#its so cool!! i need to draw him like this sometime | Explore Tumblr Posts and Blogs

kiwisbell · 9 hours

Text

helen ; chapter five

be seeing you

Si vis pacem, para bellum. Or, the choice.

series masterlist | my masterlist pairing: joel miller x f!reader tags/warnings: 18+ (MDNI), john wick AU, hitman!joel, husband!joel, established relationship, artist!reader, love as worship, sacrilege in the name of romance, flashbacks, graphic violence, guns, blood + injuries, tess cameo, childhood/religious trauma, criminal underworld, secrecy/lies, betrayal, ANGST, bamf miller bros, smut, fingering, joel is an emotional munch, shower sex, unprotected PIV, handjob, male whimpering, conflicting emotions, orgasms aplenty, Big Angst and Big Sad but also Big Epiphanies, ambiguous ending, i'm getting emotional writing these tags, it feels so final, the typical alcohol/smoking/profanity, dividers by @/saradika word count: ~ 9.3k a/n: hi, friends. i can't believe we're already at the end of the main story, and tbh if i think about it too much i'll probably cry. i want to thank @cavillscurls for beta reading this chapter as always and giving me the guidance and support i need. we'll have an epilogue after this chapter, so there's still more to look forward to, but nonetheless, i hope you enjoy and thank you so so much for reading. xoxo prev | next

Her eyes are so sad, you think, stepping back to take in the full scope of the canvas. It’s doused in paint from corner to corner, still wet to the touch, the woman and her lover intertwined so thoroughly that it’s difficult to tell where they both end. It’s in shades of glum blue and flecks of angry red and brown where his eye watches you. But it’s her eyes that cannot lift to meet yours. It’s her lashes that fan across her cheeks as she casts her gaze toward the bottom edge where the canvas is wrapped taut around the wood.

The sun will soon rise, but you haven’t slept. The contours of the sky are washed in a haze of greys and pale blues and light pink and the air smells warm, heavy—a storm about to roll in. The clouds on the horizon are thick with a blackening rage. You sit in the alcove by the window and put your temple to the cool glass. You yawn. Joel does not come back.

“Do you think it's true,” you asked him one night, your head on his chest, hand on his heart, “that art makes nothing happen?”

Joel, drawing shapes on your back, dozing off in the golden light of the sunrise, frowned. “Someone tell you that?”

“It's something my art teacher used to say,” you told him. “No matter how much it moves people, it doesn't do anything.”

“Your art teacher sounds like a fuckin’ downer.”

You laughed, hiking your thigh up over his hip and playfully biting his jaw. “So it's bullshit?”

“I think,” said Joel, tucking his chin to kiss the top of your head, “that your art makes people feel. It brings ‘em together. It's important because it's yours.”

You propped your head up on his chest and threaded your fingers through his too-long hair, overdue for a trim. A curl draped over his forehead, his beard patchy and soft under the pads of your fingers. “Sometimes I wonder why you chose me,” you said. “I wonder why the universe brought you to me.”

Joel shook his head, guiding his rough, callused fingers up your arm, curling them around your wrist, gently prodding your veins. “Wasn't the universe,” he said quietly. “Wasn’t a choice. I was yours the second I saw you. So, I guess it's your fault.”

You just rolled your eyes and kissed him, mouth to smiling mouth.

Your paintings may be yours, made with life and energy and colour, but when they are finished, they don’t move. They are stagnant as a heavy rock beneath a cliffside, washed over and over again by the cresting waves, its salt stolen for the water, eternal damnation to a fate of non-movement. And sometimes an artist will walk under the cliff, shove their easel into the fleshy ground the way a man erects his country’s flag in the earth he has stolen, and paint the rock. The artist is moved by the breathtaking colours of the shore and the way the wind flutters through the grass. But the rock does not budge. It never will.

Your art will never erupt from the boundaries of the canvas and tell you what it means. The lovers in your painting will not tear open their mouths like the seams holding a wound together. They will not tell you what they want, need, crave. They are you, and that is what you hate—because dimpled flesh and lustful fingers and the press of his mouth to her throat cannot tell you what you’re supposed to do.

You had become complacent in his love for you. You had let him press his worn hands to your body and pull your soul out through his mouth and you had been a wife, while all the time there was a stranger who occupied his heart, a spirit in an abandoned body. All the time, he'd been haunted. And although you had loved him, your love had not been enough to exorcise the guilt and trauma, pecking at him, an eagle at his liver.

Crossing the room and sitting back down in front of the easel, you press your fingers to the corner of the canvas. The paint is cool to the touch, and you leave behind fingerprints where your signature should be. Pulling your hand back, you examine the accumulation of colour, the blues and reds swirling into the deep purple of a bruise, the bodies on a canvas that may only ever mean something to you, and you wonder, Is this all I am? A cautionary tale, a love lost? A fucking footnote at the end of a clause that reads: “See, for example, the one who never loved deeply enough to make it count”?

You bring your hand to your face to wipe away the tears beneath your eyes and blink hard at the sting, realising you’ve smeared paint across your cheekbones.

In the bathroom, you scrub furiously, the cloying scent of it clinging to your throat and your tear ducts, washing away the evidence of their entwined bodies, their love, your pain.

Once, you tried to get Joel to paint. You sat behind him on your bench, your legs bracketing his hips, your paintbrush in his hand.

“I don’t know where to start,” he said.

Your lips brushed the shell of his ear as you spoke. “There’s no rulebook.”

He tried to turn his head and kiss you, but you nipped his ear in reproach. “Remember when you took me out driving at the airstrip because you wanted me to feel the road? Think of this like feeling the canvas. Go on, cowboy. Make nothing happen.”

Joel’s painting still hangs over your shared bed. The intruders never found it, or never cared enough to destroy it. It’s a candle, just a candle, its lines imprecise, the paint unevenly applied in places, the shine of the flame more orange than yellow. But it’s a painting, so the candle always burns. He titled it Love.

The pain still sits low in your chest, pulling down your heart as if tied to it by a string. But Joel is still out there, fighting his way back to you, the way he always has, always will. You look down at your left hand, clutching the edge of the marble vanity, and decide to clean your wedding ring.

“I’m sorry, brother,” says Tommy, turning the gun on Joel.

“What the fuck are you doing?” growls Joel, struggling against his bonds. The clip rattles faintly in his brother’s hand as a tremor courses through him.

“He’s following my orders,” says Cabrera, clapping his hand down on Tommy’s shoulder. “Fascinating what a man will do when he must consider his family’s well-being.”

Joel sucks on his teeth, his eyes not once leaving his brother.

“It's my son,” Tommy says through his teeth. “It's Maria. If I don't do this—”

“Yeah? You gonna kill me, Tommy? Is that why your hand’s shakin’?”

“Shut your goddamn mouth,” his brother snaps. “You think I want to do this? I gotta save my family, Joel. You know what that's like.”

“All I’ve done for you,” says Joel, his hands curling into fists behind his back, “and you put a bullet in my head?”

“Not just your head, Joel,” says Cabrera. ��When we're done with you, we’ll take your pretty girl as payment for my son’s life.”

Joel growls like a dog, blood roaring in his ears. “Kill me yourself, you goddamned coward. Kill me yourself and don’t you mention my wife again, or I swear to Christ—”

“You take His name in vain a lot for a nonbeliever,” says Cabrera, pulling his sleeves through his coat and setting his teeth as he looks toward Tommy once more. “Do it.”

“Yeah, brother,” Joel says darkly, “do it.”

Tommy nods once, planting his foot and pivoting. Five distinct sounds of handguns cocking echo throughout the warehouse as Tommy points the barrel between Manuel Cabrera’s eyes.

“Now that I’ve got a gun to your head,” he says evenly, “you can go ahead and pull that contract.”

Joel at last twists his wrists free of the ropes that bind them and shucks down the sleeves of his jacket to rub the raw skin. Not one soul does a goddamn thing to stop him as he rises to his feet. His chest heaves, his open lungs coarse and wet with a brittle rage, his exposed heart throbbing red, transparent as the stained glass windows of the church.

God does not tolerate anger, said the Sisters, again and again, bringing down the whip across his back. Sinew and bone and skin peeling back to lay bare some tender part of him they sought to rot out. Put your energy into His worship.

Slowly, Cabrera lifts his hands, sneering. “Your wife,” he warns, “and your unborn son—”

“Are family,” says Tommy. “Just like my brother. Now tell your guys to put down their guns and I won't kill you where you stand.”

Joel joins Tommy at his side. “Took you long enough,” he says under his breath.

“Got held up,” he says. “Your wife’s a good artist.”

“Yeah, whatever. You bring me a gun?”

“I’m sure you can find one yourself.”

“Jesus, Tommy. I’m too old for this.” Joel turns to Cabrera and glares at the same stubborn arrogance that once gleamed in his son’s eye. “You pull the contract, and I’ll leave for good.”

Cabrera’s laugh weans out in the air like rings of smoke. “You think you can really leave, Joel? You think that there won't be consequences for what you've done to my son?”

“Yeah,” says Joel, “I think I’ll take my chances.”

“And you?” Cabrera’s lip curls up at Tommy, whose gun no longer wavers in his grasp. “I promised your wife and child security. You’re willing to throw that away?”

“My wife and child are safe because I don’t take deals from men like you,” says Tommy. “You trusted a Miller to turn on his own blood, Manuel. That was stupid. Now pull the contract.”

“So this is your great suicide mission.” Cabrera smiles, a man who knows he has lost or a man who still expects not to. “A man who has seen Hell does not willingly descend back into its depths—not unless he likes the taste.”

Joel feels the corner of his mouth twitch, a wound on his cheek reopening. “Maybe I do,” he says plainly. “Maybe it’ll taste even better when I take you down with me.”

The gleam in Cabrera’s eye shifts as his gaze flickers behind Tommy. Night has since descended, and yet the predator’s eye glints in anticipation of the hunt. Joel turns and shoves his brother out of the way—just as the shot rings out.

He hears Tommy’s breath punch out of him as they both hit the concrete hard. Joel tears the handgun from his brother’s grasp and puts a bullet between each of the two men behind them. He rolls behind one of the hulking bodies and holds up his weight as a shield against the incoming bullets. Tommy takes the dead man’s gun and fires at the remaining three assailants. Only one shot misses, but Joel sends his brother a look anyway and finishes the job.

“Rusty,” grunts Tommy, pushing himself to his feet.

Joel grimaces as he accepts his brother’s outstretched hand, his wrists bleeding from the relentless rub of the ropes. “He ran,” he says, grinding his teeth. “Goddamn coward. Just like his son.”

“Yeah, you’re welcome, by the way,” says Tommy, giving Joel the dead man’s gun and snatching back his own. “Saved your ass.”

“And he got away.” Joel kicks his chair, and the clattering echo of metal reverberates like a choir off the cavernous walls. His hands flex, open, closed, open, closed, until they make tight fists and he can see nothing but red and the silver moon mocking him through the broken windows high above.

“Joel…”

For a moment, he hears the young boy his brother once was, whispering across their shared bedroom to him in the middle of the night when they were both meant to be asleep.

Joel… Are we going to be okay?

“I gotta finish it, Tommy,” he says quietly, his hands shaking loose. Parts of him bite and sting, touched by new and old wounds alike, and he wants to come crawling home to you. He wants to curl into your side and wash away the blood in your cleansing pool, daisy and honeysuckle, some faraway field where you are the warden, where he knocks on the door to be let in, to be gathered, covered in white, buried, unearthed.

“Was he right?” asks Tommy. “Do you… enjoy this?”

Joel casts his eyes toward the ground, his trembling hand, the gleaming band on his ring finger, his skin speckled with blood but the metal pristine. “I don’t know,” he says.

This is who you are, Cabrera would tell him. The Sisters: Your place is here, under God, under His word. And God Himself, silent as the air, the ringing in his ears only ever quieted by the soft brush of your knuckle across his cheek, the whisper of My Joel in his ear.

“Think hard on it,” says Tommy, “because you may like it, but you’ve gotta consider if your revenge is worth more than what you’ve already got. And if you choose wrong, Joel, you’re gonna lose no matter what.”

A figure leans stone-still against the wall by the hotel room door, the gleam of a blade in the soft light the only indication that it is not a mere shadow.

“Hey, kid,” says the apparition.

Joel nods in greeting. “Tess. Could get in trouble with that knife out in the open.”

“You expect me to keep your girl safe with just my fists?”

“You make it sound like you couldn’t.” Tess snorts, and Joel places fifteen gold coins in her waiting palm. “I appreciate you doing this.”

Tess peels away from the wall. “You and your brother are paying me good money to babysit a door. I think I can live without the thanks.”

“Still,” he says, “you did us a solid.”

Tess, who itches at the prospect of gratitude as much as any other gun-for-hire, shrugs. “Everyone’s saying you’re coming back. That true?”

“Just visiting,” says Joel. “On my way out soon.”

Tess flips one of the coins and turns it over and over across her knuckles, evidence of a restless energy that’s always made Joel’s eye twitch. “One way or another, huh?” she says.

“One way or another.” He shakes her hand and watches her retreat down the hall, still twirling the godforsaken coin, before he turns toward the door. Joel presses his forehead briefly to the cool wood and turns the key to seek the field that awaits him.

A key rustles in the door and Joel steps through, closing it gently behind him. Judging by the quiet click of the lock, he expects you to be asleep, but you jolt upright from your seat in the alcove and cross the room toward him.

He meets you halfway, his right hand flexing at his side. You inspect him: the gash on his cheek, the bruise on his jaw, the blood splattered on his white shirt. He makes no footfalls as he walks but you can hear every stride like thunder between your ears. You feel his hand at the back of your neck, cool from the night air, rough as the underside of a shark’s belly.

The moment coils taut between you as your hand reaches up to grab the lapel of his jacket, and he smells of iron, cologne, Joel, some paint. Maybe that smell is you, stuck underneath your fingernails, embedded in your blood. Maybe this is a mistake, maybe you could never help but fall, maybe it never mattered anyway, and you’re already snipping the final thread, unwinding the spool, and kissing Joel Miller like it’s the first time.

He let out a small groan, tasting the first drop of water in a drought, steadying you with his arm around your waist, his hand cradling your head. He’s gentle, exploratory, careful not to jostle, to shock you out of it. You feel his heartbeat thud, strong, calm, steady behind his clothing and skin and muscle, and your body caves.

It’s coming home, you realise, your arms snaking around his neck, fingers tousling the messy curls on his head. It's the warm press of his hand to your spine where it begins to curve inward. It's a soft mouth, a plush lower lip, made for slow mornings and black coffee, for the aching release of a thumb pressing deep into a muscle knot, a wound. Old aches soothed in the space where bodies meet, beginning to colour the slate-grey world.

It’s the exchange of gasping breaths when you pull apart, his mouth still vaguely chasing yours, opposite charge.

You hold him tighter, swallowing the lump in your throat, your hands squeezing his shoulders. "Are you…"

Joel inclines his head. "Yeah."

"Did he..."

"Yeah."

Need pulses. Supernova. Bright as the moment of obliteration. "Can you—"

He nods vigorously. "Yeah."

Joel’s kisses are like raindrops: velvet-soft to the touch—his hands bringing the hem of your shirt up over your head, his fingertips scorching, branding, grazing the supple swells of your breasts—before the crescendo roars in your ears and he loses himself to the storm. He always does.

There is nothing reserved about the way he shows his love. Lightning crackles across your skin where he touches you, baring you to him, his lips making a map of you, mouthing at your jaw, your throat. You hear yourself hum at the press of his lips to the spot beneath your ear, detaching from your own body, absconding with the pleasure of being close to him and leaving the fucking world behind.

Joel staggers forward so he can press you to the wall and begins to sink to his knees. Your breath catches as he pulls down your ratty bottoms, your cotton panties, his mouth burning into your hips and your belly and the ring on your finger.

“Joel,” you say brokenly as he clutches your fingers. Tears prickle, pressure building behind your nose, and he shakes his head, unfurling your palm like a bud in bloom and kissing its heel. Wordlessly, you watch him, your eyes shuttering, blood singing.

Don't hurt me again.

He understands even though the words cannot come alive on your tongue. He squeezes your hips, his thumbs dumpling your flesh, his forehead falling to your belly.

“I’m yours,” he says. “I’m whatever you want.”

Your legs haven't forgotten the way they part so easily for him, one thigh on his shoulder, opening the core of you to his waiting mouth. His lips part, his tongue wetting them, glistening, and your stomach tightens at the sight of his eyes so black.

You could easily cower. His hands are stained with blood. His knuckles are split. But your terror has become an arid thing, no kindling to burn, no oil to ignite. Watching him now, as eager to please as he always has been or maybe more so, on his knees like a supplicant, the hairs on your arms do not rise in apprehension. Your body does not squirm in fear. You see a broad horizon, the sun outside spilling its golden blood over the city, and you see all of him in a way you never did before.

He’s Joel, who grew up in darkness, lashed and beaten for not believing in a false god. He’s a man who has lied and killed and yet he is no liar, no killer. He holds you as he always has, your body liquid in his hands, your mouth proclaiming the word he will follow. You're the truth he's always told.

It still unsettles you to see the dark eclipse that warm brown, to watch his desire consume the hypnotic shapes in his irises, and wonder if that cavernous black was the last thing so many men saw before he snuffed out their lives. But there's nothing of the death shudder in the way you guide your fingers through his hair and beg him—

“Please.”

He brings his mouth to your core and parts your folds with his thumbs, slowly gliding his warm, wet tongue through your slit. You die a hundred little deaths in the split-second of that first touch, that first agony.

You sigh, your head thudding against the wall as he licks through you, his hands holding your hips in place, keeping you from writhing. Joel flicks his tongue over the sensitive pearl of your clit, the pleasure searing, and you tug at his curls to push him away even as you cry out, More, please, please. God, I need more.

He obeys you as easily as breathing, though you suspect he can barely hear your pleas, opening his mouth and flattening his hot tongue to your clit. You gasp, your core pulling taut, your eyes locking with his as the muscle undulates over, over, and over again.

“Oh,” you whimper, your hips bucking to meet his face. He groans, his mouth working your clit, closing his lips over it and sucking. You cry out, your leg kicking, the sounds of the world muffled in his stifling closeness. Your thighs begin to ache, tensing and relaxing a hundred times over in the throes of his attention.

And his fingers are gliding across your hip, seeking the warmth between your legs. You gasp his name, your hips flexing, as he collects your wetness on two fingers.

“Let me in, baby,” he says softly, pressing a kiss to your puffy clit. It relaxes you enough to welcome the press of his fingers inside you, sinking to the knuckle, curling up against the spot he would know in his sleep.

You whine, your body keening toward him, tugging his face back toward your pussy. He obliges with a quiet moan, and you think he needs this just as badly.

The obscene squelch of his fingers inside you rings in your ears as he licks and sucks at your clit, his free hand grabbing desperately at your ass to keep you fixed to him. You’re crying, “Yesyesyes, Joel, please—fuck, that's it,” the pleasure stuck in the grooves of your brain. Absentmindedly, you reach for his hand and clasp it tight, your engagement ring digging into his palm. He holds you with the same fervour as he coaxes you higher, his face buried in your pussy. He grunts and groans like it's his own pleasure he seeks, his battered knuckles stinging.

“Joel… Joel, oh, I’m…”

He knows, of course, from the telltale squeeze of your thighs around his head, the relentless crushing of his fingers in your own, your body tightening for him, cavitating, unwinding—

You come with a shout, your throat raw, writhing in his grasp as he keeps sucking, keeps licking, rubbing, pressing. You're dizzy by the time your head lolls to the side, your muscles twitching, eyes glazed, and Joel is there, pulling his fingers out just to place them on his tongue and swallow you down.

Your breath rattles through your lungs. Joel presses his lips to your inner thigh, beard soaked in your arousal, moustache glistening. His mouth soothes your sore muscles and your eyes begin to droop.

“You need a shower,” you say, your tongue like lead in your mouth. You gently pass your thumb over a cut on his cheek and frown. “You're all bloody.”

He nuzzles his face against your thigh, inhaling you. “I know.”

“You were gone so long.” Your voice quivers, pressure prickling behind the bridge of your nose. “I thought…”

Joel rises to his feet, his hands cradling your face. “I’m all right,” he says. “I’m here, and I’m safe, and I’m so goddamn sorry.”

You shake your head, pressing your lips together so the sob will not escape. Tracing his face with your fingers, broken in places, healing in others, you see the echo of a boy who didn't know his place in the world. You see the haunt of days gone by. A ghost still occupies the cage of his ribs.

“I think you should tell the little boy that still lives here,” you say, putting your hand on his chest. “Tell him he’s alive. Tell him that he made it.”

Joel lowers his head, watching the way your fingers splay over his heart. He puts his hand on yours and pushes, and you feel the strong thump-thump-thump of his heartbeat.

“He knows.”

You lean forward and put your mouth to his temple. “Shower, Joel,” comes your whisper in his ear.

He nods, wrapping his arm around your waist and guiding you into the bathroom. The water hits you both true, scalding, the drain circled with red. He’s naked, his back to you as he sets his hair and lets his wounds bleed what they need to.

You lift your hands and trail them down his broad shoulders, your forehead dropping between his shoulder blades where your name is inked into his back. Joel’s muscles idly flex, his palm flat against the shower wall. His body shudders when you press your lips to the name on his back.

Wordlessly, you bring your arms around him, caressing his side, careful of the new bruises. Your other hand drops to his steel-hard cock and you begin to slowly stroke him. The noise that wrenches free from his throat is half pleasure, half agony, his hips bucking into your fist. You bump your nose against his back, your years-old sign to Just relax, and Joel hides his face in his bicep as you work your hand over him.

“G—fuck,” he grunts. “Goddamn… honey, I—”

You squeeze him at the base and twist your hand up and down the length of him, the weight warm and heavy, your thumb coaxing out a bead of precum. Your cheek is warm on his back, your arm struggling to reach around the width of him, your chest humming at the sound of his gruff moans.

“Let me…” He cuts himself off as you speed up your strokes, and you can feel his abdomen tense. “Fuck, let me make you feel good. Shit… let me…”

“Joel,” you say, “for once, stop trying to be my hero.”

His head falls back and you press your lips to his throat, nibbling the sensitive spot behind his ear: the old scar, that tiny circle, that hairless patch. He groans your name, and you’re smiling despite yourself, your mouth curling against his warm, tender skin.

“Inside me,” you whisper, the pace of your fingers over his length slowing to a crawl. “Remind me how it feels.”

He turns his head to look into your eyes, his lashes dewy, blinking hard to flick away the water, brow furrowed. His moustache bristles as his lips part in a question he does not (or maybe cannot) articulate, and you’re fractured into pieces by the intricate curve of his nose, the freckles on his jaw, the silver strands in his beard. A rough hand cups the back of your neck and another takes you by the waist, and you’re flattened to the wall, your hand braced on the glass next to you as he kisses you deeply.

Consuming, heady, warm—you give in, your hands avoiding the delicate skin of his wrists where he’s been bound, helpless. Sighing softly into his mouth, you let his kiss humble the part of you that still needs the walls you’ve built from the marrow of your anger. It circles the drain, lead-filled paint, as you remember under his hands how it feels to live.

You reach between your bodies, your leg wrapping around his waist, and slide the head of his cock through your weeping slit. Joel sucks in air through his teeth, the water lashing his back like a whip, and he surges forward, grasping you by the waist and sinking his cock into your tight hole.

You cry out his name, burying your face in his throat and baring your teeth. Your name leaves his mouth in kind, an apparition, sounds you barely recognise anymore. As you take him inside you, the memory of who you were with him pounds at your ribcage, begging to be let out. And you covet them, selfish as you are now for fucking him this way, needy and impatient, your fingers tugging his wet locks.

You see no point in scooping out the marrow; there is still sweetness stuck to the bones of your old life with him. Instead, you coat your teeth in this, the slow drag of his cock, the depths he reaches so easily, so knowingly. His fingers prod the bruised flesh of your hurt and yet you still guide him inside. You still pull his hair and kiss his throat where his Adam’s apple bobs and you still let him hold you close enough to splinter.

He’s grabbing fistfuls of your ass and sucking on your throat, his thrusts sloppy as he tries to hold back, to make you come first, but you tighten, clenching down on him, making his groans pitch up into whines.

“Joel,” you gasp, your needy fingers prickling his scalp where you pull his hair. His teeth graze your throat and you want him to bite, you want him to sink in deep, you want his jaws to latch onto your skin. You want him never to leave again.

He comes hard. His hips buck, pushing so deep he disappears into your body, and you see the blues, browns, reds of your painting as he empties all he has left inside you.

Panting, he drops his head to your breast, his open mouth still scattering weak, worn kisses over your skin. Your lungs expand under his palms, fingers stuck in the grooves between your ribs, his body an offshoot of yours, not the other way around. In the ringing afterlife of your pleasure, you vaguely feel him mouthing words you cannot hear. You run your fingers through his hair and enjoy the battering of the scorching water as it melts you both into one.

Later, in the sticky, humid silence of the bathroom, steam still swirling around your heads, fogging the glass, you trim Joel’s hair.

"Do you ever get scared?" you ask him, the shhhick of the scissors gliding across a chunk of his hair. "Do you ever go out on a job and think to yourself, What if I slip? What if this is it?"

Joel huffs. "It's not so much about myself as making sure the other guy goes down first."

“I think I’d be scared.” You twirl a lock of hair around your finger and let it fall over his forehead. “I don’t think I’d be able to look into someone’s eyes and take their life.”

He casts his eyes to his lap, flicking off some hair from his thigh. “One time, I thought it was over. I wasn’t quite seventeen yet, runnin’ drugs for some gangster. He sent me to El Sauzal to discreetly transport a couple kilos out of the city; someone had snitched and he didn’t want any rival gangs to find his stash. But the people there, they… They didn’t know any better. There were mothers, kids. Innocent people, y’know? Just strays. I decided I’d come back for ‘em.”

Your stomach twists. “What happened?”

A muscle in his jaw ticks. “I was too late. By the time I got back, the whole goddamn city was on fire. The people were either dead in the streets or close to it. They didn’t do anythin’ wrong. They didn’t ask for any of it. But they were weaker, slower. I couldn’t walk ten feet without seein’ some kid wrapped up his mother’s arms, burned to a fucking crisp. So, I came back with weapons, marched into the gang’s territory, and I killed ‘em all.”

Days ago, you’d be afraid of the man whose back warms your belly where you stand just behind him. You would hesitate to reach out and put your hand on his shoulder the way you do now. But you curl your fingers over the muscled curve of his arm and his head falls back against you, spidering open, his gooey molten centre bared for you.

Joel. Just Joel.

“Did you see the painting?” you ask him quietly.

“I see everything you do,” he says. “It's beautiful, baby.”

You drop your gaze from his face in the mirror and set down the scissors on the vanity. “I can't pretend to understand what you've been through, Joel, and that makes things even harder. All I've ever wanted is to love you, to take your pain, and all this time there's been so much I never even knew about. And I’m sorry.”

Joel’s hand comes to cover yours, clasping your fingers. They’re warm, rough, but you do not sense the phantom blood. “If I’d told you from the beginning,” he says, “maybe I never would've hurt you in the first place. All those years I thought I was protecting you from myself, I was hurting you—the one thing I swore I would never fuckin’ do.��

“Joel…”

“Baby, don't apologise to me,” he says firmly, putting his lips to your knuckles. “Never apologise to me. And don't you let me off easy.”

“Have I ever?” you say with a halfhearted smile.

“Yeah,” he says, “the day you let me marry you.”

You scoff. “Oh, please. Wedding planning was hell on earth for you.”

“Just because I didn't like the photographer—”

“You didn't not like the photographer, Joel. You wanted to draw and quarter the photographer.”

He huffs like an angry dog, frowning at you in the mirror. “He kept puttin’ his goddamn hands on you.”

You laugh, brushing your thumb over the patch in his beard to indicate you're finished. “He was posing us, cowboy.”

Joel rises to his feet and closes the scissors away inside the drawer. “Posin’ you, sure.”

“He was afraid to touch you. Probably thought you’d take off his hand. And the pictures turned out great.”

“Yeah,” he says, a smirk twitching at the corner of his mouth. “Way the sunlight caught in your hair, your eyes… I don't know. Beautiful.”

He was so shy the first time you kissed him. Cheeks flushed, eyes cast toward the ground, the wind ruffling his curls where it blew over the water. He was made in an artist’s image, you thought that night, the details pored over like paperwork, the sparkle in his eyes something the painter covets. But the portrait has never wilted in the years you've known him. It's grown older, sure, but it is not old. He's still shy sometimes; he still looks down when he smiles, and he still turns his cheek when you tell him he's beautiful.

“Do you…” He rubs his palms over his thighs, looking up at you through his lashes. “Do you wish you could go back?”

It's your turn to sit. You drop into his chair, your arms curling over the back of the seat, and watch him on his journey to his knees. “I don't know, Joel,” you tell him. “I think about that day and part of me wants the magic of it back. I want the breeze and the sun and the white canopy and I want you sliding this ring on my finger. But knowing what I know now…”

“You wouldn't have married me,” he says like it's the only answer. His eyes are wet and sad and they sparkle so bright in the day.

“I wish I’d known,” you say plainly, bringing his hand to your cheek and resting it over the cool wedding band. “I wish you would have told me everything. I wish you didn't make me question your love, even for a second. I wish you could have spared me all this anger I have—all this pain.”

He’s stone-still, a figure in a portrait, and you brush your fingers across his cheek. “But killing isn't what you are, Joel. It’s what you do. And I’m so tired of being angry.”

You say it fiercely, your tongue sticking to the roof of your mouth, your throat tightening. You swipe your thumbs under your eyes and meet your husband’s eye. “I love you more than my anger and my hurt have room for. And if I can love you this hard, if I can feel all this pain and still be that same girl who fell for the guy from the restaurant, then I can let myself get hurt all over again.”

Joel shakes his head, cupping your face in his hands as his eyes brim with tears. “Oh, baby…”

“I know it's never been an easy marriage,” you say, your voice breaking, “and I’m always travelling, and I know that I can get snippy and we bicker, but I wouldn't go back to that day, Joel, because I wouldn't change anything. Even if I have to feel all of this again, I wouldn't take it all back.”

His inhale shudders through him and your heart lurches out of your chest. “I don’t deserve that,” he whispers, his thumb stroking your cheek, catching a tear that falls. “I’ve hurt you too much to ever be worthy of what you've given me, sweetheart. I ain't a good man, or even a decent one. But fuck, if I can be good for you, I’ll pray to whatever God they want me to. I’ll scrape my knees and put my hands together and fake it ‘til I’m someone you want. I swear it, baby.”

“Joel.” You gently pry his hands away. “The life you've lived, the things you've been through… I can't change any of it. I can't be what you need all the time, and fuck, I want to be. I do, Joel. But this life is something you have to figure out yourself. Nobody should force you to believe in something that's only ever caused you pain.”

He never told you about the tattoo; you had to find it yourself. Shucking the hem of his shirt up over his head, two weeks separating the last time you’d been able to indulge in his body, you trailed your fingers up his back and paused at the sound of him hissing through his teeth.

“Easy, cowboy,” you cooed. “Are you all right?”

Wordlessly, he turned, taking your hand and lifting it to the reddish skin around the black ink. You gasped, your fingers jolting backward as if struck by a feeler of lightning.

“Joel,” you said tremulously, “please don't tell me you were drunk and this was an impulse decision.”

“Guys in the Marines would get tattoos that meant somethin’ to them. Easier to carry around with you when you're away.” Joel met your gaze again, your tearful eyes, and brought your knuckles to his mouth. “Tell me you want it gone, and it's gone.”

You shook your head, a laugh snaking past the lump in your throat. “Selfishly, I think it’s very sexy.”

He chuckled, kissing the breath from your lungs.

The memory is heavy in your stomach. It's something you'll have to roll around in your mouth a thousand times before the taste begins to dissolve.

“I need time, Joel,” you tell him. “I need to wrap my head around things. I… I can't be the girl you want right now.”

Joel brushes his thumb over your chin. “You have always been the girl I want,” he says. “If you need time, you have it. If you need a warm body, you have it. I’m whoever you want me to be. And if it ain't a husband, then… then that's okay. But I can’t promise you that I won't stop tryin’ to get my wife back. That’s not who I am.”

You sniffle, twirling the ring on his finger. “You’ll get sick of it. The waiting.”

He smiles so softly that you can feel a bud begin to bloom in the core of you, nourished by the way he keeps his hand on your thigh, absently rubbing the sore muscles there. “I waited my whole life for someone like you to come along—someone who could give me the purpose I’d been lookin’ for. I can wait another lifetime. I can wait a thousand.”

“You’ll resent me. You’ll start to hate me.” You don't know why it comes pouring out of you, but the gates are brittle wood and they snapped in the torrent. “I’m an angry drunk. I smell like paint half the time. I travel for work.”

Joel just studies your face, some inexplicable calm etching out the agony. “You take your coffee with milk and sugar and you can't stand it black, but you make it that way for me anyway. You sleep until noon when you're jet lagged and I sit up in bed just to watch you dream. You lie in my arms on the couch at home and ask me about my day even when you're noddin’ off. You dreamed about love when you were a little girl, the way it happens in books. You told me in your wedding vows that you'd found it with me. You think I could resent a girl like that?”

He smiles like it hurts and heals all at once, like it's a foregone conclusion, like you were meant to be loved by him.

“Time doesn't mean a goddamn thing. I know the girl I see in front of me now. Time won't change how much I love her.”

Flipping through the list of potential venues, Joel tucked into your side, you said, “We’ll have an outdoor ceremony. No churches.”

“Baby, I won't burst into flames if I step inside a church.” Joel playfully flicked his tongue over your nipple, obscured by his T-shirt. “Tommy, on the other hand… things he's done…”

You laughed, gently pushing at his head. “No churches,” you said again. “I don't care how much more we’ll have to pay or travel to get around it. You're my husband. You're my comfort, and I want to be what's comfortable for you. Understood?”

He looked up at you, his lips parted as if on the precipice of speech. You beamed, bringing his face to yours and kissing him deeply.

“But if the wind knocks over the gazebo, you're not getting your dick inside me on our wedding night,” you said against his mouth. Joel shook his head, yanking you on top of him and tearing the shirt from your body. Your binder landed with a flutter of loose pages to the floor.

“You didn't kill Cabrera.”

Joel lowers his eyes. “No. He got away.”

“So there's still a contract on your head.”

“For now.”

“So,” you say with a sigh, crossing the room and digging through your bag, “you have to go.”

“I have to go,” he echoes, following you like a shadow. “No matter what… I’m finishing it. Tonight.”

You pull the switchblade from your bag, open Joel’s fist, and place the cool wood hilt in his palm.

“Goddammit, Tommy,” he says under his breath. “He shouldn't have…”

“But he did,” you say. “He said I should be the one to have it. I think it should be yours.”

He curls his fingers over the hilt and flicks open the blade. It's light, but it seems to weigh him down. You rest your hand over his.

“Do what you need to do.”

He drops his forehead to yours and closes his eyes, soaking in this final breath exchanged between your silent bodies, dipping his fingers in the sanctified waters and coming out unscalded.

Bill calls Joel not a moment after he steps onto the street outside the Continental.

“That's a heavy price on your head.”

“Yeah, Bill, I know.” He breathes in the cool air, like cigarette smoke, his nostrils stinging. Trash and a new, fresh breeze carried into the city. Nothing that stays here ever thrives. “Stayed alive so far.”

“So I hear,” grunts the Manager, “and leaving behind a hell of a lot of cleanup.”

“I won't stick you with the check,” says Joel. “It's my business.”

“I don't conduct business inside this hotel,” says Bill, “which is why I won't tell you that a certain helicopter at a certain helipad is refuelling as we speak.”

Joel smirks, flicking out his cuff to check the time. “Any reason why you aren't tellin’ me this?”

“I like you, Joel. Despite myself.”

Silent, he waits for more.

“Besides,” Bill continues, “we live and die by honour. And you've saved my ass more than once.”

Joel snorts. “Which time are you thankin’ me for?”

“Just take my goddamn advice and leave this world. For good this time.”

“I will,” says Joel. “One way or another. Thanks, Bill.”

High above the ground, sitting in the alcove by the window, you watch storm clouds gather over the city, darkening the sky, the sun, and your Joel, so far away, slouching calmly toward whatever end he will choose.

It's raining.

The first time you kissed him, a downpour suddenly swept up the both of you and you'd scrambled underneath a bridge by the water. You both laughed until your ribs were sore, holding hands as you ran, a soaking wet playbill above each of your heads for cover.

“At least the show was good,” you shouted over the roar of the rainfall.

Joel was mesmerised into stillness by the colours of the traffic lights in your eyes, how they shifted over the planes of your face. Starting to think like an artist, you'd tease, and he'd lean into it, a planet circling its sun.

“It was all right,�� he said, taking the playbill from your hand. “You could catch a cold. We should get a cab.”

“Always my hero.” You grinned up at him, your eyes scanning his face in that particular way they did, as if ingesting the sight of him to later put the lines to a canvas. “Did you have a good time, Joel? I mean, really. You won't offend me.”

He grimaced. “I, uh… well, see, I’m not the best judge, and… I guess—”

“Joel.”

There was a gleam in your eyes that could have been amusement or could have been hunger. He doesn't remember. He only saw you tilt your chin and lower your eyes to his mouth, to that one place the Sisters always called vulgar, obscene, a place meant only for His word—

“Can I kiss you, Joel Miller, or will you keep being all heroic?”

It was soft, gentle, exploratory. Your mouth opened his like a wound, setting the scorching blade of your lips to the gash, staunching the blood. You healed and burned him, one hand on his back beneath his jacket, the other cupping his face. It reminded him of the statue that lived in the theatre underneath the church where all the boys and girls trained. An angel cast in white marble, cradling the face of Saint Eustace. The statue was chipped where his eye was meant to be.

He remembers the way he shuddered when you touched him like that. He remembers the chill that started in his feet and crept up his spine. Something like coming alive, settling back into his own body—no longer a spirit haunting the shell of a home but a man.

You pulled back, but Joel curled his hand around the back of your neck and kissed you again, deeper, maybe a little too eager, too inexperienced—but you gasped, fingers curling in his hair, your body curving into his. Your noses bumped when you separated, and he remembers laughing.

The rain is nothing like that night. It's the lash of a whip across his face, seeping colour from the world instead of infusing it with light and movement. The water by the docks slaps against the concrete and boats rock and groan against their mooring. The lights of the city are distant now.

Joel steps out of the car.

He marches toward his target, cocking the pistol in his hand, and calls out a name. It gets lost in the roll of thunder across the sky and lodges in his chest.

Cabrera waits on the landing pad, looking wraithlike in a long black coat and a pair of leather gloves. His pilot fuels the helicopter nearby. Neither of them hear Joel’s voice in the air. The rising sun is what gives him away—or maybe the gunshot, as he lifts his arm and pulls the trigger.

It does not pierce flesh. It ricochets off one of the rotor blades. He had aimed slightly to the left.

The pilot scampers off into hiding, but the slash of the bullet through the rainfall is enough to get the attention Joel wants. Cabrera reaches inside the lining of his jacket and fires a single shot. Joel can feel it tear through skin and muscle, but it doesn't hurt.

“Joel,” greets Cabrera.

“Manuel.”

His chest heaves, his jacket soaked through, the cold sinking bone-deep.

“Let's finish this.”

The glimmer in those depthless black eyes is the panther at the hunt, relentless in its hunger, licking its chops at the sight of a challenge. For all the coward’s blood in his veins, it still pulses at the prospect of winning.

“Like men,” says Cabrera, tossing his gun aside at the same time Joel does. “With honour. No more guns.”

And it's laughable: the thought that there is any honour left in a world like this. A world where children are beaten and lashed and trained to hold a weapon too big for their hands. A world that burns villages, butchers families, and still claims that without rules, we live with the animals.

A world as unruly as this cannot be ruled. He never truly considered it until he saw the sad gleam in your eye, felt the empathetic touch of your hand on his face, and began to realise that maybe he should be furious.

But because he already knows he's going to win, Joel lets his opponent land the first blow.

The blood is tangy, near-sweet, as he swipes his forearm over his mouth and smears crimson on his shirtsleeve. It tingles faintly on his lips and crackles, warm as the melt from a late-winter snow. He feels it settle in the grooves of his palms, the hairs of his beard. He’s drowning in it.

Cabrera hits hard, but he’s slow. He’ll take five punches in the time it takes to wind up for one. Joel brings his arm up to block the next and delivers a blow to the sternum with his knee as his opponent’s guard drops. Wide open, Cabrera stumbles a few steps back, choking down the telltale wheeze of being winded. Joel marches forward, relentless in his crusade, grasping him by the scruff of his neck, teeth bared like a mad wild dog, and bears his skull down on the side of the railing. Around them, the wind howls and lashes at his clothes, but he still hears the pained scream as if it were poured into his ears.

Cabrera drops to his knees, and Joel grabs him again, bashing his head repeatedly against the steel bar, the lapel of an Italian leather coat bunching between his fingers, tainted by rainwater and the fist of the man who's come to take his life.

And fuck, Joel wants to make it last.

But there's a knife in his opponent’s hand, conjured from the darkness of his coat pocket, and Joel must release him to avoid the lethal slash of the blade. Blinking blood and lashing rain from his eyes, the man lunges with a snarl, and Joel recovers from his lost victory, stopping him with his fingers curled around his opponent’s wrist. He brings his hand to the crook of Cabrera’s elbow and uses his leverage to snap the bone.

Yowling, Cabrera drops to his haunches, the knife clattering to the ground. Joel, chest heaving, stands over him, flexing his fingers as he readies his fist for the killing blow.

His name leaves Cabrera’s bloodied mouth, accompanied by a mouthful of crimson-tainted saliva spat on the ground at Joel’s feet.

“Joel…” He lifts his head, cradling his broken arm, and sneers. There’s a chilling glow of satisfaction in it. “Did you get your perfect life, Joel? Do you really think you’ve won? It won’t ever stop. Not after you’ve killed me, not after you’ve killed all of them. Is that what you’re going to do? Kill them all?”

He could. He has done far worse. He has spilled blood for gold coins and superficial alliances and someone else's revenge. He has stalked, stolen, lied, killed, and he could finish this now, so easily, with the flick of a blade.

But the song of death does not call to him now.

For so long he had trudged, unmoored, through heavy crimson blood. Like pulling at the seams of velvet, he'd sewn more lives into the sea of red and he never looked behind him to see the souls trying to pull him down at the ankles. He didn't know purpose until he saw the way the candlelight flickered in your eyes, until he tilted his head to the side and realised your smile was a new kind of beautiful from each angle.

The rain sticks to his lashes and he thinks of an old song of prayer the Sisters used to chant. He remembers curling his fingers around one of the rosaries that hung from the large cross in the cathedral and wincing in anticipation. He thought he would burn—that the metal would leave a red stain on his palm. It never did.

Maybe that's why he never believed. Surely, if there was a God, Joel Miller would have burned by now.

He thinks of shopping for furniture and date nights and lazy mornings, tangled in bedsheets. Your mouth, smiling against his, whispering I love you across the breakfast table. Dancing—or swaying, more like—under the kitchen light. Loving easily, never feeling as if he must grab hold of the cross and burn himself upon it just to feel.

Joel turns the switchblade in his hand, lurches forward, and plunges the knife into Cabrera’s chest.

There is no noise but a faint gurgle from his mouth, his hand weakly rising to grasp the hilt. Joel drops to his knees and fishes Cabrera’s cell phone from his pocket.

“The blade is stuck in your aorta,” he says. “If you pull it out, you’ll bleed out and die.” He puts the rain-slick screen in front of Cabrera’s face. “Pull the contract.”

A few feeble taps are all it takes, and Joel Miller is no longer a target. His name glares back at him on the screen, from two million to nothing, not the boogeyman any longer but something akin to a civilian. Joel tosses the phone into the water and turns to leave.

“See you in hell, Joel,” Cabrera chokes, still grasping the shiny wooden hilt of the blade.

He barely hauls himself into the car, which chokes to a rumbling start. There's blood seeping through his shirt where Cabrera shot him, and his fingers shake as they pull away from the wound, the red so bright, so alive. Joel grits his teeth and squeezes his eyes shut.

If there’s a God, he thinks, I hope you fucking hear me now.

Tell me that we don’t get what we deserve. Because there is nothing I deserve in this world if I cannot keep what I’ve found.

His fingers trembling, smearing blood across the screen, he makes a call.

And your voice on the line, soft, sticky with sleep, whispering his name—just his name: Joel?—is what wrenches the first sob from his throat.

Joel, you say, like it means something, like it's precious. A jewel pressed from dusty black coal. Come back to me. Come home.

So he does.

#fic: helen #kiwisbell's fics #pedro pascal #joel miller #joel miller x reader #joel miller smut #joel miller x you #the last of us #the last of us hbo #tlou fic #joel miller angst #joel miller au #joel miller x female reader #joel miller x f!reader #joel miller fic #john wick au

93 notes · View notes

moonpaw · 3 months

Text

appreciation for narinder's model here

#cult of the lamb #cotl #cotl spoilers #the way i gasped when i first saw it #its so cool!! i need to draw him like this sometime #body horror #ommetaphobia #trypophobia

151 notes · View notes

moeblob · 11 months

Text

Man the last few days have been stressful, have more OCs??

#mmofail #these are my babies i love them #the only problem with streaming him and needing a ref is like ..... 95% of the art i draw of him #is accompanied by an innuendo said by him and like cool bud thanks for being Like That #these are online characters for fictional characters lmao uhhhh #CHLOECHE is the green haired lady and she has a facial model with the closed eyes #and also she logs in every day to change her headgear slot #no one wants to ask her how she has that much headgear and she never tells so teehee #then Luck is the guy and a guild leader and he is... quite infamous online #like the server hes on knows him v well and forums talk about him sometimes and how weird he is #bc literally everything he says is an innuendo online #he thinks its hilarious and it drives another guildmate insane so its even better!#theyre in love and meet up irl when they can #in the end they get married its just cute ok #she tolerates him like no one else and she finds him so adorable #he is without a doubt 100% smitten with her and loves her so much ahhhh

47 notes · View notes

waywardsalt · 25 days

Text

i hope im bellum’s biggest fan

#quite the competition i know but a gal can dream #bellum #phantom hourglass #salty talks #look for all i know theres some guy under the radar whos also insane abt bellum but is more obvious than me #i hate when i treat fandom as a competition. i wrote a like 11k bellum post i need to go find that again. maybe srb it #anyways bellums a funny beast #hes a funny little circle shape and able to beat gods and his power revolves around consumption hes JUST like kirby #theres so little but so much abt him. i wish i could get myself to draw more often. ive been honing in on more humanoid bellum stuff #idk the phrasing of that one text thing abt if theres no fans then im dead thing you know the thing #its harder to be outspoken abt him bc im kinda building up from the bottom with him but hes funky #his ‘relationship’ with linebeck is so cool to me im making a mountain out of a molehill and i love it #my problem with like. talking abt characters i like. i either need a fucking BOLT of Idea or someone to give me a specific topic #or else i write 11k words bc im an unhinged guy sometimes

2 notes · View notes

sundial-bee-scribbles · 9 months

Text

blood color testing pt 2: i was trying to visualize something and made these

#my art lol #blood tw #fukase vocaloid #yeah im just gonna. leave it at that this was just testing so. yuh #so he doesnt look thattttt bad w/ red blood ig but it just doesnt stand OUTTT its annoying to my color brain idk.#there isnt that much blood splattering here either so its probably not the best example but whatever #i usually always need to adjust his colors the most when i draw him anyways just b/c like... yeah. sorry bestie that bright red isnt it #(SOMETIMES. like dont get me wrong i love the high contrast but for certain things it just does not look good so i gotta mess around)#i probably shoulda fixed something w/ the green blood maybe made it lighter actually cause idk if it looks all that good here... alien vibe #usually i do blue and pink the most often; blue my personal fave cause it looks cool and pink b/c its closer to red/normal blood. but ya #man i really need to LEARN HOW TO DRAW HIM CONSISTENTLY smthn always changes every time i draw this mfer 😭😭😭#theoretically he shouldnt be that fucking hard to draw but AUGHHHH. just in general i need to pay better attention to everyone's designs wt

5 notes · View notes

mangostar · 2 years

Text

hmmm chicken katsu curry... .yummy !

#sometimes i feel like i shouldnt post so much . but then i remember this is my blog and i;ll post n reblog whatever i want !#u can just leave or block idc #if i want to reblog 50 WHA posts i can.; i need everyonne to read it its so good #i swear i will draw WHA firestar soon... i need to draw him in cool robes and an even cooler witch hat #i also found my tablet pen under my desk.. i wonder who put that there ( looks at cat who loves knocking things off my desk)#also!!!! i got a coowboy hat in splatoon n i love it... tho i still wish i had the witches hat </3 maybe oneday i'll get the amiibo thing

2 notes · View notes

begginmonty · 6 months

Text

(since i have been spammed for part two)

part 1

"do you want pizza for dinner?" mike asks abby tiredly, popping his head around her bedroom door. abby sat at her desk, drawing away, pretending she hadn't heard what happened an hour prior. abby responds with a happy hum and a nod of her head. "okay cool" mike goes to walk out his sisters bedroom, but he catches a glimpse of what she's drawing. it's himself, you and abby outside of a house, holding hands, and a small cat. "are you okay mike?" abby asks noticing her brother looking sad at her drawing. mike rubs his eyes with his hand, and sighs, "yeah abby im-". "i heard you and y/n fighting. are you guys breaking up?" and she looks genuinely upset at the thought of you and mike not being together.

"no abby" he's quick to response automatically but notices his sister's face. "you know how like we fight sometimes it's like that-" "y/n looked really sad. you must've done something mean" abby has a point. he's still stood, holding the door handle, looking at abby, sighing. "im gonna order pizza" mike shuts the door and walks off. abby just watches with a sad little face, but turns back to her drawing. mike orders pizza, and sits on the arm chair in front of the tv, thinking over everything, his flip-phone in his hand, looking at the 'im sorry i love you' text he had sent not long ago to you, debating whether to send more.

the evening goes on and the siblings eat dinner. mike goes off to shower, and as he's gone abby goes to the landline phone, a bunny plush toy in her arms. you had written your phone number on a note in her room in case of emergencies. "hello?" you'd picked up. "mike is really sad and i dont know what to do" hearing abby's voice on the other line broke your heart. "abby-" "can you please come back? i miss you. mike misses you! he's really sorry"

there's a knock at the front door. mike raises an eyebrow and gets up from his space on the armchair, walking to the front door. abby hears the knock as well, and watches from her bedroom. she watches as the front door open and you're stood there with red eyes. she watches the way her brother stutters your name and how you hug him instantly, and how he relaxes into the hug, cradling you so tight to his chest. abby can hear him muttering apologies over and over to you but she also hears how you tell him its okay he doesn't need to be sorry. abby the fixer.

#mike schmidt #mike schmidt x reader #fnaf x reader #fnaf movie #five nights at freddy's #five nights at freddy's x reader #mike schmidt imagine #fnaf movie x reader

2K notes · View notes

dizscreams · 11 months

Note

Hobie x fem reader where he gets a little jealous that’s shes been hanging out with another guy and she reassures him

NO NEED TO BE JEALOUS

— Hobie Brown ★

PAIRING: Hobie Brown x Fem!Reader

A/N: The Hobie brainrot is crazy

You crawled out of bed in a rush since you were already late to your hangout with Miles, accidentally waking up your boyfriend in the process. “Where you off to?” He asked groggily watching as you quickly grabbed a shirt and shimmied into your pants. “Hanging out with Miles!”

“Miles Morales?”

“Yeah, I told you this last night.”

You smirked at his muttered “Of course its Miles” but carried on getting ready like you didn’t hear it.

You put on mascara quickly and checked the time again. “What do you do when you’re with him?” He asked curiously. You looked at him as he propped his elbow on the bed and looked at you tiredly. “Not much,” you chuckled, “He’s been helping me with my drawings recently, giving me tips and all of that boring stuff.”

He nodded and opened his mouth to say something before you cut him off, “Shit I gotta go. I’ll see you later, I love you!” You kissed his head and grabbed one of Hobie’s jackets before running off. He groaned and rolled over to put his head into his pillow. He trusted you, he really did, but he didn’t know Miles too well.

He was a good kid it seemed but you had been spending a lot more time with Miles than you were with Hobie. But Hobie wasn’t jealous, of course not! He didn’t get jealous. He just wished you spent more time with your actual boyfriend than with a kid you just met.

That was it.

That night Hobie waited in your room for you to come home. You ended up coming home at 9 o’clock at night. You stepped through the portal and immediately greeted your boyfriend. “Oh hey, you’re still here?” You asked as you sat on the bed next to him. “Yeah, you were out late.” You looked at the clock and grimaced, “Were you waiting this whole time?”

Hobie nodded in reply and you kissed his cheek, “I’m sorry I kept you waiting. Miles and I were spray painting all the spider people we’re friends with and it’s super cool. You should come see it sometime!” You ranted as you got up from your position on the bed and changed into more comfy clothes, that being an oversized t-shirt of Hobies and some sweatpants.

“You spent the whole day with him?”

“Yeah,” you replied nonchalantly as you laid down on the bed, sighing as your back his the comfy mattress.

You patted the spot next to you and Hobie moved to sit upright against the headboard. “Are you okay?” You asked looking up at him. “Fine, just fine,” he responded in a way that told you he was definitely not just fine. You put a hand on his arm and moved to prop yourself up so that you were now sitting upright against the headboard as well.

“What’s wrong?”

You would be lying if you said his crossed arms and slight pout didn’t amuse you. You knew exactly what was wrong, you just wanted to mess with him a bit. This was about Miles. Everytime you mentioned his name you saw Hobie roll his eyes or you heard a small annoyed groan. It was funny to you, but you couldn’t tell him that.

“You’re spending a lot of time with this Miles fella, don’t you think?”

You hid your smile and shrugged, “Guess so. He’s just a good friend is all.”

“A good friend?” He repeated, “You’ve known him three days tops.”

“Hobie?”

“What?”

“Do you think you might be jealous of Miles?”

He made a weird face and you laughed. “It’s okay to admit it you know,” you gave him a teasing smile and put your chin on his shoulder. “You’re kinda hot when you’re jealous.”

He rolled his eyes and gently pushed your head off his shoulder, “Shut up. Ain’t jealous.” Your smile turned into a grin, “Right, is that why you can’t even look at me when you say it?” He turned his head to look at you and gave you a glare. “Look me in the eyes and tell me you aren’t jealous,” you said with a small laugh.

“You serious?”

“Extremely.”

He hated how much fun you were getting out of this but couldn’t help the small smile that formed on his lips. "M' not jealous of some 15 year old.” You hummed, “Thought you hated labels.” He shook his head and out of no where grabbed your waist and put you on his lap. He laughed at the yelp you let out and you hit his shoulder. “You could’ve given me a warning!”

“You didn’t deserve it.”

You scoffed, “You are unbelievable, Hobie.”

“What? You don’t like me teasing you, after all you’ve said to me?” You stayed silent with a pout on your lips and he kissed your forehead, “Cmon now, ’s just fun and games, love.” “Jus fun and games, love.” You mimicked with your familiar smile returning back to your face. You laughed at his reaction before leaning in to rest your head on his shoulder and put your arms around him.

“Back to the main point, you are jealous.”

He let out a breath and nodded, “Suppose so.”

“Ha! I knew it!”

“Ay! Just a bit. Lets not forget that you were jealous of Gwen one time.”

“Okay, shut up.”

He laughed and you smiled, “I just want you to know you’re the only guy I want. You’re cooler than Miles, but don’t tell him I said that,” you warned as you observed the dumb smirk on his face. “I wont.”

“I love you.”

“I love you too.”

He put his arms around your torso and you both stayed like that until you fell asleep.

Maybe he was stupid to be jealous of Miles but the outcome was completely worth it.

#dizzy writes?! 😵‍💫#hobie brown #hobie brown x reader #spiderpunk x reader #spiderpunk #spider man across the spider verse

5K notes · View notes

fawnforevergone · 8 months

Text

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

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

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

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

DESCENT:

"De Selby (Part 1)"

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

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

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

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

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

"De Selby (Part 2)"

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

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

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

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

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

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

FIRST (LIMBO):

"First Time"

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

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

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

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

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

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

SECOND (LUST):

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

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

"Francesca"

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

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

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

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

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

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

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

"I, Carrion (Icarian)"

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

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

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

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

THIRD (GLUTTONY):

"Eat Your Young"

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

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

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

However, Hozier moves onto the hunger of politics.

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

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

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

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

FOURTH (GREED):

"Damage Gets Done"

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

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

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

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

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

FIFTH (WRATH / ANGER):

"Who We Are"

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

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

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

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

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

SIXTH (HERESY):

"Son Of Nyx"

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

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

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

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

"All Things End"

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

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

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

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

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

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

SEVENTH (VIOLENCE):

"To Someone From A Warm Climate (Uiscefhuaraithe)"

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

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

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

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

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

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

"Butchered Tongue"

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

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

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

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

EIGHTH (FRAUD):

"Anything But"

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

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

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

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

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

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

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

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

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

"Abstract (Psychopomp)"

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

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

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

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

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

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

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

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

NINTH (TREACHERY):

"Unknown / Nth"

Okay, buckle in.

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

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

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

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

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

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

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

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

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

ASCENT:

"First Light"

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

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

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

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

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

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

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

---

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

2K notes · View notes

victorianbatman · 1 month

Text

ATLA/LOK incorrect quotes

F, M & GN reader | every scenario without the readers gender being specified is Gender Neutral.

Bolin, on the phone with Mako: Mako, I need you to come pick me up.

Mako: Why?

Bolin: Y/n is busy passive-aggressively doing the dishes they asked me to do 6 hours ago.

Bolin: This house is not safe anymore.

Mako: Hey, whats for dinner?

Bolin: I cant tell you, its a soup-rise.

Mako: Is it soup?

Y/n: We soup-ose is could be.

Mako: Enough with the soup puns you two.

Bolin: Aww, you never soup-port our jokes.

[Five minutes later]

Mako: It was fucking tacos.

Mako: The stars look really pretty tonight.

Y/n: Yeah, they do.

Mako: You know who else looks pretty tonight?

Y/n: Asami.

Mako, at the same time: Korra.

Y/n: What?

Mako: What?

Toph: Do you do anything other than whine like a little bitch?

Y/n: Sometimes I whine like a BIG bitch.

Mako, not looking up from his book: What did she(Kuvira) do now?

Y/n: SHE SMILED!

Mako: At you?

Y/n: No, at her dumb friends, but she looks like an angel.

Mako: Go away, Y/n.

Y/n: Shut up, I watched you pine after Korra while in a relationship with Asami.

Mako: Go on.

Korra: We can bake these cookies at 400 degrees for 10 minutes or 4,000 degrees for 1 minute.

Lin: That’s not how you make cookies.

Y/n: FLOOR IT!

Bolin: How about 4,000,000 degrees for 1 second?

Lin: yOURE GONNA BURN THE HOUSE DOWN!!

Korra: IM GONNA HARVEST THE POWER OF THE FUCKING SUN TO MAKE COOKIES!!

Y/n&Bolin: DO IT!

Lin: NO-

Korra: I’m small, but knowing.

Tall!Y/n: You dont be knowing what the top of a shelf looks like though.

Korra: …

Tall!Y/n: …

Korra: Bitch.

Bolin and Mako watching Y/n from a distance chase a squirrel.

Bolin: Thats the person I see myself married to in the future.

Bolin: Thoughts?

Mako: …

Bolin: …

Mako: ..and prayers, bro.

Y/n: My autistic friend(book 1 zuko) is my favourite person on the planet. I asked if he would still be friends with me if I got a mullet and without looking up he said “we are not friends” like ok bestie.

Korra: Theres only one thing worse than losing.

[Tips over paper saying ‘losing Y/n’]

Y/n: Me.

Korra: No-

Y/n: Are you sure you’re ok?

Zuko, crying: Yeah, it’s just these onions, man.

Y/n: …

Zuko: …

Y/n: Those are potatoes.

[Asami, puts on chapstick]

Y/n: What flavour is that?

Asami: oh its [chapstick flavour].

Y/n: Lemme taste.

Asami: Sure.

[hands chapstick]

Y/n, kisses Asami

Y/n: Shit it does actually taste like [Chapstick flavour].

[Asami blushing like crazy]

Y/n: Aang, why do good people die young?

Aang: When you are in a garden full of flowers, which one do you pick?

Y/n: The ugly ones.

Aang: Exactly- wait wait what, why?

Y/n: Because ugly bitches dont belong in my garden.

Toph: Hi, im your doctor today, I’ll be drawing your blood as soon as I’m done with my capri sun.

[Misses the hole four times before finally getting the straw in]

[Y/n, sweats profusely]

Sokka: I have the sharpest memory, name one time I forgot something.

Y/n: You forgot me and Suki back in the fire nation 3 weeks ago.

Sokka: I did that on purpose, try again.

Y/n: Listen to me, love is a scam.

Bolin: You’re making a valentines card for Mako right now.

Y/n, points glue gun at him: You’re on thin fuckin ice.

Zuko: Whats with the napkin on the glass door?

Y/n: Aang keeps walking into the glass door, so I thought this might help.

Aang: Oh cool, a floating napkin!

[Walks into glass door]

#atla #lok #x reader #korra x reader #bolin x reader #mako x reader #asami x reader #sokka x reader #toph x reader #zuko x reader #aang x reader #atla x reader #lok x reader

520 notes · View notes

shalotttower · 4 months

Text

The Devil Is a Gentleman

Title: The Devil Is a Gentleman

Fandom: Hunter x Hunter

Summary: You wake up in the middle of the night with a headache.

Word count: 800+

Characters: Chrollo Lucilfer x Reader

Notes: Yandere Chrollo, captive Reader, my head is murdering me so I wanted some soft Chrollo stuff.

You shift under the covers and for a moment it seems that maybe this state of half sleep, half consciousness is here to stay. Just for a bit, until you slide all the way back into a dream, where the dull throb in your skull doesn't matter. No such luck; angry blurred dots start swarming behind your eyelids and the longer you lie there, the more evident it becomes that sleep isn't coming.

3 AM.

The red numbers from the alarm clock glow way too intensely in the dark. It's quiet. Chrollo's breath tickles your shoulder. No matter the position, he somehow manages to do this every single time - wrap himself around you like it's no tomorrow, with tangled legs and chest pressed to your back. Sometimes it's annoying, sometimes sickly comforting, but not now. There's a faint feeling of nausea in your throat, the whole world is spinning and swaying from side to side even though you're lying still.

Sharing a bed is a recent development. Previously the floor was your choice, but two weeks ago Chrollo simply carried your sleeping body to the mattress. You woke up trapped between him and soft pillows, then the pattern repeated two times, four, six, until it became clear that this arrangement was going to stick.

Carefully, inch by inch, you wiggle out of his embrace. An awful taste coats your tongue, clings to the palate - not something you expected upon waking, but not unusual either.

The kitchen light is bright and unpleasant. It stabs right through your eyes without remorse, making you promptly settle for a dimmer one above the stove. One cabinet after another, the fridge - no pills. Of course, why would Chrollo keep anything like that lying around? You probably have to wake him up for medicine, but it's honestly the least tempting scenario. You don't want to talk to Chrollo, don't want to ask him for help, don't want him to see you in pain or sick.

So you brew a cup of coffee and hope that the nausea plaguing your throat will eventually subside. What you should know by now, however, is that Chrollo doesn't need more than you breathing wrong in order to wake up.

"Dear?"

His voice has a slight raspy edge to it.

You glance over your shoulder and see his figure standing at the door frame. The light from the hallway throws a shadow cutout across the floor, and it's the only time beside after shower you ever see him all mussed hair, loose pants and, of course, no shirt. You suspect its absence has some relation to the attempts at wooing you which range from subtle to not so subtle these days.

You make a non-committal sound.

"It's 3 AM," Chrollo says and steps into the kitchen. "What are you doing up?"

His fingers brush a strand of hair away from your neck, linger there, feather-light and warm. You take a small sip of coffee.

The pulsing in your skull feels like someone decided to tap a small hammer against your brain. Well, he's up, so might as well do something.

"Headache," you say and press your forehead to the cool marble of the counter. It feels nice for a short moment.

Chrollo doesn't respond. He does place a hand on your nape though, thumb drawing circles, massaging the tension there. It's so peculiar. His tenderness leaves marks wherever it goes - light trails on your skin, hands on your forearms - a constant reminder that in this current reality he's everywhere and everything.

'Stop,' you want to say, but instead a quiet "mm" comes out. Maybe you're too tired to muster up any spite. He takes the cup out of your hand and sets it aside with a quiet clink.

"How bad?"

"Bad. Don't get too close," you warn. "I feel like throwing up."

He does anyway, and wraps an arm around your waist. Chrollo knows very well that you'd rather jump into boiling oil than lean on him out of your own volition, maybe that's why he uses every given opportunity to hold you.

"You should have woken me up," his words are muffled, lips pressed against your temple. Chrollo smells of shampoo, sheets and himself. "I'll get you something from the pharmacy later, but for now you should try and sleep, dear."

Then you're up in the air, carried out of the kitchen.

"What are you doing?" you frown, fingers gripping the muscles of his arm.

He hums something akin to a simple melody, the devil. "Taking you back to bed, where you can keep being miserable with more comfort."

This time you don't protest; the pillow has cooled down, and as soon as you lower your head on top of it, it feels like bliss. The bathroom door opens and closes, followed by quiet splashes of water. There's a pause before the mattress dips on your right.

Cold cloth covers your forehead.

"You should have woken me up," he repeats. "Next time do it, dear."

"Mm," is all you manage, when the bedside lamp clicks off, and then there're covers lifting, fingers rubbing your temples and a low hum somewhere above you.

#shalott fanfiction #yandere #hunter x hunter #chrollo lucilfer #chrollo lucifer x reader #hunter x hunter fanfic #yandere chrollo #yandere chrollo lucilfer

435 notes · View notes

utterlyotterlyx · 2 months

Text

White Flag

Cassian x Rhys!Sister Reader

Summary - There had never been a moment where you and Cassian had seen eye to eye, despite his attempts to make peace and make a friend of you, it wasn't something that you wanted.

Warnings - angst, swearing, teasing, back and forth banter, mentions of blood

The Day Court had become your home from the moment you had decided that you couldn't bear to be around Cassian any longer. Luckily, Helion was a good friend of yours even if he wasn't overly fond of your brother and his inner circle. and granted you sanctuary before you had even finished asking him the question.

A part of you didn't even know how it had all started, that outlandish flare of dramatic hatred that passed between you whenever you were too close. Maybe he was threatened by your athletic prowess and strength, maybe you despised how often a new female ended up in his bed

Things had come to an abrupt head when you had punched him square in the nose for making a comment about your mood, asking if your cycle was drawing near. Blood gushed from his nostrils and he stuttered back a few steps, cradling the now broken bone and groaning as blood dripped onto the floor.

"Why is he bleeding?" Rhys had enquired after entering the room, sensing the stench of blood through the closed door of his office.

Cassian stood by the sink, bloody rag clasped around the injured affect, "Because he's an idiot," you replied with astounding calmness, feet propped up on the arm of the chair and your fingers flipping idly through the pages of your book.

"I didn't know that idiocy caused people to just start spontaneously bleeding from the nose."

You had hummed, a smirk pulling at your lips when you noticed Cassian's hazel gaze ripping through you, "I think it's a new phenomenon."

Rhys had usually kept out of your spats, like the rest of the inner circle, they knew your sass was not something to play with, it was unfortunate how Cassian skipped over that fact.

Then there were the countless family dinners that were interrupted, and sometimes ruined, by your joint fire.

"You know, Cassian," his ears pricked upward but his eyes narrowed, he'd like to believe that maybe for once you'd say something nice to him, to stop this feud between you, "Remember that one time I said that you were cool?" He nodded, falling victim to another one of your games as the room held a collective breath, Rhys already pinching the bridge of his nose, "I lied."

Cassian growled, slamming his fork down on the table and standing from his seat, the chair skidding along the wood with his brute force, "I can't help imagining how much more awesome the world would be if your dad had just pulled out."

You were smirking, that shit-eating smirk you always wore when you managed to get him to bite, "Please, save your breath, Cassian," you cooed obnoxiously, popping a honey soaked carrot into your mouth, "You'll probably need it to blow up your next date."

Azriel had choked on his wine and you spared him a sidelong glance, convincing yourself that if Cassian's red face turned one shade darker then he'd surely erupt in flames.

Then there were the missions that Rhys had assigned you and Cassian to, he thought forcing you two to work together would put an end to the nonsense that was your tiff. Azriel was the unlucky one who had to accompany you both so that you didn't wind up killing one another.

An ash arrow hurtled past your face, grazing the tip of your pointed ear, you had dodged its full puncture successfully and heaved out a sigh as you took cover behind a nearby tree, "Oh my gosh, did you see that?! I almost just died!"

Cassian had sauntered past you, sword coated in the blood of your enemies, strands of brown hair falling from his bun, and dirt dusting the side of his face, he grinned at you, "Tragic that you didn't."

Azriel audibly groaned, sick of both of you, it had been three full days of trudging around the outskirts of the winter court, he was freezing, Cassian was making his head pound with his constant complaining, and you were certainly catching a cold.

The Shadowsinger had finally had enough when he had heard you and Cassian arguing at the edge of the clearing, the latter had gone to bathe, to wipe away the blood and dirt from his skin, only to turn around and find that his clothes had been plucked from the bank.

"I didn't do it," you told him through laughs as Azriel approached, Cassian was stood in the water up to his impeccable v line, fists clenched and seething through his teeth as his body shivered from the cold.

"Then why are you laughing?!"

You were leaned against the trunk of a tree, clad in your warm clothing that Rhys had insisted you wear, badass or not, you were still his little sister, "Because whoever did it is a freaking genius."

Rhys had had enough of it. Of all of it.

An ultimatum had been delivered to you both, after being pulled into Rhys' office by the scruffs of your necks by Azriel, you had been told that one of you had to move out of the House of Wind permanently. Though, Rhys' plans of keeping you apart had completely backfired when you had stood up and told him that you were leaving the Night Court altogether, the words shaking the room enough that even Cassian felt guilty that your feud had become so severe that you actually wanted to leave your home court.

"And go where?" Rhys had rose, that power pulsating around him like a heartbeat, a drowning effect that made you all feel dizzy as his eyes darkened and jaw clenched.

"The Day Court," you stated like it was already decided, "Helion has offered me a place within his court and I accepted. I leave tonight."

"Over my dead body!" Rhys rumbled, it was deadly enough for even Azriel's shadows to cower behind him whilst Cassian looked at you bewildered.

Ticking your tongue against the roof of your mouth, you quipped, "Well, go lay down and die then because I'm not going to be told what to do, especially not by you."

"You are my sister. You are a Princess of the Night Court."

"And I am allowed to make my own decisions regarding my life and future," you looked to Cassian and frowned, your eyes dipped with an emotion he'd never seen in you, "And, right now, my life is not here."

That was how you found yourself within Helion's court, doused in white and gold, with tanned skin from the bright never-ending sun, with your toes dipped in sand and the ocean breeze drifting through your hair.

It had been a year since you had left Velaris, and gods, you missed the City of Starlight so much. The Day Court was wonderful, beautiful in its own incredible way, but it wasn't Velaris, your home.

Helion had found you walking along the sandy shores when you should have been readying yourself for the ball starting in a few hours. Rhys and the entirety of your former family were visiting to celebrate the announcement of Feyre's pregnancy, stopping in every court bar Autumn and Spring to spread the joy, to signal a new age for Prythian after all of the torment they had been subjected to.

"I would have thought you'd be ready by now," Helion noted, watching your cream coloured dress float in the breeze, you held your shoes between your fingers and gazed outward to the ocean.

You hummed, "Part of me isn't looking forward to it," you admitted.

The time you had spent in the Day Court had made you softer, had given you a new perspective. There was much more to love in life than arguing and feuding, and you had spent a little over two weeks trying to figure out why you and Cassian could never seem to get along.

Helion draped an arm over your shoulder, his golden crown shimmering in the sunlight that was usually focused on you, focused on making your skin glitter and smile, "It's been a year since you left, I'm sure they're all looking forward to seeing you."

"Or telling me how much easier their lives have been without me," you laughed sadly, slumping into his side softly as he turned to lead you back up to the palace.

"You're a changed woman now, Y/N. I think that more than anything they'll just be happy to see you thriving."

Fuck.

You were so late. So late that it would be noted as disrespectful no matter how much longer you took. Helion was right, you should have been readying yourself much earlier rather than trailing your toes in the sand.

Helion had gone to great lengths to secure you the most spectacular dress anyone had ever seen. A rich gold garment that snaked tightly around your breasts and curved perfectly over your thighs and ass, no sleeves attached to it, but he had gifted you a set of matching arm cuffs and one for your thigh which was exposed by a high slit, as well as ear cuffs which gave a subtle nod to the Day Courts abilities to hone their gifts of invention.

You were practically running down the halls whilst putting your heels on and clasping your necklace around your neck, taking a sharp left which you knew would lead you to a more secluded entrance where you hoped you could slip in unnoticed.

Sliding through the small opening in the wall, you ducked your way along the length of the room, popping up and smoothing your dress out before reaching for the nearest passing tray of flutes, downing half of the liquid to make it seem like you had been there for longer than you had.

"Very smooth, Y/N," A familiar voice purred with amusement laced in his voice, you turned to find Azriel stood behind you, he looked surprised as he took you in, acknowledging the tanned hue and glow that had possessed your skin, your violet eyes seemed a shade or two lighter than Rhys'.

"Az," you breathed, placing your flute down on the table beside you and throwing yourself into his open arms, you both laughed, and he inhaled your scent, salted summer oceans and velvety rose petals.

Pulling back, you smiled up at him brightly, showing all of your teeth. It was like Day had thrown up on you, though, Azriel couldn't deny that gold most certainly agreed with you. Another force jolted into your side and you lifted your arm to find Mor bundled into your ribs, squeezing you tightly and refusing to let go to the point you had to physically unwind her from you.

"I've missed you so much," her bottom lip wobbled as tears gathered in her eyes, you reached for her, wiping the stray droplets with your thumb.

"You know I'm only like ten minutes away from you, right?"

"Not the point, Y/N," a deep voice drawled, it made you shiver, and before you could even properly move to find the owner, you were already gathered up in his arms, "Hello, little sister."

"Hi, Rhys," your eyes found Feyre stood a few feet away from you, a hand cradling her swelling bump, you moved to her, looking down at that bump, "Congratulations, I'm so happy for you."

Rhys couldn't deny that you seemed different, that you had changed since the night you had left Velaris after your argument, after the ultimatum he had wrongfully forced on you. Feyre had told him that you would be fine, that you deserved to see what life could be outside of Velaris, that you would one day come home to them a different woman than the one who had left.

They all watched as Feyre guided your hands to her stomach and you felt your nephew wriggling around and kicking, "Hey, stop kicking your mama," you had bent down to whisper, "She's been through enough," and the little thing within her halted, settling into a comfortable position and Feyre sighed with relief.

Straightening your posture, you took your flute and took another sip, feeling overwhelmed by all you had missed, "I'll be back in a minute," you told them, Rhys moved to follow after you but Feyre stopped him, she knew how much it must have been for you, she was always the understanding one.

Your usual haven was empty when you had reached it, a white stone balcony at the end of a secluded hallway that looked out onto the lapping waves colliding with the mountain upon which the Day Court Palace lay.

A single tear flowed down your face and you heaved in a breath, trying to control yourself by clutching onto the stone railing. Your hair whipped around your face, and the fire lanterns flickered in the breeze.

"I know that we aren't friends, but if you need me to punch somebody out, you know I can and will," the voice you used to grimace at called to you from a metre or so away.

Spinning on your heels, you saw Cassian before you, illuminated by the moonlight so that you could see his unbound hair and muscular chest that peeked out from his undone shirt, "Thanks, but I'm good," you sniffled softly, grabbing your flute and finishing off the sparkling liquid inside of it before placing it back onto the stone ledge.

Cassian frowned at you, his eyes roamed over your face and figure, smiling in approval at your bright eyes and tan skin, and the masterfully tailored dress and accessories you adorned. There was something soft about you.

"It's good to see you, Cassian. You look happy," the admission tugged sadly at that ball of bliss inside of you, the ball that had been enriched and glowed like starlight.

He approached you, stepping out into the night and understanding why you had blindly led yourself there, he had followed you, noticing how you weren't paying much attention to where you were going and simply allowing your feet to carry you there.

"I could be better," he expressed, taking another step closer to you and finding nothing untoward in your expression, no anger, no distaste, nothing but warmth, "It's weird seeing you not being mad with me."

A gentle laugh pushed through you, it crinkled at the corner of your eyes, "If it means anything, I don't think I was ever really mad at you."

"Yeah?" Cassian coaxed, wanting more of an answer from you.

The lanterns scattered light over the side of your body, the small speck of glitter in your jasmine body oil shimmering softly, "I think I was jealous of you if anything," you had turned away from him and propped your elbows up on the stone platform, staring up at the stars longingly, "You're a true Illyrian and I'm not, not since I lost them," your shoulders rolled, and Cassian saw the faint crescent moon scars ripple at the movement, "I think I saw you as reckless, you were making so many stupid moves that could end up with you being hurt or losing your own wings," you flinched at the thought, "I'm sorry."

"I get it," he told you, mirroring your stance and looking upward at the sky which held nothing on Velaris, "I think I'd be the same if I were in your shoes."

Cassian on some level had always known that you harboured some resentment toward them, for their privilege of not having to worry about having their wings clipped. It had broken them all when it had happened to you, that was the moment you'd turned cold toward him, causing more arguments than anything else.

"This court has changed me, I'm not that person anymore. I hope you know that."

Cassian grabbed your wrist as you moved to walk away, pulling you flush to his chest and tensing as his rough fingers ghosted over your cheek, "I never thought you were that person. I tried to fix it, you know, fix whatever I had done wrong. I was the one who made sure you always had enough strawberries in the house and made Feyre swear to take credit for it. I was the one who made sure your bathroom cabinet was always stocked full of bath oils and healing creams, not Mor. That gift three solstices ago you loved so much, the blanket made from the dresses of Selene and your mother, that was me too, not Az."

"But why? We hate each other?"

"I never hated you, the truth couldn't be more opposite," you could feel his heart beating through the silk of his shirt, through the satin on your dress, he grazed his fingers around the cuffs on your ears, "I love you actually, a lot, and I stupidly thought that if all the words I could get from you were teasing jabs then it would be enough, just to hear your voice."

"You love me?"

Cassian grinned, lowering himself and stopping only millimetres away from your lips, sparks of fire sparking between them, "Always have, Princess," when you didn't move away, he closed that gap between you and allowed the world to explode into a kaleidoscope of colour around your forms, you fisted into his shirts, pulling him closer, and his hands found the small of your back, leaning into you.

Panting, you pulled away, opening your eyes to find his hazel spheres pressing into you, his nose touching your own. You laughed, a laugh that send shivers of joy down his spine, "I can't believe we were in love all this time. I swore I would never become this trope."

Cassian chuckled, a rich a deep thing that made you yearn for him, he kissed you again, with more hunger than you had ever felt, "Who doesn't love a good cliché, my formiddable mate?"

Authors Note

I'm happy now x

383 notes · View notes