I Hecking Love This. Absolutely Love It. The Person Who Originally Made This Should Write A Book

I hecking love this. Absolutely love it. The person who originally made this should write a book

When The World Crumbled

Anonymous said:I’m feeling angsty, so maybe a snippet where a hero and villain find out the others’ identity and realize they’re roommates and lovers if you’re down with that?//  Anonymous said:Hi, could you possibly write something where the hero and villan were/are lovers? Thank you so much and I love your work!

When the world crumbled, it did so with a quiet and aching intimacy. 

The hero paused with one hand on their lover’s bare chest. Over a fresh wound, similar to one they had dealt the villain the night before. It was still red. A raw, angry colour. 

It wasn’t the first time they had seen marks like this one. 

The bedroom was still, bathed in soft golden glow of dawn. 

Their lover curled against them, half asleep still, pliant and trusting. The villain curled against them, half asleep still, vulnerable and exposed. It didn’t feel like the possibility of victory - triumph had never seemed further away. 

The hero’s throat locked tight. They could barely breathe. 

In sleeping, cruelty had no place on the villain’s face. There was no coldness, just softness, familiar lips that would taste like their mint toothpaste should the hero lean in to kiss them now. Hair mussed by sleep, scented faintly of apple shampoo. Hands… hands that had caressed and adored them, that made them dinner, that held them close. Hands…hands that had hurt and attacked them, bruising, violent hands that committed monstrosities out of sight. 

They buried their face in the villain’s neck so they didn’t have to look, arms wrapped around them tight. This was where they always hid when the world and its demands got to be a little too much. 

Probably, they should leave. Confront. Make some kind of plan. They gasped at air that didn’t want to come instead. Fumbled for rage, for betrayal, for some motivating force beyond the numb and airless sorrow.  

The villain stirred in their arms, rousing at the fierce grip. Those hands slipped into their hair, fingers stroking the locks instinctively. “Alright?” They sounded concerned. “Baby?” 

“Just a nightmare,” the hero whispered. “Please, go back to sleep.”

When the world crumbled, it did so with a quiet and aching intimacy. 

The villain held the bundle of fabric in one hand. The absurdly bright costume, blood-spotted, hidden. When they inhaled the scent it was of their lover. 

Stupid moments - wasn’t that how the worst secrets were discovered? Not with a bang, but with the mundane breakage of an incoming text, an unsent note, a spritz of a stranger’s perfume. Or a hero’s costume so familiar it couldn’t be strange except for the strangeness of it being there. 

They’d been a fool not to see it before. To hear it before. 

It was the same voice; the voice that soothed and flattered them, promised them, teased them, made a life with them. The same voice that goaded them and taunted them across the battlefield, that cried out in sharp pain at every blow. 

Nausea climbed up the villain’s throat. How could they have not seen this before? The two had always seemed worlds away, like they couldn’t possibly be the same. One, their enemy. The other, their home, their safety, whatever warm remnants remained in their heart and cooled now. 

No, it didn’t cool. The villain wished their heart would cool. Wished it would freeze over entirely. It burned. It scorched them like hell might, rising sick up their gut and their gullet and hot in their eyes as the first tears fell. 

They stumbled to the toilet and threw up, fingers white-knuckled on the edge of the rim. Their knees gave out beneath them. They hated the sound that came out of them, some uncontrollable ugly keening, like a wounded animal that had been shot. 

They shoved their fist into their mouth, biting down hard enough to draw blood. They squeezed their eyes shut. 

The vomit tasted acrid in their mouth. 

They heard the scrape of keys downstairs. “Darling?” That voice. The front door clicked shut. 

It was too soon. They weren’t ready. 

They couldn’t quite get their limbs to co-operate with them. 

Footsteps sounded on the stairs, closer. 

They shoved the super-hero costume blindly into the laundry basket, out of sight. 

“Oh my god.” Their lover spotted them, by their side in an instant. “What’s wrong?”

They flinched from the touch before they could stop themselves. 

“Bad lunch,” they managed. “Must be. Ate something bad. Feels like poison.” 

That much was true - they felt poisoned, infected, their most intimate of spaces violated by some foreign attacker. 

The hero stared down at them. 

Their eyes met.

The hero knew, they didn’t they? It was right there on the face.

For a moment, now, the hero was all they could see. Their enemy towering over them as they were laid to waste, on their knees, broken. 

Their lover swallowed and touched their cheek, just once.  “I’ll get you some water.” 

When their worlds crumbled around them, there was no explosions, no bloodshed. 

The lights were off, their bedroom chilly. It was better when they couldn’t see each other’s faces, couldn’t read again the too clear hurts and the accusations. The splits and shattered cracks of everything gone wrong. 

“I should kill you,” the villain whispered as they stroked the hero’s hair. 

“I should turn you in,” the hero replied. “I walked past the station five times today. You texted me to ask if I wanted Chinese for dinner. Did you know?” 

They didn’t ask:

- Why didn’t you?

- Why haven’t you?

- What happens now?

- How could I not see this coming? 

The hero ghosted their hand over the scar on the villain’s chest, tender. 

The villain, unerringly, found one on the hero’s back. 

“I love you,” they both confessed. It sounded like goodbye.  

More Posts from Catasrophic-catastrophy and Others

Q&A: Knives Out

Anonymous said to howtofightwrite: What are the odds of winning a fight when one character is skilled in daggers more than swords, and in this fight, the opponent uses a sword?

The short answer to this question is almost none, barring being indoors, especially if you’re envisioning a straight forward fight. The answer to why is a concept called reach.

Reach is commonly misunderstood by a lot of writers and even some martial artists when it gets applied as a blanket statement to all combat (including hand to hand, where the difference between two people of different heights is centimeters), but with weapons of two different lengths it’s a game breaker.

The dagger wielding character has weapons that are between three to six inches. The sword, if its a longsword, is probably between thirty-six to thirty-nine inches. That’s a three foot difference full of bladed steel. Your dagger wielding character needs to get past the three feet, to be eight inches away from their target before that steel stops being a danger. (And, that’s if the sword wielder doesn’t half-hand, or chooses to hit your dagger wielder with the pommel of their sword.) Even then, the blade can still cut.

There is no guarantee your swordsman isn’t also trained in hand to hand along with their swordsmanship, allowing them to utilize their blade (or simply fight) in close-quarters. Most were.

Say it with me, “daggers are for shanking.”

The Kill Zone: Who hits first?

The first problem for the dagger wielder is that the swordsman can hit them long before they ever manage to close. This allows the swordsman to control the battle tempo, allowing them to attack without giving the fighter with the daggers opportunity for recourse. Daggers will be on the defense, looking for an opportunity to close so they can strike and, if the swordsman is just mildly competent, those opportunities will be few and far between.

The second problem is that the sword’s greater range also gives them a wider array of targets than the dagger wielder has access to. For example, the swordsman can aim for the foot and, from there, carve up the groin to the chest without an issue. Thrusts easily transitions to slices with the point, which change to hews across the body. The sword’s defense is total. If they keep up attacks, all daggers can do is respond.

The third problem is blocks and counters. They can’t, daggers really aren’t designed for that. They could try to Deflections? The sword will recover in a few fractions of a second. While that’s enough for another swordsman to move from parry to strike, the daggers are too short. They’d be about midway to the swordsman, and take a hewing strike or just a retreating cut to the their side (or somewhere more vital to continuing combat, like their arm. The arm/leg/foot/hand get caught in just a basic slice and that’s it for using those body parts.)

The fourth problem? Well, they can’t bull rush. All they get out of a rush is plowing headlong into the steel end of a long blade. A swordsman can set their weight in stance to take that hit without being forced to even take a step back.

You should never fight a superior weapon on that weapon’s terms. You have to fight on your own, where you negate the other wielder’s advantages. If your dagger wielder isn’t planning ways to use their environment to negate the swordman’s massive advantage, you may want to rethink your fight scene. (And yes, fighting in an alley makes the situation worse for Daggers. Indoors where the sword’s movements are limited by tightly clustered objects like furniture, or in ambush before the sword is drawn.)

Targeting Extremities: How do you run when you can’t move?

What many authors forget about, because they don’t normally work with bladed weapons, is how dangerous they actually are. They also think you need to go directly for the interior parts of the body, such as the heart, the head, stomach, and neck.

Combat is, ironically, far more sophisticated than that and, with an unarmored opponent, cuts and lacerations can be debilitating to any part of the body you hit. While your heart is pumping, your heart will be pumping that blood out of your body. Holes in the body mean the blood leaves the body, the more holes, the faster that happens. This is the strategy with both sword and dagger, you can target major arteries with your daggers or your swords, but anywhere actually works.

The primary targets are usually the best defended. So, you don’t go for those unless the enemy puts up a very poor defense. You start outside, on the extremities, and work inward. If you take the arm, they can no longer use it or will be forced to use it more slowly, to their own detriment. If you take the foot, you cut off their maneuvering. If you pierce their thigh, similar problem. Keep in mind, you don’t have to cut the extremity off. A cut or piercing thrust is enough. Cut muscles or pierced muscles, even surface cuts, mean debilitated muscles. With their defense disabled, you go in for the kill.

On the other hand, your dagger wielder cannot reach the swordmans extremities without closing past the three foot bladed steel barrier that is constantly in motion.

Eliminating Threats: How the combatant thinks.

Combat is all about calculated risk. Every action, every decision is a trade off. You want to maneuver past the enemy’s defenses without taking injuries. No injuries is preferable, but unlikely. Any injury means recovery time, which can severely hamper you’re ability to move forward to the next fight. You want to fight from the position which favors you, and gain nothing in fighting from an underdog position. If you’re forced to, you work with what you have. If you choose to, prepare to suffer.

All weapons are not created equal. Every weapon has a field which is favorable to it. The sword, for example, loses out to the staff or spear when out in the open. However, in areas that are denser like a marketplace or city street, the spear or staff will run into maneuverability issues just like the sword does when indoors.

Canny fighters know how to turn their disadvantages into advantages by changing the field of battle, such as luring the swordsman indoors where his strike pattern is more limited. At worst, they know when to disengage and retreat. Survival is more important than ego.

As a writer, you should always try to understand the threats your characters are facing so you don’t accidentally tip the scales too far in one direction and then try to treat the ensuing battle as equal. Bringing knives to a swordfight is a lot like bringing knives to a gunfight, the upset can be brilliant if you plan your scene around getting past the gun/sword’s advantages or horribly one-sided if you don’t.

Your dagger wielder should shank like their life depends on it (because it does.)

The Sliding Edge: Why blocks and deflections with daggers don’t work.

The short answer here is simple: the dagger is actually too short for deflecting another bladed weapon. Outside of parrying daggers (which are a different animal entirely, and paired with a long blade like a rapier), daggers do not deflect other daggers. That’s what your off hand is for.

If you have chosen two daggers, you’ve chosen that offensive life. This means your fighting style is all offense, all the time. Offense is your defense. You will run headlong into a wall when you encounter a weapon which forces you on the defensive.

You might be wondering, “but why can’t I just cross my blades?” Because, while it’s a favorite move for anime, it doesn’t actually work. A pincer block like that is about pressure and you can’t apply enough pressure to stop the incoming blade before it hits.

Swords and daggers don’t clang together when they hit, they slide on those sharp edges. The goal of the swordsman is to protect his blade’s edge, and the same goes for the daggers. The goal, even when parrying, is to apply opposing force to redirect the opponent’s weapon away from its chosen course. Sword combat isn’t about strength, it’s about geometric angles. A dagger wielder doesn’t have that option if they have two weapons, their blades are too short, they have no choice but to attack and keep attacking. This is great if they’re against an unarmed opponent, but a problem if they are not in range to hit anything.

Choose your field of battle wisely. Or? Better yet? Carry additional weapons. Most real warriors throughout history carried multiple weapons to avoid this problem. The conceit of single weapon styles is from anime and role-playing games like DnD or video games. A warrior carrying a spear, a bow, a sword, and a dagger was not unheard of. They’d also carry a variety of more specialized weapons depending on the type of battlefield they expected to encounter.

You could lure the swordsman into territory that doesn’t benefit him, only to have him switch up and come at you knives out.

The well-rounded warrior was the warrior who survived.

-Michi

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Q&A: Knives Out was originally published on How to Fight Write.

Me: *is sick, coughing*

Also me: *eats ice cream because why not*

Sapnap Is Filming Btw

sapnap is filming btw

Why Have I Been Disgraced

why have i been disgraced

Words to replace said, except this actually helps

With The Humans Gone, Animals Are Now Moving Into Spaces They Were Previously Unwelcome To.

With the humans gone, animals are now moving into spaces they were previously unwelcome to.

Farewell online privacy

If Gilbert Gottfried Isn’t Voicing This Slamming Power Bottom Then What Are We Even Doing Here

if Gilbert Gottfried isn’t voicing this slamming power bottom then what are we even doing here

the fuck you mean we eat baby trees

the fuck you mean asparagus grows like that

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catasrophic-catastrophy - inhale the quinoa.
inhale the quinoa.

rarely online here | i draw sometimes | but i mainly just reblog stuff | hq, bnha, yoi, skz, fkbu and mcyt

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