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gameraboy2 · 2 years

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Eternal Descent #2 (2022), cover by Carlos Dattoli

#eternal descent #carlos dattoli #2022 #2020s #comic #comics #comic book #comic books #art #illustration #comic book art

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graphicpolicy · 2 years

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Opus Comics' final order cut-off includes Eternal Descent, Frazetta's Dawn Attack, and Helloween!

Opus Comics' final order cut-off includes Eternal Descent, Frazetta's Dawn Attack, and Helloween! #comics #comicbooks

Opus Comics has three comics with a final order cut off this coming Monday. Frank Frazetta’s Dawn Attack debuts while Eternal Descent and Helloween each see their second issues! Check each of them out below and make sure to order them from your comic shop! Eternal Descent #2 (of 3) Michael Moreci • Marco Lorenzana (A) • Carlos Dattoli (CA) Doctorate student and struggling musician Lyra…

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#axel medellin #carlos dattoli #comic books #Comics #diego yapur #eric campbell #eternal descent #frank frazetta #frank frazettas dawn attack #helloween #jody houser #joe harris #marco lorenzana #michael moreci #opus comics #santi casas

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hornyfallenangel · 5 months

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Songs Taylor Swift wrote about lestappen

Suburban Legends Blank Space Style Wonderland Dancing With Our Hands Tied Electric Touch Getaway Car Call it What You Want Gorgeous Hey Stephen Long Live Cruel Summer I Think He Knows Treacherous Red The Very First Night I Knew You Were Trouble Gold Rush Cowboy Like Me Midnight Rain Daylight

Crucial update:

SWEETER THAN FICTION

#lestappen #1989 is very lestappen coded #my descent into f1 delusions #I'm handling the first day of winter break fine why do you ask #how I forgot sweeter than fiction in the og post is my eternal shame

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dotwpod · 4 months

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(301) Independent Music Special Vol. 24

Disciples!!It’s our final Independent Music Special for 2023 – volume 24! Launch yourself into the New Year with style and crank up some Independent music with your loved ones, or your pets – or all by your sexy self!One update that I failed to mention in the intro: There are now time notes in the ‘show notes’ on the website (dotwpod.com) so you can pause your player, take a screen shot, then…

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guacamoleroll · 3 months

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𝖋𝖔𝖗𝖊𝖛𝖊𝖗 𝖎𝖓𝖙𝖊𝖗𝖙𝖜𝖎𝖓𝖊𝖉 「𝔩𝔲𝔠𝔦𝔣𝔢𝔯」 ೀ⋆｡˚

content. f!reader. discussions of separation/divorce, friends to lovers, (name) is a fallen angel, sexual harassment, insecurities, discussions of mental health, spoilers for hazbin hotel season finale, implied/referenced not-safe for work. not proofread. 3.3k+ words.

author's note. i'm not sure if i'll be making a valentine's day post, but i haven't updated in a while, and i wanted to post something. so here's another hazbin hotel oneshot that's been in my drafts for a while! (sorry to all my bsd readers, i will be posting content soon!) i hope you guys enjoy ٩(^ᗜ^ )و ´-

would you like to see more? join the taglist or comment under this post!

synopsis. two fallen ones, cut from the same cloth, destinies forever intertwined by the choices you made as young seraphim.

OR someone comes in to try and ruin your relationship with lucifer, and he isn't happy about it.

You remembered the sensation of an eternal inferno, the mark of damnation that scorched your fingertips, submerging your divine being within a cluster of flames. Exiled from the heavens—a fate worse than death to most became an accepted element of your newfound reality. You never belonged perched atop clouds, even with the virtue nestled in the recesses of your heart. A part of you feared the unknown as you descended through novas and clouds, but it felt like a pressure had lifted from your being as those imposing gates shrunk behind you.

As the first of a cluster of falling stars, your impact landed you on the steaming ground of a new, hellish landscape, your mind scattered from the force of the fall, limbs trembling with their aching joints. And that was when you saw him, a brand-new man who held out his hand, smile desperate yet reassuring. The Morning Star himself, brought upon the same fate, still shaken from the tragedy of his descent—it had been much more personal for him.

“It’ll be okay, (Name),” his familiar voice reassured, but it was impossible not to hear the waver in his tone as your hands intertwined. “It’ll all be okay.”

And with a single touch, traversing hand-in-hand through this foreign land, you knew that someday, he would be right.

But that happened many millennia ago, a tale for storybooks rather than a memory that should’ve constantly been on a loop in your mind, held onto during the dead of lonely, bitter nights. Despite your long-standing friendship, the both of you held very separate lives—him with his family, you with your industry. You worked in tandem in relation to the public and aristocratic duties but otherwise barely spoke past the occasional smile and wave. And no, you couldn’t help the desolation that had sprouted inside your heart, the muscle aching as you observed his radiant smile from across ballrooms, the king exchanging affectionate glances at his wife while coddling his sweet daughter. But you were happy for him all the same. He deserved to be surrounded by those he loved, deserved to be happy after years of heartbreak, even if you weren’t in the picture.

But you knew that you could depend on each other, even if you hadn’t spoken in months. It was an unspoken connection between you, a rule unbroken. Which was the reason you knew his midnight call one evening had been serious. His voice was flooded with anguish, sputtering out incomprehensible words as his breath caught with every beat. You dropped everything, the paperwork and meeting planning, flying over with speed so fast that the denizens of Hell whispered for days about the shooting star that had flown across the sky that evening.

In your journey, there was one persistent question that kept bothering you—why wasn’t his wife the one to comfort him? It wasn’t that you minded, not at all, but the entire situation struck you as odd. However, your answer became clear as you cracked open the doors to his bed chambers; the room was frozen and still as if left abandoned. However, the knocked-over furniture and smashed artifacts only made it look like it was robbed, which you highly doubted. And there in the center of the chaos was the Morning Star himself—no, Lucifer. Simply Lucifer. His body crumpled to the ground, painful hiccups leaving his lips. You slipped inside with ease and were about to grab his attention, and then you spotted it, the large lettering of a familiar type of document—a divorce agreement.

You were aware that the relationship between Lucifer and Lilith wasn’t perfect, not by any means. When they had fallen in love, there wasn’t a guideline for navigating relationships and marriage. They had to play it entirely by ear, leading to rushed decisions and a shaky foundation. You had always believed that they were each other’s perfect half, but it was only because their punishment and subsequent banishment had tied them together and forced them to suffer the same fate. At least, that was their belief for a couple of millennia. It didn’t mean that the split that was bound to happen didn’t hurt.

His cries had been hard to hear, throaty and painful, his body trembling as he mourned on the floor. It took a culmination of your mental and physical strength to unravel him, forcing him away from those papers and into an embrace, slowly steadying his breath with yours as he clung to you as if you would leave if he let go. That night set the standard for weeks of a miserable routine, with the former king reduced to sobs and silence. It was unbearable, especially as he pulled away from those who cared for him—his fellow sins, his friends, and especially his daughter. But you continued to hold on, not leaving even with his harsh utterances and occasional outbursts. You wouldn’t let him be alone, couldn’t let him be alone, moving into the broken family’s manor to care for him full-time.

And he would always be thankful for that.

His mental health was climbing uptick for years, fluctuating back and forth until he had stabilized, at least in comparison to his state before. He became fantastic at masking his depression, brushing it underneath the rug as he delved into his own creations, pushing many of his relationships even further away as he stopped leaving home. You were the one to bring him food and clean the estate—his staff had drifted to other careers over the past few years. You were the one assuring that he wasn’t left hunched over a bench in the worst posture possible, toiling away with his latest obsession, no matter the cuteness of the ducks.

In his more conscious moments, you would listen as he ranted about his issues, even though you both were aware they were a product of his self-isolation. But in those instants, whispering quietly as if the heavens still held onto your every word, hiding from its light as if the touch of it would scorch your skin, an intimacy blossomed from the depths of your former friendship. It had remained idle for centuries, underlying the foundation of every interaction and word, leaving fleeting touches and shared laughter in your blissful youths for stern support and brief softness in your demonic adulthoods—neither of you ever noticed that you saw the other through heart-shaped lenses. Two fallen ones, cut from the same cloth, destinies forever intertwined by the choices you made as young seraphim.

But that had been the norm for thousands of years.

And without knowing, you had fallen into a relationship stage humans had archaically dubbed as “courting,” traveling outside the estate for the chance to spend time with one another, exchanging personalized gifts whenever the opportunity arose, swapping words of encouragement and affection. It was only after you had kissed him on the cheek one night that you both realized your feelings, and it only spiraled on from there. There were scars from his past love—undoubtedly, you had nurtured them with care—but even despite those, you worked to establish a healthy, balanced relationship as you navigated this strange stage in your lives.

However, there was someone who had not been quite so fond of this new development. You had attended meetings with the Heaven Embassy for many years as a favor to Lucifer, his absence becoming common after his separation from Lilith, but you could still remember locking eyes with the first man as you entered the room, dropping the chicken drum in his hands as his mouth widen agape.

“Hot damn.”

His flirtatious and oftentimes self-centered advances didn’t fly past your head like you wished they would. It seemed despite having thousands of years under his belt, he was unable to learn any kind of manners, but he had been the original sexist prick. And for his status as a divine man, he fucked around a lot. You didn’t doubt that was due to his own insecurities about both of his wives preferring someone else’s dick over his.

Once you and Lucifer had started dating, you happened to make the mistake of slipping that information to Adam in the hopes that he would back off, but it only seemed to provide him a challenge as his flirtations increased tenfold. From then on, your meetings no longer consisted of the same old information surrounding the exterminations; rather, they were him pointing out the many sexual accolades that he had roped under his belt and the way that apparently made him better than Lucifer—his favorite line was always that “that snake must have a little snake.”

Your disdain was obvious, repeating over and over for him to shut his mouth, but he would only smirk, taking your response as a sign that he had struck a nerve and that it was an opportunity to dig deeper. You decided to take over all the meetings with the embassy, keeping Lucifer away from the lecherous banter of the man, no matter the discomfort that formed in your gut from his unabashed perverseness and the predatory stares at your body.

“Come onnnn, babe,” Adam whined, in the middle of biting the meat off a chicken bone.

You shot him a look. “I’m not your babe, Adam.”

“Babe.” If you were able to reach over and strangle him, you would’ve. That was probably the reason the coward used a hologram instead of coming here himself. “A guy like that couldn’t possibly please you the way I could.”

You massaged your nose bridge, pointedly ignoring the flicker of his eyes from your face to your chest, unable to maintain stable eye contact. “Can we just get on with the meeting?”

“You know I’m right, but I’ll let you off the hook for now.”

You groaned, slamming your head onto the table.

From years onward, his nerve only increased, but he had never shown his bloodlust to you before until the exorcist army descended from the heavens to wreak chaos and death upon the doorstep of Lucifer’s only child, Charlie. You and the ever-so-optimistic princess of Hell developed quite a soft spot for one another, which wasn’t difficult since you had already been considered family in centuries past. The title of your romantic relationship with her father initially came with questions and a couple of awkward moments, but it wouldn’t stop either of you from growing a deeper friendship and understanding, walking through the process together. And it definitely didn’t stop you from defending the girl you had seen for years as a pseudo-daughter, along with her noble ambitions.

“Charlie!” you yelled, knocking Adam away from her as he attempted to strangle her. Charlie sputtered, holding her throat with a pained cough, and you raised a steady hand to her back, helping her rise to her feet. You gave her a once-over, relieved to find that she had no substantial wounds besides a couple of cuts and bruises.

You sighed, cupping her rosy cheeks. “Thank goodness you’re alright. Sorry for being so late. Your father will be here any moment.”

Her formerly desolate expression quickly changed into a beaming smile, eyes glimmering with revitalized determination. “Good! We need all the help we can get.”

However, the moment was cut short by the overexaggerated breaths of a particular man, Adam wobbling to his feet as he cradled his bruised ribs, which you didn’t doubt had been cracked in the impact. It was hard not to smile as he struggled to stand, a wave of retribution twitching through your fingertips.

“You bitch,” he groaned between shallow gasps, though his voice drifted into a humorous lilt. “You know, I’m all for feisty women, but this shit’s a bit extreme, don’tcha think, babe?”

“I am not your babe, Adam.”

You cringed at the moan that left his lips, knowing it was not from the pain of his bruises. “God damn, I love it when you say my name.” He chuckled. “It’d be better if you screamed it.”

“You couldn’t have been that good if both your wives left you for someone else,” you muttered, swallowing your bodily urge to vomit as you rubbed the burgeoning headache coursing through your temples.

His expression drained of any warmth or humor, only leaving behind the rotted, sinful corpse of a man that he pretended not to be. “What the fuck did you say to me, bitch?”

“Hmmm,” you hummed, rolling your eyes. “Did I strike a nerve there?”

His mouth contorted into a snarl. “You know, the only reason that snake keeps your ass around is because he needs a couple of assets,” he barked, curving his hands to gesture toward your curves. “To distract him!”

“Hey! Don’t talk about him—”

He cut you off, his imposing figure towering over you. “You’re only a convenience. A pretty face and a hole to fuck.”

You gasped, but he didn’t let you speak, a smirk curling up on his disgusting face. “You don’t mean anything to him, hun,” he sneered, his voice sickeningly sweet as he grabbed your chin, craning your neck at a muscle-aching angle to stare into your eyes. “You had a chance at heaven, slut. A chance to be with me. And you fuckin’ blew it—!”

He didn’t have a chance to finish his sentence, a bone-crunching punch tunneling into his face, his body cast off the hotel, which rocked under the aftershock, before it started to crumble like a deck of cards. With no time to waste, you and Charlie haphazardly jumped from shrapnel piece to shrapnel piece, able to land on the ground with barely a tumble as it collapsed into your foundation. The moment would’ve been devastating if your focus hadn’t been pinpointed elsewhere, the screams of a dying man drawing everyone to the impact pit.

“You have a lot of fuckin’ nerve,” a low voice scowled, sweltering steam blocking everyone’s vision away from the pair until it evaporated into the air, and that was when you spotted him. His voice was barely recognizable. The duplicated tones and whispers surrounding each word made him unidentifiable. But you knew who it was; those familiar sets of wings and the eyes of his tailcoat were clues enough. You hadn’t seen him take this form in decades, centuries even—he had no use for it, and to go to such an extreme was unlike him. He was shaking more than ever before; his fists balled up Adam’s collar as he pinned him to the ground.

“Intruding on my fuckin’ realm. Hurting my daughter.” And with each offense, another blow was added to the first man’s face, which looked more like roadkill than a former human with each malefaction. “Harassing and insulting my future wife!”

“Don’t you mean your little whore?” Adam managed to utter, that cocky tone still persistent.

But that was a terrible mistake.

Lucifer did not respond to his comment, not at all. Instead, he paused, finding himself unprepared for the sheer audacity of the man underneath him, a man only clinging to life through recesses of holy power and spite. To the unsuspecting bystander, it would seem the king had calmed himself down, but instead, an inferno blazed between his fingertips, his form threatening to tear with the amount of heavenly light that he balanced on his palms. The ire of his many eyes looked upon Adam, and they saw to it that his judgment day had come early.

“Die.”

“Dad!”

Luck seemed to have Adam’s back as Charlie intervened, one of the few people who could ever draw her father out of such an irate warpath. However, it was only after a moment of contemplation from Lucifer, whose eyes stared at Adam, his face unreadable as his fingers twitched before he cracked a wicked smirk.

“How’s mercy feel, bitch?”

The next moments were a blur, though those eyes had turned towards you instead, not with the anger they had towards Adam, but of sheer contemplation—not that you paid attention to them, watching Adam’s death unfold in an ironically anti-climatic sort of way. You would’ve felt bad if your mind didn’t remedy the guilt in your gut with memories of your several encounters, most of which were not PG-13. The rest of the staff and residents gathered their bearings, joining to work on rebuilding the hotel, but you did not have the strength to. Instead, you took a moment for yourself, thoughts toiling through your head as they often did, not understanding the icky, nauseous feeling pooling at the bottom of your stomach.

You flinched at the brush of a hand that rested on your shoulder, only to find that it had been Lucifer, his brow furrowed in that same contemplative expression. And much like those times alone in the estate decades prior, a patient silence persisted as he sat next to you, gauging each touch as he pulled you closer, allowing your limp body to lean into his.

“You know none of what that asshole said is true, right?”

Is that what you had been so concerned about? You couldn’t tell. Your thoughts surrounding your relationship, especially in the context of his former love, had always been indecipherable, even to yourself. His question brought a small beam of clarity into the shadowed pits of your darkest thoughts, but it wasn’t the time to talk about it. Not now, at least.

“Yeah, I know.” Your voice was more shaken than you wanted it to come out, but he understood the underlying message. He could tell it wasn’t the truth, not entirely, and that the roots of your insecurities weren’t something to be remedied through a singular conversation. But it was a start. He intertwined your fingers, caressing the bare area of your ring finger.

“I wish you would’ve told me,” he spoke, his voice soft. “I would never have let you go to those meetings.”

You stayed staring out into the distance. “It wasn’t that big of a deal.”

However, he believed differently, tilting your chin as he cupped your face, much more loving compared to the hands that had grabbed you prior. And his eyes, ones that had been filled with hatred, now glinted in sharp concern. “But it is a big deal. That’s sexual harassment.”

“You were going through so much,” you replied. “It was just one additional thing I didn’t want you to deal with. Another burden on your back.”

“(Name),” he said, voice stern.

The gruffness of his uncompromising tone drew your eyes to your hands. “Any insult to you is an insult to me. Always has been, always will be. People don’t get to talk to you like that. It doesn’t matter what shit I’m going through. That doesn’t mean you get to be thrown under the bus.” He cracked a smile. “And anyone who even thinks of treating you less than the perfection you are deserves to be roasted alive. You’re not a burden. You’re priceless.”

“You’re really into those cannibalism metaphors recently,” you quipped, a bit of your reprieve and humor returning back. He laughed, his heart falling into ease, though he recognized the nod towards his disdain for a certain radio demon, his expression contorting in disgust.

“I’m not gonna eat him! Think of how gross that thing would taste. Just awful, bleh—!”

You cut him off with a kiss, making his rosy cheeks redden more. “Thanks, Lu.”

You tried to stand. His arm braced underneath your back, a hand brushing across the sensitive skin of your waist as he hovered above, his lips locked onto yours. You sighed into his mouth as his fingers mapped every beauty mark of your face, only for him to split, panting. His eyes shone with recognizable desperation, but the smirk on his lips told you he was prepped to tease, brushing the stray baby hairs out of your face that had been ruffled in the fray.

“If someone ever bothers you like that again, you tell me. Got it?”

You only sighed. “Lucifer, I can handle my—”

He pressed a kiss to your knuckles, mouth upturned in a cheeky grin at the way it cut you off. “It’s not smart to fight without your shield, now, is it?’

You relented, unable to withhold your bashful grin. “Of course.”

A silence persisted.

“Your future wife, hm?”

“…shit.”

ᴛᴀɢʟɪꜱᴛ: @little-miss-chaoss

#muse's anthology ‧₊˚ ⋅#f!reader #starring: lucifer .ೃ࿐#hazbin hotel #hazbin hotel x reader #lucifer morningstar #lucifer #lucifer morningstar x reader #lucifer x reader #queued ═ ꒱ˎˊ˗

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menacetomany · 5 months

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jon sims is not the antichrist he's actually a jesus figure

i've been doing a lot of research into revelation for writing stuff and martin is very incorrect when he calls himself the antichrist's plus one. that's melanie. and here's why

1) the antichrist is a figure that stems from the book of Revelation, the bible's apocalypse book. But the antichrist actually had nothing ot do with the apocalypse start, and actually doesnt even show up till like 19 chapters in its insane. He's just some random dude who starts a cult, and has a False Prophet hyping him up, so the antichrist is actually georgie and the false prophet is melanie. 2) the person who actually starts the apocalypse is 'the lamb with seven horns and seven eyes, that looked like it'd been slaughtered,' which is a metaphorical representation of jesus. (Funnily enough, if you look through revelation, its actually angels doing most of the tormenting, not demons!) 3) He has literally died and woken up before, and then some time later he dies for real, just like actual jesus. Not to mention him descending into the buried--literally being buried in a cave, just like jesus was on the cross, before emerging after 3 days. Peter even explicitly calls him a 'grubby jesus'. 4) Jesus as a character is all about self-sacrifice and needless suffering to bring about a better world. Wonder What That Reminds Me Of! Even his 3-day descent into the buried is explicitly a self-sacrifical, semi-suicidal act. And on a more literal level, Jon suffering on every level possible was what was necessary to bring about the Change, and then the expulsion of the Fears from this universe (and dooming a bunch of other universes, but just as the bible doesnt spare a thought for all the people trapped in hell for eternity when describing the post-apocalyptic utopia, we're not thinking about the other worlds rn. just this one.) 5) the amount of jon fanart i've seen mistaken for jesus is truly ridiculous

#tma #tma analysis #tma spoilers #tma season 5 #jonathan sims #georgie barker #melanie king

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fawnforevergone · 8 months

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

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

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

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

DESCENT:

"De Selby (Part 1)"

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

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

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

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

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

"De Selby (Part 2)"

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

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

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

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

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

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

FIRST (LIMBO):

"First Time"

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

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

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

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

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

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

SECOND (LUST):

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

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

"Francesca"

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

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

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

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

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

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

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

"I, Carrion (Icarian)"

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

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

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

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

THIRD (GLUTTONY):

"Eat Your Young"

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

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

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

However, Hozier moves onto the hunger of politics.

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

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

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

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

FOURTH (GREED):

"Damage Gets Done"

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

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

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

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

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

FIFTH (WRATH / ANGER):

"Who We Are"

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

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

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

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

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

SIXTH (HERESY):

"Son Of Nyx"

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

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

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

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

"All Things End"

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

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

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

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

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

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

SEVENTH (VIOLENCE):

"To Someone From A Warm Climate (Uiscefhuaraithe)"

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

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

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

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

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

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

"Butchered Tongue"

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

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

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

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

EIGHTH (FRAUD):

"Anything But"

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

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

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

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

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

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

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

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

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

"Abstract (Psychopomp)"

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

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

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

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

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

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

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

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

NINTH (TREACHERY):

"Unknown / Nth"

Okay, buckle in.

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

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

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

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

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

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

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

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

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

ASCENT:

"First Light"

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

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

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

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

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

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

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

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

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anglbby444 · 5 months

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Imagine Finnick eating you out…

Warnings ; smut, oral, soft dom!finnick, use of name “slut”, no y/n.

It all happened so quickly. One minute they were just getting home from dinner, and another minute, Finnick was squished between her thighs, tongue buried in her center. She didn’t mind it tho, as it was one of her favorite things he does to her.

With a lovesick grin on his face, hair stuck to his forehead, and eyes that were glossed over, he gently pushed her down onto the soft bed covered in a black velvet blanket. He smiled as he gave her a little kiss on her lips, trailing kisses down her neck. He gently sucked on a soft patch of skin that connected her shoulder to her neck. After a brief moment, he lifts his head from the spot he was kissing, pouting at the sight of the red and purple hickey he left. She knew he didn’t feel bad, because of that stupid smirk he had on his face.

He chuckled as he licked the red mark on her skin, his tongue gliding along the teeth marks he had left. Her back arched up into him, a soft moan leaving her lips. “So eager, aren’t you?” He smirked again, continuing his descent down her body. His kisses traveled down between her breasts, down her tummy, her thighs, eventually stopping at her ankle.

He looked up at her, nothing but lust behind his eyes. He never broke eye contact when he continued kissing up her thigh, using his hands to grab ahold of her legs and place them over his shoulder. His teeth softly grabbed onto the pair of panties she was wearing. He grinned as he slowly pulled them off of her, tossing them onto the floor. “Won’t be needing this pretty little piece of fabric, now will we?” He retorted playfully.

His mouth watered at the sight. God, she was just so pretty. His gaze kept jumping from her eyes, to her exposed core, back up again. It’s almost like he didn’t know where to look. He felt his cock grow harder the longer he looked at it. “Look at this pretty little pussy you’ve got…do you mind?” Finnick looked up at her with a hint of eagerness in his eyes, his golden tan skin glistened with sweat.

She smiled at him and nodded her head. And with that, Finnicks tongue was working its magic on her pretty pussy for what seemed like the most blissful eternity she could ever ask for. His soft chuckles vibrating into her skin, sending electric shocks to her core. His thick hands gently, but firmly, holding her legs apart as she tries to close them because it feels too good…but she never wanted it to end. She never wanted his strong arms to loosen their grip on her thighs, never ever.

His beautiful sea green eyes, glossed over with tears of pleasure, smirked up at her once more. “Gonna cum for me, huh pretty girl? Cmon, show me how much of a needy slut you are…” And, that she did. It was almost like his words were a command, that she had to follow. “Fuck, you taste so good.” He chuckled as he began to kiss up her body once more, letting her have a taste of herself. “Good, right?” They both giggled as their foreheads rested on the others. This was their happy place.

#finnick odair #finnick!core #finnick imagine #finnick odair x reader #finnick odair fluff #finnick odair smut #hunger games smut #smut #sam claflin

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messylustt · 9 months

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what you remind them of. spiderverse

you reminded hobie brown of stickers. in a figurative sense, but also a literal. the way you could be placed anywhere and still be recognisable to him. some days he saw a pattern, etched into the way you smiled. other days he saw colours, reflected from the way you felt. blue, orange, pink, green. the changeable nature has him reeling and intrigued. he wants you to decorate his life, or at least his guitar. with your careful fingers, options of cartoon characters or skulls being plastered to one of his most prized possessions. he loved it. the way you’d change, matching his inconsistent attitude. and when the stickers would begin to ware and peel, he never once chose to remove them. because the reminder that you’d stay, his want for you to stay made his ringed fingers dance over the simple stuck cut outs.

you reminded miguel o’hara of sugar. sweet of course, but something his tastebuds had to get used to. he wasn’t a sweet tooth at first. finding your sugary tone and sweet sweet smile something hard to stomach. maybe deep down it was because he secretly craved something of that flavour, that taste. he tried to keep his diet free from you, ignoring his salivating mouth. but he had to give in, he just had to with the way he knew your skin would be exactly what he needs his tongue to feel. his life lacklustre, filled with bland foods and even blander friendliness. you were a breath of fresh air, something he knew he’d grow addicted to. his sweet tooth was now prominent, obsessed with you day after day.

you reminded lyla of tears. something she physically couldn’t compute. the way the water droplets would fall, staining your cheeks and creating a morning dew feel to your eyelashes. when she first saw them, her instinct was to reach out. her code told her she couldn’t wipe your eyes but her want told her she could. so pretty when you’d either cry from joy or sadness. though most of the time alone, lyla would be watching. tears…your tears were something she remembered. strangely it didn’t compare to others. some would wail, sniffle, exclaim. but you would sit, blinking, and letting the tears slowly make their descent down your face, coating your lips in a shimmer that made her want to lean in.

you reminded miles morales of shoelaces. specifically his shoelaces. the amount of times you’ve reminded him to tie them has been endless. your subtle gestures or raises of your brows, has earned him to glance down. sometimes he’d catch you, fingers out as you lean to do them yourself. but he’d never want you to do the work so he’d poke his finger against your head, moving you back. now you’d call him stupid, he’d call you a little neat freak, while stumbling over his untied laces. your smug smile would earn a flustered but still stubborn state from him. but just to annoy you a step further he’d always be tying your shoelaces, neglecting his own in a way of saying ‘your safety is more important than mine.’ which would result in a round about way of you pointing out the ‘safety’ of it while threatening to have them glued.

you reminded miles morales earth-42 of paint. the kind that’s messy and creates large artworks. your face might be stained with colour, your fingers most definitely so. with raised brows and a frown he’d point out your never ending strokes. you’d bring colour to his world, hellbent eventually, as he’d push off the idea for what feels like eternity. but slowly, gradually, would he find your paints staining his skin, matching graffitied art like a tattoo. surprisingly he wouldn’t wipe it away, tracing the mess with a prowler claw. you were a mess, all over the place, he made that clear to you. but what he doesn’t tell you is the way he’s kept your messy paintings for himself, subtly letting you paint and create at his home. he may not admit to it, but you’ve painted your heart, a pretty thing that he’s kept all for himself.

you reminded pavitr prabhakar of shells. the kind of seashore ones found at the beach. it’s a new scenery from what he’s used to. you seem to always have this saltwater scent, fresh and inviting. with smiles he’s spoken to you, listened to your voice like the shells that float out into the ocean, dragging him with you. he likes the feel of the sand between his toes. he also likes the pretty patterns that would imbed themselves into the ground. you were like a shell, pretty and something he always loves to find. he liked to treasure the shells he’d find, keep them safe. collections like the collections he’d want to keep of your words. tucked safe into his pockets. your intriguing secrets with the sound of ocean that you’d hear when you press your ear to a larger shell matched perfectly.

you reminded gwen stacy of neon lights. bright and colourful. you were something that made her eyes widen as she stared. like a club street light, you’d invite people in. even inside the club with the flashing lights, you’d keep people entertained. she always stood by you, soaking in your colourful rays. she may even gain inspiration for her hair, the tinges of pink that would stain your lips made her want to match. you were alive in the night, her favourite pastime just flying through the city with you as her guide. even if it would rain you seemed to shine, your smile only making her eyes reflect colour. you made her feel excited with your hooded gaze. you even met under a neon street sign, ready for a mission in the dark. a mission she’ll never forget.

you reminded peter b. parker of a pillow. comforting and something easy to rest his head on. you’d feel him doze off on your shoulder, maybe even your lap. small dribbles of drool would make you smile at just how easy it was to get him to sleep if you were in his reach. even your clothes reflected comfort, his hands gravitating towards you. he almost always kept you tucked to him like a carry on pillow. a pillow mayday seemed to enjoy too, as she’d crawl all over your shoulders, your secure hands making sure she didn’t fall. she may even think you bigger like a bed, as she’d jump excitedly in your arms. not to mention your soft skin, his fingers tracing over like a silk slip.

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violetthecreator · 9 months

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Sunlight

Astarion x GN!Reader

Warnings: Reference to past trauma, just a lovesick vampire sharing his feelings 💘

WC: 400+

A/N: Inspired by @lokasxnna and Sunlight by Hozier, you can find the moodboard here ☀️ I truly could spend eternity writing soft/tender moments for this man 🥺

Astarion's steps fall softly upon the forest floor, the dappled sunlight filtering through the leaves overhead casting patterns on the ground. You walk beside him in quiet companionship, the two of you navigating the winding paths with ease whilst the others keep pace a few dozen yards ahead. With every step, the tension in his shoulders seems to loosen, as if the gentle embrace of the ancient forest has a soothing effect on him.

After a while, Astarion's voice breaks through the peaceful silence, lacking it's usual sardonic edge. "I've missed this.", his sharp eyes glancing towards the canopy above.

"Missed what?" you inquire with genuine curiousity.

"The sunlight," he admits, a hint of nostalgia threading his words. "I spent two centuries trapped in darkness, unable to bear the sun's touch. It's... odd how something so simple, something mortals often take for granted, could be a luxury I yearned for so desperately."

You nod, allowing him to continue. His words seem to flow like a long-held secret finally being unburdened.

"The memories of honeyed rays, of warmth on my skin, they taunted me endlessly whilst I remained under Cazador's influence," Astarion confesses, his voice carrying a vulnerability rarely heard from the elegant vampire. "But now, thanks to this accursed tadpole, I can finally feel it again. The sensation of sunlight on my face, the way it warms my skin, it feels as if I've been given a second chance."

A soft smile touches your lips as you listen, understanding the weight of his words. The forest around you seems to echo his sentiments, the gentle rustling of leaves like a symphony of empathy.

Astarion glances at you, his expression revealing a depth of emotion he rarely allows himself to show. "I'm glad you're here with me," he admits, his crimson eyes meeting yours. "Being able to share this newfound freedom with you, it's something I never imagined possible."

The two of you walk on, the breeze ruffling your hair and carrying Astarion's words through the air. With every step, the forest seems to come alive, embracing both of you in its tranquility and allowing Astarion to rediscover a part of himself he thought he had lost forever.

As the sun begins its descent, casting a warm golden hue across the landscape, Astarion's fingers brush against yours, a silent reassurance that he cherishes this moment. He can't help but find himself hoping that one day he'll gather the courage to tell you just how much he cherishes every moment he spends with you. You both find solace in each other's company amidst the whispering leaves and glowing sunset, basking in the light that had eluded Astarion for far too long.

A/N: Thank you so so much for reading! The comments/tags you've left on my other Astarion fics have left me smiling like a fool, appreciate all the love and support 😭💕

#I just want him to be happy 🥺#so I will keep writing soft moments between him and reader/tav until I die 😌#astarion #astarion x gn!reader #astarion x reader #astarion x tav #bg3 #baldurs gate 3 #baldur's gate 3 #baldur's gate iii #baldurs gate iii

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venusiansilk · 1 month

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⋆˙⟢ PARAGON OF REVERENCE.

you want to run away with xavier.

f!reader ⊹ canon-divergent au ⊹ fluff. light angst ⊹ 0.7k ⊹ knight!xavier x princess!reader ⊹ footnote. a song fic based on ᝰ forever always / zeph req by anonie. i hope you like it.

꒰ 𝐌𝐃𝐍𝐈 ! ꒱

sometimes xavier wonders what he means to you, what impact his eternal devotion carries in your heart.

he wonders how much it weighs in your sternum. as your knight, all that enters his realm of concern is both your safety and your joy. yes, he lives for the birth of your elation bred from the security he ensures — a hand in yours or a hand drawing his sword in your name. he isn’t supposed to love you, but before he’s a knight, he’s only a man. honorable in truth, but still, a man comprised of flaws.

loyal but indulgent. fierce but impulsive. reliable but irrational. calm but reactive. although, for you, all xavier needs is the strength he carries inspired by his vow to you to be a knight who excels at his position and can be trusted to be at his post: by your side. and you, his forbidden awestricken lover with your honeysuckle heart bleeding the sweetest nectar over everything. what else is he supposed to do aside love you?

from your intellect to your unyielding curiosity, xavier’s grown to adore every aspect of you he observes. even when you make his blood boil, he wants to release his frustration by pressing feathery kisses to each of your knuckles. he can’t help but love you. to every question he raises, you’re the answer he finds. “princess,” xavier calls. he enters your room, voice pointed as your honorific rolls casually from his lips. you hum weakly in response. he finds you standing soundless in front of your large, bay window, looking out at the structures of the kingdom below. his obvious frustration is disregarded for the likes of pensiveness. his tone softens at the sight. “i’m…told you refuse to see your father.” “mm, that’s right,” you say distantly. “he seeks to absolve his crimes against the lemurians by marrying me off to their king. a direct line of power to lay this conflict to rest with no consequence.” xavier listens to every word you say, but you pierce a hook right through his chest when the word marrying slips out of your lips. he didn’t hear any rumors floating around and he devoutly listens for them with the same diligence that he uses to wait for your word. his frustration dies on his breath, now replaced by a swelling ache swaddling his ribs. “i refuse.” you seethe, finally turning to face xavier with teary eyes. “for obvious reasons, i can’t bring myself to marry another man that isn’t you.” despite the weight of the truth being the dagger lodged in his throat, xavier speaks to you softly. “come here, princess.” and you do, picking up the fabric of your attire to drag your bare soles over to him, your perfect lips set in a pout, his yearning to set them straight screeching inside him.

when you’re within reach, he gently cups your cheeks. an exalting and loving smile molds his lips to mask the way his heart collapses to the floor and shatters in glassy descent. “i’m your knight first. and your lover last.” xavier’s somber reminder as he presses tender kisses against your lips. “maybe we should accept this.” ignoring him, you speak as if he hasn’t. “unless we leave this kingdom, all we’ll have is this. with or without him, i want to have you, but i don’t want to put you in harm’s way. if we leave together, my father will most assuredly put a bounty on your head.” your voice shimmers with love, a solemn vow spoken with promise and fear all in one breath. he grins, bittersweet and ardent, staring into your cosmic eyes, watching stars shoot across your irises and wishing for the space to love you well. “uluru,” he murmurs, leaning his forehead against yours. your noses brush. “uluru?” “we said if we ever eloped, we’d spend the rest of our lives there.” xavier's knuckles graze your cheek as he declares, “i’ll pay any cost there is to keep you. if you say you want to go, we’ll go. but if we go, we can’t look back. be sure this is really what you want.” because this is all he’ll ever want: to be hopelessly dedicated to you, a paragon of reverence. his heart belongs to you, for all of eternity. in this life and his next. you smile, delicate and doting, softly declaring, “i'm ready to go when you are.”

i don’t think my love will ever start to fade. my attachment to you isn’t subject to change. my heart’s yours, forever and always.

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katakaluptastrophy · 1 month

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"I’ve already pretty much revealed that Alecto begins with the descent of Christ into Hades." - Tamsyn Muir

That's right...it's time for more Bible study for fans of weird queer necromancers!

It's currently Holy Week, the week where Western liturgical Christians reenact the events of Jesus' death and resurrection in real time. And today, it's Holy Saturday. So Jesus died on the cross on Good Friday. He rises from the dead on Easter Sunday. But what happened in between? His body lay in the tomb...but his spirit was otherwise preoccupied. Because on Holy Saturday, Jesus went to Hell.

But why would Jesus go to Hell? Because the resurrection was not just about saving the people who came after it - it was a bit more...wibbly wobbly, timey wimey.

To be a bit more specific, he didn't visit Hell Hell. The place Jesus visited isn't Hell in the sense of eternal punishment of the damned, but Hades or Sheol or the Underworld or Limbo - a place for those who were mostly good but lived before Jesus' resurrection had made salvation possible. So before his resurrection, Jesus went to make that salvation retroactive. Particularly, according to tradition, to major figures from the Old Testament, including Adam and Eve.

So Nona the Ninth ended with Harrow walking off into the River in search of theological truth. And Alecto the Ninth apparently begins with Harrow in Hell:

Alecto the Ninth, ACT ONE HARROW IN HELL CHAPTER 1 At a point in the slit she was carving through life, Harrowhark Nonagesimus woke to find herself lost in a dark wound. She had been walking when it had all gone black– any path ahead or behind was blotted out; now she was here. - Tamsyn Muir reading at TorCon

This is riffing heavily on the beginning of Dante's Inferno:

"In the middle of the journey of our life I came to myself within a dark wood where the straight way was lost." - Dante Alighieri, Inferno

But lots of people go to Hell. What's so special about Harrow going there? Because the traditional name in English for Jesus' chthonic salvation adventures on Holy Saturday is "the Harrowing of Hell." "Harrow" comes from an Old English word meaning to attack or despoil - a very martial way of expressing the idea of Jesus as the victor over sin and death.

Harrow ended NTN realising that she cannot trust John's account of metaphysics. That she needs to discover the reality for herself. The faith of the Nine Houses and John's own styling as god rests on the foundation of the Resurrection - John is the "ransomer of death, scourge of death, vindicator of death", his power is understood to be absolute: "Let the whole of everywhere entrust themselves to him. Let those across the river pledge beyond the tomb to the adept divine."

And yet even that prayer - "let those across the river..." - introduces doubt. Magnus jumps in to silence Abigail when she expresses her heretical belief in the River beyond, and Harrow herself scoffs that "it has been thousands of years since anybody bothered to believe in the River beyond." Abigail believes that John knows nothing about what exists beyond the River. And what about Hell? In HTN, Ulysses the First is described as "languishing in Hell" after his run-in with a Resurrection Beast. John himself describes the stoma as "the mouth to Hell", "a portal to a place I cannot touch - somewhere I don't fully comprehend, where my power and my authority are utterly meaningless."

In the Book of Revelation - the Bible's account of the end of the world - Jesus holds "the keys of death and Hell". John may have resurrected the dead, but he does not comprehend what is beyond it. Both the destination of the good, the River beyond to which the souls of little Isaac and Jean should have traveled lightly after their short and brutal lives, and the Hell that lies beneath the stoma are outside of his power. He is a few keys short of the full divine bunch. He can manipulate death, but he is not really its master.

And so Harrow walks off into the River to look for something or someone she can call god. Harrow, who shares a name with the defeat of death across time and space. Harrow, who is of the unbroken line of Anastasia. Anastasia was kind to Alecto, who like Eve is the mother of all and like Adam walked on the empty earth with god.

In Orthodox icons, the Harrowing of Hell is depicted with Jesus triumphant, leading Adam and Eve by the hand from their tombs. The traditional term for this image is an anastasis, the Greek term for resurrection. Adam and Eve, whose sin broke the intended shape of reality, are restored to wholeness with god.

How will Harrow answer her questions about god? What really is beyond the stoma and what would it mean to conquer it? What does it look like, metaphysically, to restore the world of The Locked Tomb to wholeness, and what will it cost?

#the locked tomb #tlt meta #harrowhark nonagesimus #john gaius #alecto the first #anastasia the first

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jade-len · 4 months

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so today i tricked my very straight male friend into reading svsss.

okay look, i wasn't planning to at first and it's not like it was completely my fault. he wanted to read it!

i was showing him how badly they fucked up mu qingfang in the donghua by comparing it to the english novel design (he said that mu qingfang went from looking like a soft dilf to a predator registered on the epstein island list). and then, i showed him how different some of the other character designs were like gongyi xiao's ("he looks like he'd be a genshin character" -friend, to eng novel design) and luo binghe's ("lowkey, he kinda gives airbender vibes" -friend, to bunhe eng novel design)

so that was all i was gonna show him, nothing else. but after seeing them, he goes, "these designs actually look hella cool. what's the book called?"

now, do i:

A. tell him the name, eventually revealing that it's a danmei when he looks it up?

B. just straight up tell him that it's a danmei?

C: don't tell him the name just yet, spill the summary, get him interested, and tell him to not search anything up about it because there's heavy spoilers and it will reveal them the moment he types it up on the search bar

i go with C, obviously.

me: so, basically, some guy named shen yuan transmigrates into an incel harem male power fantasy novel where the protagonist, luo binghe, has hundreds of wives. thing is though, the guy pretty much took over the body of binghe's teacher he had when he was a teenager, who turns out to be a really scummy dude. and now he has to be nice to him so that the protagonist doesn't rip off his limbs and put him into a pickle pot in the future to suffer for eternity.

friend: that sounds hilarious and horrifying at the same time.

me: yes it is, and you should read it. it's like. my favorite novel at the moment. but don't search up anything about it because people spoil that shit. i'll let you borrow my novel

friend: nah don't worry, i'll just pirate it

friend: wait. does it have pictures?

me, my plan coming together: yeah, it has pictures. buuut, when you pirate it, it doesn't. trust me dude, i tried and was severely disappointed. plus, the physical copy is so much better

friend: fuck yeah ok thanks

me: hold on though. i'll text you later to see if my friend who's borrowing it rn is done reading it

he's hyped. he's excited. he craves a good book and a good transmigration interpretation. he's especially happy about the fact that it takes place in a chinese setting with cool powers and an actual good main character. "this sounds so good, god i wanna read it so bad."

i tell him that binghe is actually adorable, too. that it's pretty much found family! my friend then asks if shen yuan adopts him and becomes a father figure or something.

and i said "yes". you know, like a liar. (the father figure part probably isn't a lie though)

now i'm gonna give him the novel tomorrow! of course, i'm gonna cover the chapter 2 bunhe sexual awakening scene with washi tape and say that my baby cousin (sorry baby cousin, you would never <\3) scribbled all over that paragraph with her markers, and since i'm a neat book freak, i put washi tape and just wrote the scene! i don't know if that's really all too believable, but he didn't seem to care that much. just a simple "if my baby cousin did that to my book i would punt them into the sun"

i think what'll be more hilarious is the fact that you can't really tell that svsss is a BL. especially not volume 1. there's like, only a few lines indicating, but if you remove the baby binghe sexual awakening scene then you probably won't be able to know (...if you don't really read romance or anything. idk he's kinda dense anyways). so let's hope he gets attached and has a slow descent into the homo before i drop svsss vol 2 on him!

ok anyways i'll update you guys later with a reblog. maybe in about two or three days lol

(also don't worry, we already fuck around with each other on a daily basis like this. he's already tricked me into reading some manga i was unprepared for, and i thought that it'd be funny to mess around with him using svsss this time lol)

#greatest prank ive ever donee i think #manipulation 100 fr #absolute tomfoolery #am i a bad friend for this? perhaps. is it hilarious? definitely.#this is truly the most moment of all time #svsss #mxtx svsss #the scum villain's self saving system #luo binghe #luo bingmei #shen qingqiu #shen yuan

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