! You were some pathetic runt, I was useless, Daeron was a child, Helaena was happy, Criston was devoted to Rhaenyra, Mother was her closest friend, all of us have been changed by this world and its endless goddamn misery! So she was born a Celtigar, is she to be eternally condemned for that? Is she truly irredeemable? Can no acts of service to the Greens’ king convince you of her loyalty? She saved my life!”

“Are you insane?! We can’t trust her!”

“I am the king!” Aegon bellows. “I am still the one who gets to make these decisions, no matter how unworthy you think I am!”

“She lied to you, to me, to everyone, that cannot go unpunished!”

And then Aegon responds, but not in the Common Tongue. He says something—laboriously, haltingly—in a language you recognize only from hearing Daemon and Rhaenyra converse in it. You were not aware that Aegon knew High Valyrian well enough to carry a conversation. Perhaps Aemond and Criston weren’t either; they exchange a brief, astonished glance. The guards’ eyes dart between the king and the prince regent.

Aemond replies, his tone cutting but his words swift, seamless, graceful, fluent. Aegon stumbles his way through a sentence or two, pausing several times to conjure the correct word. Aemond says something else, an effortless litany of syllables your forebears shared. Aegon forces out one last plea. It sounds painful; it sounds like a confession. Aemond stares at his brother, perhaps scandalized, perhaps merely stunned.

“Alright?” Aegon pants, in anguish now. His hands are like talons on the bedpost, the force of his fingernails leaving white scratches in the wood. “You get it? You understand?”

“Fine,” Aemond says, low and bitter.

“You will not harm her. She stays in the Red Keep. Promise me, Aemond. I cannot rest until you do.”

Aemond nods, glaring down at the floor.

“Criston?” Aegon presses. “Promise me. If he breaks his word, you will stop him. I command this. I am your king.”

“I promise, Aegon,” Criston agrees, willingly enough.

“Good,” Aegon says. “Good.” And then he blacks out and crumples to the floor. The guards rush for him, but Criston tells them to stand back. He stoops low, lifts the king, throws him over one shoulder and carries him. Aemond fetches his brother’s fallen sword. You follow them out of the brothel, staying as far away from Aemond as you can. You pause just long enough to peek into the kitchen.

“Autumn?” you call, and she looks up from the chicken she’s been coating with herbs and butter. “I’m leaving now. You’re coming with me. Get your things.”

“What things?” she says, grinning. She cleans her hands and trots after you, one palm resting on the swell of her belly, her copper sea of hair streaming out behind her.

Inside the Red Keep, you inform the servants that Autumn will be staying as a guest of the royal family and that she is to have a room near yours. Then you hurry to Aegon’s chamber. He is sprawled across the bed, writhing and moaning. Grand Maester Orwyle is administering milk of the poppy. Criston is stripping him, heaving off Aegon’s boots and trousers before gingerly removing his tunic to reveal bandages red with blood around his shoulders. He has torn the half-mended flesh there. He suffers, he heals, he suffers again.

“Angel?” Aegon chokes out, reaching for you with tears flooding from his eyes.

“I’m here.” You take his hand. “What hurts, Aegon?”

“Everywhere,” he gasps.

You tell Orwyle: “Give him another dose.” And a second goblet of milk of the poppy is emptied down the king’s throat. Within a minute, he is mercifully unconscious again.

Criston looks at you. “What’s wrong with his face?”

“Sunlight. The rest of his burns were covered, but not the one on his cheek. Fresh burns must be kept out of the sun. He knows that.” You unwrap Aegon’s bandages; his wounds need to be cleaned and re-dressed.

“Oh, seven hells,” Criston whispers, covering his mouth with one hand. There are four or five ruptures around each shoulder, thin bleeding crevices that branch out like the legs of a red spider. Grand Maester Orwyle ambles off to order servants to fetch water, vinegar, honey, linen, more milk of the poppy.

“I should have done better,” you say, and your voice breaks. “I should have used more rose oil on his shoulders. I should have made him stretch three or four times a day.”

“You’ve tended to him tirelessly,” Criston says gently.

“I shouldn’t have lied about who I was.”

“I don’t see how you could have saved his life otherwise.”

“Go find Alicent,” you say. “Explain what’s happened, but don’t bring her to visit him yet. It will only upset her.”

“Yes,” Criston agrees, and leaves.

Outside, the sun is setting, and all the world is the color of dragonfire. Grand Maester Orwyle returns with servants and supplies. As you are dabbing at Aegon’s wounds with cloths dripping with water and vinegar, Daeron appears in the bedchamber doorway. His eyes—large and expressive like Aegon’s, but more crystalline, less dark—are shimmering and wider than you’ve ever seen them.

“Is he dying?” Daeron asks, sounding fearful and very young.

“No more than usual,” Aegon rasps; and that’s how you know he is awake again.

When Aegon is cleaned, bandaged, and soothed once again with milk of the poppy, the two of you are left alone. You perch on the edge of the mattress and can’t stop touching him, his left hand where his dragon ring glints in the flickering candlelight, his disheveled silver hair that still has that little braid you made for him. You don’t know what to say. You worry that if you begin talking, everything will spill out like a monsoon or a rogue wave, things you can’t take back, things you don’t fully understand yourself.

“House Celtigar, huh?” Aegon murmurs drowsily, smiling. “I’ve never been so happy to see a crab in my bed.”

And it hits you all at once: I would take every last drop of pain for this man. I would slit him open and drain him of it, swallow it down, assume the debt. I would carry every burden, every red flare of agony and ache in his bones. I would learn the art of self-loathing if he could forget it. I would trade fates with him, threads cut and crossed and burned to ash.

“What?” Aegon asks. He’s watching you with those storm-blue eyes, glassy with pain and poison.

Why wouldn’t you send someone else in your place? Why would you go yourself? Why would you injure yourself so grievously, so senselessly? “Why would you do this for me?”

“You are the only person I’ve never disappointed. I’d like to keep that going if I can.” He takes your hand and laces his fingers through yours. “You’re so far away.”

You lie down on the bed and curl up beside him, careful not to put pressure on his fresh wounds. You place one palm on the center of his bandaged chest, the other against his unburned cheek. Aegon pulls you in closer until your noses are nearly touching and you swing one leg up to rest on top of his; even then, he keeps a hand on your thigh, as if to make sure you don’t leave. The other twists into your hair and stays there. Aegon dives into a deep, starless sleep and you doze next to him. When you catch wisps of dreams like fireflies in a child’s grasp, you hear crashing waves and see dragons pitching into the sea: Vermax at the Gullet, Arrax into Shipbreaker Bay.

Why did Aemond have to murder Luke? Why did he have to start this war?

Something wakes you, a sound, an indescribable shift in the room. You open your eyes and turn to see Aemond, arms crossed and back propped against the opposite wall. You rise as carefully as you can so you don’t disturb Aegon, untangling yourself from him like he’s something catastrophically fragile, a spider’s web, a splintering pane of glass.

You stand and take several steps towards Aemond, only so you can speak without waking Aegon. “What do you want?”

“I fear I did not conduct myself particularly well yesterday,” he says. “I may have acted…impulsively. Unwisely.”

“Your capacity for self-reflection is truly inspiring.”

Aemond frowns. “I’m being serious.”

“I’m not interested.”

“If we are to be on the same side of this war, we should learn to understand each other.”

“I don’t want to understand you. Your mind must be a horrible place to live.”

He stares at you with his sole remaining eye, cold and hurt and wrathful and hopeless.

You ask softly, knowing that only Aemond can tell you: “What did he say? Back at the brothel?”

Aemond does not answer for so long that you convince yourself he’s not going to. At last, he decides to extend a peace offering. “He said that he cannot live without you. Or that he wouldn’t want to. I’m not certain which he meant. His High Valyrian has always been terrible.”

Then Aemond walks out of the room without another word.

#aegon ii targaryen #aegon ii #aegon targaryen ii #aegon targaryen #aegon targaryen x reader #aegon ii x you #aegon ii x y/n #aegon ii x reader #aegon x reader #aegon targaryen ii x you #aegon targaryen x you

[maespri]

your turn to die characters ranked by how painful their death was (and why)

okay. crazy title, i KNOW. but this was actually so interesting to talk and think about. at least for me.

spoilers ahead, and TRIGGER WARNING. this post is going to go into detail about each death. it’s going to get gory and upsetting. if you don’t think you can handle hearing about that, please keep scrolling!

everything is under the cut, because this post is LONG, i'm warning you now.

some backstory: i have a special interest in anatomy and physiology, and i've always thought about how the different deaths in your turn to die worked. my wonderful friend @lovivelle and i talked about this topic extensively last night and they made this tier list with me! so, here's the ranking and explanations!

this ranking ONLY covers HUMAN deaths, because dolls/dummies do not feel pain.

quick glossary: exsanguination: death caused by bleeding out hemorrhaging: bleeding necrosis: cell/tissue death hypoxia: inadequate oxygen supply hypovolemic: loss of fluid in the body, often referring to blood or water shock: life-threatening condition where the body does not have enough blood circulating through it crush syndrome: medical condition where skeletal muscle is crushed for a prolonged time, resulting in shock and organ failure hematemesis: vomiting up blood hemoptysis: coughing up blood TBI: traumatic brain injury immolation: death by burning; being burned alive

the tier list:

OUCH!! (most painful):

nao: nao's death involves her ribcage being crushed. i put her at number one for what i hope are obvious reasons. for starters, her death is drawn-out, making the pain last even longer. while her ribcage is being crushed, any internal organs are being crushed as well. her bones are probably splintering and breaking off and piercing her insides and organs. overall... just horrible pain. official cause of death: internal hemorrhaging and irreparable damage to organs.

kurumada: kurumada's death involved being crushed (between two walls), which is similar to nao's. i would put their pain levels as being equal to each other, but kurumada's has the potential to have been less painful than nao's, because we don't know how quickly the walls crushed his body. if they were moving slowly, the pain would've been drawn-out and agonizing, and in that case, i would make the argument that his death was more painful than nao's. but if it was very quick, he would've just felt blinding pain in his entire body for a few seconds before it would end. we do have to keep in mind that kurumada is clearly quite muscular however, which probably provided some resistance against the walls, but only served to draw out his pain even further. official cause of death: muscle necrosis, internal hemorrhaging, and irreparable damage to internal organs due to crush syndrome.

either way, both definitely experienced, in my opinion, the most painful deaths in the game.

YOWZA! (very painful):

mishima: mishima's death results from his collar slowly heating up and burning his neck until his head disconnects from it. i don't even have the words to describe how painful this would be. the fact that the collar heats up slowly and it is drawn out only makes it worse. if you've ever burned yourself before anywhere on your body, you know how painful it is. imagine that pain centralized around your neck. mishima might have the fortune of his nerves being burned off after a certain amount of time, which would mean he wouldn't feel anything (think third-degree burns burning through to muscle, tissue, and nerve endings). but at that point, because the burning is around his neck and your neck contains- A) your spine/spinal cord and B) your trachea, which allows you to breathe- anyway and burning it in half would definitely kill you, he may be dead before he even has time to not feel any pain. either way, this shit would hurt so bad. official cause of death: cerebral hypoxia due to decapitation.

hinako: hinako technically has two deaths, but we ranked her based off of her being drilled. a lot of questions actually arose when my friend and i were talking about the drill deaths, because we don't know the speed at which the drills move. i mean, whether they're moving quickly or slowly, it would still obviously hurt- but the faster the drill, the quicker the death, which would make it less painful. being drilled would be unbearably painful for the sole fact that she might be alive for a lot of the drilling until it reaches any vital organs. no matter what, it'd be very painful. official cause of death: hard to say for certain, but would most likely be from exsanguination... y'know, from her body being split in half by a giant drill.

kugie (kanna's sister): my friend and i were FLOORED when we looked into kugie's death. in the game, i don't think we get a canonical answer specifically as to how she dies, but in the manga, we do. kugie and kanna have the same first trial as joe and sara, but they don't succeed. in it, kugie's bed literally snaps and essentially folds her in half. in the image from the manga, we can see blood flying out from the bed (implying it happened very quickly, because if it were slow, the blood would instead drip and flow), and kugie's hand sticking out between the two slabs of the bed. i think this death is the most painful out of the entire "YOWZA!" category because kugie was probably alive and in immense pain for at least a few seconds or even minutes after the bed snapped. if i had to speculate official cause(s) of death:

i would guess her lumbar vertebrae (basically the bottom discs of the spine) and spinal cord snapped, cutting off sensation and sending her into shock.

if she was folded in half, her legs would have quickly shot up, meaning her torso was likely unnaturally slammed into by both them and the bed, and sustained massive trauma. this would cause internal hemorrhaging and damage to her organs.

the blood spurting out of the bed was likely from her head. i'm a teenage girl, likely the same height or around the same height as kugie, and when i bend in half, my face is level with my knees. knowing this, her knees probably slammed into her face and broke her skull, causing a TBI.

the combination of all of that would have first caused terrible pain for, like i said, at least a few seconds or minutes- we don't see how extensive the damage really was, so i can't say for certain... but yeah.

aughhh (painful):

joe: joe's death is really interesting to think about, because upon first glance, you might think it's one of the most painful- but there are a few things i considered with him. his death is a result of wrigglers draining the blood out of his body. because we don't know how large the wrigglers are, i can't say how painful it would be when they enter his body- but i'd have to guess they're on the smaller side, like little tubes, because if they were big, they would have difficulty sucking out his blood due to how small blood vessels are. it would hurt horribly to have the wrigglers enter his body and drain the blood. we don't know if they moved around through his blood vessels- if they did, that would definitely exacerbate the pain- or if it was more just like getting blood drawn. but what i considered with him, the thing that makes his death less painful than the others, is the fact that he would probably pass out long before he's even fully dead. the amount of blood he's losing at such a rapid pace would first make him dizzy and disoriented before he just... passes out. his entire body would start shutting down very quickly and he wouldn't even be awake for it. his body would give up on transporting blood to the extremities and non-vital organs and shift only to transporting what little blood it can to keep vital organs running. when that blood runs out, the heart will stop being able to pump enough blood throughout the body and to the brain, and joe would actually be dead. so... yeah. official cause of death: hypovolemic shock resulting in organ failure.

shin: shin dies after being fatally injured by the death game's security system. while it's unclear exactly how the security system killed him, i believe he was stabbed/impaled somehow. there are a few questions regarding exactly where he was stabbed, but i assume he was hit somewhere in the torso because he has blood coming out of his mouth. if you don't know:

blood coming out of the mouth can be a result of haematemesis (vomiting up blood), which is where blood wells up in the stomach/digestive tract due to trauma in that area

it can also be a result of haemoptosis (coughing up blood), which results from being stabbed in the lungs/trachea due to trauma in that area

my guess is he was stabbed in the stomach, because if he were stabbed in the lungs, he'd be coughing and frothing at the mouth struggling to breathe. if i'm remembering correctly, he's also shown to be clutching his abdomen after turning on the joe AI, so... my money is definitely in the stomach.

which, you guessed it, would hurt. a lot. and there's no workaround. he's strong enough to drag himself to the rubble room and turn on an AI before dying. he would've been in blinding pain that entire time before dying.

official cause of death: exsanguination.

reko: reko technically has three canonical deaths, which made her hard to rank. i'll cover them all.

strangulation (hanging by collar): being hung is painful, but i think people underestimate how terrifying it is too. reko would have been terrified and in immense pain for a few minutes before dying. everything in her neck would be getting crushed and pressed on by the collar thanks to gravity. overall... awful death. official cause of death: cerebral hypoxia due to strangulation.

stabbed: same as what i said for shin. terrible pain for however long until she ultimately bleeds out. official cause of death: exsanguination.

fake-reko falling headfirst onto a spike: this one's... interesting! mainly because i think she would actually just be dead instantly. if the spike pierces her brain, she won't even really have time to process "ow!" before just. being dead. official cause of death: severe TBI resulting in death.

owie (painful, but not as painful as others):

q-taro: q-taro is stabbed in the back by mai and slowly bleeds to death over the course of the chapter. the reason i put him so low is because he would definitely be in some pain, but i don't think mai stabbed him very well (no offense girl). he's able to walk around, talk, and do stuff with the others after being stabbed, at least for a little while. it's difficult for me to pinpoint what exactly killed him because of this. i'd imagine his body began repairing the stab wound in his back, but ultimately, blood loss and the disruption to everything surrounding his spine (because mai stabs him in the back) is probably what killed him. depending on how deep mai's knife was, the blade may have even pierced or grazed internal organs such as q-taro's heart or a lung. his body probably put most of its focus on keeping his internal organs running whilst simultaneously trying to repair them, which tired him out over the course of the chapter, before it ultimately couldn't keep up with the amount of blood being lost. a hasty bandaging job using an office first-aid kit is not ideal for stab wounds.

*edit: this person corrected me regarding q-taro's death! i still think the severity of his injury could have killed him before the coffin cremation system actually killed him, plus the information is interesting, so i'm keeping it. but technically, being burned alive is actually what killed him. ouch.

official cause of death: exsanguination OR immolation.

kai: kai's death is kind of up in the air in terms of the specifics, but we know he kills himself during the first main game by cutting his arms. in order for this to kill him, and for him to have bled out as fast as he did, he likely cut his axillary and/or brachial artery. your brachial artery runs down the front of your bicep and is an extension of your axillary artery, which is in your upper arm/armpit. if kai cut deeply into both his brachial arteries, and/or his axillary arteries, he would bleed to death very quickly. it would be really painful, but i think adrenaline and the probability he'd pass out immediately would certainly be on his side here, making it at least a little less painful. either way, he dies quite fast, so. official cause of death: exsanguination.

uncertain (i'm not sure!):

this category is for the characters who have one or more variables that make it difficult or impossible to determine how painful their death was.

kanna: first of all, the way kanna dies is impossible in real life. lets just get that out of the way. you cannot have flowers sprout out of your body. that immediately makes it impossible to tell how painful it would be for her.

if i were to suspend my disbelief for this, however, here's what i have to say about it:

safalin says kanna is numb during her death, which would instantly give her a pain rating of zero. kanna is screaming during her death, but given what safalin says, that doesn't necessarily prove she's in pain. she could just be screaming out of fear.

if she weren't numb, yeah, she would be in a lot of pain. flowers and vines growing out of your body, poking out of your skin, running through your insides- that would hurt insanely bad.

but the fact that:

this death isn't possible in real life

kanna is presumably numb during her death

we don't specifically know how the seeds are working/moving inside her body

kind of made it impossible to rank her.

if i had to guess a cause of death, i'd guess severe disruption by the vines to her internal organs and processes is what ultimately killed her.

hayasaka: hayasaka's head is presumably cut off by a swinging axe. there are two reasons we put him in 'uncertain'; we don't know how sharp the blade of the axe is, and we don't know the velocity it's swinging at.

if the blade is swinging slowly and is very dull, it would take a few swings to fully cut off hayasaka's head, which would make it incredibly painful.

but if the blade is swinging very quickly and is super sharp, his death would be instantaneous, making it essentially painless.

so it's difficult to say, but either way:

official cause of death: decapitation.

ranmaru: ranmaru's death is in 'uncertain' because we

don't know exactly how that happened to his stomach

hear him talk about how he's numb to it

don't know how long he's been sitting there

i imagine he was in some pain and just putting up a front, but we just don't know for sure. and like i just said, we don't know what specifically killed him or how. we just see a wound in his stomach.

probable cause of death: exsanguination/hemorrhaging.

anzu: anzu's was between 'uncertain' and 'so quick.' we see spikes piercing her body, but the angle makes it difficult to tell exactly where they pierce, or how sharp they are, etc. if the spikes didn't hit her face/brain, she probably felt intense pain for some time from the neck-down before rapidly bleeding to death. if the spikes got her head, she'd die instantly. so.

probable cause of death: exsanguination? TBI? damage to internal organs/processes?

ranger: according to ranger's wiki, his human form was stabbed by an assassin. not nearly enough information to rank him with certainty.

cause of death: stabbed?

so quick (too fast to be painful):

both mai and alice's deaths were so fast, they fell into this category.

mai: mai shoots herself in the head. her death would have been immediate and painless since she shot herself in the brain.

official cause of death: fatal TBI.

alice: alice's abdomen explodes. if that happens, you're probably going to feel a very brief flash of pain before immediately dying, because the damage would be so extensive (shrapnel exploded his stomach, but there was undoubtedly collateral damage to his heart, lungs, and other organs around there). he would have been in shock if he did somehow manage to survive for a few more seconds. pain would be minimal or nonexistent in my opinion due to the sheer severity of the injury. and in terms of him being hung in chapter 3, it's the same as reko.

official cause of death: shock resulting from traumatic abdominal injury.

thats it!

if you for god knows what reason read all this, thank you! i'm honestly only posting it kind of for myself and my friend to look back on if i ever want to think about it again, but maybe someone will find it interesting.

questions, comments, concerns (of which i'm sure there are many)- i'm an open book. i'm not a professional by any means, but i am insane. bye!

#your turn to die spoilers #yttd analysis #your turn to die #yttd #kime ga shine #nao egokoro #naomichi kurumada #kazumi mishima #joe tazuna #reko yabusame #kai satou #shin tsukimi #sou hiyori #q taro burgerberg #kanna kizuchi #ranmaru kageyama #alice yabusame #live laugh anatomy

[firewalkzwit]

submission // hobie brown x reader (one-shot)

reader is a messy rockstars gf vibe groupie that goes to see hobie's band and catches a ride with them hihi :> also in this story hobie lives in a musty apartment instead of his boat just for the 70s punk appeal

warnings: 18+, everyone in this fic is gross, blood and violence, mentions of drugs, smut, hints of dom reader??

word count: 1.9k

AO3

Pushing and tackling your way into the front row was something you had learnt to do as an experienced band follower. Nothing gave you more rush than finally reaching the artists by inches, merely separed by the height of the stage. You were a sucker for the dopamine rush whenever they would crouch and offer their microphones so you could sing with them, or when they would gift you a smile or a wink.

It was one of those days, your friends had invited you to see an emergent band playing downtown, in a nasty cramped pub just like you liked it, as the best and noisiest bands always came from those.

Their performance was loud, chaotic and frenzic, the pogoing pushing you and your friends in and out of different circles and strategically taking advantage of the agitation, you pushed and jumped your way to the front row.

You'd watch perplexed as you yelled incomprehended words trying to follow their choruses, hyped holding your hand up in frantic gestures. Your eye makeup had smudged all around your face, and the sweat glistened on your forehead as the lights illuminated you.

Despite the mess in your face, you couldn't care less, your focus nailed on the piercing gaze of one of the members. Your eyes had paced around the band as if picking an objective, they were all pretty fit as your friends would describe them, motivated to make your way backstage or catch a ride from the crew.

His fingers swiftly pressed and slid on the guitar's chords syncing their movement in inconsistent coordination. His head would ocasionally tilt down to look at his instrument, and whenever he'd look up, his gaze would point over to you.

Neglecting his guitar and falling out of tune, he distracted himself gifting her a wink and sticking his tongue out at her. The band would often insult and provoke the audience, jumping and name-calling, exhacerbating the agitation in the crowd. The public was naturally growing violent, pogo was agitating further and people were tossing and breaking things. A particularly upset individual triggered by the guitarist's slowed pace aimed a smashed bottle at him, hitting hard against his face.

He snarled a muffled curse as he laughed erratically, wobbling in his place clearly under the influence. Blood gushed down his cut lip and nose, to which he'd spit and rub his face on his shoulder, smearing the gory scene on his face.

He'd play faster and would often fall out of tune, just to spite the growing anger in the audience. You on the other hand thought the show to be incredibly amusing. The agitation and adrenaline inducing rise in conflict and the music morphing into sheer noise as you observed from both perspectives in the front row enlivened you.

His blood dripped drawing a trail down his sharp chin and through his neck, drops splattering the stage and his limbs whenever he'd shake his head. Although bloody, sweaty and on drugs, to you he could not possibly look more attractive, and he had long noticed you staring, gifting you a smile with red teeth as the blood filtered into his mouth.

Once the show was done, you got dragged out by your friends before you could do anything to try making it backstage. The police were likely to soon show up given the disturbances and attacks, but as you walked away, a strange arm wrapped around your shoulder and pressed you tightly against an unknown torso.

To your surprise, one of the band members was holding you and one of your friends on each of his sides, looking back and forth between you and her with a grin.

"You ladies need a ride? Where are you from?"

Being honest, from around. Responding to your objectives, from out of town. You exchanged looks of conviction with your friend before lying.

"We're from out of town." Your friend responded with a grin.

"Ah I see, 'got a place to stay? We got plenty of room to accomodate you girls if you fancy a place yea?"

And before you could even catch a taxi back home, you and your friends were in the back of a black van carried between instruments and cramped against other band members. They would chat small talk lively with your friends, but you remained quiet, exchanging looks with the bleeding gutiarrist who grazed his hand over his bloody nose as it kept spurting down.

He smiled, and asked for your name in a deep voice with a cockney accent, before continuing to silently wipe his nose and resting his blood-stained hand on his thigh, legs spread occupying precious space as he leaned against the surface of the van.

Making a sudden stop, the band members hopped down from the vehicle agitating eachother to get down as the driver scolded them off. Your friends looked back at you and waved as they were guided across the street with the rest of the band, leaving you and the guitarist completely alone in a dark street.

He stared at you for a long second, seemingly zoned out before his bloody hand gripped your wrist, taking you into his apartment in silence. You walked behind him, dusty untied boots stomping as you struggled to clumsily follow his pace. His trembly hand erratically unlocked the door before letting her in to a messy scene.

He kicked cans and trash out of the way and crouched to clear up the mattress on the floor, apologizing for the mess you couldn't care less about. As he stood back up, he turned to find you shockinlgy close to him, your warm hands sliding underneath his tee and caressing his bare torso.

Goosebumps rushed up his arms without you noticing, indecisively wrapping them around your waist to pull you closer, hips colliding against his spinky belts and his groin. Your thumb traced down his cheekbone before pulling him in for a kiss, the iron smell and salty taste of his drying blood on your lips inviting you to clean him up with your damp kisses.

Your heated bodies followed eachother lumbering towards the mattress, as he fell on his butt with your thighs wrapping around his hips, sitting on his lap. He pulled out from his pocket a capsule with pills, popping one into his mouth.

As his hand offered you one, you looked around and at who was in front of you, realizing as anecdotic the situation would be for the future, you couldn't do this as sober as you were. He placed the pill on his tongue before pulling you in for another kiss, the pill wobbling in and out of eachother's mouths before you swallowed it.

You quickly noticed his inside lip also had a cut and often bled inside his mouth, mixing with your saliva as your tongue tangled with his in an uncoordinated make out session, his lip ring pressing against your lips everytime you kissed and sucked.

As you made out, you rocked your hips slightly on his lap, feeling him grow under you in excitement as you provoked him with your graze.

"Stand up." You whispered into his ear as your hand caressed his face, his kisses softly staining you with blood on your cheek and neck. He questioned nothing, getting up as he held your hips, looking at you up and down with temptation.

You bent down on your knees as you released his tight pants from his belts and gifting him a smirk as you unbuttoned and pulled down the zipper with a tempting slow pace. His hands fidgetted on their place and his gaze switched between you and his surroundings; he was nervous.

"You've ever done this before?" You interrogated with intrigue.

"Do what?"

"You know..." Your hands holding his hips traced down to his pelvic area, stroking his cock underneath the boxers. He gasped slightly as he twitched, you rapidly caught on to what you were handling.

"Oh my God.. You're a virign." You teased with a smirk, to which he chuckled lightly as a grin drew on the side of his face awkwardly. You were obviously more experienced than he was, contrary to what you would expect given the musicians you had slept with before were usually very gifted in the art of fucking.

Contrary from turning you off, it flattered you to be the first to him, knowing you'd signify an important stage of his life. Pulling his boxers down to reveal his hard cock pulsating in desire, you smiled in temptation. Although an inexperienced virgin, he was still hungry for you.

Your lips wrapped around his fat dick, the sheer contact of your warm mouth against his member making him sigh off a muffled moan. He tried to keep to himself the noises he wanted to make as he felt the pleasure of your damp mouth suck on him, gripping his hips.

His body twitched, and eventually he stopped trying to contain his moans, huffing in satisfaction. Suddenly and to his surprise, you stopped. Getting up, you begun to pull your shorts down and rid yourself from your boots, pulling him down to you and inviting his hands to free your chest from your tight top.

As he helped you naked, revealing your breasts, you wrapped your arm around his neck as you layed down with him on top, heated kissing as your other hand accomodated his salivated cock into your wet pussy.

The first feeling of your tightness tightly wrap around his dick sent him into a spiral, his hands gripping her hair instinctively in a rush of excitement. He felt so good, and the lewd noise that came out of your mouth when he entered you caused him a frenzy. He pulled in and out slowly and trying to get ahold of the rhythm, speeding up progressively as your cunt stretched to fit him.

"Fuck-" He murmured under his breath, feeling the warmth of your breath right under his ear. He ocasionally leaned to lower his head and kiss your neck, twitching as he felt he was about to come.

He moaned progressively louder, trying to ram you as best as he could to please you, your thighs wrapped around his waist. Before he could dump his load in you, your legs let go of him and you pulled away, his cock sliding out of you as he incorporated himself in confusion.

"Not in me." You sat up and pushed him up, himself kneeling up to receive your mouth again. This time was only faster than the first one, quickly re-setting the climax that allowed him to finally cum. His warm sticky load filling your mouth.

As you backed up and got up to spit, he rested on the bed naked as he watched your figure walk into the small bathroom. It was his very first time, and although guided completely by you, his experience had been orgasmic, pleasured by the range of balmy sensations experienced through the different parts of your body.

As he watched you approach and sit beside him, he leaned his head on your shoulder as his arm rested on your torso, feeling you grab his hand and rest it on your chest.

"You think you'll write a song about me? This being your first shag and all..." You teased as his hand massaged the fullness of your breast.

"I just might."

i’d like to believe hobie wrote a song like submission after his experience w y/n

#across the spiderverse #atsv #atsv fic #atsv fanfiction #spiderman across the spiderverse #spiderpunk #spiderpunk spiderverse #spider punk #spiderpunk x reader #spiderpunk x y/n #spiderpunk x you #hobie brown #hobie spiderverse #hobie brown atsv #hobie brown x reader #hobie brown x y/n #hobie brown x you #hobie brown smut

[maybebitterxox]

CALLING ALL GENLOSER FAN ARTISTS!

TW // Descriptions of gore

This whole concept centres around a genloss AU, one that’s not too far from canon but is just a little bit more disturbing.

We know that, at least with Ranboo, Sneeg and Charlie, they’re controlled by various headwear; Ranboo his mask, Charlie his headphones in Episode 3 and Sneeg his hat. With Ranboo and Charlie, it’s made clear that taking it off is what regains the consciousness of the person; however, Ranboo is warned by Hetch that if he tries to take his mask off prematurely, his “whole face comes off with it”.

(We know this doesn’t apply with Charlie or Sneeg as their headpieces are removed easily, and Sneeg’s whole hat thing is just a big exception to everything, but sssshhh just pretend. As I said, this is based on an AU).

Now, Hetch was likely saying that just to convince him not to try to take the mask off. But what if he had been serious? Consider an AU where the mask is literally surgically attached to Ranboo’s face, and all the other headpieces being used to control other cast members are exactly the same, making it incredibly difficult, or even deadly, to remove them.

Now consider a group of frantic people, afraid, panicked and angry, who are willing to harm themselves to hellish extents by removing their headset objects to regain control. Consider one person on the carousel breaking free of the control and ripping masks, earpieces or hats off of the rest of the cast in a panicked state in an attempt to save them too, or multiple people working together to remove controlling devices from another cast member who cannot do it themselves.

Thus is born a gory fanart idea of the characters having tried to rip away the thing keeping them under control, or of another character having done it for them. Here’s kind of how I imagine it would look like:

Earpieces: This is one that will work with any character, because if you look in the episodes, you will see all of them wearing obvious earpieces for communication purposes (Ranboo talked about how there was no real way to hide these earpieces, much like the cameramen in episode 2 and 3, so they’re made to seem intentional and to fit in with the storyline. So yes, they’re canon). To get something attached to the ear off wouldn’t be the worst; in fact, it would be mild in comparison to most of the other options here. Maybe ripping it out would just badly injure the ear and damage the skin, maybe the whole ear would have to come off depending on how it’s been attached (which is plausible, ears are surprisingly easy to rip off). So you could really draw any of the characters like this, with a bloody, mangled ear and clutching the remains of the earpiece in their hand (or just the whole ear itself).

Regular face mask: Ranboo, the Ghouls and Jerma (the Puzzler) all wear a mask over the lower half of their face. The Puzzler’s is technically prosthetics, but let’s assume it somehow acts in the same manner. Skin would obviously be ripped away and maybe even flesh, which could give them a half zombie-esque look with holes that expose their teeth and gums. Very grim to picture but also cool. And in Ranboo’s case, maybe he would have to cut the wires out from his neck as they could be attached there too, or down his back.

Rat Face Mask: A good three quarters of their face skinned and ripped away. Their eyes and mouth/general lower face area would be fine, but the rest… ouch. Also a zombie-esq look like the regular face mask, but more on the upper half of the face.

Showfall Media Mask: Yeahhh the employees get the worst deal out of this. Their entire face would be basically torn apart, but instead of blood, consider wires poking out of the rips in the flesh, or maybe even out of the eye sockets. I imagine you would see this after one of the cast would try to pull the mask off of an employee they encounter.

Hats: Okay, this one set up to look pretty stupid, as you would immediately imagine it taking all the hair off the top of their head, which would look ridiculous. But rather imagine wires maybe being threaded into the skull through the hat; maybe in a sewn on kind of way, maybe just with just multiple drilled holes in the head that the wires run down through. Wires would be trailing out of the head once the hat has been removed, or you would see them stitched into the skin under the hair. Blood would be soaking their hair and face, which would be pale because of the blood loss. Niki, Sneeg and Vinny apply here.

Glasses: Ethan and Charlie both have glasses, which are an easy deal, like the earpieces except better. Just ripping off skin/flesh where the glasses are attached, so the bridge of your nose and the side of your face. Painful, but won’t affect any of your necessary reflexes/senses such as hearing, sight or vision, and won’t kill you.

Headphones: As I mentioned earlier, Charlie’s headphones are removed without injury in episode 3, but ssshhh and just imagine. I would think that they would probably have wires connecting into his ears, so after they were taken off there would be loose wires poking from the ears and a lot of blood coming with it. Also probably a complete loss of hearing accompanying it, even though you can’t exactly draw that. That or both of the ears have to go.

Horns: Charlie also has his horns as The Spirit in Episode 1. This all depends on how you’d imagine them being attached to him; if you’re thinking like just fake horns on a simple band (like the actual prop used), then it would be a similar deal to the hat with the wires running into the skull along the band, most likely in a sewn style. If you like the idea more of two separate horns fully attached to his head, then just imagine they were stitched there and had to be pulled off. Yikes, poor Charlie.

You can also do combos. If a character has an earpiece and a hat, draw them as though they needed to rip both of these items off!

This is just a concept I came up with that I think would be really cool to see. No credit needed for the idea if you do take inspo from this, but do tag me in art as I love to see it!!

Also, just a little specific idea I have related to this is either Charlie in episode 3, Sneeg in episode 1 or just the carousel crew from episode 2 trying to remove Ranboo’s mask, maybe even just out of curiosity or ignorance, to horrible results. Very disturbing, but a good prompt for both fanartists and even fic writers I think

#gen loss #genloss #generation loss #generation loss concept #generation loss fanart #genloss au #generation loss au #gl!ranboo #gl!jerma #gl!niki #gl!charlie #gl!valkyrae #gl!austin #gl!ethan #gl!sneegsnag #gl!sykkuno #gl!vinny #gl!ghouls #concept

[dyrewrites]

Find the Word Tag

Wherein @aziz-reads comes after me, specifically, with these word choices...

I'm tagging @rmgrey-author @illarian-rambling and @writingrosesonneptune

Your words are: Curl, Tap, Fall and Whisper

My words are: Yearn, Few, Tense, and Bounce

Yearn (tw: reference of child trafficking)

She laughed, at him, at me, but Lucient removed his mask and smiled. Wide and sharp he smiled at me before turning on her and, as I left the room, I was treated to the sounds of her screams. Now, I understand that those reading this tale might wish to know just how she died. After all I shared of her you may yearn for all the gory details. And that is a fair want, for who in that situation was the monster; the one renting a child out to horny aristocrats, or the one come to bite out her throat for it? But I didn’t see her death, and so I cannot relay it. Her life, deserving as it was, did not meet with my teeth that night. Her last breath was Lucient’s to take and, while I can say now that all the rest were his too, in the aftermath of those memories...it felt shared. I yearned to see each and every face that tormented him bloodied and screaming. I hungered for the taste of their life, their ragged, choking breaths dying on my tongue.

Few

“You certain, sogno mio?” the words earned another swoon before I could finish, and all my concern for why he was in that tub in the first place melted as I did, “I took so much...you could use a bite back.” “Mm, after,” he leaned forward, as much as the small tub allowed, welcoming the sponge I set on him and sighed at its touch, “we have a few days voyage still and I would test this new heat of yours as often as I am able before we arrive...” And while that definitely appealed, I wondered, “If all we consume is blood, and we can feed from one another—” “We can’t,” he cut, “not for long, or we will grow ill and become stiff as the corpses we are often compared to.”

Tense

So it is I you worry of? No eyes bothered us, none followed our closeness—and he held me so very close—but I noticed theirs. Men and women were partnered and attached to whomever they pleased, giggling loud and proud, there were even groups so closely entwined there could be no guess as to their intentions or relationship. The freedom of it sang to me, in a heady rhythm through the throng of them, and I couldn’t help the smile or the arm I wrapped around my own partner. He gasped at my tighter hold but leaned into it and I hated the cat face he wore for depriving me of his smile. Yes, treasure, he continued, you are in danger so long as we’re here. But we cannot die, I reminded with playful hope of a laugh, or some ease in his tense muscles. I earned a chuckle, tight and short, there are worse things. Just keep close and try not to talk to anyone without me near.

->under the cut is bloody and naughty, you have been warned<-

Bounce

With my gasped plea he swooned, squeezing his legs tighter around me, aiding the drop of his hips. And I met him in it, in the rougher, harder rhythm he took, rising to do it again and again, our moans shared as he offered his neck, “Take it, take me and be mine.” I needed no explanation for what he meant, no guidance, my lips worked without it. My teeth, sharpened then, longer than any man’s should be, sunk so easily into his skin, into the veins beneath. And that salt-sweet blood bubbled through tooth and gum and flooded my mouth, coating my tongue. Salacious the drip of it down my throat, the squirm of it through my veins that I moaned with more than the rhythm of his bounce, more than his nails in my shoulder, I ached and all but screamed into his neck with what filled me. “Yes,” He moaned through my draw of him, through my rougher thrusts into him as I gripped his back and the back of his head, aching to force more of him into me—more of me into him. “That’s it, treasure,” he whispered, voice weak, “take all of me…”

#writeblr #tag games #find the word tag #before deluca #i had two options for bounce and they were both part of sex scenes so...i apologize for nothing

[acomputeryguy]

Some horror references I picked up in the DHMIS TV series for those interested.

The framing and setting of the dinner scene in Family is reminiscent of this iconic scene in The Texas Chainsaw Massacre:

Since it was inspired by the same TCM scene, you can also draw this parallel with a similar sequence in the game Resident Evil 7.

In all three cases, the "protagonist" (Yellow Guy, Sally, Ethan) are roused from unconsciousness to find themselves bound and seated at the head of a table in anticipation of a meal with a dysfunctional, cannibalistic family.

The DHMIS episode is way more subtle about it, but what they do to Yellow Guy coupled with that weird home footage they have at a picnic where they ominously refer to "still" being hungry, I think the implication is definitely there that their mother is missing because they've done something to her...

Moving on, in the same episode, the dress the family make Yellow Guy wear is also very similar to the clothing style used by the cult in Midsommar:

The tapestry style of the episode title cards evokes Midsommar's aesthetic too.

This next one is going under a cut because it's a little gory. If you need a warning, it's a still from a scene in Hellraiser that can be compared with the coffin teacher's pretty much identical introduction.

Yep, the episode Death heavily mirrors this sequence in Hellraiser to introduce the coffin teacher, right down to the arms bursting out of the floorboards first:

That's all I've got so far. Please add more if you noticed anything I've missed!

#dhmis #don't hug me i'm scared #dhmis tv series #horror #theory

[kaythetrashcan]

Five nights at Freddy's movie review

Spoiler free version:

I finally saw the FNaF movie (since it premiered here like a week later) and I really wanna talk about it.

It was fun. It's its own story that has some similarities to the games but it works well on its own which is a good thing imo.

It has a good pacing and I didn't get bored.

There are bunch of hints and easter eggs in reference to the games, like a guy is wearing a Midnight Motorist sweater or a dinner is named after Sparky the Dog, a hoax in early fnaf days.

It has violence but it's not too gory, most stuff happens off screen or in shadows.

I also liked the final solution, it was well established.

I do have 2 complains

1. I think most relationships needed more establishment.

2. One character kinda confuses me on their motive.

Overall I'd give it 4/5, though you'll get more of it if you're a fnaf fan.

And some tips. Watch it at home if you can or pick a later date. The movie theater was crowded and I think it hindered my enjoyment.

When you see Sparky's diner, pay attention to the waiter. You won't regret it.

And wait till the end of all credits.

Spoiler review under the cut

I think Mike and Abby needed a bit more time together or thinking of each other to make the scene where Mike realizes how much she means to him more impactful.

I feel like we were told rather shown she likes her brother.

Same goes for relationship between her and aunt Jane. We're told once she doesn't like her but it isn't enough to make her turn on Mike believable to me.

And finally Vanessa and William. The ending implies she's scared of him but we never are shown why.

This segways nicely into my other complain. Vanessa feels inconsistent. She starts out as a friendly police officer who knows tad too much about Freddy's and is revealed to be William's daughter.

What I got is that she vaguely warns the guards of the danger but doesn't tell them what it is. When the animatronics are friendly, she just let's Mike and Abby vibe there but when she learns Mike used Abby to get info on Garrett's kidnapper (her dad) she forbids him from taking Abby there ever again. I'm guessing this is to protect her dad.

But I think we should have had a flashback to her childhood and maybe a scene where she's terrified of going to the pizzeria but the she sees a drawing of Mike and Abby a decides to help.

But enough about stuff I didn't like and more about stuff I loved, in no particular order.

Actors are all really great and they did a fantastic job.

The opening credits are in style of old arcade games, just like in fnaf 2. It genuinely made me so happy to see it.

The cupcake mauling a man was both hilarious and terrifying. You go Carl!

The animatronics are all really expressive, especially Chica, when she smuggly sends Carl the Cupcake to murder a man or when she winks at Mike. Or when Freddy was looking for Mike and tilting his head as if he were listening.

I almost missed MatPat's cameo. I was like: "I know that voice! But from where?" And then he said: "It's just a theory!" and I almost screamed.

I love that the kids have some significance. Even if they dont have names, they still have more to do than they ever did in the games.

Also, it's exactly 5 nights at Freddy's.

1 - Mike arrives and sees the Missing kids for the first time.

2 - Mike gets scratched by Foxy and Vannesa shows up to info dump.

3 - since Max is dead, Mike takes Abby there for the first time. He cleans up the place and Abby meets her friends.

4 - Mike takes Abby there a second time, Vannesa shows up, they build a Fort and Vannessa gets mad.

5 - Mike goes there alone and the movie finale happens.

I noticed the trailer was insanely misleading. Vanessa ends up in the hospital at the end of the movie, but the trailer made it seem it happens somewhere in the middle.

CoryXKenshin cameo was awesome.

The ending credits song is Five Nights at Freddy's by TLT. Woho!!!

And after all the credits roll, we get a few letters spelling out "FIND ME" like in SAVE HIM minigame from fnaf 2.

Theories:

I wonder what happened to Garrett. Is he fully dead? Or is he possessing something, like the puppet?

I hope the next movie is a prequel, maybe told retrospectively by Vanessa while some stuff happens in the present. And the third movie can be a sequel, maybe with older Abby being a guard herself.

#fnaf #five nights at freddy's #fnaf movie #fnaf movie review #michael schmidt #abby schmidt #william afton #vanessa shelly

[thegreatestheaver]

I like/follow/send asks from @diredre!

Haii welcome to my blog ^_^ more under the cut :33

HI!!!! I'm Hollow/Brook/V/Alice, hi/hive + it/they with permission ^_^ if youre wondering if you have such permissions then ask!!! :3!

I mostly reblog stuff here but I also ramble and rant and sometimes vent and the such ^_^ tagged as #hollowspeak U_U I SPAM SOMETIMES. THIS IS YOUR WARNING. I LOVE BEING ANNOYING ON THE INTERNET.

Once in a blue moon i'll post art under #my art :3

I am in a LOT of fandoms I reblog lots of stuff.. including but not limited to.. Homestuck, Murder Drones, Hollow Knight, Bug Fables: The Everlasting Sapling, Risk of Rain (1 and 2), Resident Evil, The Thing (1982), Amphibia, Hazbin Hotel, Helluva Boss, Pinky and Pepper Forever ... and much more :3

I keep things pretty tame here but occasionally might reblog something suggestive, bloody, gory, ect etc...I don't tag these things but if you'd like me to then lmk ^_^ or anything else for that matter!!! You know yourself better than I do U_U

#drawing insp, #insp, #midwest emo, #neon church, #divine right, and #starshow are other tags I will purrhaps use. theyre not important I just have em here so I don't forget them LOL

That's all 4 now ^_^ thanks 4 reading! Have a good rest of yer day and make sure to show urself the love u deserve! ^u^ even though we're far apart i feel you with me always .. <3!

#hollowspeak

[actofcannibalism]

MASTER POST

hello, my names are Fungus and Micosis, but you can call me "cannibal"

i am 19 years old autistic creator

English is my second laguage so sorry for any mistakes

this is my art blog

here you can ask me questions or requests

DNI

basic dni criteria (pedos, zoos, proshippers, racists, homo/transphobes and other scum)

tcest shippers

ION and CFMOT fans

people who support war in Ukraine or Palestine

AI "artists" and AI supporters

block me if you're any of those things

(the list will be expanded if needed)

CONTENT WARNING BEFORE YOU PROCEED:

i do draw gory, bloody arts with bright colors and sometimes tackle themes of drug use, and my art might be suggestive. ALL OF THE CHARACTERS IN THESE TYPES OF ARTS ARE AN ADULTS AND I DON'T ENCOURAGE THESE TYPES OF BEHAVIOR IRL

MY STUFF

BOWY THE MASCOT (OSC):

concept art| TBA

THE BEAST (OSC):

Bay, Kauna, Anzus, Fehu, Wynn concept art| Newspaper and Amorentia concept art| TBA

LUXECTUM (FURRY):

northern, southern and sea subspecies ref | Pinkbug siblings | Tetch family | Pinkbug-Tetch siblings | TBA

more stuff under cut

FANDOMS FOR WHICH I DO ARTS

TMNT (Rise and IDW contunuites)

object show community (mostly BFDI, II and Objectified comic)

MLP:FiM

Sonic the Hedgehog

Transformers

(i might do some arts for other communities)

i do commissions and accept donations via Boosty (in my situation i don't know any other way to do stuff)

for commissions you can contact me on discord: actofcannibalism

price list:

(the post will be updated if nesessery)

#masterpost #commissions open

[the-last-living-ocs]

A good while ago I remember making a post about this moment. It's genuinely one of my favourite scenes, not just for Accalyn specifically but in the whole of Luna, so it's nice to finally have a drawing for it!

Warnings for under the cut: blood, limb injury/mutilation

This is a huge turning point for Accalyn, and even though I'll probably never write this scene as anything other than a recounting/flashback, I know everything about it.

So it is with great joy that I have finally completed this drawing, which has been a WIP since July 2021.

"The Warriner Incident".

This is likely to be the darkest moment in Luna, being not only one of the most gory scenes but also the pinnacle of despair for both characters involved, and a haunting memory for them as well.

Gosh I had fun drawing this! It's nice to see Accalyn very much less pristine than I normally draw him.

#honestly could not stop listening to look what you made me do whilst drawing this #fun fact Warriner is the only person Accalyn will openly admit to genuinely hating with all his heart #they just represent absolutely everything he despises #accalyn #oc #luna #the warriner incident #warriner #tw: blood #tw: mutilation #tw: violence

[cowcat44artz]

Push momma!!!

Putting this under a cut. On the chance it gets flagged, its also up on my twitter. Warning: GRAPHIC THINGS BELOW THE CUT!!!! LOOK AT YOUR OWN RISK!!!!

Was originally tempted to have the little one(s) completely slit open Eren’s stomach, but that’s pretty gory (and really didn’t feel like drawing that shit lol)

The little monster(s) will use hardened teeth and claws to tear the way through a thin wall of flesh separating the birth canal and outside world. The wound will heal afterwards due to the regenerative powers of the titans.

Also drew some inspiration while listening to this:

https://www.youtube.com/watch?v=yEzGstCfs4k&ab_channel=AnimeOST

No one has permission to use this picture, DO NOT repost, trace, claim to be your own, edit/modify or de-face in any way!

#mpreg #mpreg birth #rogue titan #eren jaeger #attack on titan #eren #myart #cowcat44artz #Here Comes Baby