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neptuneh0rn · 1 year

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morning reflections | fire lord!zuko x reader

(gif not mine)

warnings: fluff, one kiss, tears (very brief), advisors being mean :(, fire lord zuko ;)

summary: trying to get zuko out of bed leads to unexpected confessions.

word count: 0.6k

A/N: this is a very short drabble that's been sitting in my drafts for way too long, so enjoy! English is not my first language, so I apologize for any grammar/ spelling mistakes. feedback is appreciated.

“Honey, let go, we have a meeting with your advisors in 30 minutes.”

In answer, Zuko grumbled, tightening his arms around your waist and drawing you closer to his bare chest.

“Zuko,” you exclaimed, giggling, “we have to be there! You’re the fire lord, remember?”

“Exactly. I'm the fire lord, therefore I get to decide whether or not I attend I meeting,” he replied smugly, “and right now I’m deciding that I want to stay in bed with my beautiful wife.”

“Flattery isn't going to work, Zu. Don’t even try. Besides, your advisors have finally agreed to allow me to attend this one. I can't be late. That would hardly provide for a favourable first impression."

You had not been looking at Zuko's face when you said that, but you felt him stiffen at your words. All sense of playfulness eviscerates from the air.

"What," Zuko enunciates.

You shift your gaze back to his face, perplexed at his tone. "What?"

"What do you mean, 'my advisors are finally letting you attend this one'?"

"Oh," you replied sheepishly, "just forget I said that."

Zuko gave you a pointed look and sat up straight, resting on the headboard of the massive bed. You followed suit, suddenly taking an obstinate interest in his warm hands, fiddling with his fingers. He took one of his hands from yours and raised your chin with his index finger, urging you to make eye contact with him.

"You want to inform me," Zuko spoke softly, "or should I ask the advisors myself?"

"It's nothing," you started, "it's only that… every time I ask if I can attend the meetings, your advisors refuse. They tell me that these are not affairs that concern me."

Zuko always thought you didn't join meetings simply because you weren't interested in these affairs. His visage distorted into one of rage, and you felt compelled to calm him down, fearful of what he would do to his advisors.

"But it's truly not a problem! It makes no difference to me, honey. As a result, it should not concern you." You ran your hand along the nape of his neck, tenderly running your fingers along the hairs resting there.

"Why didn't you tell me? I could've handled it," Zuko inquired, his voice concerned.

"What would it look like if I came to you with all of my problems? I need to show your advisors that I'm capable of being the fire lady you deserve; that the fire nation deserves," You muttered solemnly. Your head bowed low as if you were ashamed to admit this.

Zuko's heart ached at your confession. How long had you been feeling like this? It's been a year since Zuko took you as his betrothed, and it angered him to just find out now.

"Sweetheart," Zuko started, taking your hand and placing a kiss on your knuckles, "you don't need to prove anything to anyone. You are already the fire lady that I deserve and that the fire nation needs. Your presence and input in these meetings are valuable to me, and I want you there by my side. I should have made that clear to my advisors from the start."

You looked up, tears forming in your eyes, "Really?"

"Of course," Zuko replied, wiping away a tear with his thumb, "I'll speak to my advisors and make sure that they understand your importance in these meetings."

You leaned in, pressing your lips to his, revelling in the softness of his lips. Zuko deepened the kiss, his arms wrapping around you tightly. You felt relieved that you no longer had to hide your frustration and disappointment about being excluded from important meetings.

"Thank you, Zuko," you whispered, "you always know how to make everything better."

Zuko chuckled, holding you close, "That's what I'm here for, my love."

likes, comments, and reblogs are highly appreciated♡

#zuko x reader #zuko imagine #zuko x y/n #avatar the last airbender #atla x reader #atla zuko #fire lord zuko #zuko fluff #fire lord!zuko x reader #atla x you #atla x y/n #a:tla

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indigovigilance · 7 months

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A Nightingale Sang in 1941

This is my inaugural meta (yay!) Eventually I will learn how to add gifs and whatnot to make this more interesting but today, I give you a wall of text.

I need to give credit where credit is due to three existing metas that I’m drawing upon heavily here:

A speculative continuation of the 1941 story, which includes an almost-kiss while “A Nightingale Sang in Berkeley Square” plays on the gramophone,

A behavioral analysis of Aziraphale during the S2E6 finale (will find ref later if possible)

A meta-analysis of the way in which “coffee” is used as a symbolic equivalent for liberty and freedom of choice, a running theme of this show (will find ref later if possible)

I’m going to expand upon meta #2 and #3 and explain why I think there is are very compelling reasons to believe that #1 will be canonized.

At the end of S1E6, an instrumental version of “A Nightingale Sang in Berkeley Square” plays diegetically, but the lyrical version plays non-diegetically over the credits (we hear it but the protagonists don’t). So we the audience could plausibly say “that’s their song,” but as of the close of S1, we have no reason to believe that they know that it’s their song. Even Aziraphale’s S1E3 (1967) suggestion that they dine at the Ritz could be a reference that only he gets, or just a fancy restaurant suggestion.

So when I was watching S2E6 and Crowley said “no nightingales,” I was jarred. What does that even mean? We know it has something to do with dining at the Ritz, but what does it mean to them? The reference only works if they know it’s their song. But we’ve only ever seen them hear it together after the averted apocalypse; if this is the direct reference that Crowley is making, it leaves our 1967 reference contextless and twisting in the wind.

If we assume that there was a romantic story beat in 1941, wherein “A Nightingale Sang in Berkeley Square” (which, incidentally, was written in 1939 and saw the height of its popularity at the end of 1940, so timeline-wise it’s spot-on) became their song, then a lot of events get renewed interpretations through this lens, in a way that makes this story much more cohesive and the “no nightingales” comment even more soul-shattering than it already was.

Let’s presume that immediately after this became their song and just as they were discovering their romantic potential, they were forced back into hiding. Forever after, references to the song serve as a macro for “I’d like to pick up where we left off that night.”

The 1967 suggestion of “dining at the Ritz” now becomes a directly romantic suggestion. It also gives better context for “you go too fast for me.”

Actually going to the Ritz in 2019 is not simply a celebration or even a callback to 1967, it’s a callback to their almost-romance of 1941.

When Crowley says “no nightingales” in 2023, this isn’t to say “we’re not going to eat together at the Ritz anymore.” It’s saying that the romance that began that night, the precious, fragile romance, is over.

I’ll give you a moment to dry your eyes before we move on to metas #2 and #3.

In light that this is what has been going on - they know they want a romantic relationship but have gotten so used to hiding and denying it that they are more comfortable keeping the status quo static and quo-y then trying to achieve their ideal - a lot of S2 behavior can get a fresh view.

Crowley’s reaction to Nina isn’t a realization that he’s in love - he knew that already. You can only ask someone to run away with you so many times before you are forced to admit some things to yourself. No, he’s realizing that trying to hide it (which was justified by survival), hasn’t been working, but despite failing at being stealth nothing bad has happened. He’s realizing that it may finally be safe to show it.

Crowley’s confession, then, is not a revelation. It’s making the subtext text. He’s not telling Aziraphale anything he didn’t already know. He’s saying it now because he thinks he’s safe to do so. Pin in that.

Lots of people have lots of theories about Aziraphale’s motivations in the S2 finale, which can more or less be divided into 4 camps: the genuinely held belief, the coffee theory, the lie theory, and the mutual trick theory (some version of the body-switching at the end of S1). Let me start by saying that I love all the fans and all their theories and I find their analyses to be insightful. The genuinely held belief theory, while I believe it to be erroneous, has been incredibly conducive to so many wonderful conversations and I love being in a community that has those conversations. But I’m going to explain why I think the lie theory finds the most support in canon.

Re-watch the finale (when you feel like you can) from 35:18 to 36:19 and then from 40:45 to the end, paying very close attention to Aziraphale’s words and his eyes. Michael Sheen is telling us a LOT with his eyes, and in the back half of the finale scene, with pacing.

For 60 seconds of footage, this setup is doing a lot of work. If Neil Gaiman wasn’t doing enough to beat us over the head with how evil the Metatron is, that glare at Crowley at the end with the non-diegetic ominous horns should convey the message. But again, focusing on Aziraphale. He initially refuses to talk to the Metatron; he’s made his position quite clear. There is no hint of regret or wavering; this is not someone who’s aching to return to the fold. The Metatron ignores his refusal and functionally forces him to accept a “cup of coffee.” The coffee isn’t spiked, but it is a metaphor. It is symbolic of choice. The Metatron is going to force Aziraphale to make a choice. Meta #3 does a great job of exploring the idea that a choice between anything and death is never really a choice. Hang onto that thought.

Notice I had you start up again 3 seconds before “The Conversation.” That’s because it’s important to note where the Metatron is right now. He is across the street, staring straight in through those giant windows to where our protagonists are about to have The Conversation. He is watching.

When Aziraphale returns, Crowley begins his “let me talk” riff. Aziraphale ought to be interested in what Crowley has to say, since the preamble is pretty compelling. You’ll notice that Aziraphale quickly turns to the window and back, through which he (but not we) can see the Metatron standing there, watching them. Aziraphale is then doing his best to get Crowley to STFU without raising the suspicion of the Metatron, eventually having to cut him off.

Because unfortunately, Crowley’s entire impetus for speaking up now is that it’s safe to do so. Only Aziraphale knows that they are in very real danger (or at least, Crowley is, but I’ll come back to that).

You might take something from the fact that he’s shaking his head while talking about “incredibly good news,” and seems to self-censor his criticism of Metatron (or more specifically, he takes ownership of any criticism of the Metatron, censoring out Crowley’s role in that, with the emphasis on I in “I might have misjudged him”).

Notice in the flashback that he begins the conversation reasonably relaxed. The Metatron also says a series of things about him that not only are false, but everyone, including the Metatron and Crowley, know are false: Aziraphale is not a leader, he’s a defector; he’s not honest, he lies all the time, in fact this entire season revolved around his one huge lie of hiding Gabriel. Not only does the justification not make sense coming from Metatron, but it shouldn’t make sense that Aziraphale would accept these reasons and it shouldn’t make sense to Crowley either. So is Aziraphale including these details in his recounting to Crowley so that he will get suspicious and figure out the jig? Maybe. Let’s continue.

Immediately upon being offered the job of Supreme Archangel, Aziraphale says “but I don’t want to go back to Heaven.” This is direct evidence against the genuinely held belief theory. If returning to Heaven and making a difference was a genuine motivation, we would have gotten a different response at this moment. But then we get something more.

“Where would I get my coffee?”

This is a beautiful response for a number of reasons; coffee should be trivial compared to the opportunity to be a Supreme Archangel, so it serves to highlight just how little interest Aziraphale has in returning. Taken at face value, it’s the Aziraphale equivalent of “not even at gunpoint.” But remember that coffee is a metaphor for liberty in this universe and this season. So what Aziraphale just said, in the language of Neil Gaiman metaphors, is:

I don’t want to go back to Heaven, I would rather have free will.

What does the Metatron do next?

He brings up Crowley.

Watch Aziraphale’s eyes before and after the mention of Crowley. He goes from confused to eye-flicking panic in the space of two syllables. Aziraphale already understands that his “no” is not being accepted, and that bringing Crowley into it can only possibly serve as a threat.

So the coffee, the choice, is a false choice. No one ever orders death. The Metatron has forced Aziraphale into a situation that looks an awful lot like a choice (it comes in a blue cup, after all) but it isn’t.

We definitely have some reliable narrator problems here. I’m going to presume for purposes of analysis that these cut-outs are accurate but incomplete, and that a more explicit threat about what would happen to Crowley if Aziraphale did not return to Heaven was made.

If we assume that Aziraphale has been made aware of a threat and is trying to hide that from Crowley, the rest of this scene reads very differently. Aziraphale cannot say, “you are in danger but you will be safe if you swear your allegiance to Heaven” or “I have to go, no matter what, and the only way we can be together is if you come with me,” but nonetheless he now has to convince Crowley to do the one thing he ought to know Crowley definitely doesn’t want to do all through subtext. Which we’ve spent an entire season establishing that they can’t communicate well when they are allowed to use their words. Disastrously, this is not a magic trick that Aziraphale can make work when it counts. Their failure to practice good communication means that, right now, when it counts most, they are not going to pull it off.

We see that Aziraphale is very hopeful that Crowley will pick up on his cues and play along. Obviously, he doesn’t.

If the whole riff about Hell being bad guys and Heaven being the side of truth and light is taken as genuine, it discards a massive amount of character development that we’ve witnessed in Job, Edinburgh, etc. (again, to all the genuine belief subscribers, I think it’s a compelling argument but it simply doesn’t account for the evidence). So if it’s not genuine, why say it? Again, to alert Crowley that something is Off, because Crowley should know that Aziraphale doesn’t actually believe that. They saved humanity from Heaven and Hell. They hid Gabriel from Heaven and Hell. Crowley knows that Aziraphale knows that Heaven and Hell are just two sides of the same coin. Notice again that Aziraphale glances out the window while he’s talking up Heaven; he knows the Metatron is watching, he can’t not defend the position of Heaven. I think it’s also worth noting that Aziraphale forcefully glances and gestures off to Crowley’s left (away from the window) when talking about Hell, and then turns his head to Crowley’s right (towards the window) to try to get him to realize that a representative of Heaven is literally standing right over there, just look out the window please dumbass!

When Crowley is asking Aziraphale if he said no, and we see the back of Aziraphale’s head, again we can see him turn his head to glance out the window. This is also when he changes strategies, and admits that Heaven could use a little reform. Because now there’s a problem almost as big as getting caught, which is that he won’t be able to get Crowley to go with him.

Which unfortunately makes the next part of this so much more heartbreaking. Because when Crowley begins his speech about being a team, Aziraphale wants to hear it. He can’t bring himself to shut down Crowley again, even though it could get them both in massive trouble. Notice that he glances out the window again during this, and the look of panic on his face. He begins to shake his head when Crowley mentions that Heaven and Hell are toxic; this can be taken a lot of ways but I’ll argue for the interpretation that he’s trying to get Crowley to STFU and stop saying shit that could get him destroyed.

After Crowley puts on his sunglasses we are in the “back half” and Sheen is doing a lot with phrasing here, specifically pregnant pauses.

“Come with me… to Heaven!”

“We can be together… as angels!”

Based on the pacing decision I am thoroughly convinced that the first half of each of these statements is intended to be the message to Crowley and the second half is always a qualifying statement to satisfy the Metatron.

Unfortunately, these pregnant pauses are completely backfiring in their effect on Crowley. The sentiment gives him hope and the qualifying statement crushes it again immediately. He is being taken on a horrible emotional rollercoaster with these declarations which are only further amping up his instinct to run away.

The only truly genuine, unaldulterated statement I think we get from Aziraphale is

“I need you!”

When it becomes clear to Aziraphale that there’s been an irreparable breakdown of communication between them and the subtext is not getting across, he says:

“I don’t think you understand what I’m offering you.”

He means this literally. Crowley has not understood that Aziraphale is offering him protection from whatever threat the Metatron has made.

Which makes this part extra-devastating and also absolutely in keeping with a major running theme of this season.

“I understand. I think I understand a whole lot better than you do.”

Your understanding and my understanding are different understandings.

Crowley views the offer to return to Heaven through the lens of his trauma. He understands what life in Heaven would be like. But he doesn’t understand that Aziraphale is offering him protection.

But Aziraphale just heard Crowley say that he understood everything, and he’s still going to leave. There might be a little suspense of disbelief here to believe that Aziraphale really interpreted the statement this way, but we know that Aziraphale isn’t always the brightest battery-operated candle in the drawer. So under the assumption that Crowley did understand him and is still rejecting the offer, rejecting him—

“Well, then there’s nothing more to say.”

Please pay very close attention to Aziraphale’s body language for the next part. He’s active, agitated, turning side to side, arms swinging. This is a very fidgety angel.

“No nightingales.”

Aziraphale is now completely still. He’s feeling that feeling. You know it. The one where your entire body is getting sucked into the pit of your stomach. The aching paralysis.

This is their song, the one that began their romance in 1941, the secret code for all other attempts at flirtation. Crowley has walked out on him before, Aziraphale has been stubborn and obstinate before. But they always came back together, sometimes with an apology dance or other rituals that belonged solely to them.

But now the song is over.

By saying this, Crowley has broken up with Aziraphale. We can see in Aziraphale’s sudden transition from fidgety to paralysis that he has understood it this way.

Then he turns away from the window so that the Metatron won’t see him cry.

The kiss was heart-wrenching already. But we’re not done with this analysis.

During the kiss, Aziraphale has a choice to make between two very compelling bad choices. This is the Job dilemma. But worse.

If he doesn’t kiss Crowley back, he will let Crowley think that he doesn’t love him. He will have missed out on this (maybe/probably their first kiss?) and regret it forever.

If he does kiss Crowley back, in full view of the Metatron, they are in deep trouble.

He seems to do his best to split the difference. I would even go so far to say that the awkward arm waving is Aziraphale acting for the Metatron’s benefit, to try to portray that he doesn’t want this even though he absolutely does (just not like this). The anguish when they break the kiss is absolutely real, and the first thing he does is glance out the window. Through all this he has remained painfully aware of their spectator.

He wants to say I love you. He mouths it. He breathes it.

But the Metatron is watching.

He can’t tell Crowley I love you. So he has to say the only other thing that has always unequivocally meant “I love you” when he said it to Crowley. He has to hope that Crowley understands him now, even though he never has before.

Spoiler alert: Crowley doesn’t.

My forgiveness and your forgiveness are not the same forgiveness.

One more point against the genuine belief fans (I love you): if the offer to let Crowley back in is what changed his mind, then Crowley declining removes that incentive. Aziraphale should/would have consequently retreated to his last stated position of “I don’t want to go back to Heaven, where would I get my Crowley—I mean, coffee?” [post-publication nod to @theonevoice for a great little meta] It simply doesn’t hold up to scrutiny.

I think a lot of fans were already making these assumptions about the use of the nightingale song so this meta may not feel revelatory, however, it isn’t canon (yet), and I’m sure I’ll find company that agree that canonization of this connection would strengthen a lot of these story points, as evidenced by how it is already assumed by many fans.

If you made it to the end - omg thank you! Please leave a note and tell me your thoughts!

Bonus: somebody already made the song connection here

~~~

if you liked this, you may also like:

Book of Life and what it means for Crowley

The Erasure of Human!Metatron

Baraqiel and Azazel

~~~

Recommended related (lie theory) metas by other people:

making the subtext text by @theonevoice

Aziraphale's Decision Matrix by @yowlthinks

Nothing Lasts Forever: META by @phoen1xr0se

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physalian · 4 months

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Pacing your Story (Or, How to Avoid the "Suddenly...!")

Arguably *the* most important lesson all writers need to learn, even for those who don’t give a damn about themes and motifs and a moral soap box: How your story is paced, whether it’s a comic book, a children’s chapter book, a doorstopper, a mini series, a movie, or a full-length season of TV (old school style), pacing is everything.

Pacing determines how long the story *feels* regardless of how long it actually is. It can make a 2 hour movie feel like 90 mins or double the time you’re trapped in your seat.

There’s very little I can say about pacing that hasn’t been said before, but I’m here to condense all that’s out there into a less intimidating mouthful to chew.

So: What is pacing?

Pacing is how a story flows, how quickly or slowly the creator moves through and between scenes, how long they spend on setting, narration, conversation, arguments, internal monologues, fight scenes, journey scenes. It’s also how smoothly tone transitions throughout the story. A fantasy adventure jumping around sporadically between meandering boredom, high-octane combat, humor, grief, and romance is exhausting to read, no matter how much effort you put into your characters.

Anyone who says the following is wrong:

Good pacing is always fast/bad pacing is always slow

Pacing means you are 100% consistent throughout the entire story

It doesn’t matter as much so long as you have a compelling story/characters/lore/etc

Now let me explain why in conveniently numbered points:

1. Pacing is not about consistency, it’s about giving the right amount of time to the right pieces of your story

This is not intuitive and it takes a long time to learn. So let’s look at some examples:

Lord of the Rings: The movies trimmed a *lot* from the books that just weren’t adaptable to screen, namely all the tedious details and quite a bit of the worldbuilding that wasn’t critical to the journey of the Fellowship. That said, with some exceptions, the battles are as long as they need to be, along with every monologue, every battle speech. When Helm’s Deep is raging on, we cut away to Merry and Pippin with the Ents to let ourselves breathe, then dive right back in just before it gets boring.

The Hobbit Trilogy: The exact opposite from LotR, stretching one kids book into 3 massive films, stuffing it full of filler, meandering side quests, pointless exposition, drawing out battles and conflicts to silly extremes, then rushing through the actual desolation of Smaug for… some reason.

Die Hard (cause it’s the Holidays y’all!): The actiony-est of action movies with lots of fisticuffs and guns and explosions still leaves time for our hero to breathe, lick his wounds, and build a relationship with the cop on the ground. We constantly cut between the hero and the villains, all sharing the same radio frequency, constantly antsy about what they know and when they’ll find out the rest, and when they’ll discover the hero’s kryptonite.

2. Make every scene you write do at least two things at once

This is also tricky. Making every scene pull double duty should be left to after you’ve written the first draft, otherwise you’ll never write that first draft. Pulling double duty means that if you’re giving exposition, the scene should also reveal something about the character saying it. If you absolutely must write the boring trip from A to B, give some foreshadowing, some thoughtful insight from one of your characters, a little anecdote along the way.

Develop at least two of the following:

The plot

The backstory

The romance/friendships

The lore

The exposition

The setting

The goals of the cast

Doing this extremely well means your readers won’t have any idea you’re doing it until they go back and read it again. If you have two characters sitting and talking exposition at a table, and then those same two characters doing some important task with filler dialogue to break up the narrative… try combining those two scenes and see what happens.

**This is going to be incredibly difficult if you struggle with making your stories longer. I do not. I constantly need to compress my stories. **

3. Not every scene needs to be crucial to the plot, but every scene must say something

I distinguish plot from story like a square vs a rectangle. Plot is just a piece of the tale you want to tell, and some scenes exist just to be funny, or romantic, or mysterious, plot be damned.

What if you’re writing a character study with very little plot? How do you make sure your story isn’t too slow if 60% of the narrative is introspection?

Avoid repeating information the audience already has, unless a reminder is crucial to understanding the scene

This isn’t 1860 anymore. Every detail must serve a purpose. Keep character and setting descriptions down to absolute need-to-know and spread it out like icing on a cake – enough to coat, but not give you a mouthful of whipped sugar and zero cake.

Avoid describing generic daily routines, unless the existence of said routine is out of ordinary for the character, or will be rudely interrupted by chaos. No one cares about them brushing their teeth and doing their hair.

Make sure your characters move, but not too much. E.g. two characters sitting and talking – do humans just stare at each other with their arms lifeless and bodies utterly motionless during conversation? No? Then neither should your characters. Make them gesture, wave, frown, laugh, cross their legs, their arms, shift around to get comfortable, pound the table, roll their eyes, point, shrug, touch their face, their hair, wring their hands, pick at their nails, yawn, stretch, pout, sneer, smirk, click their tongue, clear their throat, sniff/sniffle, tap their fingers/drum, bounce their feet, doodle, fiddle with buttons or jewelry, scratch an itch, touch their weapons/gadgets/phones, check the time, get up and sit back down, move from chair to table top – the list goes on. Bonus points if these are tics that serve to develop your character, like a nervous fiddler, or if one moves a lot and the other doesn’t – what does that say about the both of them? This is where “show don’t tell” really comes into play.

4. Your entire work should not be paced exactly the same

Just like a paragraph should not be filled with sentences of all the same length and syntax. Some beats deserve more or less time than others. Unfortunately, this is unique to every single story and there is no one size fits all.

General guidelines are as follows:

Action scenes should have short paragraphs and lots of movement. Cut all setting details and descriptors, internal monologues, and the like, unless they service the scene.

Journey/travel scenes must pull double or even triple duty. There’s a reason very few movies are marketed as “single take” and those that are don’t waste time on stuff that doesn’t matter. See 1917.

Romantic scenes are entirely up to you. Make it a thousand words, make it ten thousand, but you must advance either the romantic tension, actual movement of the characters, conversation, or intimacy of the relationship.

Don’t let your conversations run wild. If they start to veer off course, stop, boil it down to its essentials, and cut the rest.

When transitioning between slow to faster pacing and back again, it’s also not one size fits all. Maybe it being jarring is the point – it’s as sudden for the characters as it is for the reader. With that said, try to keep the “suddenly”s to a minimum.

5. Pacing and tone go hand in hand

This means that, generally speaking, the tone of your scene changes with the speed of the narrative. As stated above, a jarring tonal shift usually brings with it a jarring pacing shift.

A character might get in a car crash while speeding away from an abusive relationship. A character who thinks they’re safe from a pursuer might be rudely and terrifyingly proven wrong. An exhausting chase might finally relent when sanctuary is found. A quiet dinner might quickly turn romantic with a look, or confession. Someone casually cleaning up might discover evidence of a lie, a theft, an intruder and begin to panic.

Whatever the case may be, a narrative that is all action all the time suffers from lack of meaningful character moments. A narrative that meanders through the character drama often forgets there is a plot they’re supposed to be following.

#writing advice #writing tips #pacing #writing tools

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raygirlramblings · 3 months

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I don’t know what compels me to draw things that are absolutely never going to happen. Maybe the fact that they won’t drives me to make them real.

Just experimenting with shading, lighting and negative space.

Dolph makes for an excellent night light watchman

#captain laserhawk #Ramon #Bullfrog #my arts

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redstarwriting · 10 months

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happy birthday

miles morales x reader

request?: yes

request: “I LOVEDDD THE HC’S OMG OMG WORK OF ART!!! i was wondering if you would write something expanding on getting miles’ doodles tatted as an adult!! i would love to read more abt it, it’s so cutee”

requested by: anon

word count: 2.2k

genre: fluff

Warnings: language, tattoos, mentions of tattoos and needles, Miles is so sweet it's sick

A/N: GLADLY!! i've been itching to get a new tattoo since the minute i got my first like three years ago and writing this just made me want to get another one so bad LMAO. i hope you enjoy!

also in case you were wondering what hcs anon is talking about, it's my pda/general affection hcs i wrote for hobie and miles! you can check it out here if you haven't already and feel compelled to :)

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“Miles! Baby, can you give me a tattoo?” you ask, and he smiles. This has become a common practice in your relationship. From the time y’all were kids in love to now, you would always ask him for a tattoo. Of course, he didn’t actually give you tattoos, he just drew on your arm. He’s mentioned you, and even urged you, to get a tattoo every now and again. Especially when he offered to design them, but you always say his temporary ones are more special than any other tattoo you could get. He isn’t upset about it. He genuinely loves drawing on you. “Of course, babe. Come here,” he says, motioning you over to him as he grabs his markers he has specifically for your “tattoos.” You go over to him, sitting between his legs and extending your arm. “Can you draw it right next to the uh… elbow pit?” you say, and he laughs. “Elbow pit?”

“Yeah, like the inside of my arm and not on the bicep part or the elbow pit part, but the forearm part by the elbow pit,” you explain, pointing to the area you’re talking about. He chuckles. “Elbow pit.”

“Well, what else would it be called?” you ask, smiling, and he grins, starting to doodle on your arm. “I’ll text and ask my mom what the scientific name for it is after I’m done here,” he says, and you lean your head back against his shoulder. “Oh, god, please don’t tell her I called it an elbow pit.”

“Oh, I’m totally telling her you called it that,” he teases, placing a quick peck on your lips before returning his attention to your arm. He draws a spiderweb, of course, but in the shape of a heart. He adds his Miles touch to it by making it look like the web was spraypainted, and having it pop with black and red. You don’t even look at the tattoo as he draws it, you just stare at his face. You love watching him when he does his art. You assume it’s similar to the way his face looks when he’s swinging around the city as Spider-Man. He’s in his element, laser-focused and yet has an ease about him that mesmerizes you. “Take a picture, it’ll last longer,” he says, smirking and turning his attention to you. You feel your face heat up but roll your eyes. “Can’t, arm’s a bit preoccupied.”

“You can get creative; I have an idea. Maybe use the one I’m not drawing on?”

“Don’t know what you’re talking about,” you say, and he shakes his head. “What do you think, amor?” he asks, and you look. You smile. “I love it, Miles. Thank you,” you say, kissing him on the cheek. He grins, wrapping his arms around your waist as you admire his art. “What time is it?” you ask, and he glances at his phone. “11:15. Why?”

“Ganke and I are gonna go get some lunch today.”

“Should I be worried?” Miles jokes. “No, dummy. We’re just talking about… something happening soon,” you say, and a sly smile spreads across Miles’ face. “How soon?”

“I’ve said too much,” you say, trying to get up. Unfortunately for you, your boyfriend is Spider-Man and can easily hold you in place. “Nuh uh, how soon is this something happening?” he looks at you with a shit-eating grin, and you roll your eyes. “Wouldn’t you like to know, spider boy?”

“I would. Is it, and this is just a wild guess… something happening tomorrow? A special something happening on a very special day?” he guesses, and you sigh. “Don’t tell Ganke you found out…”

“I knew it!”

“We’re supposed to be planning your birthday party, yes. For tomorrow. On your birthday. Are you happy you spoiled it for yourself now?” you feign annoyance, and he laughs. “I am, actually. Now I know to look good for you tomorrow.” You roll your eyes. “You always look nice, Miles.”

“Only for you,” he grins at you, turning your face to look at him. The two of you share a kiss before it’s interrupted by his police scanner going off. He frowns slightly. “It’s okay, Miles. I gotta go soon anyways,” you give him a quick peck for squeezing out of his arms. He sighs. “Fine, fine. Guess I’ll go save the city. Be the best thing that ever happened to New York and all that.”

“My hero,” you joke, and he grins. “You know it,” he says, slipping his mask on and sliding his everyday clothes off. “I’ll see you later, Miles. Stay safe. Love you.”

“You stay safe, too. Love you more.” He leaps out of the window, and you make sure he’s gone before you call Ganke. “Yo, what’s up?”

“You gotta plan Miles’ birthday party tomorrow.”

“Woah, what?” You sigh. “I already have the roof of our building booked out for it, I ordered the cake already and will pick it up tomorrow and have all the decorations. You just need to invite everyone, okay?”

“You mean I have to reach out to people in different dimensions, tell them to clear their schedules for tomorrow, and hope for the best?” Ganke asks, and you hum into the phone. “Yep! Thanks, Ganke! Also, if Miles asks, we went and got lunch, okay?”

“And where are you really going?”

“I’m getting a tattoo to surprise him for his birthday tomorrow,” you say, grabbing your keys and putting some money in your pocket. You put Ganke on speaker, sending a quick text to Hobie. “You need to stop using me as a cover-up, (Y/n).”

“Who else am I supposed to use? Gwen?” you say, and Ganke sighs. “I mean, yeah, you know she would be down to help you with something like this.”

“Ganke she is so bad at keeping secrets like that, and you know it,” you say, admiring the art on your arm again. “Then use Hobie.”

“Wait that’s actually a good idea,” you say, “Especially since he’s the one giving me the tattoo.”

“AND YOU STILL USED ME?!”

“I PANICKED! He was asking questions! Just, listen, invite as many people as you can think of, alright? Please, and thank you.”

“Fine. Go get inked or whatever they say,” Ganke says. The two of you give some quick goodbyes before hanging up. You receive a reply from Hobie, and a portal opens in Miles and your bedroom. You step through it and find yourself in Hobie’s flat. “Can I just say it’s about damn time you got one of ‘is works tattooed onto ya,” Hobie says, motioning to his couch. You sit and he gets his whole get-up ready, all the cleaning wipes and gloves and the tattoo gun all ready to go. “Yeah, yeah, whatever. I’m getting it now and that’s what matters,” you say, and he clicks his tongue. “I can guarantee ya this is just gonna be the beginning. Kinda becomes an addiction,” he says, sitting next to you, and fiddling with his gun. “Then I guess I’ll just need to have Miles draw on me even more.” He chuckles. “Lemme see it.”

You show him the drawing, and Hobie shakes his head. “Your man is corny,” he says, and you shrug. “I like it.”

“I know,” he dips his gun in ink, and looks at you, “Ya ready?” You nod, and he begins tattooing Miles’ art onto your skin. The two of you talk the whole time, really, and you let him know about the party tomorrow. He, of course, agrees to come, and can’t wait to see Miles’ reaction. It takes a few hours, but eventually he finishes up and it looks exactly like Miles just drew it on your skin. Hobie places fake skin over it and gives you the rundown of how to take care of it. He turns away from you to put something away, and you quickly slip $100 under a pillow on the couch. You know he won’t accept any money from you because he’s ‘not a capitalist pig,’ so you have to be sneaky with it. “Thank you so much, Hobie,” you say, and he winks at you. “Anythin’ for my mate’s better ‘alf.”

He opens the portal again, and you two say bye until tomorrow. You’re back home, literally, in no time, and you quickly throw one of the hoodies Miles left lying around on. This way he won’t see the tattoo, and you can play it off like you missed him. Especially since you did kind of miss him and it is sort of a staple in your relationship that you wear his clothes when you do. That’ll make him melt and he’ll forget all about the art on your arm. And you were absolutely right.

It ended up being a late night for Spider-Man, and when he got home, he saw you curled up on the couch, sleeping with his hoodie on, and all he could think about was that you missed him. He carefully picked you up and carried you to your shared bed. You started to wake up as soon as he was getting in bed after taking a shower and cleaning up, and he began desperately trying to get you to go back to sleep. “What time is it?” you groggily ask. “It’s like 3am, (Y/n/n), I’m here now, we can go to sleep, okay?” he says, slipping into bed next to you and pulling you on top of his chest. “Happy birthday!” you sleepily say, burying your face into his chest. He smiles. “Thank you, amor. Let’s get back to sleep now, yeah?” You make a muffled mmhmm sound and are out like a light almost immediately. Miles smiles to himself, wondering how he got this lucky.

You can imagine his disappointment when he wakes up the next day and you’re not snug against his chest, but he feels better the minute he sees a little note on his chest that explains you’ll be home, you just had to go do something for him. He gets up and decided he can do his Spider-Man duties until you text him and let him know he needs to come home. It may be his birthday, but the city still needs it’s defender. So that’s exactly what he does. He cannot explain how grateful he is that none of the big bads were trying to start anything today, because if he didn’t get to see you and eat a slice of cake, he was going to scream. The day went slower than he wanted but also sped by when eventually he got a text from you saying to come home. He immediately obliges, swinging in through the window and putting on some of his nicest clothes. He walks out of your room and sees you chilling on the couch. “Miss me?” he asks, walking over and bending down to kiss your lips. You giggle. “Obviously. Hey, before we go up to the roof where there totally isn’t a party waiting for you, I wanna show you something, okay?”

“Okay,” he grins, and you grin back. “Cover your eyes.” He does as instructed, and hears you shift slightly. “Okay… open them.” He opens his eyes, and immediately sees his “tattoo” on your arm. Only it was covered in a clear wrap. And it’s real. His eyes get big, and he looks at your face. You give a small smile. “You always encouraged me to get a real tattoo, so… happy birthday.”

“Yo! It looks so good, hold up,” he gently grabs your arm and softly traces it through the saniderm. “When did you get this?”

“Yesterday.”

“You weren’t actually with Ganke, were you?”

“No, I was with Hobie,” you say, and he shakes his head. “I got a little liar on my hands, huh?”

“It wasn’t lying it was covering my ass because you ask too many damn questions,” you say, and he laughs. “I love it, (Y/n/n).” You smile and the two of you share a kiss. “We should probably get up there. Some people are waiting. Oh, and pretend like you haven’t seen it yet. Hobie wants to see your reaction.” Miles laughs. “Alright. Well, I hope he knows I’m not gonna stop drawing on you. And that he fully traced my art,” Miles says, and you shake your head. “I’m sure he knows, Miles. You really like it?”

“Like it? Baby, I told you I love it. I love you; I love this tattoo; I love that this is a birthday present from you… everything about this? I love it. I don’t even need to go up there to make the day better because all I need is you,” he says, and you smile. “Hobie was right. You’re so corny.”

“Nah, hold on, he said that? Forget everything I just said it’ll be a perfect day when I punch him.” You laugh as the two of you make your way up to the party. But the whole time, Miles keeps finding his eyes drifting to your tattoo. Something about having his art on you permanently makes his heart swell with pride and happiness. And he and Hobie were both right.

It’s not the only “tattoo” that will become real.

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#miles morales x reader #spiderman x reader #miles x reader #spiderverse x reader #atsv x reader #miles morales #spiderman #spiderverse #across the spiderverse #atsv

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gyuwoncheol · 5 months

Note

Cheol’s been prepping you to take his cock for weeks but you’re about to body slam him into the mattress if he doesn’t fuck you right now (which might have been what he wanted all along, corruption kink go brrrr) 😈 “you want it so bad? Then sit on it. Aww don’t be scared I know you’re ready” -⚡️

TW: afab! reader, dirty talk, use of pet names, piv sex, unprotected sex, mentions of creampie and oral sex, bratty & whiny reader, reader is described to be much smaller than Cheol. Not proofread. 18+ only (MDNI).

Note: changed it up a little bit, ⚡️ anon. Hope you enjoy!

Because this is blonde cheol with a bratty reader, I am compelled to tag Zeta my love @multi-kpop-fanfics . It’s simply how the world works 💞

“Nooo. Stop!” You whined and yanked on Seungcheol’s blonde locks, pulling him back up to face you.

Seungcheol was confused to say the least. His eyebrows quirking as he studies your facial expressions. “You okay?”

“Just fuck me, Cheol,” you blurt out, frustration clear in your voice and Seungcheol swears he heard the angels sing.

“What–“

“I said, fuck me. No more teasing, no more prepping. I’m done!” You glare at him. Not that you were ungrateful for your boyfriend’s expert oral skills, but when all you’ve gotten the past few days ever since his return from a 3-month tour is everything but his cock, you think it’s okay to sound ungrateful.

“Aw, impatient baby,” he mocks as he grinds his crotch on yours.

“Excuse me?! I’ve been patient! Way too patient! Three months and 18 days patient!!!!” Cheol laughs at your attention to detail, clearly amused at how needy you’ve been. Not that he wasn’t— he was, he’s been dreaming to have his way with you the moment he got home four days ago. But apparently, he could take a few more days of waiting, making sure you were well prepped and ready to take his huge cock again after so long. And maybe he just loved to tease you a little bit more, waiting to awaken the brat in you. “Cmon, Cheollie..” you switch up to a sweet tone, blinking with doe eyes and drawing his face to yours for a kiss, “it’s been too long, don’t you wanna feel my tight pussy around you?”

Seungcheol’s dick twitches in the confines of his briefs at your words but he tries to play it cool with a roll of his eyes.

“Better yet baby, don’t you miss cumming inside—“

Your sentence is cut off with a yelp as the large man who was once above you rolls you both around on the bed, effectively having him pinned between your legs, straddling him right where he wants you. Seungcheol grabs you harshly to connect your mouths in a hungry kiss, the clashing of your tongues and teeth rendering you to a moaning mess while you hurriedly remove his shorts and undergarments.

When Cheol’s hard member springs free and rests on his stomach, the blonde man leans back to examine your next move. He’s not disappointed when the first thing you do is run your wet folds along his shaft. The guttural groan he lets out makes you even more wet than you already are. But that’s a good thing because now you’re looking at Cheol’s thick and long cock, and perhaps he did make the right decision to prep you for it for days.

“Nervous, baby?” He asks with that stupid brow raise of his.

“No,” you answer without hesitation but even then, you didn’t sound so confident.

“Well be my guest, princess. What’re you waiting for? You wanted it so bad didn’t you? Ride me.”

You nodded at Seungcheol, swallowing thickly before wrapping your small hand around his heavy shaft. You aligned him at your entrance, carefully letting his bulbuous head breach your sopping hole. Cheol takes notice when you suck in a sharp breath and close your eyes. It happens the same time he feels the constricting push of your walls which has his hands flying to eitherside of your hips.

“Doing s’good for me, princess,” he encourages, mustering all self control not to just thrust up into you.

“S-so biiig,” you stammer, sinking down to ease another inch of him.

“Not so mad about my prep anymore, eh?”

You roll your eyes at the smug remark, “fuck you.”

“You already are, prin— shit!” Seungcheol curses when you suddenly seat yourself fully to shut him up.

Moans reverberate around the room from both of you after your little stunt. The stretch is painful at first but it slowly morphs into fiery pleasure with every soothing rub of Cheol’s thumb on your hip. You take a deep breath and plant your palms on his chest, circling your hips once.

“Fuuuuck,” you both drawl out, lust fully flowing through your veins.

“Missed this,” you pick up your pace, repeating the motions of lifting your hips then grinding down to stimulate your clit.

“Missed you,” your boyfriend replies. He reaches out one hand to squeeze on your breast before his fingers roll your nipple expertly, causing you to clench harshly on his cock.

“Fuck, princess. If you do that again, I might just cum now.”

You scoff at his remark, ready to tease him back, “aw, who’s the impatient one now?”

#svthub #seungcheol smut #scoups smut #seungcheol drabble #scoups drabble #svt smut #svt drabble #paula writes ✨#paula writes smut #paula thots #answered asks #⚡️ anon

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fayes-fics · 11 months

Text

Impertinent

2k Celebration Masterpost

Pairing: Anthony Bridgerton x fem!reader

Summary: Sneaking around Aubrey Hall in the dead of night brings you right into the path of one Viscount...

Warnings: very suggestive content, nudity, teasing and touching, Viscount being a total menace but mostly a gentleman.

Word Count: 1.4k (250-word drabbles... I'm HILARIOUS)

Authors Note: Seventh in my 2k follower celebration drabble request fills for @colettebronte with the prompt “You heard me. Take. It. Off.” (ask here). This ended up quite tame, but I enjoyed writing him as a tease. Unbetaed. Enjoy! <3,

You know it's not the right thing to do. To be snooping around Aubrey Hall in the dead of night. But you cannot resist it. As everyone sleeps, you wander silently, tiptoeing around in just your nightgown, the light of the moon streaming through the large windows to guide you. It feels elicit, exciting even. Exploring the home of the man you hope to marry, Viscount Anthony Bridgerton. You have danced and promenaded a few times; this early invitation to spend time with his family ahead of the rest of the Ton bodes well.

You pause at the door of his private study, then, with a fortifying breath, turn the handle and slip into the room. Warm embers glow in the fireplace, and the smell of cigars and expensive whiskey hangs in the air. It is so masculine and so Anthony you can't help but drift to the sizeable imposing desk and take a seat, fingers running over the wood, picturing him sitting right where you are, working hard on something important or other. It makes you lean back, something stirring in your body, just the thought of him arousing.

It's then you notice there is material draped around the back of the large leather chair—one of his velvet, tailed jackets. It smells of spicy cologne, and before you know it, your nose is buried in the material, drawing deep breaths, the scent making your thighs rub together. Something compels you to want to wear it, to feel it against your skin.

With a boldness you thought yourself scarcely capable of, you stand up and whip off your nightgown, reaching to slip on the jacket. You luxuriate in the feeling of the luxury satin liner against your bare flesh, how it cools your back, snags your pebbled nipples, and how the velvet collar tickles your neck. The front may sit at waist height on him, but on you, the material skims the apex of your thighs, catching deliciously in the patch of hair you have there.

So wrapped up in the sensation of being surrounded by him, by his scent, you don’t hear the door open until it's too late.

“What in the…?”

You startle and spin around to see there in the doorway is the man himself, Viscount Anthony Bridgerton, casual in just a loose white shirt and his britches with braces slung around his legs. You are caught, red-handed. The power of speech has abandoned you, so you just stand there, a rabbit caught in his crosshairs, guilt, fear and shame flooding your system.

He stalks into the room further now and inhales sharply when he rounds a chair to see an unencumbered view of you, entirely nude except for his jacket. His gaze is heavy, sliding down your body sweeping your bare legs, then fixing on where the fabric only just covers you.

“Take it off,” he orders.

You almost jump out of your skin at the tone and the gruffness. Your arms and hands incapable of moving; there are few charged moments when Anthony just stares at you.

“You heard me. Take. It. Off.” This time it's even lower, a growl, predatory, enthralling.

And you scramble to obey, shucking the jacket from around your shoulders and letting it hit the floor with an audible thump. Entirely naked now, his responding noise has your thighs instantly damp.

“How impertinent to let yourself into my private study,” his voice surly as he prowls towards you. You freeze to the spot, your hands flying to protect your modesty. “Oh, it’s a little late for that now,” he chuckles darkly, “put your hands back at your sides right now.”

And you do. Casting your gaze to the floor as your cheeks heat. His stare is so heavy it feels like a robe you wear. Soon he is so close you can smell the same cologne that clung to his jacket but this time from his skin.

He circles behind you, and you gasp as he crouches down; it takes you a second to realise he is picking up his jacket, where you carelessly disposed of it onto the floor.

“Tell me, why would you put on my jacket while nude?” he queries, lingering there, and you shudder as his hot breath glances over your bare bottom cheeks as he does so, still behind you.

“I…I… I wanted to try it on,” you stumble, your voice far too quiet.

“And you had to take off your nightgown to do so?” he snarks, and both of your eyes cut to the side where your gown lays in a heap.

“It seemed like luxurious material,” you confess, head still bowed, starting at the rug as if it fascinates you. “I wanted it against my skin,” those last few words are barely audible.

“You do not have velvet clothes of your own you could try this with?” he throws out, still behind you, that breath still hot over your cheeks; in fact, you swear it’s closer now.

“Yes, but…” you trail off, having no good excuse. Unable to think of a lie, you screw your eyes shut and decide on the truth “... they do not smell like you.”

You jolt and make a noise of sheer surprise as he pitches forward, and his teeth land on your cheek, inhaling deeply.

“At last…” he growls, scraping his canine over the globe of your bottom, “she admits to it.”

“To what?” you murmur as his wet tongue pokes out, soothing the spot he had touched with his teeth as you tremble.

“That you want me just as much as I want you.”

Your whole body shudders as he runs his tongue up the length of your spine, climbing to his feet, your toes curling, scrunching into the thick wool pile, as he unfurls to his full height behind you. You wish you had something nearby to grab onto; it feels as if you could topple over, the rush of blood to your head so intense.

“Are you a maiden?” his mouth is now hot on your ear.

“Yes.”

“And you have never had a man run his tongue over your body like that before, have you?” his voice dark and laced with bemusement.

“No,” you admit.

A warm hand lands on your shoulder as he stands behind you, and again you jump—your body aflame, your nipples pebbling hard, goosebumps breaking out down your arms.

“And I presume no man has touched your naked body?”

“No, my lord,” your addition of his title makes him take a sharp breath.

“Good,” he snarls, sounding possessive,

His hand rounds your shoulder and starts to sink lower, mapping over the outer end of your clavicle as you try to school your body, trying to stay still, so completely overwhelmed by what is happening. When warm fingertips brush the top of your breast, you begin to tremble.

“Do you know what could happen to mischievous young maidens who break into men’s offices?” It's just a deadly rumble now while his fingers inch fractionally lower, so close to your nipple that it aches to be touched.

You are incapable of answering, so you shake your head a little, his nose bumping your ear.

“You are lucky, Miss y/l/n, that I am mostly a gentleman,” he purrs, “mostly.”

You shiver as he circles your areola with featherlight touch but never crosses onto it, your heart pounding from the tease.

“I suggest you grab your nightgown and run now,” he advises, sounding like he is fighting his urges, his hand stilling in its motion.

“What if that is the opposite of what I wish?” you can barely believe you found the gall to utter your thought aloud, staring straight ahead at the bookcase, not daring to look down at his hand on your body.

His lips brush the shell of your ear, and it's like being struck by lightning.

“Leave now,” he whispers, “you may return tomorrow evening. Exactly as you are.”

“Why then?” you frown, disappointed as his hand drops from your flesh.

“Because then we shall be publically betrothed… and nothing should stop us.”

Your world spins, and you have to lock your knees to stop your swoon. “What…?”

“You heard me,” he says for the second time tonight, this time with a smug tone, stepping away and handing you your nightgown over your shoulder.

You take a faltering step forward and quickly pull on your nightgown, finally turning to face him again, and it steals your breath. His pupils are dilated, his cheeks flushed, his mouth damp and open.

“Until tomorrow, Miss y/l/n….” he gestures to the door and still utterly dumbfounded, you stumble towards it.

You cannot wait for tomorrow.

Anthony Taglist: @makaylan @foreverlonginguniverse @iboopedyournose @colettebronte @aintnuthinbutahounddog @margofiore @writergirl-2001 @heeyyyou @enichole445 @enchantedbytomandhenry @ambitionspassionscoffee @chaoticcalzoneranchsports @crowleysqueenofhell @bridgertontess @queenofmean14 @fiction-is-life @lilacbeesworld @eleanor-bradstreet @divaanya @musicismyoxygen84 @benedictspaintbrush @sorryallonsy @lilithseve @cayt0123 @hottytoddyhistory @elizah99 @fictionalmenloversblog @debheart @malpalgalz @amanda08319 @panhoeofmanyfandoms @delehosies

#anthony bridgerton fanfiction #anthony bridgerton smut #anthony bridgerton x reader #anthony bridgerton x female reader #anthony bridgerton x you #anthony bridgerton x y/n #anthony bridgerton imagine #anthony bridgerton #bridgerton fanfiction #bridgerton smut #bridgerton imagine #bridgerton x reader #bridgerton x female reader #bridgerton #2k follower celebration #1k notes #1k notes omg you guys!

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ghosts-and-glory · 2 months

Text

Some Narinder character analysis for y’all.

This is a slightly re-edited excerpt from a much longer post of mine where I was specifically trying to provide a rebuttal to someone else. I’m kinda proud of some of my takes here and the write up took me hours so I’m gonna repost it here on its own.

I’m going into specifically into Narinder’s

Speech patterns and way of expressing emotions.

Implications of his post defeat dialogue

Relationship with Aym and Baal

Feelings on Ratau’s death

And a little extra on why do we “babygirl” Narinder

Full analysis under the cut.

The way Narinder expresses his positive feelings

First I gotta establish Narinder’s voice. Narinder seems almost incapable of giving a genuine compliment especially without turning it into something about himself.

Here’s three examples of him giving a complement to The Lamb. Taken from after defeating Amdusias and Shamura. He also complements The Lamb when you sacrifice Ratau but I’ll come back around to that.

I wanted to grab the entire quotes so it didn’t look like I was nitpicking.

"Very good, my vessel. It seems I chose well when I kept you from Death.”

First example, “very good,” is the complement, but immediately after he takes credit for this by calling you “my vessel” thereby claiming ownership over you. His vessel did well. And again “I chose well” doubled down and complemented himself.

“I admit, you have worn it (the red crown) almost as well as I could have myself.”

Again we see the complement layered in ego. “Almost as well as I” in other words you did well, but don’t forget I’m better. Also important to draw attention to is “I admit” this is a very explicit statement of his refusal to acknowledge the success of others.

"Your appetite for death is something I can admire, Vessel. But the Crown is mine, and none - NONE - are worthy. None other than I.”

Here he almost lays down a complement. “Your appetite for death is something I can admire” straight up, states his admiration. He seems to almost realize what he’s done and quickly pulls back into his ego, “But the crown is mine” “-none are worthy- None other than I.”

These are the three of the four ONLY times that Narinder ever says anything explicitly positive about someone else when he is a god. Thus establishing that the head ass cannot give out a compliment to save his life. The one time he gives you full credit for your actions he immediately pulls right back into his ego.

I cannot stress this enough. Someone who is characterized as cold and emotionally closed off as Narinder is WILL NOT suddenly undo this characteristic when they try and express a positive feeling.

Okay with that established we can look at his follower dialogue. Specifically these two examples from when you resurrect a follower and allow him to go on a mission.

“I cannot begrudge supplantation by one such as yourself.”

Literally saying I don’t resent you for taking my place. It’s not an explicit statement that he respects you but this is he weird fucked up little way of saying it. Of course he still lays it out in a way that’s self centred but we know from the way he has spoken that this is about as much verbal praise he is capable of giving.

The other one is a less explicit statement but I think it’s a interesting reflection of the final place of his character.

“…my thanks, Lamb.”

Being his last bit of unique dialogue, it’s an incredible ending to a character. He thanks you. That’s all he needed to say.

Narinder’s reaction to his defeat that he would rather die.

Let’s go over his dialogue in some depth.

"You weak, snivelling, foul thing. You - wait! Waaaiiiiiit!"

I’m starting with this line as it compels me the most. I find that there are two separate readings of this and I can’t really point to one above the other. On my play through I had assumed his wailing was more in reference to being denied death. It could also be read as him not wanting to be reduced to a follower and realizing what your mercy really means for his future.

“-are you to be a vengeful false idol, or a merciful coward? No longer can you blame your vile acts on me."

Okay, looking at the way he presents your two options he seems to push more for the murder action. “-vengeful false idol,” is how he refers to murder. It’s not exactly a glowing review but his use of the word vengeful is important. We know that one of Narinder’s main goals in the game is revenge, we he already acts with revenge I can’t say that he’s using this word as an insult. The false idol part of this statement seems like he’s attempted to separate himself from you, again for is ego.

Then he presents the spare option by calling you a “merciful coward.” The flow of this full sentence puts more pressure on this option. He presents it as the “or” the second option. This is the bad option, the option of a coward.

“So. vou are no different to me after all. You have become as I am."

I know this is a deranged order to go over these quotes but last we got murder. Compared to his spare dialogue this is incredibly sombre. We know from already establishing how big his ego is that saying you are the same as him is almost a compliment. I do find this dialogue incredibly interesting tho, I can’t exactly explain why but I can’t help but read this as damning as well. It’s like he means it in both ways, the ultimate fuck you. You are just as I am, for better and worse.

But from what we know about Narinder his edgy ass cannot express emotion. He wraps his statements in layers of irony and selfishness. Unless it supports the persona he puts on or inflates his ego he WILL NOT right out state his feelings or needs, especially when he was a chained god.

Relationship with Aym and Baal

Aym and Baal are incredibly hard to characterize. They don’t have much dialogue to work off of and only three characters every speak on them, Shamura, Narinder and Forneus. The context of the game does present them as more Narinder’s first (and second) hand, less followers more apprentices, almost, but where’s the fun in assuming.

"Intended as keepers, perhaps, but they were young and in need of guidance. Must I be blamed for my influence?"

I wanna draw attention to the specific wording of keepers. Again, based on the way Narinder speaks its safe to assume he means the formal meaning of a keeper, meaning a caretaker. It is unclear if Narinder was told they where his keepers or if he assumed so, but either way he still speaks on them as such.

For the sake of argument (and I don’t wanna rewrite this bit entirely) I’m gonna put the idea that Narinder brainwashed Aym and Baal against my presented idea of them being his keepers or apprentices.

The proposed idea of the brainwashing angle can be developed based on Narinder saying that “they where young and in need of guidance, must I be blamed for my influence.” This implies that, as much as Aym and Baal may have been sent as keepers, they where still young and Narinder could not help but be an influence on them. I am gonna come back around to this thread so hold onto this for a moment. Moving on.

“Two kits I did have, true love found! And yet one lackadaisy summer day, my beautiful children were taken away... a gift, they said, for the one they loved most, the one that waits...”

“Ooh, kits... I remember, I remember... two kits in my claws... a gift.."

It is unclear and morally dubious how Aym and Baal came to Narinder. First we’re not 100% where Narinder is chained. The wiki lists it as the afterlife and in dialogue Narinder refers to it as “at the gates between this life and the next, trapped at the nexus of what was and what wasn't.” (When he asks you to send him on a mission.) We can travel there both by dying and being summoned there by him.

Either way the assumption is that Aym and Baal had to die. (As an aside I have my own speculation on the conditions required for a person to be presented to Narinder or to be resurrected but that’s off topic.) The horrific implications being that either Shamura themself killed the kits or that they where already dying. However you cannot blame the reaper for ushering the dead away from life.

I’m going to work off of the cult specific definition and characteristics of brainwashing. It’s hard to characterize where Aym and Baal sit here as, again they have little dialogue and due to the nature of brainwashing it’s hard to spot. First I wanna grab my brainwashing resources.

I’m using Encyclopedia Britannica’s page on brainwashing, cults, indoctrination, manipulation as my primary resourse.

Again I kinda wanna apply a layer of irony to how literally I apply real life tragedy to this game that obviously uses cults in a comedic manner. I wanna focus in on the characteristics displayed by victims of brainwashing and the techniques used in brainwashing by an abuser.

Looking at the elements used in brainwashing the only one I can say off the bat that is present is isolation, obviously. But with that let’s grab all of Aym and Baal’s dialogue.

What is clear from their dialogue is their obedience to Narinder. They call him master while his keepers and still when you meet them later when adventuring. And physically we do see them by Narinder’s side the entire main game and they fight the Lamb first. But if we add some nuance and look at their role as keepers or my own theory of being apprentices both actions of obedience make sense still for those roles. On the same note they also don’t display traits you would expect for someone fully under Narinder’s control. They speak to the Lamb out of turn and attack without prompting from Narinder.

Other characteristics are hard to imply. With torture I do want to pass it off an unlikely as based on the way Narinder tries to manipulate the Lamb it’s only verbal and he cannot attack while chained and I don’t see that changing with the keepers. Traits like sleep, water and food deprivation can’t be applied for various reasons (mostly the being dead one) and we don’t know anything about Narinder and the keeper’s interactions in the past so I’ll have to disregard other traits like suggestion.

Baal: "It's you. Usurper of the Red Crown. The one who freed us."

Aym: "Ha! You are nothing compared to our Master. We have not been in this world long, but already I can tell you are weak. You lack discipline. Our Master wielded Death with precision and control. You allow chaos to reign."

Baal: "What my brother means to say is thank you."

Moving onto groupthink I can pretty comfortably say that this is not a present characteristic of Aym and Baal. In their limited dialogue we can easily characterize Aym as more outwardly defensive of Narinder but Baal is more reserved and even contradicts Aym and is able to speak freely of Narinder.

Looping back around to the way Narinder speaks on his influence on Aym and Baal. Again we know how Narinder speaks, he cannot give honest compliments and dodges affection like it’s a professional sport. With the way he will outright tell the Lamb to manipulate followers and then uses the words “guidance” and “influence” about Aym and Baal, he has to be avoiding admitting affection to the keepers. He does follow that up with “Do what you wish, scornful God. I care not for them.” But again does Forneus not also allow her kits to do as they wish?

My own reading of Narinder’s relation to Aym and Baal is that of mentorship but it could also be read as parental. But saying brainwashed is a big stretch.

His feelings on the death of Ratau

This is like another example of like, yeah, wow, an evil character does evil? Who could’ve possibly foreseen this? Sarcasm aside I do see his comments on this being a lesser evil.

First I do have to ask why, if Narinder held strong sense of unrest against his former vessel, did he not have him struck down? The main reason I can see is that Ratau is still devoted to the red crown, most clearly seen by the statue at the lonely shack which generates devotion.

Second, Ratau’s death isn’t on his hands, it’s on yours. I find his pride here is from The Lamb’s actions not the death of Ratau. You killed your mentor, he describes your actions as “treacherous opportunism” and says “A great Vessel takes their master's will as their own.” Based on his later dialogue this is likely more foreshadowing the Lamb becoming as Narinder is. Narinder tried to kill his siblings, and you did kill your mentor. “You have become as I am."

I’m gonna tangent quickly cause there’s a line here that is incredibly interesting.

"He renounced his position after striking a bargain that resulted in the sacrifice of a Follower. He was weak."

Incredibly interesting the way he condemns Ratau’s sacrifice of a follower. Narinder directly contradicts himself. It is implied that the follower was lost to another being that did not benefit Narinder, but the Lamb also sacrifices followers to the Fox and Midas. Just something to chew on.

Why do we “babygirl” Narinder and other evil characters?

This is kinda the last bit I’m gonna get into before I cap this off. It is incredibly funny for me to say “I babygirl Narinder” only to get a reply that’s like “I don’t think you babygirl him on purpose.” But I wanna talk about why this happens and why it happened to specifically Narinder.

When people complain about the fandom interpretation of Narinder I think they forget the tone of cult of the lamb. The closest thing I could think to call it would be a dark comedy kinda energy.

The game has very dark themes going on. Mentions of real horrible things like genocide, cults and religious abuse. But also just like look at the game, it’s visual style is so cute and non threatening, the bird characters have two mouths to commit to the bit. If you look at the way it depicts cults it’s very surface level, it’s more focused on being a satire on the common satanic media kinda look of a cult. Visually it bathes in its aesthetics, taking names from books like The Lessee Key of Solomon, uses villainous depictions of symbols like the pentagram or old Hebrew script, disregarding its nuanced origins.

And then they go onto do the funniest thing ever. The other bishop’s? Gross little freaks, based on commonly disliked animals, worm, frog, squid and spider. And then- and then they make the god of death, who they characterize and manipulative and evil, they make him a catboy. You cannot tell me they did not know what they where doing.

Why have I shot Narinder with the babygirl beam? CAUSE THE GAME DID IT FIRST!

I’m gonna call the god of death my little meow meow and point out his status as a Tumblr sexy man cause he’s a little guy and I wanna give him head scritches. But I’m also gonna call him a layered, fucked up and an incredibly interesting character in the same breath.

#my post #cotl #cult of the lamb #cotl narinder #cult of the lamb narinder #cotl the one who waits #cult of the lamb the one who waits #character analysis #Malachi Why?

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