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Description: You are set to leave for Winterfell with Cregan, but Aemond doesn't want to let you go.
Part 1
“I have already had the servants pack the spices you wish the kitchen to use when we arrive, and the Glass Gardens, I will have the gardener clear out a space, you may plant whatever you wish.” Cregan says, his hand in yours as he spins you around, your new cloak—Stark gray and trimmed with fur—flares out around you as he does.
“Thank you, but I would not want to make more work for them.” You protest, smiling up at him as he pulls you into his embrace, lowering his head to brush his lips against yours.
“You are their Lady; they are and will be glad to do it.” He says, before connecting your lips, his hand moving to support your lower back as he dips you, butterflies fluttering in your stomach.
You cup his cheek, heart skipping a beat when he leans into your touch, his storm gray eyes closing, a blissful smile adorning his face. “If you say so, husband.”
Cregan chuckles, eyes open, staring down at you so lovingly it takes your breath away. “Once we are home, I will show you I make good on my word, wife, and if the gardener has too much work to do then I shall simply clear the space myself.”
“You would get in the dirt and do a servants’ work for me?” You ask, peals of laughter spilling past your lips at the very idea.
“There is an endless list of things I would do for you.” He breathes, his lips brushing yours with each word, punctuating his statement with featherlight promises.
“We shall test that at home then.” You jest, tangling your fingers in his hair, your lips parting instinctually for him when he deepens the kiss.
A servant knocks on Cregan’s door, shattering the moment, and he groans, the vibrations buzzing against your lips.
“Yes?” He calls, kissing the corner of your lips, then the other, then your cheeks, your nose, your forehead, until he has covered the plains of your face with chaste kisses, making you giggle.
“Lord Stark, there are servants preventing us from loading Lady y/h/n’s belongings onto the wagons.” The man calls through the door.
You bite your lip, watching as Cregan’s brows furrow. “One moment.” He says, pulling you back up onto your feet. He presses a kiss to your hand, bidding you to take a seat on the settee, then opens the door and steps outside with the man.
Their conversation is quiet at first, then increases in volume until you can hear each word as clearly as you heard Cregan whisper his affections for you, his lips pressed to your ear only two nights prior.
“I care not what the prince says, he cannot keep my betrothed’s belongings hostage.” Cregan says, his voice is a mountain, sturdy, unyielding, unable to be ignored or burrowed through.
“My Lord, she is a lady of Princess Helaena.” A new voice explains.
“Yes, and the princess has given her blessing, so that is not a shield he can hide behind.” Cregan snarls.
You purse your lips and get up from the settee, toying with Cregan’s ring around your neck. You join the two men outside, placing a hand on Cregan’s bicep. “My love, please, I will speak with him.”
Cregan takes your hand and presses it to his lips once more before turning it in his hand, with such gentleness it makes your heart stutter. “You should not have to trouble yourself with him.”
“And yet, I must.” You say, giving him a reassuring smile.
He sighs and presses his lips to your palm, then your inner wrist, nipping at the pulse point before soothing the sting with the tip of his tongue. “I will escort you there, then we shall depart to see your father and then onwards to Winterfell.”
“I cannot wait.” You say, and you mean, truly, deeply, mean it. You cannot wait to be married to Cregan, to be his wife.
“I will not call off the servants; you are not thinking straight.” Aemond says the moment you enter his solar, his arms clasped behind his back.
“Prince Aemond…” You sigh, moving further into the room, watching as he paces. This is not unlike him, he detests change, and is beyond possessive. Truly you should have seen this coming and had your things moved in the middle of the night, then perhaps you would have been able to slip from the Keep without ever facing him again.
“Aemond, please, call me by my given name, if any shall, it should be you.” He says, stopping before you, a torn expression you have never seen before on his face.
You do not wish to hurt him, you never have, but you can no longer put his feelings before yours.
“I need my things, Aemond, I cannot travel without them.” You say carefully.
“You cannot leave, I have need of you.” His voice is steady, that sense of confidence still lingering, though it is fading fast.
“Need? What need?” You ask, unable to reconcile the man before you with the man who turned you away only two days prior.
“What need? All of them, you are mine, are you not? I simply did not realize how essential you were to my day-to-day life, but I have now, so you cannot leave.”
You bring your hand to the front of your neck as Queen Alicent does, a calming gesture you believe she does not realize she does, but you have picked up, nonetheless. “Aemond, why now? We have been doing this dance for years, I am tired of it, the steps have grown listless, the music dull, the other dancers have left the floor, and I would like to leave with them.”
He reaches for you, fingers curling in the air just beside your cheek. “I have made you wait; it was cruel of me, and I see now it has driven you into the arms of another, but I would end your wait if you would stay.”
Your breath catches in your throat, and you close your eyes against his mournful gaze. “You have said that many times, made many promises, how am I to know if you would keep your word?”
“I am a man of my word; how could you question that?” He says softly, his hand finally making contact with your cheek, caressing it gently.
You meet his gaze now, heart heavy, you cannot make him see what he does not wish to, but you will try. “I must question it, for if I do not, I will spend many more years here waiting for you to love me, and I cannot do that, not anymore, not when I kno—”
“That there is a wolf pup willing to chase your skirts and slide into your bed now that you have revealed how truly desperate you are for affection?” His words are harsh, but his tone is still soft, as if he does not think it an insult what he has just said.
Your brow furrows, ice creeping in your veins. “Are you insinuating that Cregan sees me as some kind of whore?”
“It is Cregan already, not Lord Stark or Lord Cregan?” Aemond slides his knuckles down your cheek, your neck, ending at your collarbone, taking care to stop at each mark Cregan has left on your skin even though they are covered with cosmetics. “I am insinuating that he is a beast, and beasts can sense weakness. He is seeking to exploit your weakness, ñuha nūmio.”
“He is not a beast, and he would not do such a thing.” You say, turning your face away from Aemond, your hands buried in your skirts.
He scoffs and picks up the signet ring—Cregan’s signet ring—that hangs from your neck on a sturdy but elegant silver chain. “Why else would he set out to charm you? My dear y/n, you bring no benefit to House Stark, and while you have many wonderful traits, you are not a highly sought after prize by any means.”
You take a step back, Cregan’s ring slipping from his hands and knocking against your breastbone. It is sobering, the cool metal, and it gives you strength. “That is your opinion, Aemond, but it is not Cregan’s.”
“Since when have you cared for any opinion but mine? What has changed, tell me who has turned you against me?” He pleads, his violet eye shining with a strange light.
“You, Aemond It was you who has turned me against you. I told you that I was not happy, and in truth I do not think I have been happy for a long time. So please, tell the servants to allow Cregan’s men to collect my things.” You beseech him, silently begging him to see sense. “I do not wish to share all my future husband’s clothes until I am able to procure more, but I will if need be. Do not make me do that, you know I hate dull colors.”
“We could be happy, I could make you happy, if only you would give me time.” He promises, taking your hands in his own, ignoring your words as he always has. His hands are cold, and you realize they do not fit yours as Cregan’s does. Your fingers do not seamlessly interlock, instead they fight each other for dominance, for room, for freedom.
You shake your head sadly. “No Aemond, it is too late…I am sorry, but you must let me go.”
His eye is rimmed red, and he shakes his head as well, silver hair falling forward like a curtain. “I cannot.”
“You must.” You whisper, squeezing his hands before sliding yours from him and taking a step towards the door. “You do not love me—”
“I do, I do, I love you, y/n.” He insists, grabbing your hands again and taking one step forwards for your backwards one.
The pain in your chest is a sharp, piercing one. This is all you have wanted for so very long, but now…it is nothing, it feels hollow, desperate, and you see Aemond as he truly is for the first time.
“No, My Prince, you do not. If you loved me, we would be wed. You would not have let anything stand in your way, I know you, I loved you, I have seen what you do when you do love someone, and you do not love me.” You tell him, giving him a tearful smile.
“And this…Lord Stark does?”
“He is marrying me.” You say, and it is the only thing that needs to be said.
Aemond releases your hands, but not before pressing a kiss to each one. “A victory for the North.”
You nod, fighting back a sob as a single tear hits your joined hands, and Aemond turns his face from you.
“You must write to me, if you have need, or…miss me.” Aemond says, clasping his arms, behind his back once more.
You turn and reach for the doorknob, “do not wait for my letters Aemond, it would not make either of us happy.”
Cregan stumbles back when you pull open the door, a sheepish smile on his face, but he is ready, with open arms, sweeping you into them and whispering how strong and brave you are.
You can feel Aemond’s eye burning into you, into Cregan.
“My Prince.” Cregan says, nodding his head towards Aemond, before he brushes the tears from your face and kisses you gently.
There is a strangled sound from inside Aemond’s solar, but Cregan’s lips on yours drowns out any sense of guilt, and you smile when he pulls away.
“Are you ready, Lady Stark?” Cregan asks, offering you his arm.
You take it and lean into him. “I am ready, Lord Stark, let us go see my father, and then home, to Winterfell.”
“Y/N—” Aemond’s voice, a broken, frantic thing, follows you, but Cregan merely pushes the door shut, and leads you away, towards your new, happier future.
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Okay but this is kinda whack to me because reading this (with a degree in cellular biology) there’s really no way to tip off that this is fake.
And that’s because it isn’t. Here’s the PubMed abstract of the research publication for the development of the line: https://www.ncbi.nlm.nih.gov/m/pubmed/25803132/
However, it’s really misleading to say that babies are an ingredient in vaccines. The tissue that is derived from an individual are replicated and sustained and used for research and development of drugs like vaccines. This can be from an adult, as is in the case of an immortal cell line derived from Henrietta Lacks, aka HeLa cells. This can be derived from animals. This can be derived from an aborted fetus. The reason why the cells from the fetus were chosen is because to grow human viruses for vaccines, you really need human cells. The viruses are what are ultimately killed and deactivated before being added to a vaccine (which is also why it’s a myth to say you can get sick from a vaccine- you have to be allergic to a component of the vaccine, otherwise it’s just your body recognizing there’s something foreign and it might be overreacting, but there’s no risk of you actually dying).
Also, the baby wasn’t specifically aborted for it to have its lung tissue harvested. Rather, the Chinese woman sought to have an abortion and -then- she was approached and asked if she would donate the tissue for science. If anything, the moral implication that it would face is the fact that companies benefit off of the financial gain due to a “donation” of which the donor has no idea what the donation is being used for (often the profit of a pharmaceutical corporation).
If you’ve read this far, I would also like to note that several authorities from the Roman Catholic Church have endorsed the use of vaccines that are derived from human, including fetal, cell lines. Abcnews reports this fairly well https://abcnews.go.com/amp/Health/aborted-fetuses-vaccines/story?id=29005539
Many common vaccines are cultured in cell lines originally obtained from aborted fetuses. But even religious leaders say that shouldn't dete
Hum Vaccin Immunother. 2015;11(4):998-1009. doi: 10.1080/21645515.2015.1009811. Research Support, Non-U.S. Gov't
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So about that part in Ever Crisis where Sephiroth tries to call Genesis, I used Google Translate to try and see the actual translation of the original Japanese script. "頼む・・・・・・出てくれ•"
Google Translate translates it as "Please...please come out."
I looked up 頼む(tanomu) and it translates as "to ask; to beg; to request" and 出てくれ(dete kure) translates to "to appear or to come out."
Is Sephiroth literally begging for Genesis to reveal himself?
Aaaa!! Yes, he is! I actually hadn’t translated this bit yet, but yes that phrase is very…pleading.
"頼む・・・・・・出てくれ•"
“Please…please come forth…”
The second part of the phrase does indeed mean to “come forth, reveal oneself.” Sephiroth is pleading for Genesis to appear out of…wherever he is. The tone is desperate.
So yes, it works in context with the phone-call. Sephiroth wants Genesis to show up on the other end.
Yet knowing the deeper context of the current events, and Genesis’ desertion, it is almost like Sephiroth is saying,
“Please…please come back…”
He is terrified for Genesis. This is one of the few times I have seen Sephiroth express genuine anxiety and desperation as an adult.
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Hello, One and all. I'm back after spending way too long with writer's block. This is... yet another introduction. I'm sorry for doing two back-to-back intros without showing any real content. Worry not, I have something special up my tattered sleeves. I want to make an introduction to the first piece of content I am going to be writing for this page, which is Season 1 of the Innsmouth Writing Project. Without further ado, let's get into the detes. (Yes I sometimes use cyberpunk lingo.)
What Is Innsmouth?
Innsmouth (formerly known as "The Innsmouth Conspiracy") was a Call of Cthulhu campaign I ran between March of 2022 to February of 2024. For those who do not know what Call of Cthulhu is, it is a tabletop role-playing game that takes place in the Cthulhu mythos. Innsmouth was my first time dipping into horror as a writer and a game master. Sadly I was never able to finish it, hence why I started this project. First to relive the glory days and share my favorite story (even though I bastardized H.P. Lovecraft's mythos. Even though that racist bastard deserved it) and second to give Innsmouth the ending it always deserved and to give myself (and the poor characters I tortured for 2 years) closure.
Innsmouth Background
Innsmouth is your average small city on the coast of Massachusetts, save for its mysterious past. The town was founded in 1643 as a simple port town, however throughout its history many mysterious disappearances and rumors of a cult arose, the most strange of the old town's incidents was in 1846, when half of the population went missing, the other half being completely ignorant to the disappearances. In 1928, the entire town was put under siege by federal agents adhering to a government agency nobody had heard of. The town was demolished and most of its remaining locals were killed or scattered to the winds. The official story was that the entire town was in on a massive bootlegging operation...
It took decades to rebuild the town, but in the 50s, Innsmouth was back to normal. Almost. Strange occurrences continue to plague the town which earned it the name "Little Salem", but such incidents are few and far between. That is, until May of 1976. (Yes, this is a historical story.)
Cast:
Detective Johnson Lee Hendricks
Age: 27
Pronouns: He/Him
Orientation: Straight
Occupation: police detective
Backstory: Born and raised in Innsmouth, John is no stranger to Innsmouth's shady past, however, he's always just ignored it, chalking it up to superstition and rumors. Most folks in the town see him as the all-American boy next door. He always did well in school, played sports with all the other boys, and gave back to his community by joining the Innsmouth police department. However, his perfect picket fence life came crashing down when he was drafted to go to war in Vietnam. He served three tours before coming home. The people of the town personally saw him as an upstanding citizen for taking the draft "like a man" but they never knew what he saw in those jungles and all of the horrible things he did, and he never liked to discuss it neither.
Face Claim:
Detective Leo Afton
Age: 23
Pronouns: He/Him
Orientation: pansexual
Occupation: Police Detective
Backstory: Born Leena Afton, Leo was always a strange child sheltered by strange people. Her mother was like every normal mom in his neighborhood, however his dad would be considered a helicopter parent. Leo was always under intense watch from his father, as if his father always expected something to happen. This caused Leo to be isolated from all the other neighborhood kids. When Leo was a young adult he gained the courage to come out to his father as a Trans man. Surprisingly his father accepted him and helped him get top surgery to accommodate his son. The watching never stopped though. Leo fed up with it. Left and moved to Florida and joined the Miami Police Department, however, he still occasionally takes trips to Innsmouth for holidays and to check up on his parents.
Face Claim:
Father Chris Chapel
Age: 45
Pronouns: He/Him
Orientation: Straight
Occupation: Protestant Priest
Backstory: Father Chapel (better known as simply Father Chris) is yet another Innsmouth native. Most of his past is unknown as he tried to stay out of public view for most of his life. However, schoolyard rumors almost universally suggest three things. His family is massive, he has ties to the mafia, and his home has weapons hidden all over it. What is known for sure is that he is a single father trying his best to take care of his son, Michael.
Face Claim:
Frankenstein Edwin Duffy
Age: 37
Pronouns: He/Him
Orientation: Unknown
Occupation: Author
Backstory: Frank is an oddity wrapped in an enigma. He is one of the only characters not to be born in Innsmouth, hailing from Derry, Maine. According to his autobiography, he had a normal childhood until an incident happened in Maine which caused his family to flee the town and spend his adult life in Innsmouth. The only two possessions he brought were a typewriter and a strange book of (what he described as) occult nature. The Innsmouth PD constantly runs wellness checks on him to make sure that he is safe and sound at least physically. Who knows if his mind is even salvageable?
Face Claim:
Well... that's all folks. I look forward to writing and releasing episode one of Innsmouth on... some platform. I'm still figuring out where. When the first episode is finished I'll be sure to send a link or even upload it directly here if possible.
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art history will be like "this is the most revolutionary painting of its time!" and you will look at it and is just a normal painting of a lady sitting under a tree and then an art historian will explain "this is the first time a painting ever used this specific shade of blue which challenged all understood conventions of how to depict light and launched a movement known as auzureism, and also the lady is looking at a sparrow which in its time it was a sign of fierce sexual liberation and it was considered scandalous" and then you find out the painter was expelled from the academy of art of stockholm because of the painting and that the king of sweeden paid three thousand marcs (equivallent to ten million dollars now a days) to have the painting in his room and the painting still looks like a generic painting of a lady under a tree
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art history will be like "this is the most revolutionary painting of its time!" and you will look at it and is just a normal painting of a lady sitting under a tree and then an art historian will explain "this is the first time a painting ever used this specific shade of blue which challenged all understood conventions of how to depict light and launched a movement known as auzureism, and also the lady is looking at a sparrow which in its time it was a sign of fierce sexual liberation and it was considered scandalous" and then you find out the painter was expelled from the academy of art of stockholm because of the painting and that the king of sweeden paid three thousand marcs (equivallent to ten million dollars now a days) to have the painting in his room and the painting still looks like a generic painting of a lady under a tree
New to the area and looking to meet genuine people for fun dates or meaningful conversations. Whether you're in NYC, LA, or anywhere in the US, I’d love to chat! Click the link https://sites.google.com/view/sarahsprofile/home to see my full profile and more photos. Let's see where this goes! 😊 #USADating #MeetSingles #USASocial #DatingTips #NewInTown
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