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zet-sway · 3 days

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Fanfic: Sonnenblume

Or, I finally wrote a desert vacation fic.

[Read on AO3] - Rated E for SPICYEEEEEEEE

Pairing: Thane/FShep | Rating: 18+ | Words: ~4600

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“I think I found a place,” she says one morning. “An old friend of my mom's, they have a vacation home back on Earth, out in the American Southwest.”

Thane raises a brow at her. They're cleaning out the cargo hold, offloading collector tech at the citadel tower dock for distribution to the council races, each of them making their requests for research and study.

“I've never been to Earth,” he muses. There are any number of arid planets to visit, it seems almost foolish he is just now considering that Earth has many climates, deserts included.

“I haven't been in a long time. Grew up in space, last time I was topside was before my Spectre appointment. But my mom's friend says it's the perfect time to visit. A month from now it'll be hotter than a Krogan’s quad.”

He huffs out a laugh. “Earth sounds lovely, Siha.”

Her smile could light up the deepest reaches of dark space.

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Day 1

They're docking in Vancouver, slipping out the cargo hold and on to a taxi to whisk them away right under the noses of the Alliance's top brass.

The joy in her eyes is supernatural, he thinks. Unshackled from the military for seven scant days, Shepard practically glows with the energy of her newfound freedom. They leave an absolutely amateur trail of evidence as they flee south, along the west coast of the United States, through mountains and redwoods and oceans. The only stop they need to make is to pick up new clothes, snacks, and sunscreen.

They're on vacation.

He has to think to remember how to say it in his mother tongue. Ten years ago, he hadn't the funds to take time away from work after his marriage. Like many within the Compact, his life had always been driven by work, using the few pockets of silence in the spaces between each job to secure the next contract, research the next target, or hone his skills. Little time had ever been spared for himself. This… outing, this vacation, is something he's long thought belonged to the upper echelons of society and caste.

But he supposes he is wealthy, in some sense.

He's in love.

Wealth is watching Shepard parade almost girlishly in front of the shopping center’s changing rooms, all blushing cheeks and nervous laughter as she twirls the golden yellow sundress that she insists she's “unsure” about. Wealth is the way her face lights up when she spots a large, wavy brimmed hat across the aisle and races to try it on. Wealth is how she winks at him over her oversized sunglasses, and the levity in her voice when she says, with a devil's grin, “They'll never recognize me now.”

She might be right. The man at the checkout counter doesn't spare them a second glance as he checks out with their things.

Vacation suits her. And as they hail another transit to take them to the arid southwest, he thinks it's beginning to suit him too. He's rather looking forward to the breezy garments he’d chosen for himself.

Shepard's ruby red hair is swallowed by her massive sun hat, casting a broad shadow down her lean and muscled frame and the golden fabric of her dress. “Civvies,” she calls them. “You know, civilian clothes.”

He's quite certain there's nothing civilian about her. Her shoulders are too square, her calves and arms too hardened. She turns the eyes of the other passengers, oblivious to or simply ignoring their blatant stares. He feels like a shadow by comparison, clothed for now in the dark colors so typical of his profession. Still, her head falls against his shoulder and she slips her hand into his, laying claim to him all the same. Her silent affection makes his heart and body ache for her.

With practiced breaths, he slips beneath the waves of memory, willing himself through the minutes until the moment when they’re finally alone.

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Soon enough, they find themselves stepping off yet another transport not far from their rental.

Nearly one with the rocky desert, the low-roofed home is a dissertation in minimalist design, with flat, concrete lines gliding across deep-set windows, leading his eye to a modest entryway and through the glass beyond. Dimly, he wonders if he might have the funds to purchase the property; the volus bankers who minded his accounts probably thought him dead, having let his assets sit untouched for years. A minimalist by nature, this is precisely the place he had long dreamed of living.

Shepard tugs his hand, her skirt fluttering in the transport's downdraft, and his thoughts melt beneath her eyes, lit from within by a soft, cybernetic glow in the shadow of her sun hat.

She drops their things the moment both feet are over the threshold. Before he’s even figured out how to lock the door, her mouth is on his. She pulls him - grasps him by the shoulders and tugs him deeper into the house, kicking off her sandals as she goes, leading him towards whatever furniture lies beyond. True to her nature, his Siha is impatient. She is the fiery crown of Arashu, and he the rolling tide of Kalahira. He tempers her flames, grasping her wrists and flattening her hands against his chest as he kisses her, slow and deep.

The idyllic home they'll share for the week isn’t much more than background noise as she yields against him.

Her shoulders are already kissed by the sun, dusted with a delicate pink hue that warms beneath his touch. He slips a finger beneath one narrow strap of her dress, sliding it down her arm, trailing kisses in his wake. One luscious breast comes free, then the other, and her dress falls to the ground without ceremony.

Not long after, she's straddling him on the couch, grinding down on him with those soft little moans he's replayed over and over again in his mind.

Their first time was like this. He basks in the ethereal headspace between past and present, crisscrossing them in his mind as her hips roll against his, hot breath on his neck. And then she lets out the smallest whimper, a sound so vulnerable and soft that he cannot help but breathe her name in return, clutching her close. His dominant hand settles on her backside, aiding her motion; the other rests between her shoulder blades as he drives himself up into her heat, his mouth wandering in clumsy gasps along her chest. The way she lets her weight fall against him is an unspoken surrender, a precious gift she has chosen only him to receive.

He will never know why she chose him. But if it's him she wants, then she shall have him. Every night, again and again, until she screams his name in ecstasy and they lay in satiated exhaustion.

Tu-fira.

He belongs to her.

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It’s difficult to articulate how natural this feels.

Night falls, a chill settling over the rocky desert. He’s been alone with her many times, but never quite like this. In the short time they’ve known one another, she’s never been more than a commlink away from her crew, her mission, her ship and her duty. Here, nestled under a sea of stars, they’re more alone than either of them have been in decades. He watches the light of the backyard firepit cast flickering shadows on her bare skin, their hands intertwined.

Long after driving one another to sweat-kissed exhaustion, they remain entangled, engrossed in conversation. It’s like meeting her for the first time all over again. The armored force of nature who had carved a willful path into his life now lay naked in a nest of blankets with him, firelight dancing in her eyes, deep into a long and meandering train of thought. She weaves tales of her life before the Alliance, of joyrides and hijinks that would have made even his younger, rambunctious self hesitate. Her excitement touches his soul with a kind of contentment that he’s not touched in what feels like a lifetime.

Inevitably, the chill of night becomes too much to bear, and their talks meander back to the physical; stories of life before one another and the various trysts that preceded.

He can hear the desire in the deep, red edge of her voice; the way her tone dips from casual to sensual as she stands, clothed only in the dancing hues of firelight, and leads him to the crisp, untouched sheets of their shared bed. He pulls her close, scaled hands sliding across bare human skin, pointedly savoring her, willing his want and his love to find their way into every corner of her soul.

He wants. Oh, how deeply he wants.

He whispers prayers into her palms, one by one, as she rides him into the break of dawn.

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Day 2

Morning comes and goes in silence.

They lay heedless to the sun's motion, tangled soft sheets lit by the dreamy glow of day through the deep-set awnings and windows of their rental. Thane dozes in and out of sleep with her in his arms, heart swelling each time he wakes, awash in the scent of her hair and skin. They lie together for some time, and when she rises, he curls into the space where she had slept, unwilling to part with her residual heat.

Heat stirs in his limbs as he hears the shower kick on, his body calling for her as though he's woken up back in time, a younger, more virile man. Half in dreams, he can see her naked and robed in morning dew like a siren, and he cannot resist.

He finds her in the frameless shower, sunlight streaming through the window beside her. Water pours over her in rivulets of gleaming light, the sun illuminating the strong dunes of her back, gleaming off her shoulder blades and the curve of her spine.

Shepard, of all the people he had known, was made of sunshine. She was made of the fiery warmth and light of day, bathing him in her glory and simultaneously blinding him with effortless radiance.

And it's here, pressed up against the polished concrete wall beneath a lukewarm deluge of water, that he shows her all the ways he loves her. Shows her how, if he angles his hips just so, the last of her burdens melt away and he knows her as only he can; through the gentle, mewling gasps of an angel on the verge of tasting her own glory, manifesting the soft heat inside her as he drives himself against her deepest reaches.

He has to be mindful of his eyes. This has always been true, will always be true of all drell, but never more so than when she nears the peak of her pleasure. Shepard is possessive, perpetually communicating her need with unending motion, gripping him close as though the mere inches between them are a chasm too great to bear. He watches the way crystalline drops of water bead on her neck and shoulders, they way they catch the morning sun like diamonds, casting pinpricks of dappled light against his own scales and streak down the shape of her as she moves against him, contorted and desperate to take him deeper, to break herself upon the sanguine friction of their joining.

Her head knocks softly against the wall, her back arching, chest thrust toward him. And then she breaks. Sweet gods, how she breaks.

It's almost more than he can take. Words can never hope to say all the beautiful things she is when she comes.

He gathers each gasp, each heartbeat, every droplet of water on her parted lips and every clench of her heat around him. He drinks them all in, safely locked in the depths of his blessed memory for all his days. There is no greater gift in this life or the next.

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Day 3

Much as he would like to spend the entirety of their ‘vacation’ finding a reason to make love to her on every unoccupied surface in their rental, Shepard has made sure to include other activities in their itinerary.

He wakes to find her half dressed, smiling at him as she pulls a swimsuit top over her head. It’s a deep, forest green, with wide, high straps that criss-cross over her collarbones in an attractive triangular shape. He blinks, anchoring himself to reality as though he can't be sure she's real. And if his drowsy eyes find purchase in the alluring curve of her breasts peeking through the small cutout at the top’s center, he's certain the gods will forgive him.

The mattress dips as she sits beside him. “Come for a ride with me,” she whispers by his ear.

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Thane has often heard that human skin is easily burned by their planet’s star. He’s never quite believed it until Shepard.

He finds himself on a beach, massaging the soft cream she calls ‘sunblock’ into her back and shoulders, wondering how he could have ever gotten so lucky. His Siha, his warrior angel, so vulnerable without her armor that she wants - needs - his hands to protect her soft human skin, heals his soul with this one simple act; the intimate joy of being her protector and lover as he takes care to make sure she is thoroughly covered. The ocean breeze blows strands of her carmine hair across her forehead as she turns her head to him, smile lines deepening with delight as their eyes meet.

They pass the time in golden luxuriation, prostrating themselves beneath the radiant heat of Sol for hours, never more than an arm’s length apart, until the sun dips below the horizon and paints the sky in a myriad of hues somewhere between floral and fire.

And as the sun bows out for the evening, he bows her into the sand, lips locked and knees knocking against her own as they collapse together on soft, weatherworn sand that clings to the warmth of the sun as it bids them goodnight.

He never wants to leave this place.

Goddess above, Earth is the very image of serenity. Freer than free, his breath unburdened, his elation pours from him into her waiting mouth as they taste the salt air together. Her beach towel is a poor shield from the sand, but it hardly matters as he uncovers her skin, inch by precious inch, until she quivers beneath his touch, the sound of his name carried away by the rolling swell of the ocean.

He can taste the sea between her legs, the irresistible twang of life and salt and need that rises from her like water from a stone.

“Don't stop,” she breathes.

He couldn't - not if he wanted to. He wants this memory exponentially more than his own pleasure. A moment finer than all the collected treasures of the galaxy, etched into his mind for the rest of his days: his Siha writhing beneath his hot mouth, gripping his scalp, crying out as she tumbles again and again through ecstasy of his making.

He could die here, he thinks. Perhaps he's already dead. He nuzzles her thighs, warm and soft, as she floats down from on high. Yes, if the gods wish this to be his grave, he would gladly bow his head in thanks.

It's an hour’s trek back to their rental, but they will stay here until the ocean wind becomes too cold to endure, dunes yielding beneath them just as flesh yields to flesh and they become one.

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Day 4

It’s the honeymoon phase, he thinks to himself, running his fingers through her hair as she lies sleeping on his chest.

Thane has been here before, in another life, waxing and waning in the warmth of his wife’s bed. Deep in a distant rational corner of his mind tries to tell him: it won’t be this way forever. But does that matter? Does it really, actually matter? Months ago he would have said that he was but a tooth on a cogwheel, destined to spin around in repeating cycles of loss, memory, and despair. But this fierce woman pursues him with all the endurance that humans are known for. Bit by bit, she chips away at the rigid crust the last ten years have borne upon him, and he is alive. Alive in ways he hasn’t known in what feels like a lifetime.

They will spend this day treating themselves to all the beauty that earth’s arid lands have to offer. From the bleached, rolling dunes of sand, to the baked and rocky landscapes dotted with life in its most hardy forms, to the golden time-carved radiance of the painted desert - Goddess preserve him. His past has never felt further away. With her by his side, his world is filled with sunlight in much the same way as Earth’s gleaming sky, now so familiar and perfect to him that he would just as easily call it home.

And when the sun’s heat is too much for her human skin to bear, he trades the scenic vistas of the American southwest for a landscape of another kind.

Her skin glows, its color deepening with each passing day in dappled patterns that betray her state of undress throughout their travels. He finds it endearing, the way her cheeks and shoulders are dusted with more freckles than he'd seen when they arrived, the way her chest and thighs remain lighter in color than the rest of her, drawing his eyes, his hands, his mouth to worship at the temple at is her body. She kneels between his knees and blesses him with the sweet heat of her mouth, stealing his breath as she tastes him, crimson hair the perfect anchor for his hands as she takes him higher and higher.

He had underestimated her appetite for him. Perhaps he'd underestimated his own appetite in turn. They haven't even made it back to their rental and he can already smell the need on her, the cramped taxi insulating and perfuming the air so thickly he can almost taste her, slick and soaking with arousal, maddeningly just out of reach but with nothing but her panties between her need and the rest of him. Powerless to the heat of her mouth, he spirals through his lust as she pleasures him, soft hands and pink lips around his shaft. Her artificial eyes gleam up at him through her mussed hair, and goddess preserve him, he’ll hack the engine himself if it’ll make this taxi go any faster.

She's fumbling at the lock as he pushes her against the wall beside their front door, covering her mouth with his. Lips locked, they stumble inside. His hand drops down to her thigh, palming at the warm skin just beneath her skirt. Shepard, in turn, tugs him in the direction of the bedroom.

He considers this, allowing himself to be led as he considers all they’ve had the pleasure of seeing today - of her radiant smile beneath her oversized sunglasses, unable to conceal the joy of her eyes from his perfect recollection. Of her freckle-dusted shoulders beneath the shadow of her sun hat. And he decides in that moment that no - as much as he adores their soft bed and its sex-scented sheets, he loves her in the daylight more.

The back patio opens with a wave of his omni-tool, and he presses her into the opulent cushions around the fire pit. She chuckles against his mouth - perhaps he's become too predictable, but it no longer matters.

There’s a kind of transcendental brilliance to this place. Some kind of inebriating mix of oxytocin and fresh air and sunshine that ignites his synapses and levitates his heart until he feels he can touch the radiant sky. He ruches up her dress, fabric sheeting off her body until she's all warm, decadent skin against a backdrop of their shed clothing. He groans inwardly at the sight of her, the shadow of her clavicles arching nearly above her soft breasts, tipped with that same aphrodisiac shade of desire that awaits between her lush thighs.

She smiles so sweetly at him, but her eyes are shaded with mischief as she opens her legs for him, teasing her folds beneath his heated gaze. He falls to his knees before her, palming her silken thighs, kissing the wet, sanguine warmth between her legs as though it were her mouth.

Her hips rise to meet him, rolling against his tongue as she brings one ankle gently against his back to guide them together, and Thane breathes out a low, pleasured groan. He loves this - the way her body talks for her, knowing full well he needs no encouragement but asking all the same, driven by biological instinct to share the most intimate parts of her humanity with him - a man from another world. Her body calls for him, beckons him, and he is both her servant and sire.

“Please, please Thane,” she whispers, hands reaching blindly for whatever parts of him she can reach.

He lifts from his place of worship with a breathy inhale, curling his arms around her thighs and hauling her bodily until she rests on the very edge of the cushion and the tip of his cock falls against her wet heat. And then he pushes forward, savoring the way her soft flesh yields to him, how her silken walls conform to every inch of his thick, ridged length, swallowing him to the hilt.

She breathes his name as he bottoms out. Takes a moment to catch her breath and then pushes up on her elbows and then her palms until she’s close enough to wrap one arm around his neck and pull him close. Thane folds an arm around her in turn, pumping in and out of her blessed heat. Thank the gods for her brilliant human flexibility.

The sun beats down on his back, his body shielding her vulnerable human skin from the worst of its rays, as he makes love to her with long, deep thrusts. He could never hope to articulate this specific kind of ecstasy - the ruddy heat of Sol crowning him with the same deep heat he seeks deep inside her.

It’s not what he would call fucking, but it’s not what he would call tender, either. It’s somewhere in between. It’s the heavy, sweet push and pull of two lovers, their minds blank of all thoughts beyond the tension, friction, heat, and pleasure that flows between them; tongues sliding together, hands clutching at skin and scales, at once desperate for release but determined not to reach it, to stay in this moment forever, unwilling to part with the sybaritic heaven they share. She locks one thigh around his hips, bracing herself with one hand so she can touch his face with the other, fingertips trailing almost too roughly against his sensitive ruby cheek as she grinds her cunt onto his heavy girth.

He needs her closer, needs her harder, consumed by the need to become one with her in that sanguine way only two lovers can. Parting from her for just a moment, he slides both knees on the cushions with her, hauling her up onto his thighs, watching for a moment as she grinds her flushed, creamy slit against his length before sinking himself back into her depths. They rock together until he’s sure beyond doubt that she’s out of her mind, blissed out and debauched before the combined heat of her sun and his desire. Until the satin sheen of sweat pooling in the hollow of her throat is too laden to cling to her skin, and she moans his name into the wide open sky. Only then does he drop his hand between them, drawing wide, steady circles around that incandescent neural bullet between her thighs.

Her voice is lost as she comes, words and sounds dying in her throat as, at last, the pleasure is too much for her body to bear. He watches beneath heavy-lidded eyes as she tenses, cries out, and breaks, as her body sings like a plucked harpstring; knowing that for those precious few seconds, she is well and truly his, and his alone.

When her mind is wiped of all thoughts but him, his embrace, his kiss, and the pleasure at his hands, he can finally let go.

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Day 5

He wakes to the sound of music playing softly from another corner of the house. Decades old, by the sound of it, plucked notes singing on a guitar string beneath the melodic voice of a human weaving a tale of a dark desert highway. He’s heard this one before, playing over a crackling stationary radio in the cargo bay where she’d often done routine maintenance on Normandy’s ground vehicle.

Rising with a contented breath, he pads over to the common area to greet the day.

She’s wearing one of his robes, and nothing else. A breezy, cream-colored cotton garment that’s too wide in the shoulders for her more feminine frame. She lets it drop down one arm, the fabric collecting in the crook of her elbow just beneath where her hand rests on the door frame. The rest of it hangs open, gauzy fabric illuminated by the glowing sun streaming in from behind her, framing her in ethereal light. Though her face is in shadow, her artificial eyes are just bright enough to search his soul as she peers back at him.

In that moment, his Siha is more angel than warrior. She's posing for him, framing herself in a mental postcard to commemorate the effortless beauty of this place, this life, this love.

She pauses in the doorway for a good long while, as though she knows precisely what she's doing. Cocking her hip, idly running her long, calloused fingers through her hair, waiting for him to sear this image into his blessed eidetic mind for the rest of his days.

It’s so easy, wrapping her in his arms, kissing her again and again, bitter coffee on his tongue and warm sun on his face.

“I got a message from Hackett this morning,” she says softly.

The tone of her voice makes his stomach clench with unease, and he takes a moment to suppress the tremor in his throat.

“How long do we have?”

“Until tomorrow morning.”

He pulls her tight against his chest, as though by some miracle he could keep her from ever leaving the safety of his arms again. Shepard tucks her head into his shoulder.

“I’m so sorry, Thane.”

“Do not apologize, Siha.” Her hair is soft on his cheek, and he breathes deep as his eyes settle without focus on the rocky landscape outside her lovely picture-frame window. “This sojourn has already brought me more joy than you could ever know.”

When she kisses him, there’s a desperation in her that he’s not felt before, as though she shares his worry. That she’s been called away is unsurprising, in and of itself. But the tension in her shoulders makes his heart quake with an obdurate fear that will linger throughout what remains of their holiday.

He resolves to suppress it. If Shepard has taught him anything, it’s how work and purpose can stave off one’s demons, if only for a little while.

“What would you like for breakfast, Siha?”

She lifts her head then, and her smile is worth whatever heartache lies beyond the indefectible threshold of their abode.

He will take what he can from this moment. Reality can wait just a little longer.

#thane krios #shrios #zet writes things #my brain is broken #sorry about the typos i had to uninstall grammarly because ai is the devil #literally my head is full of lint right now #please enjoy #is this fluff?#aaaaaaaaaaaAAAAAAAAAAAAA #mass effect fanfiction

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hinata-boke · 2 months

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he does not wish to be held

#haikyuu #my art #kenma #animation #dusting off the animation skills with some more kitty kenma #ITS FUN BUT IT USES MORE BRAIN THAN I REMEMBER...#please enjoy #this was ~21 unique frames #woah why does it look so jank on mobile 😭😭😭#edit: i fixed it maybe the file was too big or smth #wait no its still weird AUUGHHHHH

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chittychittyyangyang · 1 year

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Volume 9 Bees

#rwby #rwby9 #blake belladonna #yang xiao long #bumbleby #ccyy edit #blake #yang #this took me forever #please enjoy #and it's not everything obvs but what I could fit making smaller gifs #I know tumblr hates gifs but you gave me a 30 limit SO TAKE IT #1k

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fawnforevergone · 8 months

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

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

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

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

DESCENT:

"De Selby (Part 1)"

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

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

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

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

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

"De Selby (Part 2)"

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

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

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

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

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

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

FIRST (LIMBO):

"First Time"

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

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

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

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

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

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

SECOND (LUST):

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

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

"Francesca"

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

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

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

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

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

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

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

"I, Carrion (Icarian)"

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

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

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

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

THIRD (GLUTTONY):

"Eat Your Young"

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

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

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

However, Hozier moves onto the hunger of politics.

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

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

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

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

FOURTH (GREED):

"Damage Gets Done"

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

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

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

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

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

FIFTH (WRATH / ANGER):

"Who We Are"

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

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

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

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

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

SIXTH (HERESY):

"Son Of Nyx"

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

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

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

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

"All Things End"

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

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

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

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

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

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

SEVENTH (VIOLENCE):

"To Someone From A Warm Climate (Uiscefhuaraithe)"

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

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

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

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

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

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

"Butchered Tongue"

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

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

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

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

EIGHTH (FRAUD):

"Anything But"

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

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

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

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

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

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

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

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

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

"Abstract (Psychopomp)"

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

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

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

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

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

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

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

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

NINTH (TREACHERY):

"Unknown / Nth"

Okay, buckle in.

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

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

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

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

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

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

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

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

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

ASCENT:

"First Light"

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

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

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

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

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

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

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

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

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kazscrows · 1 year

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Nobody:

Kaz Brekker:

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klaissance · 2 months

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they are god’s eepiest soldiers im begging please let them ReLaX

#klance #ahahahaha i did ittttt #i think this turned out cute what is rendering dont ask me #but every time i color a thing i get slightly less bad at coloring which is huge #klance fanart #my art #theyre COZY #and yes that is keith’s sweatshirt i have taste #i guess this is a shorter keith and brown eyed lance postif u squint #vld #voltron fanart #space gays #gays in space #keith kogane #lance mcclain #theyre in love your honor #please enjoy

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bluegiragi · 1 year

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the prettiest pets you'll ever see (happy valentine's day!)

nsfw version on patreon

#would literally any of you believe me if i said i did this as an anatomy study #hoping to god tumblr's guidelines dont slam me for this #theyre wearing clothes tumblr!! what else do you want from me!!#i honestly didnt believe that this brainrot would last until february but what do you know #im still in the trenches with these three #please enjoy #and treat them well <3 #soapbox #simon ghost riley #john soap mactavish #ghostsoap #konig #cod mw2 #giragi art

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lizkreates · 1 year

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“I’m not Nai anymore. It’s [INSERT NUMBER] [INSERT CUTLERY].”

#trigun #trigun stampede #trigun maximum #nai #millions knives #nai saverem #knives #hundred spoons #hundreds spoons #please enjoy #my art #I lost it when roberto said hundreds spoons #I made the silliest utensil brushes

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decojellyfish · 3 months

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New Friend!

Hi, this is my first post! So please be nice, and if you have any constructive criticism, please comment! I hope you like it :)

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Hybrid AU! TF141 Fancy Kitty! Reader x Rescue Dog! Ghost and Rescue Dog! Soap (Feat. a tiny bit of x Owner! Price) Reader acts fem but is only addressed with “you”

SFW ~ Fluff (Tiny bit of angst, if you squint) Warnings: Mentions of death (though, not directly)

───♡───────────── Beginning Your life was everything you could ask for. Always brushed, fed the finest cuisine a kitty could ask for, and wearing the finest items your owner got you. Your favorite was a collar that looked like a pearl necklace, similar to the one your owner wore daily. Your fur smelled like her too, vintage perfume (her favorite from when she was a teenager, though she always talked about how it was hard to come by now in the modern day), and those little strawberry bonbons she always kept in her purse. And you would always have a pretty pink bow tied around the base of your fluffy tail. Resting your head in her lap, her aged hands petting your white fluffy ears or brushing them with this one brush. A beautiful golden brush, with an ivory plaque on the back that had roses, tulips, and violets painted. It was her favorite from when she was a little girl. Life is good, life is paradise.

Until one day, she didn’t get out of bed. You were still curled up in your pink fluffy cat bed, waiting to hear her sweet voice call out your name whilst serving up your borderline gourmet breakfast. After about an hour, your confusion pushed you out of bed and made you go to your owner’s room. She was still sleeping? Maybe she had a rough time sleeping last night and just felt like sleeping in. Yeah, that was it! She was pretty old after all, why wouldn’t she want to sleep in once in a while? So you curled up atop the floral bedsheets, nice and close to your owner, and waited for her to wake up. You knew she would love to wake up to her pretty little kitty all snuggled up because you missed her so much! So you waited. And waited.

And waited.

A few days passed. Wow, this must’ve been the sleepiest old woman you’d have ever seen! She even had visitors and she didn’t even wake up. It was kind of strange though. They were crying as if they were watching one of those sad movies your owner would watch, with you curled up beside her. The day your world came crashing down would be the day these strange people came to your owner’s house. One of them guided you down to the kitchen, proceeding to feed you some random wet food they found on the counter. You hadn’t even realized how hungry you were while you were waiting for your owner to wake up. You hadn’t even noticed the other people carrying your owner’s body out of the house while this one person was playing with you. Jingling your favorite bell toy, calling you a “precious little kitty, so beautiful, yes you are!” the whole time.

That’s when he came into the picture. He came in an hour after these people arrived, it was John Price. Your owner’s son. He had come to visit her a few times, you enjoyed his presence when he was visiting. Price approached you and began to pet your silky, fluffy white hair and fur. “Hey there, pretty thing. How’ve you been holding up?” You didn’t know what he meant by that, but your purrs were all he needed to hear to not fret over you. He figured you were okay and ready to go with him. When he began to guide you out to his car, that was when you realized that he was taking you somewhere! He reassured you that your owner wouldn’t mind having you go on a little trip. You didn’t know you were headed to Price’s own house, all of your belongings in his trunk unbeknownst to you. You, in the present, wouldn’t be mad at Price for taking you home with him and becoming your new owner. No, you wouldn’t mind that at all, John Price was a lovely person! Like his mother. What made you pissed at him was the fact that he never mentioned the two dog hybrids he also had ownership of. That also lived in the house.

✦ . 　⁺ 　 . ✦ . 　⁺ 　 . ✦

Price had told Ghost and Soap, his two rescue dogs, about the new arrival of a new addition to the family. That of which is a cat. Ghost wasn’t excited about the thought of a cat being in the house all day, every day. It annoyed him, he never really liked cats. Soap, on the other hand, was very excited to meet the new kitty. He had been waiting, impatiently, by the door ever since Price had gone off to retrieve the cat hybrid. Once Price had finally returned, Soap was ecstatic. He pounced on the first being that entered the doorway, licking their face all over. That first being was you. You screeched and hissed at the seemingly rabid dog that was coating you in slobber. He was mucking up your hair, too! Once Soap realized that it wasn’t Price, but, the new kitty that Price had brought home, he grew even more elated. Before he could continue any further with his slobber, Price had pulled Soap away from you, giving you time to breathe. Your tail was beyond fluffy now, you were terrified. Your claws were out and almost gripping the welcome mat by the front door. Soap was confused, Ghost’s guard was up, and Price knew in the back of his head that something like this would happen.

It took you a while to settle in, you were still frightened by the dogs and would try to maintain a distance from them. Ghost would happily oblige, avoiding you whenever you were around. Soap, not so much. He ruined his first impression meeting you! He scared you, and that is not what a good dog does. So, he spent all day and night all over you. He would tell you about his day, and ask you about yours, only for you to stay quiet, and then he would continue talking to you. Soap LOVED being around you. Why wouldn’t he? You’re such a pretty kitty, you smelled good, and your fur was so soft and silky! He loved pawing at the little bell attached to your pink ribbon collar. It was so cute! You looked like royalty with it. Ghost, on the other hand, would mumble about how uppity you seemed. Spoiled, bratty. I mean, at some points you did act like that. Whenever Price didn’t get the right food for you, whenever the sun wasn’t shining in the right spot for you to bask in it, or how loud and annoying the boys’ squeaky toys were. You and Ghost would often avoid each other. Whenever you would accidentally brush up against each other in the halls, it would result in you hissing and him growling loudly, baring his teeth. Price would have to step in and separate you two, telling you both to quit it. But back to Soap, who is an absolute lovebug when it comes to you. He would come by and curl up right next to you whenever you were curled up and lying in the sunlight. At first, you would get up and leave to a new spot. But eventually, you gave up and let him curl up as close to you as he wanted to. Through Soap’s constant yapping, you find out that both he and Ghost were survivors of illegal underground dog fighting. They were from different parts of the UK, but they both ended up at the same shelter. That’s how they met Price. Soap would point out all of his scars, telling their backstories, and talking about all the other injuries he went through. He would also compliment you, as well as attempt to pamper you. You had to give him instructions on how your owner used to do it.

✦ . 　⁺ 　 . ✦ . 　⁺ 　 . ✦

It smelled of overwhelming masculinity in the house. It was such a drastic change from the old lady perfume and flowers that your old home smelled like. It took you a bit to get adjusted to the lack of floral prints that your new home had. One day, you were especially homesick. Even though you were in your new, permanent, home, you still missed your old home. It was foggy out that day, the weather not helping your mood at all. You were curled up on the couch as you looked out the window with sad eyes, your fluffy tail flicking around as you were deep in thought. You hadn’t even noticed Soap and Ghost staring at you, they could smell the sadness radiating off of you. It was a slightly pungent smell compared to your usual scent that smelled of fresh flowers. It made Soap whine and quickly approach you. He curled up close to you, trying to soothe you, bring you out of your sad thoughts, with his warmth. It did help, it brought you out of your deep thoughts. But you still smelled of sadness. You would curl up against him, letting out a tiny sigh.

Then Ghost curled up next to you.

That was a first. He had always avoided you, per your request. But you didn’t mind this sudden act of affection. It was nice, you got a better chance to identify the keynotes of his scent. With Soap being around you so much, you had no choice but the memorize what he smelled like. Musk, timber wood, vanilla, and tiny hints of coconut. Part of that was because of the shampoo that Price would wash him in during bath nights. You had always kind of known what Price smelled like, what with him visiting your old owner every so often. Dirt, but not in a dirty way, an earthy way, smokey, toffee, and sandalwood. Cozy. You eventually came around and stopped being so mad at him for not telling you about his dog hybrids. Especially since you started to like them now. Kind of. Ghost, he always kind of smelled smokey. But not like Price. Price smelled smokey in a round way. Ghost smelled smokey in a sharper way. Kind of a difference between cigars and pungent cigarettes. But now that he was sitting so close to you, to wipe that sad look off your face, you could get a more clear reading of his scent. Smokey, yet bitter, musk, cedar wood, and lavender. That also must have been because of the shampoo. But they must have two separate shampoos that they picked individually. You had your own that Price had brought from your old home. It smelled of cherry blossoms.

Fast forward a few minutes, now Soap is teaching Ghost how you like your hair brushed with your favorite brush. And you’re crying and venting about how much you miss your owner and your old home.

This caused Soap to have a lightbulb moment.

A few days later, you’re napping in your cat bed when you suddenly start to wake up to a familiar scent. Rose petals, peonies, orchids, and lotuses. Flowers. You wondered if you had suddenly returned back to her old home. You open your eyes. Nope, you’re still at Price’s. But the scent is coming from a little candle, in an ivory candle holder (a favorite of your old owner), sitting on the dining room table. Price noticed you as he finished serving breakfast for you and the boys. He explained that he “found it at the shop and thought you would like it.” Actually, Soap had begged him to find a way to cheer you up because it hurt him so badly to see you cry like that! Ghost was standing by Soap, not moving a single bit. But Price could see in his eyes that he was silently agreeing. He didn’t want to admit it, but he cared for the little cat hybrid. So Price had gone out and looked for his mother’s favorite candle. He knew the one. Now, back to the present, you’re looking at the candle with wide eyes. You’re looking at Price, then the boys, then the candle, then Price again. You feel your eyes start to sting. Tears abruptly well up in your eyes. All of the men are now worried. Did they mess up? Did Price pick the wrong candle? But he was sure of it! Soap quickly got up and hugged you tightly, asking why you were crying. Ghost even got up and walked over to you, just as worried but he wouldn’t show it. You eventually explain to them through tears and hiccups, that you love all they’ve done to make this new place feel like your old home. It makes you so happy that they want to see you happy and comfortable. They’re all relieved, Price gently wiping away your tears with a handkerchief his mother gifted to him when he first went into the military, petting your fluffy ears and stroking your cheek with his thumb.

These men all love you, they would do anything to not see you in pain. And you love them just as much, knowing that they would do anything to protect you. :3

───♡───────────── End

Again, if you have any constructive criticism, please comment below!

Thank you for reading :)

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