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bestworstcase · 3 days

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the only purpose of the shock collar was to subjugate, enforce cinder’s status as an object the madame owned. she neither chose it nor wanted it—and in the end, it was just a necklace. cinder breaks it with ease, with one hand. anyone might have set her free at any time with, literally, no more effort than it would take to lift a finger.

(do not try the bullshit nonsense about cinder’s enslavement being legal with me. slavery was abolished after the great war, and when the madame is displeased she brings cinder into the kitchen to torture her behind closed doors. adopting an impoverished orphan from a foreign country and using a collar made to look like a pretty necklace is how she gets away with it, enabled by the complete indifference of her wealthy patrons to the plight of the "adopted child."

the thematic point of rhodes is that he enforces the law only when it’s convenient for him to do so: he knows cinder is being abused, but he’s a regular patron of the hotel and he chooses not to say or do anything to intervene until he recognizes cinder as a threat to the madame. “hurting them won’t make your life any easier.”

we see this pattern reoccur again and again in atlas, that those who hold political or economic power flout the law without consequence or contort it to work for them while those beneath are subjected to strict, unforgiving enforcement. everything robyn does before the election is legal and above-board but the ace-ops openly treat her like a criminal and hound her about obeying the law, while ironwood misappropriates construction materials earmarked for mantle. this is the idea that rhodes embodies.)

so the greatest injustice of the collar is that it had no real power, by itself, over cinder. she could take it off whenever she wanted, except that she was not allowed to; no one willing to help her, no safe haven where she could find refuge after, and when she becomes desperate enough to resort to violence to free herself she is immediately prevented from doing so by a huntsmen—exemplars of moral virtue as they are intended to be—who tells her that in order to be good she must endure seven more years before she is allowed to leave without her guardian’s permission.

as an instrument of control, the collar can exist only through the willingness of the hotel’s patrons to participate in the fiction that cinder, having been lifted out of poverty by the madame’s generosity (look, she even gave the girl a lovely necklace!), is now earning her keep, learning the value of hard work. pay the scars no mind. rhodes intervenes to keep protect the madame, and his fondness for cinder is circumscribed by that motive.

the first time he leaves after he begins to train her, rhodes says goodbye by placing his hand on top of her head; cinder flinches—

—and the scene cuts right to the collar:

in the same mode, the madame electrocutes cinder in a panic as cinder strangles her, and rhodes’ final act is to place his hand on cinder’s head, scaring her—

—after which she cuts him down and stands upright to remove her collar:

the collar and the gentle (unwanted) hand are one and the same, two faces of a single instrument. carrot, stick. neither figures cinder as a human being. rhodes is only gentle until she disobeys him, whereupon the covert violence of their first meeting is reified: he enters her only ‘safe’ place to catch her in an unlawful act; his first action is to pass judgment; his second, to draw his weapons.

now, that’s not yours, is it?—huntsmen are called to embody a heroic ideal, to protect others who cannot protect themselves. rhodes places his own weapons into cinder’s hands and declares that he will train her as a huntress on the condition that she agrees not to protect herself; he releases himself from his duty to protect her by moving her into the category of people who do not need to be protected, and thereby makes her both guardian and grimm: as a child who will become a huntress it falls to her to protect her family from the monster of herself.

thus she’s forced to become an active participant in her own abuse; before she can break free of the collar, she has to bite the hand that held it in place.

now to the grimm. during the montage of cinder’s training-and-abuse, there is a particular sequence that goes like this: rhodes and cinder spar with wasters late one night, he disengages and gives her an approving nod; we cut to cinder kneeling before the madame in the empty lobby, dusting a glass statuette of a sabyr for inspection. her work is found inadequate, and the madame finds quiet satisfaction in reminding cinder of the power she has over cinder:

then the madame walks away, and although cinder strives to maintain the performance of being unaffected—indifferent—she can’t:

in contrast to the scenes preceding cinder’s bargain with rhodes—wherein the larger-than-life glass statues looming over the lobby alternate between prominently visible or just protruding into frame and cinder’s face is an open book of angry resentment—this is the only instance of a grimm figurine being clearly visible and in focus during the montage, and also the one time cinder’s mask slips to reveal her anger.

similarly, in the time-skip at the end of the montage, the glass sphinx sitting on the coffee table in the mid-left is removed to signal the passage of time, with no other changes made to the decor:

but guess who’s back as soon as the situation reaches critical mass?

glass wolf. glass dragon. glass shoes.

the point is, throughout the flashback midnight leverages these glass-grimm to symbolize cinder’s true self, her anger which protects her and which the gentle hand demands she extinguish. the fantastical gilded opulence of the glass unicorn depends on cinder staying quietly in her cage. no, it isn’t fair—the gentle hand admits this—but it is her moral imperative to serve others. in this distorted unreality the defenseless and the indefensible become commingled. a huntress, as salem would have it, is a defender who lives and dies to protect a lifestyle. or she is, as ozpin defines it, one who guards the peace by killing monsters.

cinder’s instinctive understanding that this is not fair—that she is not nothing—that she has been wronged—is the monster she must slay to become the hero of this story, the story of the glass unicorn and madame and rhodes and all of atlas. and in the end she can’t.

rwby has never been precious about depicting blood, but there is no blood in this scene: not not on the floor, not on the bodies, not on her weapons, not a single drop upon her white shirt. her hands are clean. in shadow, the monster snaps the chain around her throat and turns to looks up at the moon—and its light reveals what is true. her tears, her scars. a child who deserved better than she was given. a child who did nothing wrong.

ahem.

Keeping [grimm] in captivity has proved to be an understandably difficult task, as the creatures tend to either die, or kill those who imprisoned them in the first place.

hm! anyway. the narrative function of this flashback is to provide context and contrast with the scenes that follow.

to review:

the collar’s power is enforced by communal indifference and complicity.

the madame, though unaware of him, depends on rhodes to keep cinder under her control; rhodes intervenes to protect the madame from cinder.

the gentle hand is an equal to the collar, a mechanism of control by which cinder is made to participate in her own abuse, and when she disobeys, it turns to iron and inflicts violent punishment. even when he is gentle, cinder flinches under his touch.

by training cinder to fight but forbidding her to defend herself, rhodes casts her into the role of both guardian and grimm: she is expected to protect the madame by slaying her anger and turning the other cheek.

the glass grimm figurines symbolize cinder’s anger, which protects her. when she defends herself, cinder metaphorically becomes grimm: the monster of the glass unicorn is destined to be hated and hunted for the rest of her life, and the monster of the glass unicorn is a blameless child who refused to let herself be hurt. grimm, in this story, are good.

also note

the similar framing here.

now!—from the moment cinder wakes up, it is abundantly clear that she expects to be met with brutal punishment for her failure. “you—you brought me back here… we failed.” she’s horror-stricken at finding herself in this place and that hardens into terror as the reality sinks in that she is within salem’s reach.

later, on the bridge, she affects calm until salem pauses in front of her; her eyes snap open. she shrinks into herself at the sound of salem’s voice but hangs on every word. when salem mentions the winter maiden, cinder grits her teeth and braces herself.

cinder associates salem with the madame: that is why without you, i am nothing falls out of her mouth so easily when salem tears her down in 8.1 and again when salem threatens her in 8.4—those are the words to make the pain stop, to appease, to demonstrate that she is contrite and repentant and grateful. she believes that this is what salem wants to hear when cinder has displeased her. and she is, at the top of the bridge scene, waiting for the torture to begin so that she can choke it out again and survive this humiliating ordeal.

except that is not what salem wants to hear.

by now salem knows beyond any doubt that “without you, i am nothing” is what cinder believes she wants to hear, and it is obvious to anyone with eyes that cinder expects to be tortured. whether salem knows cinder’s history or not—i don’t think she does, not in any great detail—she knows people well enough to put two and two together. salem knows, then, that cinder expects to be tortured into groveling self-denigration.

she doesn’t want cinder to expect that from her. there’s no other reason for salem to be so thorough in dismantling the expectation.

if she wanted to make cinder afraid, the more effective way is to decline to torture her at all: cinder is so certain that salem will hurt her that withholding punishment entirely will only convince her that salem intends to wait until the moment she lets her guard down, or some other form of deferred retribution all the worse for being delayed.

whereas the most efficient way to puncture cinder’s terror of being tortured is—somewhat perversely—to actually torture her a little bit. because cinder does not BELIEVE there is any possible outcome in which salem spares her, if salem wants to introduce the possibility of mercy she first needs to enter cinder’s reality, where mercy doesn’t exist, by proving she can and will inflict pain to answer both defiance (“you chose to disobey my specific instructions”) and failure (“just to fail again…”)

a brief burst of pain to express displeasure instead of holding cinder under torture until she breaks isn’t really merciful, but it’s the lower bound of what cinder will be able to trust and it eases her into the idea that salem is lenient.

then, “and i’ve realized it’s all my fault. you’ve fought your whole life unwaveringly for what you want, and here i am holding you back, instead of lifting you up; you deserve so much more than i’ve given you.”

aside from being a straightforward subversion of cinder’s clear expectation—cinder thinks she will be abused without mercy until she breaks, salem stops and absolves cinder by reframing cinder’s disobedience as a natural consequence of her own failures—salem has a few specific things in mind here.

the most obvious is the reversal of what she said to cinder in 4.11: “i thought you were the girl who wanted power. did you lie to me? then stop holding back.” and she’s also pointedly walking back things she said yesterday, in 8.1 and 8.4: “all you need concern yourself with is your ability to act when i tell you to” and the “she thinks; she wants…” bit are here flipped into implicit praise for cinder’s tenacity in pursuing what she wants and implicit apology for standing in her way.

but the most interesting angle to consider is that this is salem’s response to “without you, i am nothing.” salem does not verbally respond either of the times cinder says that to her in 8.1 and 8.4; the first time, she dismisses everyone with a gesture, and the second time she just walks away. both reactions are in line with what cinder expects—after all, the point is to remind cinder that she is nothing.

however, cinder has—from what we’ve seen—never spoken to salem this way before, and given she seems genuinely taken aback when salem shuts her down in 8.1 i do think it’s likelier than not that salem has never demeaned her like this before, and that together with having been in atlas for months is what surfaces the trauma association with the madame and thence the appeasing behavior.

so consider how this looks to salem.

the last time she spoke to cinder, she said “you’re free to speak your mind,” and cinder whipped around from the window without hesitation, outraged: “i don’t understand! working with bandits? leaving ruby alive? what’s the point? we’re strong enough to take what we want by force!”—not even a ma’am in there. cinder addressed her like she saw herself and salem as equals, notwithstanding that salem had final say, and salem clearly didn’t have a problem with that.

several months pass. salem is displeased about the loss at haven but trusts that cinder will make an effort to recover the lamp; she is also worried enough for cinder to toss her plans and divert nearly everything to atlas, not that she’s willing to admit that’s why.

cinder walks onto the bridge and the first words out of her mouth are “my queen.” a few minutes in salem curtly informs her that no she will not go rampaging after the winter maiden and cinder’s answer is a demure, “of course; without you, i am nothing.” and then a few hours later they quarrel about it and cinder repeats those exact words in exactly the same tone again.

unless salem knows cinder’s history in far more granular detail than i believe cinder would be willing to divulge, that’s… a really strange shift in behavior with no clear reason; yes, she had to make up the loss at haven (and she did), and yes, salem was unusually mean to her, but neither of those things add up to this plainly well-practiced self-abasement from the girl who only a few months ago did not appear to have a humble bone in her body. once might have been sarcasm; but twice within a few hours?

whereafter cinder ran off to attack the winter maiden and almost died again and salem had six hours to pick all of this apart in her head while cinder lay unconscious.

why didn’t she respond to cinder saying “without you, i am nothing,” if that is not what she wants from cinder? well,

“you disobeyed my specific instructions, just to fail again, and i’ve realized it’s all my fault.” both times cinder said that, it was in response to the specific instructions that cinder disobeyed when she went after penny: you will act when i tell you to, and you will remain here. six hours, salem had to think about this. “you’ve fought your whole life unwaveringly for what you want, and here i am holding you back, instead of lifting you up; you deserve so much more than i’ve given you.”

salem does not think of cinder as nothing. even when she is deliberately being mean, she makes a point to say that she values cinder (“just because you’re more valuable to me than a pawn–”). cinder holds the key to her victory and cinder is also important to her in ways she cannot bring herself to admit except that she keeps bending her plans further and further for cinder’s sake. the first time cinder says “without you, i am nothing” to her, she seems bemused (brows up) and then wry. the second time, she doesn’t react at all.

then because she left it there, cinder nearly dies and is unconscious for hours. and once she wakes up salem hits her with:

this is my fault

what you want matters

i should be lifting you up

you deserve better

i will help you

IN A CLASSIC SALEM MOVE she does not actually say what she means, which is “you are not nothing,” but she finds an impressive number of ways to say it without saying it in just a handful of lines. and:

she doesn’t touch cinder, but instead she offers, gives cinder a choice to take her hand or not, and this matters because no other character has ever given cinder that.

in 2.1 cinder touches roman’s face to assert her power over him; she does the same to pyrrha in 3.12 right before killing her; she slaps emerald in 3.7.

in 5.9, cinder reacts to watts grabbing her wrist like this—

—and then sets his hand on fire. in 8.1, emerald starts to run over to embrace her, cinder snaps her head around and snarls “quiet.,” stopping her in her tracks. and after she wakes up in midnight, when emerald rushes into the room and grabs her, cinder tenses and verbally lashes out before jerking her hand away.

cinder really does not like to be touched and that all traces back to:

rhodes patting her head. which is what he’s reaching down for when cinder kills him, because this time she senses him moving to touch her and can’t take it.

cinder bristles and retaliates whenever anyone touches her, and outside of grappling during fights the only times cinder ever touches other people is to hurt them or to remind them of her power to hurt them, because that is what touch means to her; it’s something those with power do to those beneath them, and something the weak must endure.

for salem to offer her hand to help cinder up is strange and unsettling; it breaks the rules. and cinder is very hesitant to take it—her fingers shake—but she does, and it isn’t a trick, salem pulls her to her feet without hurting her.

whereupon cinder’s whole demeanor transforms from terrified incredulity to calculation. she doesn’t understand what just happened, but she knows touch is an instrument of coercion and a way to inflict pain. if salem were like the madame, she would not have done any of that; if salem didn’t touch her with the intent to harm her, then there are only two possibilities:

one, that salem’s resemblance to the madame is superficial and she is actually much more like rhodes; or two, that salem is the weak one and cinder holds some unknown degree of power over her.

the instant this thought enters cinder’s head, it becomes urgently important to figure out which it is, hence the murdering of colleagues and stepsisters and lying to salem’s face that cinder gets up to immediately afterward. BUT THAT IS NOT WHAT THIS POST IS ABOUT THIS IS A POST ABOUT THE GRIMM ARM. AND THEMES.

wheeze. okay

in the glass unicorn, cinder has two parental figures—the madame and rhodes—who act in synchronicity to keep her in her place. shock collar, pat on the head. stick, carrot. she is tortured and made to refract this violence inwards, against herself, by turning the other cheek. within this narrative, the symbolic purpose of the grimm is to protect cinder and cinder herself is symbolically identified as grimm; just as black glass is her signature in in the present, the white glass of the hotel’s grimm figurines reflects cinder’s starkly white-and-grey uniform.

glass, cinder. glass grimm, glass shoes.

unicorns, classically, are said to be ferociously wild and dangerous beasts tamable only by the touch of a maiden. those who hunt unicorns, then, should solicit a maiden’s assistance. she goes out into the woods alone; the unicorn finds her and docilely, fearlessly lays its head upon her lap and goes to sleep; and thus the hunters take it. this manner of hunting unicorns is called entrapment, and among medieval and renaissance depictions of unicorns it is by far the most common motif.

in the world of remnant, if unicorns are real then they are undoubtedly a kind of grimm.

gestures at cinder, the fall maiden, who can tame the grimm. who feels for them. maiden. unicorn. maiden. unicorn.

the story of the glass unicorn is a story about a maiden-monster whom a huntsman instructs to tame herself lest she be hunted forever; an entrapment of the self; in the end she hears the baying of hunting dogs in the distance and awakens to the truth that she too will be killed, in spirit if not in body, if she obeys the huntsman. the unicorn is not to blame, and the maiden is right to protect it, and the unicorn is, has always been, grimm.

bearing all of this in mind,

is the grimm arm another collar?

i don’t think it…is, actually, in any sense except that cinder forms an association between the madame and salem in 8.1—the collar and the arm are diametric opposites, mirror-images of each other:

where the collar was fragile and easily removed, the grimm arm is part of cinder’s body. where the collar derived all its power from pretense (it’s only a pretty necklace!), the grimm arm is impossible to mistake for something other than what it is. where the collar’s sole purpose was to inflict pain and remind cinder of her place, the foremost purpose of the arm is to replace cinder’s missing limb. where the collar was forced upon her and she hated it, cinder trained hard to master her new arm and has grown more comfortable with it in every new volume.

paired with the way grimm function symbolically within the glass unicorn narrative, as representations of cinder’s justified anger and desire to protect herself… well. maiden, unicorn. lol

is it then an iteration of the gentle hand? that’s a more interesting question, because salem’s abuse of cinder is really quite a lot more like rhodes than the madame, but then there’s also… the reversal. rhodes’ affection for cinder is restricted by his interest in protecting the madame, and when cinder disobeys him he attacks her presumably with the intent to arrest her for murder. whereas salem has repeatedly and increasingly rearranged her plans for cinder’s benefit, and when cinder disobeys her, she reconsiders her treatment of cinder and offers an apology.

and obviously—

—we have the way rhodes touches cinder’s head, which at best makes her tense up in discomfort and at worst scares her so much she kills him to make him stop, mirrored in the same episode by salem offering her hand and cinder choosing to take it.

salem is not by any stretch of the imagination good to cinder, but midnight places her in juxtaposition with the madame and rhodes in order to clarify the difference between salem and the parent-figures of cinder’s childhood. it’s salem who tells cinder that she isn’t nothing, that she deserves better, that she was right to become defiant when salem was cruel to her. it’s salem who gives cinder a choice to let salem touch her or not.

everyone who gets where the wind is blowing with cinder understands, because it is obvious, that her turnaround is going to be incited by someone showing her mercy, which will shatter her view of the world and open a door for her to change. but… that “someone” is salem. it is literally already happening.

the first crack is salem telling her you deserve so much more than i’ve given you, as she pulls cinder to her feet.

and cinder doesn’t know how to parse that, she has no frame of reference except the madame and rhodes and she’s superimposed them both onto salem; the discrepancies, the pieces that don’t fit, are small right now. they will get larger, and the cracks will keep widening until the looking glass breaks.

which is why the grimm arm is related to the collar in the specific way that it is, with cinder flashing back to her childhood and the pain salem inflicts ending when cinder shifts emotionally from helpless fear to defiance and salem then explicitly affirming the rightness of cinder’s anger. the moral of the glass unicorn narrative according to rhodes is that what cinder did is unforgivable, and she will never escape it; the moral according to salem is that cinder did the right thing, and deserves better. the symbolic function of the grimm figurines in the glass unicorn narrative is to represent cinder’s self-protective anger. salem, grimm, uses cinder’s grimm arm to make a point that cinder should get angry when salem mistreats her, and then rewards her for being defiant.

is that a really fucked up way for salem to make that point YES OBVIOUSLY but no one else is even trying. lol

little steps.

(whispers into a cup) the grimm arm is also a metaphor for learning to be vulnerable and trust others not to harm you

cinder feels its pain. when it’s severed, it hurts, but also grows back. it’s both powerful (superbly strong, inhuman flexibility) and vulnerable (aura can’t protect it). salem can use it to hurt her; it connects them both together, so salem knows she’s alive and cinder knows when she’s back. it refused to bond with cinder until she let go of her fear and welcomed it.

the shattering trauma that made her what she is now was rhodes telling her that defending herself made her an irredeemable monster. the grimm figurines in her childhood story symbolize cinder’s desire to defend herself. the grimm arm is part of her body that connects her to salem in a way that salem can abuse to hurt her, but salem is also the first character to look cinder in the eye and tell her that she is right to defend herself. both cinder and salem are in the early stages of developing villain -> hero arcs.

your newfound strength brings with it a crippling weakness, salem says. remember that it comes with a cost. take care to protect yourself; there is only so much i can do to aid you. cinder wants to be strong, but she is terrified of weakness, and it is the terror of weakness that drives her, that must be faced, that must be resolved before she can find peace. her story isn’t about “learning to be satisfied with the power she already has” it’s about learning to be okay with being vulnerable. with having weaknesses.

like an arm she can’t shield with aura, that grows back when it’s severed, which she feared and then hid in discomfort and now accepts as a part of herself. just because salem can hurt her doesn’t mean that salem is incapable of choosing not to. salem could also, like, smash cinder into a gory pancake with a snap of her fingers.

it’s a story. about trust.

#blah blah blah ''but her shoulder—''#cinder doesn’t care.#v8 is HER volume and not one #single solitary HINT that cinder is #even a little bit concerned about #this thing putting up roots?#none of you would survive sirin hárohȧm lmfao

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frostyhelltime · 1 day

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hihi!! i love your work, i was wondering if i could request hazbin hotel characters x male or GN socially awkward reader who stutters a lot? preferably the characters angel dust, husk, vox, and velvette please, thank you in advance! you don't have to do it if you don't want to ofc, take your time and stay safe :D

Aaaaaaaaa this is such a cute prompt! I would be glad to Nonnie!! Also love that Velvette is in here too. Love her but she's not quite as popular as some other characters so I was super excited to see your request!

Did I Stutter?

Ft. Angel Dust, Husk, Vox, and Velvette x male!reader

Angel Dust

Is genuinely trying his best to be kind to his boyfriend, really.

And he succeeds most of the time, but there was definitely a learning curve at the beginning of the relationship.

The awkwardness Angel didn't mind at all. Just thought you were that smitten with him that you got tongue-tied and acted a little awkward because he was just that hot.

However as the relationship progressed and you continued to stutter and are still a little awkward he brings it up.

Once he realizes that's just how you are he's a little dismayed that it wasn't him that made you do it. But doesn't mind it once he gets over that.

He's one of the more patient ones, for sure. When you have trouble getting something out he doesn't make a big deal of it or draw attention to your stutter, he just keeps his face normal and neutral as he patiently waits for you to finish, like you aren't struggling for words.

It actually helps a lot because you don't feel the pressure to get it right and get it right fast that you feel with others.

Although he does have a habit sometimes of intentionally riling you up or being extra seductive with you to worsen your stutter because he thinks it's cute when you stutter his name with wide eyes like that.

"Ya know we've been together awhile now, right? Ya don't have to be so nervous around me all the time. I mean the stutter is cute and it's adorable when ya trip over your words, and I know I'm hot, but I'm starting ta wonder if you're ever going to get used to me." Angel Dust laughs as the two of you walk through Pentagram City, Angel walking beside you. He has one of his hands holding yours, and the other wrapped protectively around your shoulders as you make your way through the streets.

A rare day off and all he wants is to spend it with you to recharge himself.

You huff a moment, trying to think of how to explain it. You hadn't realized he thought it was a nervous habit and not just...what you do.

"T-This is....h-how I normally talk." You eventually get out, speaking slowly to try and reduce the rate at which you stutter.

At that Angel Dust stops and frowns and you're worried that perhaps this quirk of yours is too much for him to deal with now that he knows it isn't temporary. But he just pouts and looks at you as he starts walking again.

"It isn't because I'm super hot? Ugh. How disappointin." He huffs, throwing his head back and looking up at the sky a moment.

"Ya lucky you're so cute. I'll pretend not to be sad that you weren't swooning over me this whole time." Angel Dust looks back down at him.

But in a rare show of courage, his boyfriend clears his throat and forces out something a little bolder than usual.

"W-Who said I w-wasn't?" A coy grin on his face just made Angel stop a moment again, eyes wide as he processed what he had said.

"Ya can't just surprise me with that kind of smooth shit when I'm not expecting it." He grumbles, but from how affectionately Angel grips his hand just a little tighter it's clear he's not actually upset.

He'll just get him back later tonight. He may not be the cause of the stutter, but he knows how to make it worse when he gets a little to close to him, hands running over his body as he whispers to him.

Husk

Another one who is also very understanding.

Literally never once brings it up.

When he figures out that's just how you talk, he shrugs it off.

But he does think it's cute when you stutter on his name when you're trying to get his attention.

But he'll keep that to himself.

When you're struggling he actually makes it really easy on you, busying himself with menial work behind the bar: Organizing bottles, messing around with a new cocktail he had an idea for, cleaning glasses. Whatever he can find so he isn't looking at you, but still waits patiently for you to speak. Him not staring at you, waiting for you to get the words out was actually really helpful.

He also doesn't mind the social awkward aspect. He's not exactly a social butterfly himself, or a people person.

Besides, he's served plenty of awkward people who relax a bit when they have some liquid courage. So those types of people never bothered him.

"A-A-And do you k-know what that, that, t-that- UGH." Husk's boyfriend shouts in frustration eventually. Husk looks over as you lay your head down on the bartop in frustration.

Husk just grabs a glass and pulls out a few bottles, busying himself with making...some sort of new concoction.

"Take your time." Is all he says, the only acknowledgement he gave that he recognized you were struggling.

He's purposefully not looking at you, letting you take a moment to calm and collect yourself without feeling the pressure.

You take a deep breath and try again, speaking slower this time so your upset doesn't make it worse.

"W-Wanna know....what that a-asshole said?" You eventually get out as he pushes the finished drink towards you to try.

"Oh I'm real curious." Husk says plainly, and to others around he might sound only as interested as a bartender normally is in their patrons sob stories. But you can hear in his undertone he does actually want to know.

"H-He said, w-with that cheap o-o-outfit, he's surpr-prised I, I, I...can even afford a drink!" You throw your hands up as you finally finish lamenting about the jerk you met last night when you decided to go clubbing with Angel Dust and Cherri.

Husk frowns a moment at the insult, not liking that he wasn't there to correct the guy. But he can at least settle for making you laugh as you take the first few sips.

He leans forward then, his elbows on the bartop as he lays his head in one hand and looks at you.

"You don't need to afford any drinks. You're fucking the bartender. You get 'em free." He smirks, holding back a laugh as he watches you almost immediately spit out that first sip, and watches you laugh for the first time since you sat down here in such a foul mood.

Vox

Surprisingly, genuinely the most empathetic about the whole thing.

When you first started dating him, he tried to help you. Lots of famous orators had stutters and they overcame them!

But he realizes eventually you don't want him to be so focused on fixing it, just help you get through it when it gets frustrating.

Once you get past that miscommunication, it's a lot smoother.

If you're struggling exceptionally bad he just pulls out his phone and hands it to you in a non-chalant manner so as not to draw attention to you, to let you type what you want to try and get across to him.

Genuinely scrubs social media down there of any shit-talking he sees people might do about 'Vox's stuttering mess of a boyfriend'. He controls pretty much all of it anyway. So it isn't the hardest thing.

He doesn't want you to see what some stranger who isn't worth anything is saying about you if it might make you feel bad.

The reason he is the most empathetic is because he does also have a tendency to stutter too, technically. When he glitches out, he can often stutter or repeat words and it's always intensely frustrating to him because it shows someone how he's feeling an intense enough emotion to glitch out like that.

Always does his best to retain as much control as he can when he glitches because of this, but when it's just the two of you he doesn't...really mind if you hear his computer equivalent of stuttering.

"S-S-Stupid FUCKING Val!" Vox yells as he throws some stupid object on his desk against the wall, narrowly missing you when you walk in to see him. His normal bright blue face is a bright and angry red and Vox is immediately simmering down, eyes wide when he realizes he almost nailed you with it. What had he even thrown? His eyes glance down and he sees it was a stapler and he winces. Yeah, with his strength and throwing that, that could have done a lot of damage if it had connected.

"S-Sh----iiit! I-I'm sorry!"

But Vox's boyfriend doesn't even seem bothered, just jogging over to him quickly and holding his hands, using his thumbs to rub circles on Vox's palms. Clearly trying to calm him down and...damnit it's working. The red begins to fade to blue once again as Vox lets out a deep sigh.

"W-What happened?" You ask him curiously, looking up at him.

"Fucking VAL happened, of course. Ripped apart one of my best news anchors because he found out they were fucking one of his favorites and he doesn't like to share. Now I gotta find someone else who is just as good or I'll be running the 6 o'clock segment until I do." Vox grumbles. He could just slap someone in there of course, but he hadn't built VoxTek into what it was today by accepting second best.

You tug him down, him eventually getting the message and leaning down to be within your reach more. You lean forward and gently place an affectionate kiss on his screen.

"H-How about....I or-or-order food to-to go? W-We'll sit here and...look at c-candidates." You suggest and Vox's face softens again, glad that although Val had ruined his nice relaxing dinner date with you, that he at least still got to spend time with you. Val couldn't ruin his night at least, it seems.

Vox smiles again, his normal exuberant and charismatic showman personality back on full display as he feels better with a plan in place.

"Hey I could always say screw it and let you have a whack at it." He teases, not even feeling bad about the cute look of panic in your eyes as you immediately shake your head no. He can't help but laugh and quickly shakes his own head.

"Kidding! Kidding! I want to still have a boyfriend by the end of tonight." He chuckles, earning him a gentle hit to his shoulder from you at his joke.

Velvette

Admittedly...the least kind about it...at first anyway.

She has little patience or time for things in general. So a stutter was actually a little aggravating to her at first. Until she realized one day she kinda thought it sounded a little cute coming from you.

It was something unique about you, and hey, fashion is all about being unique.

She almost certainly did make fun of you in the beginning before she developed feelings, and whenever Val or Vox bring it up to tease her about it, she winces.

Yeah....not something she's proud of now that she actually likes you and is dating you.

But once she gets past that hump, she's pretty accomodating...sometimes a little too much even.

But her heart is in the right place.

The easiest way she accomodates you is having a lot of conversations over text. Which isn't even an adjustment for her.

Plus it means she can re-read all your sweet words to cheer her up when Val fucks up her best model again. She thinks the world would be more peaceful is someone just fucking castrated him or something...

One of the ways she tries to be helpful and sweet to you but actually makes it worse is when you're trying to talk in a group of people, and when you start to have trouble, sometimes someone just starts to talk over you to move the conversation along.

And then she frowns, cocking her hips to the side with her hands on them.

"Uh? Excuse me. He wasn't done talking, yeah?" She shuts them up, giving you back the floor as your cheeks flush.

But now all the attention is on you and it makes it worse.

But her heart is in the right place, like I said.

She also doesn't care about the social awkwardness.

In her words "Doesn't matter how you are in real life, no one has to know if you don't post it online."

Plus, you're with her. She's plenty adept enough to navigate any social situations you have trouble with.

She's a bit tired of Vox talking over you while you all sat around and had cocktails with dinner. She knows it's in his nature, but that doesn't piss her off any less whenever she sees you sigh and give up on trying to say whatever it is you were trying to say.

"Oy, Box Brain! I know you love the sound of hearing yourself talk, but how about you let someone else get a word in edgewise, yeah?" She's not even trying to hide her annoyance and Vox just rolls his eyes.

"Don't you fucking roll your eyes at me! I'll start fucking up the signal of all your broadcasts if you don't shut the fuck up and let someone else talk!" She's getting just a bit more heated now, narrowing her eyes. You grimace and lean over, placing a hand on her arm to try and show that it's really okay. You loved that she fought so passionately for you...but not everything needed to be a battle.

Vox leans forward himself now, while Valentino just leans back, blowing out smoke and enjoying the show with an amused grin on his face. You certainly couldn't count on him to break this up.

"You wouldn't dare." Vox says with narrowed eyes himself, face closer to hers, and she snaps back at him without thinking.

"Did I fucking stutter?!"

Valentino is the first one to register the hilarity of what slipped out of Velvette's mouth, and he's almost spilling his cocktail from laughing so hard. It's only when he starts laughing that she realizes what she said and feels embaressment wash over her as she turns to you with wide eyes.

"Babes, I didn't mean-"

But you stop her before she can finish, smiling assuringly at her and rubbing her arm.

"I-It's okay....You gotta a-admit...It was pr-pretty funny." You laugh a bit yourself, and only when she sees you laugh does the tension leave her shoulders. She still feels embaressed...but at least you weren't upset.

"Hey, stop fucking laughing you two. It wasn't that funny." Velvette grumbles, hiding her face behind her cocktail as she takes a sip, feeling you press a kiss to her cheek to try and make her feel better as Vox and Valentino continue to enjoy Velvette's mistake.

#hazbin hotel #angel dust hazbin hotel #vox #vox x reader #angel dust #hazbin hotel vox #hazbin hotel husk #husk x reader #hazbin hotel velvette #velvette x reader #Velvette

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pocketramblr · 2 days

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I don't know if you're still doing it, but an AU where Gran Torino raises Kotaro.

1- as Shih put it, Sorahiko's an all-or-nothing guy. Nana tells him that Kotaro isn't safe anywhere near her, that she can't handle losing her son to AfO. Sorahiko nods, and asks if he should hide the boy, or go with him. Nana asks him to stay with Kotaro, and cries a lot. Sorahiko holds her, and then goes inside to tell Kotaro that he's going with him, and needs to pack up, and tell his mother goodbye.

2- Kotaro Yamada is raised in a strange way. Sorahiko can't cook any better than his mother could, but he doesn't try anymore. He knows Sorahiko used to be a hero, like his mother, but when he asks all the man tells him is he got his license because he just wanted to use his quirk, and now he keeps it in case whoever is after his mother comes for the boy. And oh, is Kotaro conflicted about his mother- he certainly can't say a bad word about her in Sorahiko's earshot. He knows she loves him, and is likely going to die trying to protect him from something. But he doesn't like it. *Yamada is just a common name, since Sorahiko is sure that AfO would know to look out for any Shimuras or Torinos.

3- When Kotaro is twelve years old, Sorahiko gets a call from a phone number he hasn't in years. He answers it, and there's a young voice on the other side, rough from tears, saying that Shimura-sensei told him to call the number after she died. Sorahiko knows this means Nana needs something else from him- the last thing she needs from him. But he has to help the first way too. So, he sneaks to UA during the day, and trains Toshinori while Kotaro is at school- Toshinori is excused for personal training, for "meetings with the school counselor after losing his teacher", and makes up classwork in the evenings after Sorahiko leaves. Toshinori stays in an altered apartment in one of the fake cities on UA grounds, alone when he isn't training. When Toshinori once tells Sorahiko that Nana was like his mother, Sorahiko asks quietly if Nana ever told him about her son. Toshinori just says she lost him, a bit of sadness in her heart no matter how she smiled or spoke of romantic dreams. Sorahiko tells him (Toshinori) that it's his (Sorahiko's) fault Nana never saw her son again, and that he's going to train Toshinori to make sure he can kill AfO, not the other way around. Which means he needs to leave the country. The last training session the day before graduation is the last time Sorahiko speaks to Toshinori for decades. And it will not be Toshinori reaching out.

4- Kotaro goes to high school, then university. He becomes an architect. He falls in love. He's surprised when Sorahiko is happy to hear this- weren't they both hurt so much by Nana? Isn't that why Sorahiko closed himself off from anyone but Kotaro? But he's encouraged. He marries Nao, builds a house for her and her parents and him and his. Eventually, they have a little girl, Hana. She looks so much like Nana. Sorahiko and Kotaro never say this fact outloud.

5- Eventually, AfO finds Kotaro. Hana is eight, too old for him to spark a quirk awakening in her without suspicion. But with enough eavesdropping quirks he hears that Kotaro and Nao are considering another child, so he starts setting up coincidences to nudge them along the line. When Tenko is born, four years later than in canon btw, AfO moves. Hana sits down at the dinner table, and when she touches her mother's arm, the woman turns to dust. Everyone starts screaming- except Sorahiko, who moves. He grabs Hana and breaks the window to the backyard, leaves Hana floating above the grass in terror, her jacket falling to dust as she hugs herself. Then he goes back, and grabs baby Tenko. He looks up to see Kotaro, covered in Nao's blood, looking to the front door, that also fell apart. A tall man stands behind it, reaching out a hand to the wall. Kotaro looks back at Sorahiko and tells him to go with the kids, now. Sorahiko breaks into Might Tower about half an hour later, with a child and a baby, and tells All Might these are Nana's grandkids, and he needs All Might to arrange tickets to I-island for the three of them, as quickly as he can while keeping it secret. He leaves a report in a file behind them. Toshinori only tells David to protect them, and Dave does. The baby's a year younger than Melissa, he has to help. Over a decade later, he finds that Hana's headaches seem to be from stress for her two quirks, the sort of opposite problem with Toshinori's decreasing power. But maybe he can build something to help- Melissa the engineer and Tenko the programmer are eager to help too, anyway they can. Sorahiko, feeling as useless as he always has, thanks them.

#pocket talks to people #anon #ask game #fine. i'll let the dual quirk thing hurt people in one au. because maybe they can stop it

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comradekatara · 3 hours

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On the topic of Sokka and failure and suicide: I think that it is probably rooted in the possibility that his failures, as a hunter and as a protector, COULD (and maybe did???) lead to deaths in his village. If he failed to bring home food or furs then people died, if HE failed to properly train the toddlers or watch over them properly during training then they could also get hurt or die, or themselves fail to bring home food or keep their people safe (which is to him obviously his fault as their trainer) and HE was the one who was meant to lead and protect and keep everyone safe.... It's so easy to see how that could spiral out into his severe deterioration after real failures during ATLA. Like, he is unique among the early Gaang that he is intimately familiar with the link between his actions and death, whether it's of people he cares about, animals, or eventually enemies. He's so painfully aware of it.

And speculatively, those toddlers would've all been born within a year of the men leaving! Which also means Sokka The Protector and Provider would've had no men (BC he wouldn't believe anyone else, they'd just be trying to make him feel better about being a failure) to reassure him that any pregnancies or newborns who didn't make it WEREN'T his fault and that he DID provide enough to keep mother and babe healthy. Or worse, he actually didn't do a good enough job and it did lead to close calls or difficult pregnancies or deaths. Either scenario would've fucked him up So Deeply.

yeah i talked about sokka’s perfectionist complex recently and also the fact that sokka is very much implied to be a good hunter, so like. yes. the stakes for any kind of failure are very high due to the nature of his responsibilities and what he believes he must excel in. he considers himself a provider and protector above all else. if he fails to provide for others, people starve. if he fails to protect others, people die. to fail to fulfill that role in any way is to be culpable for causing harm. and sokka never once considers whether putting that burden on a 13 year old was kind of unfair, actually, because he’s always been capable of excelling and thus it’s squarely his fault if he falls short in any way. but presumably, he doesn’t fail??

like, we really have no way of knowing, because so much of their childhoods and life before finding aang is framed exclusively from katara’s pov (she’s the narrator), but even what we do see is sokka holding the lantern for katara, sokka and kanna functioning as a unit when making decisions for the village, kanna trusting sokka more and telling katara to listen to her brother, sokka preparing to die a martyr. even the kind of “goofier” stuff, like katara soaking sokka with her “magic water,” or sokka trying to train a bunch of toddlers, or sokka’s watchtower getting destroyed, are all indicative of who sokka is and how he sees the world, in really fascinating ways.

obviously sokka’s reaction to katara waterbending is a complex one that we cannot fully understand when the show begins because we don’t actually know why and how waterbenders were targeted, so it reads as simple disrespect for something sokka doesn’t understand. and maybe it’s also jealousy, because i think literally anyone would be jealous if their little sibling had magic powers and you didn’t. but there’s definitely also fear there, fear that whoever informed the fire nation of there being one last waterbender left is still out there, that katara is still a target. it’s a fear informed by trauma, by sokka’s need to protect katara, to “keep his promise to dad.” it’s never outright spoken (unless you’re live action shein go girl give us nothing katara, of course), but it’s pretty obvious in retrospect.

there’s also the fact that katara is there with him in the first place. there’s never any indication one way or another whether katara and sokka going fishing together is a common occurrence, but i tend towards thinking it’s uncommon simply because sokka seems particularly pissed off by her presence, like she’s disrupting his peace. and i bet kanna is just sitting at home like “maybe i shouldn’t have let katara go fishing…” and then of course she comes home with a ghost and his flying bison, and kanna’s just like “goddammit. i knew this would happen. …..sort of.”

and sokka trying to train a bunch of toddlers seems funny at first, but is actually incredibly tragic, because sokka never actually questions the idea that the notion of childhood innocence does not exist, that from the moment you are born you must be prepared to die. it looks silly because he’s wrong, but it’s also heartbreaking because it’s all he knows. that scene is very explicitly establishing him as a foil to aang, setting up that deeper tension that underpins their relationship. katara immediately aligns herself with aang, recognizes the value of fun and the value of retaining one’s childhood, while sokka is positioned in opposition to this values from the get go. and sokka does eventually come around and embraces the value of fun, but he also embodies the burden (both material and psychological) that aang carries, and he functions as a sort of warning to aang to maintain his values, untouched by war, before it is too late. before aang lets his own burden overtake him and becomes what sokka already is.

and his watchtower is something i think about a lot too. it’s literally his only enrichment in his enclosure… sokka only lets himself practice what he thinks is useful, despite his love for all different forms of art and knowledge. so he can perfectly apply warpaint without so much as a mirror, and he can build a fucking functioning watchtower out of snow, but only because it serves a practical function. like, katara calls it “playing soldier,” because there is something sort of aesthetically childish about sokka building a watchtower out of snow like a glorified snowman and thinking that this makes him some kind of hardened general (we all start somewhere i suppose), but also, he is doing the best he has with the tools at his disposal, and he is in a war, and he is right to constantly be preparing for existential threats to his people, even if it does admittedly make him look kinda pathetic simply because his resources are so limited and he lacks the necessary experience to actually be successful in his mission. but also, that fact in itself is deeply tragic. this is what their once flourishing tribe has been reduced to; this child who thinks himself an adult is the first and last line of defense in their tiny, decimated village.

he thinks his purpose on this planet is so protect his people and his sister from a genocidal empire with basically no support and no resources at his disposal, and then he feels actively guilty when that situation is understandably difficult for him. so he probably always has been a proficient hunter (even as a 13 year old?? maybe he had help, but idk) because his reaction to that kind of failure (to protect & to provide) is so catastrophic during the show whenever it happens (most notably in the boiling rock arc) that there’s no way he has any sort of prior experience with that kind of consequentially devastating failure.

and not for nothing, but i do think the reason katara assumes that he’s fucking around and not doing real work is because unlike katara, he never actually complains about it, doesn’t struggle to do it, and in fact takes pride in it, is even a little smug about it. to the point that katara is like “why do i have to be stuck here doing tedious domestic labor while sokka gets to have fun hunting and fishing???” even though obviously sokka has never had fun a day in his life and deep down katara also clearly knows that.

but like, he really enjoys hunting because it’s the most literal realization of his role as provider. he loves being “the meat guy” because it’s a symbol of how he is able to embody this ideal of manliness through a practice he is actually good at (unlike a lot of other standards of masculinity he otherwise struggles to embody). he likes being the provider, caring for others in concrete, tangible ways, protecting the people he cares about. “oh sokka you really do have a heart,” katara exclaims, meanwhile his heart is and has always been the thing that defines his entire identity at the deepest, most fundamental level: his desire to put other people before himself every time, his need to be needed, the love he has for humanity that is so different from katara’s but in no way less significant. sokka will care for people, or die trying.

#estra-die-ol #asks #sokka #analysis #katara&sokka #kanna&sokka #aang&sokka #lmk if i should put this one under a readmore #it’s kind of medium length so idk #as it turns out. uhhh #you will never get me to shut up about sokka i could talk abt him for one million years and never get bored….

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itsgrimeytime · 23 hours

Text

The Lover || Rick Grimes (TWD) x gn!reader

1...

rick grimes taglist: @golden-hoax @mgparker @zomb-1-egutzz

AVAILABLE ON AO3

The Sequel to The Nurse (my series masterlist)

Summary: A long time ago, you were Rick Grimes's nurse. Now, you loved him, and he loved you. Or at least that's where you left it off. With Judith safe in your arms and Rick distinctly not by your side, you could only hope his feelings stayed the same because they sure as hell did for you.

TWs: blood, inhumane rage (you're kinda crazy in this one ngl), threatening someone's life, vague mention of murder, blades, and all things TWD.

[[A/N: heyyy, it's finally here!!! it's going to be less of Rick in this one for obvious reasons. At least for now. Looked it up and it took 10 days to get to Alexandria for the main group, so I'm going to be writing those for these first few chapters. Thanks for reading!!!]]

It had been two days since the prison -you could only count by the sun setting and the nightfall. You were running on autopilot, step after step; periodically feeding Judith because she wasn't crying anymore. You hadn't had any run-ins, not yet.

Your hand clenched against your side -tight on your axe. It was still the same fire-axe that you'd gotten at the hospital -blood ingrained in the blade and handle from your entire journey. You weren't sure it would wash off at this point.

It felt like a part of you now. Always there, familiar.

Like Rick had, or Carl, or Judith, or anyone at the prison-

You swallowed, they're alive. You know it.

You didn't, but it helped to think so.

If they get hurt, they've got Hershel, they'll survive, you assured, trying not to let the guilt bubble into your stomach.

Judith fussed a little then -the gentle pull of her eyebrows and squirming in her makeshift carrier. Your hand immediately came to soothe, smoothing against her head -gently whispering to shush her.

You were hidden away in a shack -somewhere along the road. It provided shelter, and that was enough for now. Pulling out a can of... something, you couldn't remember, you stabbed your knife through and opened it up. You'd been rationing, only eating when necessary; in the case that Judith's formula ran out, you wanted to keep her fed.

The first thing you'd noticed was the snap of a branch, just a single branch. It singled out in the night. Walkers would break more than one, you remembered.

Judith was asleep on your chest, you didn't dare move her; she was safer with you than without you. You knew that well.

Carefully, you put the can by your side, gently as if to not make any other sounds that would bring attention to you. You or Judith. All that you were running on was adrenaline, and just the urge to protect, protect, protect-

If whoever this was tried to lay a hand on Judith-

You carefully stood up, pulling your axe off the ground with you. Swinging it around in your hands, it was so familiar now. Attached to you. You weren't sure how to feel about it, but you couldn't really feel anything now -your mind was focused. Shelter, food, water, and Judith.

There was nothing else in this world for you. Not now.

With a breath, you slammed the door open -axe at the ready. You didn't catch on anyone at first, but then you heard it again and spun on your feet. You eyes settled on someone.

Their hands were shaking, but they held a gun to you -metal tip pointing and glinting in the sun. Your jaw tightened, as you gnawed on your lip, hands solid on your axe.

"Drop it," they spoke, but their voice was shaky. You could physically see their hands shake, something in your stomach steeled, "-or I'll-"

"I wouldn't," you remarked, bitterly -not an ounce of anything but anger melding along your words.

They pressed their lips together, seeming to gain a little more confidence, "I have a gun, I will shoot-"

You spoke again, tone sharp -something flashing behind your eyes.

"I wouldn't."

Protect, protect, protect-

They stared at you, something smoothing through their eyes. Something flashing, their lip trembling ever so slightly. You didn't flinch.

"What, all you have is an axe-"

"Did you know-" you hummed carefully stepping toward them, voice measured and careful, "-there are 1.5 gallons of blood in the human body?"

They snapped their lips shut, as you roamed closer, pressing the blade into their space. Tantalizingly close to their neck.

"And it only takes one little slice to lose it all?"

They froze for a moment, just one second. And you reacted instinctively, elbowing the gun out of their hands. It flew off into the bushes (snaps of branches telling you it did), but you kept your eyes solely on them. Lips pressed into a thin line.

"Look," they retracted, something pleading in their eyes, "-all I want is some food. I just- I haven't eaten in days."

You stared at them, axe still close to their neck -the vein that would do the job. You knew that, you'd read it in textbooks, seen bloody hands try to apply pressure, but it was too quick. Too fast.

"You threatened to kill my baby," you tsked, jutting the axe forward a little more. It was just a hair away and something in you was angry, so angry. Just an inch, just an inch, just an inch-

Protect, protect, protect-

"I wasn't going to! Not really, I just-" their eyes sunk to the blade, teary now, "-Please, I... I don't want to die like this-"

Protect, protect, protect-

You took a heavy breath in, eyes squeezing shut, hand clenching your axe so tight your knuckles were white. Something in you recentering, coming back to earth.

You pulled back the axe, but didn't let up your stare, growling, "If you ever try and hurt her again, I'll snap your spine myself."

They swallowed, blearily.

Motioning to the shack, you spoke -sharply, "There's some leftovers in there, take them."

They scrambled then, for the can, but you took pause a second. Carefully putting your axe back in place, you asked, "Have you seen a man and a kid? The kid, he... he wears a sheriff's hat."

The person seemed confused, maybe from so blatant of a switch, with the can gathered up in their hands. Still, they pressed their lips together, and answered, "I haven't."

Your heart stung, and you swallowed, nodding. With a breath, you set off to start walking again, it was morning -you needed to be productive in the daylight. But they stopped you.

"For your good, and the kid's," they warned, "-don't go to Terminus."

"Terminus?" You questioned.

"You're heading that way," they continued, eyes portraying a seriousness, "-they say it's a safe place. It's not. Don't go there."

"And," you breathed out, "-where should I go?"

They seemed to pause, scanning you over, "I don't know for sure, but I hear there's a place called Alexandria. It's good there, safe. Safe enough for a baby."

Your eyes darted down to Judith, still sleeping soundly against your chest. Your hand came up to rub against her hair -smoothing it down in place. She was your whole world now. If it was safe for her, it's where you'll go.

"Why aren't you there?" You questioned, "-If it's safe?"

"Looking for someone," they answered -briskly.

"Me too," you took a shaky breath in, your hands were shaking by your sides, "-I'm sorry about-"

They shook their head, cutting off your words, "It's your kid, I'd do the same."

You nodded once solidly, "Thanks."

They didn't say a word, and you decidedly moved forward. Keep moving.

They're alive, they're alive, they're alive-

You ended up near a few stores -walkers roaming around the strip.

You'd been keeping your eye out for signs, you saw them a lot. Different places offering safe havens, you hadn't seen one for Alexandria yet though. Had seen one for Terminus, and you had the brief thought that maybe Rick had been there. Were they okay? Did they come back from it?

You swallowed, not wasting time thinking about it. You couldn't, not anymore. You had Judith, you'd focus on Judith.

Inhaling, you roamed along the strip, pulling your axe into your hand again at the few walkers who roamed nearby. There wasn't enough that it was concerning, but you still didn't like them being anywhere near you. Especially with Judith held to your chest.

Quickly disposing of the one right by the door (lodging the blade through its head), you slowly made your way inside. It had a glass exterior, but all of it was smashed; it cracked under your feet, as you kept a hand on the back of Judith's head -just in case. The store, what looked to be some sort of convenience store, was raided pretty heavily only a few cans of what looked like alphabet soup on the food shelf.

Without hesitation, you took off your pack and shoved the cans into it. You didn't have much space, not with all of Jude's stuff, but you worked with what you had. Only finding two water bottles, you stashed one away for bottles and the other brought to your lips, before shoving it away.

You went through a few shops like that, some novelty shops with little trinkets and toys (you took just one for Judith), some snack shops where the aisles were completely cleaned out. And then, you stumbled upon a clothing store.

You stared at it, a little dumbfounded.

It was relatively untouched, sans the broken glass along the front. You figured that clothes were that important in the grand scheme of the apocalypse, so maybe it had just never been raided. Wanting to, one, get out of these clothes and, two, get some extra fabric for bandages, you neatly stepped inside.

You ended up finding an assortment of clothes, and for once you actually got to pick. Grabbing a bag off the floor that could hang across your chest, you filled it with fabric (including little onesies you'd found). And right then and there, you stripped down, slipping both new clothes on you and Judith.

It was refreshing, not really like a shower would be at this point but... close enough.

Slowly exiting, you took out two more walkers and continued out of the street -generally in the same direction the stranger had provided you with. You were just going by roads and by paths. Assumedly, if this place was safe, it would be some kind of substantial building.

Like the prison was, your mind chimed. You bit back the bile in your throat.

It went on that until night fell, there was no shelter nearby, so you continued on foot. Not that you'd sleep anyway, especially with Judith. You couldn't chance a wink.

It was the early morning then, and you felt the heaviness in your eyes. But you'd experienced much, much worse. You were kind of running a little on the adrenaline of everything. That being said, you had slept a little.

You'd found a house, boarded up. For safety reasons, you walked all the way up the stairs to the furthest bedroom and locked the door. You woke up to Judith crying and hadn't slept since.

What you hadn't expected, was to see two men walking along the road -crisply dressed and oddly clean. You hid behind a tree, peeking out at the two of them -they were talking about something.

"I think we'll give it another few days."

"How many?"

"Maybe two," one of the men spoke, "-we have to get back to Alexandria at some point-"

You stilled, hands brushing up against the bark of the tree. It scraped your fingers a moment.

You tailed them for a bit, watching what weapons they had (if they did) and figuring out what they were doing in general. They seemed to be limited to this area, like they were expecting something or maybe watching something, you didn't really know. They didn't say much.

You waited for them to completely let their guard down. Realistically, you could've taken them, probably. But you didn't chance anything, not with Judith; if you died, she would have nobody. Or at least, right now she would.

It was later in the day, lunch maybe based on the fact that they were eating. One's back to you, you realize this to be the perfect moment. You could take a hostage and demand answers.

Gently kissing Judith's head, you took a deep breath.

And you acted instinctively, pulling out your axe, and jumping behind him. With one fluid move, you pulled your axe in front of his neck. The vein, the vein, the vein-

The other man jumped, "Shit-"

"Don't move," you warned, and the man stalled in place -hands gently raised in the air.

He looked so unaffected from the world, how was he even-

"What do you want from us?" He nearly pleaded, and something in your resolve faltered but you stayed firm, "-Food? Weapons? We- Shit, take it all-"

You pressed your lips into a thin line, trying to control your emotion. Judith, Judith, Judith-

"Where is Alexandria?"

#rick grimes #rick grimes x reader #its griming time #stuff n' thangs #rick grimes x you #rick grimes x y/n #ricky dicky doo dah grimes #twd #twd rick #rick grimes x y/n fanfiction #the nurse #nurse!reader #doctor!reader #the lover

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secondgenerationnerd · 1 day

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Since the post was popular lemme add a few more things Mar’i has said in interviews to convince people her family aren’t all vigilantes:

“Uncle Duke is the one sane person in our family, of course he’s not a vigilante.”

“I heard Grampa’s knees crack getting out of his favorite arm chair. I doubt he’d be able to keep up with Penguin let alone Poison Ivy.”

“Auntie Cassie and Auntie Stephy have two little boys at home. The only mystery they solve most days is ‘is this stain chocolate or poop?’ And let me tell you how 9 out of 10 of those mysteries end.”

“What do you mean ‘there’s no way someone like Barbara Gordon could be a hero?’ Because she’s a wheelchair user? She might not be gallivanting around in bright green spandex shorts, but she is my hero and has been since I came to Earth.”

“My dad’s idea of an ‘adventurous night’ looks more like trying out a new restaurant, putting on a face mask, and watching reality TV. Oh I’m right there with him! Just because I’m borderline indestructible doesn’t mean I don’t enjoy drama.”

“Superboy and Robin are just friends, despite the clear sexual tension between them. I adore working with them both, even if they should just kiss already.” (Fully talking about her own boyfriend and uncle, knowing that a lot of people ship them. Jon and Damian think it’s hilarious)

“My younger cousins are 6, 5, 4, 3, and 2. They haven’t even registered that I’m a hero, I’m just Riri who takes them flying. Safely I should add, but I’m still the coolest person in the family. That being said, if people thought my aunts and uncles were a handful, just wait for my cousins.” (Only names her cousins if given permission from their parents, she’s very protective of them.)

“Grampa took in my father in his early 20’s. He could barely get Dad off the chandelier, but yeah, could totally get him focused enough to fight crime.”

“Uncle Jason might be grumpy but he’s secretly a giant nerd. He’s one of the biggest reasons I can speak English as well as I do. How could he be any kind of vigilante?”

#mar'i grayson #damian wayne #duke thomas #bruce wayne #jon el #jon kent #barbara gordon #jason todd #stephanie brown #cass cain

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yanderederee · 1 day

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I love your work and your whole blog is just so amazing! I would like to request letter A for Baji from Tokyo revengers. Thank you, have a nice day dear! :)

This one’s going to be longer than normal— sue me. Read more cause it’s long

Affection: How do they show their love and affection? How intense would it get?

Baji Keisuke is a very intense person. When he feels strongly about a person, it’s hard not to notice. He goes out of his way to give Pah’s dog extra attention when he’s away, carries Mikey to and from places when he falls asleep randomly— everyone feels at ease when they’re with Baji because he is a safe person that they know they can trust.

So for his significant other; of course he’ll show his affections openly. Though it may look like less like romantic affection than it would a doting mother (does that make sense?)

Baji will wholeheartedly take care of you.

You have a stomach ache in public? He rubs your back and finds a place for you to sit, or takes you home immediately if you want. Even if he’s not entirely sure how to fix your issues, he’s dutiful in the way he cares for you.

Order something you don’t like at a restaurant? You got two options, you two can swap meals (because he doesn’t care what he eats as long as you’re happy), or he’ll order a safer option for you.

Can’t sleep? He’ll be half delirious, but he’ll stay on the phone with you and let you chat while he mumbles back replies to make you feel better. Battery might be shot tomorrow but he only uses it to stay in touch with you anyway.

Leaning into romantic affection: not so much into the casual stuff like hand holding (he’s a little squirrelly and gets frustrated if his arm is locked down for too long), but loves looping his arm over your shoulder and holding you close to him at all times. It’s more than showing people you belong to him, it’s also the comfort having you near brings him.

If he’s sitting and getting stir crazy, he’ll play with your fingers. It eventually becomes a fidget of his so he doesn’t realize he does it, but everyone else does.

Likes cuddles, specially holding you. He loves feeling you wrapped up in his arms and pressed into his neck. He could get lost in thought and lay there for hours thinking of all the things he adores about you.

If you fall asleep, he’ll stare at your face; gently pat your hair or trace your features… he’s star stuck thinking about you.

Also shows his affection in protecting you. Can not stand when other people waste your time. If you’re enjoying the conversation then sure, he’ll endure. But if you show any sign of fatigue or annoyance, he’s quick to swoop in and come up with an excuse to get yall going.

That goes for his own friends too. If anyone so much as gives a backhanded comment about you, (I.e: she’s leeching all of your time Baji/Cant you go anywhere without her?/she’s fine but I don’t like having her around/etc), he goes off. There was nothing fucking wrong with you and if you were content being by his side, then he would happily keep you there.

“Fuck you say? Ain’t no one ask you, so keep your shit shut.” He can get really aggressive with his language and dialect, don’t try fighting him further than that, it will end in fists and blood.

Speaking of, is happy to beat the shit out of anyone for you. There’s not a lot that is beneath him. (More on this @/Blood) He doesn’t hit girls, but he will pull their hair and scream in their face for a long time until they get the picture to not mess with you.

Overall: Baji only becomes an intense yandere if other people get involved. If it’s just the two of you, he’s extremely doting and careful with you, but does his best not to stir you into complex feelings that might cause you to leave him.

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ashesbreadandbutter · 2 days

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Okay I got one that's kinda funnyish: Vox has always wanted to try this experiment but Alastor has never allowed-- What would happen if someone stabbed his head with an angelic knife? Like, he changes it out his heads out all the time, so it should be fine right? The first time he told Alastor this theory he had, Alastor knocked him out for three weeks. And when he woke up, Alastor made him promise (there was a deal involved that Vox wouldn't stab himself with an angelic knife) and so He didn't bring it up again. He brings it up with Valentino eventually, and Valentino agrees with him. It should be alright, but Vox doesn't trust Val to run Voxtech incase something does happen so he puts off the experiment until he finds Velvette and she makes Overlord status. She thinks about it when he brings it up, and tells him give her a few years and then test it out.

When Velvette finally gives the okay, it's around the time Alastor's finally healed from Adam's attack (not that the Vees know that) and Valentino's actually pretty excited. He gets to do an actual science experiment! He excitedly tells Angel Dust, as he let's him go early and heads upstairs.

Vox grins as Val picks up the angelic blade, and Velvette shakes her head "Okay, ready? Go!"

Valentino slams the blade into Vox's screen, and Vox *screams* agony shooting through him.

Valentino's eyes widen in shock as pain goes through him a few minutes later, a black tentacle tearing through his stomach.

Alastor appears, antlers scraping the ceiling as he gently pulls Vox to his chest, one arm protectively caging the whimpering media demon. Radio dial eyes set their sights on Valentino, hate gleaming in them as the Radio demon backs into the shadows taking an unconscious Vox with him.

I hope y'all know I really love these.

Writing Alastor plus his possessiveness over Vox? Yes?

To start, imagine Vox's surprise when the blade turns out to actually hurt a lot more than he originally thought it would. Val doing the stabbing would probably makes things worse like imagine Vox whimpering, pissed because Val did it before he was actually ready, refusing to listen like always.

Alastor punishing Val for such idiotic actions really heals my cold, dark heart. Bro needs to be handled and out of everyone they have he HAD to use the blade on Vox?

Honestly Alastor might be sure that without Vox the other two really are as dumb as a bag of rocks.

Like not killing both of em the second he sees them while Vox lays, tucked safely and comfortably in his arms is killing Alastor. He wants to handle them now but with Vox literally bleeding out he mustn't.

I do feel that with Velvet Alastor would probably kill her with no hesitation, the only reason she'd survive is if Vox someone convinced him too after he wakes but up but there's truly no saving Valentino. No matter what Vox tries to tell him Alastor always keeps an eye out for the next time he sees the moth demon.

Vox would honestly be torn at first? Like he's betrayed at the fact that they did such a thing without his health seemingly being thought of so it really manages to get to him which pisses Alastor off because he's literally right there? Why is Vox dwelling when he was here with him now? Honestly it's giving a bit yandere 👀

Angel probably accidentally mentioned it at the hotel and immediately after hearing it Alastor disappeared to go find the vees.

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toournextadventure · 1 day

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Sam is working a double that will keep her away from the apartment until around 4 or 5 the next morning, so she sends Prof to check in on everyone because lets be honest, Tara, Joker, Chad, and Mindy all left unsupervised for long periods of time isn't a good idea.

Prof agrees automatically, they love Sam, is best buddies with Joker, likes the twins, and hopes to get on better grounds with Tara and a group situation usually helps.

When Prof gets there the four are just hanging out laughing and having a good time but they made a mess of the apartment, Prof being the loveable, responsible, caring being they are decides to clean up and while they're in the kitchen they eat a brownie or two they find on a plate assuming Sam made them, because the text she sent Prof did say help yourself to the fridge and anythimg out while you're babysitting the dumbasses.

Prof got there around 11pm, but around 2 am Sam gets a SOS text from Profs number, she of course rushes home since she gets no response to her dozens of calls and texts, and when she gets there the five of them are all laying together in a cuddle puddle with Prof, Tara is cuddling Joker but she is touching Prof, so it counts.

Prof just looks at Sam completely heart broken and asks her if they're actually real because how can you know if you're real, space is never ending and time is an illusion and for all the world knows everyone could be part of an atom or they could be a thought or a dream of someone elses, just completely spiraling, and everyone else looks just as troubled.

Sam sees the empty plate now on the coffee table and quickly puts the pieces together and realizes that one of these fuckers brought pot brownies and now the five of them are higher than kites, and Prof with their big brain quickly became introspective, scientific, and philosophical, trying to figure out the meaning of life.

The couch fort and cuddle puddle was a bit confusing though, but Sam has a but of experience about spiraling while stoned, so she is able to quickly redirect the five, calm them down, and coax them out of the fort and put them to bed.

The next morning she asks about the couch fort and the cuddle puddle, and the response she gets is we needed something to protect us from everything until you got back, and if we weren't real we all wanted to be together and not be real together.

Sam is still defiantely frusterated about the situation but can't help but be a bit heart warmed that everyone was getting along, Tara did get closer with Prof, and that all 5 of them (even Joker unfortunately) think of her as their safe place.

Listen, but this is genuinely so sweet? Like, they all just need a safe space, and Sam is their safe space. Could you imagine how it makes her feel to fully realise that, even though Tara starts shit a lot, they all see Sam as a safe space? No, not a safe space, their one and only safe space? You just know she's over there practically bawling and climbing into the cuddle pile because "you're all a bunch of dumbasses" but they're her dumbasses

#sam answers

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thosewildcharms · 1 day

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I love how the story of Michonne character ended and her development. At the very beginning we had a closed, broken Michonne who lost her family and had no one to rely on except herself. Michonne is so strong, smart, beautiful and capable of taking care of herself but still she finally found this partner in whom she can rely on, gets to be protected and loved so loudly and completely by him. She finally found a safe place. In him and their kids.

YES. i'd written a post years ago after 7x12 about how much i love michonne's progression as a character and all of that is even more true now than it was then. the ones who live feels like a natural extension of that progression because michonne's love for her family is the driving force and beating heart of the entire narrative. the whole show hinges on her deciding to bring rick home, about reclaiming this family she fought so hard to create in the first place. it's reiterated over and over again that she's not just trying to bring rick home for herself - although that's certainly part of it - but for their children. because judith asked her to, because RJ deserves to know his father, and because it's what carl would have wanted. it's why it's so important that her telling rick the way he's acting is hurting her is what makes him fold - because it's a reminder of who he is and of what made her feel safe enough love again in the first place. i know i go on and on about rick's love for michonne but honestly it's because it's nothing less than what she deserves - for someone to love her as selflessly and completely as she loves him, who is strong so she doesn't always have to be, who would follow her anywhere and do anything for her, who makes her feel safe and would do anything to keep their children safe. i think it might be why that last shot of the show looks the way it does. as much as i think it would have been more ~aesthetically pleasing for it to have been centered between rick and michonne with their kids between them, i do kind of appreciate that the show ends on rick's back as though he's shielding them all, including michonne. she did the impossible and got him back and now she can rest too, enveloped and protected, with this family she fought so hard for. she did start off alone but now she'll never be alone again :')

#richonne #michonne #once again i put this in my drafts and forgot about it for weeks i'm so sorry anon #anyway once again everybody say THANK YOU DANAI GURIRA #also ty to whoever put that first linked post in my notifications recently because i totally forgot i wrote it but it came in handy lol

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ihatelifesm · 2 days

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Harbingers (+ Scaramouche and Signora) finding out that your dating the traveler :3

(Mentions of drinking, Harbingers speak other languages, maybe a bit OOC? This us my first time writing something like this)

Tartaglia

Hes happy that your happy! But even though he might know the traveler (definitely more nice to them than the others) his personality would change like a light switch, he would ask the traveler questions like a over protective dad questions as such “do you drink? Put [NAME] in dangerous situations? Are you reckless? (Tartaglia is the most reckless person you know)” etc etc but overall he wants you to he happy but also safe :D

Arlecchino

Alrlecchino is kinda like Tartaglia but slightly worse, as a father Arlecchino is more protective trying to keep you away from getting into a relationship not wanting you to go down the wrong path. She would give the traveler death stares whispering cuss words in french silently knowing you would be angry if she cussed put your significant other (Traveler) but like Tartaglia she wants you to be happy and safe

Scaramouche and Signora

These mfs would try to CONVINCE you to NOT date the traveler “But he is really nice!—“ “The traveler looks filthy” “His clothes are stingy”

He didn’t hold back by criticizing the Traveler about how he looks, acts, ESPECIALLY having Paimon around, how he didn’t take you on a date yet etc, using those as reasons for you to NOT date him or even better not to hang out with him in any way shape or form! They want you to he happy but especially not with him

Dottore and Pantalone

For them Im kinda stumped but I feel like they would take action if the traveler hurt you in any kind of way but they would be like Scaramouche and Signora commenting on how the traveler is presenting “ Couldn’t he wear something nicer..?” “[NAME] at least find someone with a sense of style..and maybe mora to..” but overall they don’t really say that much besides maybe ask the same Questions that Tartaglia asked but not to big

Coloumbina

She would try to manipulate you to not date the traveler saying it in a calm soft tone to really get to you “Sweetheart..Maybe you should choose them..Would they really choose you to..?” And maybe after the meet up she would go into your room talking about how she thinks its not the best choice or its not the best idea for you to date the traveler (Maybe trying to convince you to close your eyes like her so you wont fall in love with the traveler again.)

“Are we finally done meeting all of them?”

“Nope! 4 More to go!”

“WHAT-“

(Thats all!! If you have any tips or things I should add please lmk^^ Tags: @jadestone2

#fatui harbingers #genshin x reader #genshin impact #genshin traveler #lumine #aether #genshin lumine #lumine x reader #aether x reader

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luce-speaks · 23 hours

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kliff and the friends

last minute submission for day two of @fe-aspec-week 2024!! this one is a little thrown together because i had an idea at the last minute but! here goes!!

—

Kliff has never been particularly fond of other people.

He used to think he just got unlucky, stuck in a tiny village where no one understood the concept of personal space. He dreamed of the day he’d escape them, get out, go anywhere but here, and meet people who were actually decent.

Then he started going to school in the next town over, and with each new person he met, that dream died in front of him. Each and every one of them—over-familiar like Gray, clumsy like Tobin, naive like Alm, or disgustingly romantic like Faye. He hated it. He came back to Ram Village with a disappointed letter from his teacher and a new will to tolerate these idiots so he could safely ignore the rest. He might not fit in, but at least they know him well enough to leave him alone while he’s reading.

—

The war comes on suddenly, like a storm rolling in overnight, and things change. Kliff learns what fire spells can do to a human being, and Gray stops joking about hitting Tobin with his sword, and Faye picks up a lance for the first time, insisting she’ll do whatever it takes to protect her friends. Tolerable acquaintances become battle-allies, people you can trust to have your back. People who could die beside you, any day. There’s no room out here for petty bickering, but sometimes it also feels like there’s no room to get attached. When the war is over, Kliff thinks, they’ll go their separate ways. He probably won’t even miss them.

—

Tobin flags him down at camp one day. “Hey, Kliff!”

He rolls his eyes. “Tobin. I thought you knew not to interrupt me while I’m studying.”

“Yeah, yeah, I know. But I have questions about magic! That counts as study time, right?”

Now Kliff is intrigued, though he refuses to give Tobin the satisfaction. “Since when do you care about magic? I thought it was too complicated for you.”

Tobin settles beside him, keeping a safe distance, but not bothering to ask whether he minds the company. “Well, I don’t really get it. But I want to learn. You know—for the war.”

He sighs. “I don’t know what Alm or Gray did this time, but you’re better with a bow than you’re ever going to be with magic. Focus on getting better at that.”

“Healing magic,” Tobin corrects. “I want to learn healing.”

“What? Why?”

“C’mon, seriously? I’m worried about you guys! I want us to go back to Ram when this is all over—all of us, together. Even if we’re not all planning to stay.”

“…All right, then. I can try to teach you.” Kliff grins. “Though I wouldn’t count on your ability to learn it.”

—

Faye catches him off guard in the middle of an overcrowded mess hall. She’s saying something, but he can’t understand her over the din of too many hungry soldiers. Eventually, she gives up and beckons to the door.

Kliff follows her, plate in hand, out to the cool night air. “What was that for?”

She shrugs. “You looked like you wanted to go outside.”

“I—” He pauses. Mess hall never used to bother him more than any other time around camp, but now that they’ve been getting more recruits, it has been getting louder and louder. He’s never liked loud noises, either. “I guess I did.”

Faye walks a little farther away from the tent, towards the woods. He follows her, and they settle together at the forest’s edge—still in earshot of the camp, but safely away from the clamor of the mess hall.

“I miss Ram,” Faye says quietly, after they’ve been eating for a bit. “Seeing this many people in one place reminds me how far we are from home.”

Kliff snorts. “It just reminds me of school. They always crammed too many people into the common areas for lunch.”

“So you didn’t like leaving then, either?”

“I liked going to school,” he answers. “I didn’t like the people there.”

“What kind of people do you like?”

He thinks on this. “The quiet kind.”

Faye smiles and nods. They eat the rest of their meal in silence.

—

Gray looks out for him during fights.

At first he’s convinced Gray is just showing off, jumping in dramatically and kicking down a mage in mid-chant before they can fire another spell at Kliff. But then it happens a second time, and a third time, and Kliff is more than certain that it’s intentional.

“You don’t have to do that, you know,” Kliff says, the next time Gray takes a blow for him.

“Do what?” Gray asks. “Look super cool while I’m saving the day?”

Kliff regrets that Gray is too focused on the battle to see him roll his eyes. “Protect me. I can look out for myself.”

“Oh, that? I’m just practicing for next time one of the girls needs saving.” Gray pauses to skewer another incoming mage. “Gotta keep my skills sharp and all that!”

“Gray, I’m serious. Can you stop joking around?” Kliff fires off another spell, stopping an approaching cavalier in their tracks. Now there are no more distractions—Gray will have to talk to him.

Gray turns to face him. “Look, I know you can take it, okay? But that’s not your job. If you’re up in the front lines taking hits, you won’t have the energy to cast your spells. So you do your job, and I’ll do mine, yeah?”

He sighs. “Fine.”

“Great! Now how about a ‘thank you’ for saving your ass?”

“In your dreams.”

—

Alm brings him a book from town.

“Here,” he says, unloading it off a pile of rations and weapons. “They had this on sale at one of the booths. I thought you might get some use out of it.”

Kliff inspects it. It’s a neatly-bound red tome, with gold embossing on the front. It looks well-used, but it’s holding together nevertheless. He flips it open, skimming the table of contents, and frowns.

“I hate to break it to you, but this is a book on magical theory. It’s not going to teach me anything I don’t already know about battle casting.”

Alm looks a little offended. “I know,” he says. “I just figured you would like it. You liked learning about magic at school, didn’t you?”

“I did, but—” He frowns again, turning the book over anxiously in his hands. “We’re in the middle of a war. Did you spend army funds on this?”

“Don’t worry, I spent my own money on it. No funds wasted.”

“But—” Kliff stammers. “Why? What’s the point? What do you get out of this?”

Alm sighs. “It’s just a gift. We may be at war, but we’re still people. I want you guys to be happy—at least, when we’re not having to kill people.”

“Oh,” Kliff says. “Uh. Thanks.”

Alm smiles, bright as ever. “Any time.”

—

The war continues, and Kliff keeps dreaming about the places he’ll go once he’s free to travel as he pleases. He’s not sure what kind of people he’ll meet out there, but—he thinks—if they’re anything like the ones he met in Ram Village, he hasn’t got anything to worry about. Other people may be unpleasant—clumsy, naive, romantic, and over-familiar—but they’re still worth knowing, every once in a while.

#luce writes #fe aspec week #day 2: friendship #this is a messsss but i don't care bc i still got it done on time!#fire emblem echoes #kliff #fe kliff #alm #faye #gray #tobin

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