derelict structure

anonymous asked:

Ummm... Junkrat and dva in a haunted house?

OMG. My first writing prompt for DvaRat. ;w; AWWW YIS.

“Slow down Jamison, I can barely keep up!”

“Guess that you’ll have ta hurry up then, shorty!” Junkrat teased his much smaller female companion, his stride through the derelict structure they had both discovered becoming just slightly slower, allowing to catch up to him, her hand latching onto the satchel tied at his side. “If you call me short one more time-” “Alright alright, sheila, I’ll stop callin’ ya short as soon as you grow a few inches.” He teased once more, recieving a heavy jab from Hana Song’s arm in his ribcage.

“Oi now that hurt!” “SH! I heard something down the way.” Hana comented, pointing the only flashlight she had in the direction of a long hallway filled with doors. Junkrat paused in silence, tilting his head as the occasional ember from his eternally flame ridden hair fell through the faint moonlight of the building. The two of them were cautious and frozen in place upon the flash light discovering a swinging door, slowly swaying back and forth. Hana felt sick to her stomach as she wrapped an arm around Junkrat’s stomach and hid behind him, keeping the flash light pointed forward.

“Oi! Anybody down there!”

No response. Junkrat took a more defensive stance, shifting his peg leg backwards before he turned to Hana, “Maybe we outta get outta here…” “Yeah…do you remember the way out?” She questioned, looking backwards as Junkrat quizzically hummed for a moment. “Honestly do I have to do everything myself?” She questioned as she took a step backwards, releasing Junkrat and turning her flashlight behind them, where a tall looming figure stood at the beginning of a doorway. The shadowed being was taller than Junkrat with a body posture and stature that was nearly double the size of their companion Roadhog, and the mere sight of the simply shadowed being caused both of them to shriek out in horror.

Hana jumped behind Junkrat, who in return defensively put an arm to his side to keep her protected should the being decide to attack. The lights then suddenly flicked on in the darkness, exposing the tall and armored form of Reinhardt Wilhelm.

“REINHARDT!” Junkrat and D.Va shouted out simultaneously, causing the latter to laugh out heartily as another familiar face stepped out from a door adjacent to him. “You too Roadie!? Why I outta!” Junkrat commented, balling up his fist and preparing to make a mad dash towards the two who had scared the daylights out of him and D.Va.

Hana laughed for a moment, the fear finally subsiding before she rallied behind Junkrat. She raised a fist into the air, laughing as she shouted out.


Land of Apparitions and Bioluminescence

LOAAB faces a nearly perpetual dusk and faint fog. To light the way, the creatures of the land, including the consorts (which are purple flying jellyfish) emanate a sort of bioluminescence. 90% of the land is covered in water, and landmasses are rocky outcroppings with derelict stone structures. Other landmasses take the form of floating mountains (think James Cameron’s Avatar), some of which are actually apparitions. The depths of the water are semi-visible due to naturally bright rocks, as well as the creatures beneath the surface. The player’s house would be situated on one of the tangible mountains.

This one was fun. Lots of tweaks and changes, and an awful lot of shading. 

The fog was the most interesting feature to add - everything else needed tweaking and changing to improve visibility once it was in. Some things remained crisp, but others just vanished into the murk.

Chasing Shadows

The trickster had been stranded in Midgard for some time, watching the days go by from the shadows. He’d watched this… Hydra, take over SHIELD.

Loki cared not for the organization his brother fought for so dearly… but he cared about this… other. Hydra had an interest in the tesseract. It had an interest in anything of Asgard, and that included Thor. He had already killed several of these Hydra mortals bent on tracking the thunder god.

Thor was none the wiser. To his own existence or theirs.

The drab, Midgardian structure was derelict and flimsy, it’s metal walls of a weak ore any decent Asgardian smith wouldn’t dream of working with. Wide windows lined the outside, the glass blackened and tiles shattered. It should have been silent… but it was not.

Loki moved soundlessly toward the gutteral screams of a man under relentless torture. The trickster’s angered flared at the sound of blades and laughter, remembering all too well the days he’d spent beneath Chitauri knives.

That couldn’t be Thor. The voice was too high… was it not?

The Trickster’s pace quickened, and he found his prey… and the Captain out of time.

Blue eyes widened with surprise, he had not expected the mortal to be the source of such agony. The man was covered in bruises and blood, with no less than ten Hydra members standing near him. Why must they always have guns? He was not overly fond of guns.


He eyed the discarded shield with a faint smile that quickly faded. Was he truly contemplating rescuing the Soldier? For what purpose?

A low growl reached his lips as he thought of how alike the man was to his brother. The thunder god he couldn’t bear to face. Especially if Thor learned he had stood by and allowed the Captain to be killed by the same men who searched for him.

“… Damn.”

“Who knew Cap was a screamer?” One of the Hydra guards laughed, watching the interrogation. “Maybe we should take a video and send it to his frien-”

The rest was lost as a blade protruded from his mouth with a spray of blood. The others scrambled and opened fire, but three more died before Loki even revealed himself. Long hair swept in front of his face as he moved with a lithe grace, dodging every bullet. He wore a simple, black midgardian jacket, and looked nothing like the would-be-king who had assaulted this realm not long ago.

The men screamed and fired at every shadow, until only the one who had been trying to wheel the Captain away was left.

A metal beam was shoved bodily through his chest, and he stared in disbelief for only a moment before being lifted by the rod and flung over the god of mischief’s head.

Loki’s hair was still shrouding his face as his chest heaved and his fingers worked to free the Captain from his constraints. He said nothing as he lifted the man with ease and left the trail of corpses in his wake.

A Peaceful Moment (Open RP)

It had begun raining the day before, continued through the night and into the next day. Even now in the late afternoon the sun was hidden making it difficult to shake the chill in the air. Being unable to see the sky made it more difficult to navigate, and the lack of visibility on the ground was no help. 

This led the samurai to wonder if he’d been simply going in circles for a day and a half. It would explain why he’d failed to find any sign of civilization or even shelter, though he was no stranger to vast tracts of uninhabited land as well. It was slightly less discouraging to tell himself that there could be an inn or maybe even just a friendly farmhouse just beyond the curtain of water and he was simply missing it.

A vague shape came into view at the very edge of his vision, if he hadn’t been thinking of it at that very moment he may have missed it entirely. He allowed himself a brief chuckle, thinking that he may have actually walked past at some point it if he as turned around as he felt before moving towards it.

It wasn’t quite what he’d been hoping for, but a derelict structure was still a blessing in this sort of weather and he wasn’t going to try his luck by pressing on hoping for anything more. 

It wasn’t until he was inside and the singular purpose of finding shelter was eased from his mind that be began to realize that he may not have been the first to come across this place…

The Arbiter's Grounds

The Gerudo Desert once held a prison built to hold the worst criminals this land has ever known… The criminals who were sentenced to death were sent directly to the underworld by a cursed mirror that was kept in the prison… Now that prison is condemned, and even the road leading to the desert is impassable. This desert at world’s end… It still holds the cursed mirror and the malice of the doomed inmates…” –Auru, Twilight Princess

Soaring over the scarred face of the desert are six crested pillars which crown a structure created for judgment and execution.  Towering to lofty heights, and visible for miles, these pillars glorify the sacred history of Hyrule.  Bearing the elemental medallions of the Six Sages and the Royal Crest of the Family of Hyrule, they are a sign of dominion over others, and of the hegemony of the Hylian civilization.  As with so many ancient cultures, great victories provided momentum for the construction of architectural monuments—as well as the cultural appropriation of that fallen society.  For the Arbiter’s Grounds is not a structured whole, built in one time by one people, but a repurposed edifice in which the styles and traditions of those who came before have been allowed to live on, though in different light and to different ends.  

From afar, this is quite possibly the most striking complex in all of Hyrule.  Its monumentality is a direct derivation of Egyptian and Roman models, which also gives it the distinct markings of empire.  This is not the first time that the Hylian civilization has been likened to Rome, as there are a great many parallels between the two, both historically and architecturally.  But even though it is familiarly Western in nature, confusion and doubt plagues this location.  

As Link approaches, weaving through Bokoblin fortifications and entrenchments, it becomes plain that they are recent inhabitants, building around previously-molded walls and gateways.  These uncompleted buildings that lie before the Grounds yield no information, although they likely were not a part of the original structure.  The rooms-that-would-have-been are no more than shells, with empty windows and indecipherable script different from both the Gerudo and Hylian alphabets.  If the English translation holds true, and this was a place of judgment, perhaps these buildings would have eventually held prisoners awaiting trial or execution.  The windows are relatively high, and quite thin, but, then again, the layout of the complex makes little sense if its purpose was to be a prison.  Even before we come to the actual building, there are seemingly meaningless ruins built without apparent reason.  Like all desert construction, though, time and sand have accumulated around them, seeking to erase them from the earth. 

The ascent to the main gateway is notable for several reasons.  This axial approach, so popular in the Egypt of antiquity, is also employed in this place, consisting of a large stair flanked by free-standing Doric columns.  Doric columns, of all the classified orders, are the first and oldest major order, identified by their fluting, their simple capitals, and their bulk and thickness.  They are the least ornate, yet monumental in austerity.  

The columns along this pathway were likely not part of the original building, as they follow the Hylian (read: Western) tradition; rather, they were likely added as an afterthought, after the Hylians either conquered or discovered this structure.  They are of the same style as those found in Lanayru Province, as seen in the Grecian amphitheater crowning the cliffs of Lake Hylia.  And based upon their looks, they are likely of the same era.  Perhaps the centuries preceding this Age of Twilight were fraught with imperialism and expansion of territory.  In fact, the use of the Royal Crest in such overabundance gives the air of forced-perception, as if those in power wished for their dominance to be known without doubt.  Within the dungeon, the crest ostentatiously adorns nearly every single room.  And not only this, but the coliseum astride the entire complex, with its six immense columns, unambiguously displays all the signs of triumphal architecture.  This building has perhaps been conquered, its previous function obliterated, and its cultural heritage relegated to a place of inferiority.  After the treachery of Ganondorf, himself a Gerudo, perhaps vengeance was taken and a culture destroyed.  It was then given over to the Six Sages, and while it was in their charge, a comprehensive architectural undertaking was begun to assert the superiority of the Hylian civilization.  And this is just a humble theory, yet its implications are anything but.  If so, then the beloved Princess and Hero by nature of their involvement with the kingdom are complicit in cultural and religious genocide.  However, the genocide was not complete.  Remnants of the Gerudo culture can be seen throughout the Arbiter’s Grounds in their script and unique goddess statues.  Unlike the attempted erasure of the Egyptian queen Hatshepsut by her successors Thutmose III and Amenhotep II, the existence of the Gerudo has been allowed to endure.

Another possible explanation is one more benign.  It is also equally as likely, as we truly have no knowledge of the history of certain epochs, the Hylians simply discovered these ruins and built atop them—the seeming overuse of their royal/religious symbol (for it is indeed religious, bearing the sacred Triforce and Loftwing) was only to give the derelict structure a new, solid identity.  

The gateway is in the style of New Egypt.  This particular design takes its name from Greek, and is called a pylon gate.  Structurally, it consists of two tapering towers topped with a cornice joined by a slightly-lowered section which rests above the entrance.  Designs such as this were archetypal in Egypt, in that most structures were of a post-and-lintel scheme with few openings, the focus being on stability.  Temples such as these are splendidly preserved at places such as Edfu, a famous temple from the Ptolemaic period dedicated to Horus.  The basic shape of this style of gate is derived (or is at least reflective of) from the hieroglyph akhet, or horizon; it is considered to be the sun rising up from behind two hills, a metaphor for rebirth.  Beginning here, and echoing throughout the temple, are doorways unique to this dungeon.  They are fragmented lintels, broken into different parts, across which streams a stringcourse bearing the six medallions of the Sages.  These symbols are found nearly everywhere within the Grounds, encircling the ruins and making known the powerful presence of the Sages.

The Temple of Horus at Edfu

The heiroglyph akhet - horizon and rebirth

As the ancient Egyptians were the pioneers of the early column (considered to be first used in the stepped pyramid complex of Djoser built during the 27th century BCE), it is fitting that this complex is so full of them, both free-standing and engaged.  And like a crypt or mortuary temple, the ceilings vary in this complex from the spaciously high to the claustrophobically low.  It remains unsurprising that the construction materials of this building, then, are what we would expect.  The angularity of the cornices and walls is shaped of some combination of sandstone and limestone, which further vary in color—tan to darker brown and several shades within that spectrum.  Peculiar glyphs and scripts run along the bases and capitals of columns, and these are inscrutable; the only scripts to be understood within are those of the Gerudo and Hylians.  But, once again, no chains of words or letters herein mean anything whatsoever.  As the Gerudo script is read left to right, and has a rather simple alphabet, the translations are simple yet unfulfilling.  

Here the script reads ‘wawuzu’ on repeat; the markings above and below are not part of any Hyrulean alphabet we presently know of

But even if the possibilities for cultural richness and historical significance were overlooked, the atmosphere is perfectly set for a dungeon of this theme.  Dim lighting, large swathes of darkness that mask pits of sand and traps, and the strange epigraphy upon the walls all give the appearance of a tomb opening itself up to human exploration for the first time in thousands of years.  As far as we know, Link is the first person to wander through these halls in recent centuries.  In a Howard Carter like moment, the veil is pulled back to reveal a past splendor untouched for years.  

Picture Credit for most of these photos:

The main hall is the first capacious room, and although it is the nexus of several distinct passages within this dungeon, its primary focus is its axial nature leading to the deeper temple.  The pathway is sunken below the other floor tiles, and lined with humanoid shapes with no discernible appearance.  Whether this was intentional or the result of the wear of time is not known, but this kind of ambiguity can be as terrifying as clearly malevolent statues.  (Further on in the Arbiter’s Grounds is a funerary statue of some fallen hero or lord.  He stands alone in his chamber, and this statue may very well act as a home for the ka, an aspect of the Egyptian conceptualization of the human soul.)  Stone outcroppings high up on the wall are etched with markings depicting some creature of bone, and the circular relief below the chandelier is also curious.  Its scripts mean nothing, and the strange, violent shapes are cryptic.  Most noticeable is the staircase at the far end of the room.  Only here in this chamber are the sigils of the Royal Family, although here they are everywhere.  They alight upon the torches, the portcullis, and upon the lintel of the great doorway.  They are so clearly newer additions to the older preexisting stonework of the stairs and columns.  That this doorway is the only one carrying such insignia is not surprising.  This is the passageway that leads to the heart of the temple, and from there to the Hylian construct atop this older structure—the coliseum and Mirror Chamber built to house the instrument used in exiling those deemed dangerous by the Royal Family to the netherworld of the twilight.  

Carved upon the plaque before the statue is the Royal Insignia, meaning that this is a Hylian lord buried in a rather distinct way, or that the monument has been defaced - further diminishing the older culture

(Also interesting are the steps that can be activated by the pulling of a chain.  They differ in color, size, and style from the other stone surrounding them, and were likely added after the Hylian re-appropriation of this location as a means of concealing certain passages into the lower crypts.  The mechanisms within this dungeon, regardless of those who designed them, are truly confusing.  The chandeliers that, based upon positioning, reveal or block passageways, rotating rooms, and spinner tracks all reveal a civilization of great mechanical understanding.)

Echoing the wall reliefs of ancient Egypt, this temple has few walls that do not bear some form of carving or hieroglyph.  One of the most used motifs throughout this area can be subdivided into two distinct sections that are mirror images on repeat—without individuality or change.  They rest at eye level throughout the complex, and are separated in their AB AB AB scheme by curved carvings not dissimilar from ancient Gerudo.  Both styles of panels are similar at the utmost level, in that there are two curved lines probably representing clouds in the sky and a series of cuneiform-like tally marks directly below them.  Perhaps this is an early representation of the rain.  Below this, however, the panels become distinct.  In what I term the A (or chaos) panel, there are three houses smoldering, as made clear by the pillars of smoke rising from their rooftops.  And below this is the clear shape of some monstrous creature, thought by some to be Ganon.  Its horns, hooked shoulders, and clawed hands all distinguish it as something bent on sowing discord.  The subsequent B (or order) panel carries the same sky, but instead of houses burning, it shows three orderly towers standing proudly and untouched.  And below this, or in front of it if these reliefs are meant to show perspective, is some form of protector spirit carrying a shield.  

There are many other variants of panels in this crypt, although all are equally perplexing.  Another prominent series takes the form of a being of flame holding a staff, and yet another appears to be a serpent and trident. Those pictured above are found in the dungeon’s boss room; the Gerudo is in no order, and it is interspersed with non-alphabetic markings.  In the center of the sunken panels are large eyes with curvilinear etchings filling in the extra space.  Needless to say, the crest of the Royal Family is also found here, ensconced by the Sage Medallions and a string of Hylian.

The first portion of this structure is represented by the Poes, those souls who linger long after death.  They and many other undead creatures contribute to the sepulchral feel of this place, and my guess is that they act as guards, perhaps having been buried alive as tributes and a vanguard to escort certain souls to the far realm.  Even in the second area of the dungeon are they present.  This second section is focused upon the Spinner, which seems to have connotations reaching far beyond its functionality.  The room preceding the Spinner chamber has no lighting, and its circular layout perfectly draws the focus to a strange and uninviting spectacle.  In the center of the room, an immense, runic sword lies embedded in the ground, and is sealed by means of an unknown magic.  When these bonds are violated, the creature once sealed erupts from its prison.  After his defeat, a gate opens, and the Spinner room is accessed.  And this chamber is not of particular interest apart from the large golden symbol upon the wall over the treasure chest; it represents both the Spinner and the sun, life-giving source of energy and origin of the element of fire.  

Yet deeper into this site is a truly colossal room with no discernible function.  Spinner tracks crisscross the air, circling around columns and flanking the walls.  The walls of the room are recessed, allowing sand to spill onto the ground where it is immediately swallowed up.  Several statues are present here, and they are derivations of the Goddess of the Sand seen previously in the Spirit Temple from Ocarina of Time.  These Goddesses vary greatly in posture, some sitting cross-legged, and some standing upright.  Both variants are encircled by a large and threatening snake, and both offer fire in their outstretched hands.  These statues are clearly antiquated, and appear to predate the markings left by the Hylians.  In some way, these represent the heritage of the desert of Hyrule; and this does not mean that this was a temple of the Gerudo, or that it was itself the Spirit Temple.  It simply means that its architects and engineers knew something of the history of the region and wished to pay homage to it in terms of stone and space.  

After the defeat of Stallord in a chamber that is truly magnificent in terms of stonework, access is granted to the Mirror Chamber above, wherein Link is told the tragic history of this place.  Flanked by the large-order columns outside the circle of stone is the coliseum.  The Colosseum of Rome is perhaps one of the best known works of the Roman Empire.  It is named so for its location beside the erstwhile Colossus of Nero—a large statue at the entrance to what was once Nero’s villa.  It was built upon his site both for its location as well as more politically-minded reasons.  Vespasian reclaimed the land held by the defeated emperor and gave it to the people, in a rather philanthropic gesture that is completely at odds with some of the events that took place within the walls of the Colosseum.  Architecturally, this building is a fantastic example of the Roman use of concrete, arches, and vaulting.  A system of barrel vaults made of concrete holds up the seating area; the use of concrete and necessary buttressing allowed for structural support while still affording open areas for passage.  The exterior travertine (a type of limestone) wall, which is roughly sixteen stories tall, consists of four bands.  The lower three are arcades of the Tuscan, Ionic, and Corinthian orders, while the topmost houses Corinthian pilasters.  This aesthetically-pleasing façade also affords all the structural and supportive benefits of Roman arches.  

The inner and outer walls here have been vivesected as to show the various parts and construction techniques of the structure

The coliseum atop the Arbiter’s Grounds is nearly identical to its more famous cousin.  Whereas the Roman equivalent has four distinct sections, each of a different architectural order, this coliseum has only three.  Its encircling arcades are thicker than those of the Colosseum, and the arches are separated by highly-angular engaged columns.  The cornices separating each level form distinct overhangs and the utmost cornice projects far over the others, giving some shelter to the colonnaded walkway that wraps its way around to the entrance.  

Finally, the grandeur of the Mirror Chamber presents itself.  Inside the well-defined, spacious bounds of the exterior coliseum, sands have crept across the floor toward a vast standing statue of the Goddess of the Sand.  Like the other depictions of this Goddess, she wears a strange headdress and is proffering fire in both of her hands.  And, interestingly, with this statue, unlike all the others, the technology of the Spinner is built directly into her sacred serpent as it winds upward to the Spinner wheel upon her headdress.  Activating this device drives the statue into the ground while subsequently unearthing an immense shard of ebon rock and the pedestal upon which rests the shattered Mirror of Twilight.  But all is not as Midna and Link had foreseen.  As is told to us, the Mirror has been broken, but not by the rightful ruler of that realm, and therefore its fragmentation was incomplete.  The Mirror had long been under the guardianship of the Sages, until their folly led to the destruction of one of their own (from the six crests above the coliseum, we see that the medallion of water has been destroyed, echoing the death of the Sage of Water) and the impartial and ineffective banishment of Ganondorf to the Realm of Twilight.  But, one thing is curious.  This structure may have existed in the years surrounding the events of Ocarina of Time, and obviously served the dual functions of both a prison and sanctuary for the Sages, wherein they could dispense judgment and mete out sentences.  (It also is not known if this was the original structure which housed the Mirror, or if it was later relocated here.)  However, clearly this location has fallen into disrepair, both architecturally and in term of its inhabitants.  If it once held sacred functions for Hylians or those that came before, they have been swallowed up by the malice of the forsaken inmates once held within.  

 Why then do the Sages linger here?

If Auru’s words hold truth, and the history of this place is one of torture and damnation akin to the atmosphere of the Shadow Temple, then it should come as no surprise that it has been reclaimed by the damned.  And if we view this location through the sociohistorical lens of Hylian hegemony, its environs also reflect the death of a culture.  The history surrounding the Arbiter’s Grounds is unclear at best, and we are left with precious little to inform us; a tenuous history, the symbols of a culture long dead, the recent additions of the Hylian Royal Family, and the stated function all coalesce in a structure hidden at the edges of the world—a prison outside the collective mind of Hyrule’s citizenry subject only to the whims of the powerful and forbidden to outside influence.  It is medievalism systemized, and an embodiment of the worst of the Dark Ages.   


Referring to the strange magic that sealed the Death Sword away, it is potentially a form of amulet or talisman from Japan known as Ofuda. Found in Shinto shrines, they consist primarily of strips of cloth, paper, or metal.  The name of a kami, of the multifarious Shinto spirits, is inscribed onto the material strip, and its purpose is protection from harm.

(Additionally, and I know not if this holds significance, the name of Death Sword in Japanese translates to Gobera (or Gobela, depending on the romanization), which appears to be some form of name or title.)

A Second Addition:

Strangely, Spinner paths can be found elsewhere in Hyrule, specifically in mountain paths near to the Bridge of Eldin.  They often lead nowhere, or simply facilitate movement over enemies.  I do not know what to make of this, but it appears the engineers of the Arbiter’s Grounds were more prolific than previously imagined, or Hylian architects built upon older designs found buried in the desert.

‘There once was’….
No. Stop. It doesn’t work like that, it never does. It isn’t a fairytale where it all ends happily ever after.
It’s a complicated mess of games and feelings. No one knows how it’s going to end, we can only guess.
Even God’s judgement is easier to deal with than yours. The worse thing is, even as that runs through your head, I know what your thinking.
The battle between impressing you and not trying to impress you is a constant struggle that leaves the wasteland of my mind further torn and scorched like a post-war scene. The lifeless remains of ideals, strewn across the battleground that is the plan I had for us.
Now I only see confusion and worry that the damage that lay waste to us, is far beyond redemption.
The tower of trust we once worked towards, now torn, crumbling, a derelict, unstable structure, standing only by some miracle as the last cinders glow dimly, waiting to go out.
The feelings are the last to fade, somehow surviving until the bitter end. Shell-shocked remnants of love and understanding stagger through the dusty, barren space, searching for one last chance, one last hope.
Maybe, just maybe something can be salvaged…
So no. It’s not a fairytale, it’s more of a matter of survival.
Just never sure how long and how it ends….
—  G D-B @wildbefiled
‘There once was’….
No. Stop. It doesn’t work like that, it never does. It isn’t a fairytale where it all ends happily ever after.
It’s a complicated mess of games and feelings. No one knows how it’s going to end, we can only guess.
Even God’s judgement is easier to deal with than yours. The worse thing is, even as that runs through your head, I know what your thinking.
The battle between impressing you and not trying to impress you is a constant struggle that leaves the wasteland of my mind further torn and scorched like a post-war scene. The lifeless remains of ideals, strewn across the battleground that is the plan I had for us.
Now I only see confusion and worry that the damage that lay waste to us, is far beyond redemption.
The tower of trust we once worked towards, now torn, crumbling, a derelict, unstable structure, standing only by some miracle as the last cinders glow dimly, waiting to go out.
The feelings are the last to fade, somehow surviving until the bitter end. Shell-shocked remnants of love and understanding stagger through the dusty, barren space, searching for one last chance, one last hope.
Maybe, just maybe something can be salvaged…
So no. It’s not a fairytale, it’s more of a matter of survival.
Just never sure how long and how it ends….
—  G D-B @wildbefiled