My Controversial Truth Is That Robin Is A Top And Steve's A Bottom.

i say i like tragedies and everyone’s all like ‘why do you like sad stories? are you depressed?’ and never ‘how was the catharsis? was the catharsis fun?’

Modern AU where Joe is a secret agent who keeps thinking about backer Nicky because during a very dangerous mission he had to hide in Nicky’s bakery and the other, after seeing him with a knife in his hand and a gun in the back pocket of his pants, only said: “Please do this outside of my shop.” No “What are are you doing with a gun?”, or “Please don’t kill me.” Joe can’t stop replaying in his mind Nicky’s blue eyes looking back at him levelly as he said he didn’t want murder in his establishment. Nicky must be insane, he decides.

He goes back to the bakery and becomes a silent regular (Nile thinks he’s trying to woo Nicky by staring at him very hard) until he snaps and asks: “Would you have been ok with me killing someone outside of your bakery???” And Nicky, hands still covered in flour because it’s 5am and Joe is there, part of the fam by now, says: “First of all, you didn’t kill that man. You preferred keeping your knife with you for self defence and kept the gun in your pocket. You also seemed very nice and good with kids, so I thought you must have good reasons for running away from that man. I figured if I was wrong and you were a bad person you would have killed me anyway, the blood on the wall would have been my last problem. And you did listen. I heard you hit the man in the back alley and it was a good punch. Is he still alive?”

Joe blinks. Is this how Quỳnh felt when Andy told her what her real job was? Like meeting an entirely new, very intriguing type of human being? “He is in jail. He’ll stay there for a long time.”

“Okay,” Nicky nods. “So you won’t bring crime or violence to my establishment?” He asks again. His accent jumps out when he’s hiding that he’s nervous. He looks.. hopeful, Joe decides. Very interested in Joe’s answer.

“I’ll try to clean my shoes from the blood next time.”

Nicky slowly smiles. It’s like watching a new type of natural phenomenon occur in front of his eyes for the first time. Incomprehensible, awe-inspiring, overall beautiful.

“You guys are so weird,” Sebastien says. He’s the regular coming to the bakery at 6am every day and Joe suspects he’s a hacker wanted in more than 26 countries. That, or he’s B00ker’s law abiding doppelgänger. Nicky never fails to have some croissants ready for Sebastien.

“Good luck with your big job,” Nicky tells Sebastien as he hands him the baked goods. “Just don’t use the shop’s wi-fi, last time was a nightmare.”

Joe wants to study Nicky with a microscope. (Or kiss him. Or both.)

Ok but like if they all came back to life, I feel like it could go one of two directions with how the choir reacts afterward

They could either never bring up what happened with Karnak because it was like too painful or something

Or it could go in the complete opposite direction with them constantly bringing up what happened, usually to make fun of each other

Like one day this one teacher is being a huge jackass so when the teacher asks if they have any fun facts they’d like to share with the class Noel just stands up and goes “When a lioness has children-“

Ocean and Constance are desperately trying not to laugh

Mischa makes it a personal game to call as many people as possible a spielverderber

Somebody is talking for a really long time during a presentation and when it’s over Ricky just signs “And that is why not everyone should have a library card!” while Mischa just tries to not burst out laughing

Penny will sometimes recite Ricky’s Silver Surfer speech just so she can laugh about it later when people are like “Wow. So deep 🥲”

Sometimes you’ll just hear one of them humming everyone’s songs

The funniest time this has happened is when Noel caught Ocean humming “This Song Is Awesome”

Constance bakes everyone Zolar themed cupcakes and they’re so good

Reblog if you've ever read a fic that was better than published books

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

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

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

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

DESCENT:

"De Selby (Part 1)"

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

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

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

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

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

"De Selby (Part 2)"

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

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

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

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

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

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

FIRST (LIMBO):

"First Time"

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

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

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

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

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

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

SECOND (LUST):

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

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

"Francesca"

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

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

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

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

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

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

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

"I, Carrion (Icarian)"

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

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

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

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

THIRD (GLUTTONY):

"Eat Your Young"

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

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

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

However, Hozier moves onto the hunger of politics.

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

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

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

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

FOURTH (GREED):

"Damage Gets Done"

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

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

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

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

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

FIFTH (WRATH / ANGER):

"Who We Are"

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

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

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

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

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

SIXTH (HERESY):

"Son Of Nyx"

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

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

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

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

"All Things End"

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

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

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

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

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

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

SEVENTH (VIOLENCE):

"To Someone From A Warm Climate (Uiscefhuaraithe)"

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

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

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

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

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

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

"Butchered Tongue"

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

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

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

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

EIGHTH (FRAUD):

"Anything But"

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

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

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

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

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

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

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

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

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

"Abstract (Psychopomp)"

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

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

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

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

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

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

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

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

NINTH (TREACHERY):

"Unknown / Nth"

Okay, buckle in.

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

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

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

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

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

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

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

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

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

ASCENT:

"First Light"

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

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

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

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

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

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

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

---

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

How about Percy as a Dark Academic?

Like, its not that far of a leap.

I can see him up until 3 am in the common room with his potted ink and quill scratching notes in the margins of all his essays, curly hair wild and everywhere and only getting worse as he pulls a knit vest over his head and redoes his tie through refined muscle memory. I can see him thumbing through Shakespeare and the Odyssey, obsessing to Oliver Wood levels over history and knowledge, consuming his breakfast at the speed of light as he pours over philosophy, just so he can crawl up the tree in the garden to continue his reading there. I can see him scribbling notebooks upon notebooks full of poetry and lyrics and snippets of story never to be written with character sketches so fleshed out they seem to escape the page. I can see him wandering through the graveyard of Ottery St Catchpole and jotting down the best names and anything else that comes to mind as he mentally prepares his plans for the night (a date with a cup of cocoa and a typewriter he saved 11 years of loose change for).

I can see him wearing vests and trench coats and slacks and ties and blazers (can you see him ever wearing jeans or a t-shirt?). 

Imagine  him trying to rush through an entire chapter just as the sun breaks the horizon because his last candle is burning out again and its 4 am and he has work tomorrow but ill read just one more chapter.....

there's something about the way "francesca" represents lust yet is a song declares everlasting love and utmost devotion that stands the trial of time; the way "butchered tongue" represents violence but sounds so careful and fragile, and "unknown/nth" is his most defeated song dedicating to love...i do think unreal unearth is his best album yet, and most private one at that. like there are parts i'm not sure i'm supposed to listen to. self titled sounds so hopeful to wasteland, baby! feels like a promise to this. raucous, forlorn sound of hurt....to end it with first light...that all things end but we'll still have tomorrow and new light to look forward to...even if we've just been through hell...do you get it. do you feel me.

i like imagining that makoto and kusuke are tangentially Aware of each other’s existence due to both being extremely famous people, but that neither care enough to actually look into who the other person is. so one day they meet at some event (maybe they’re giving kusuke a nobel peace prize and makoto is there for Reasons or something. or maybe kusuke is designing the pyrotechnics they’re using as special effects in makoto’s new movie) and get to talking and realize. oh my god. this is the most annoying, abrasive, creepy weirdo i’ve ever met. i hate this guy. then they go home to cyberstalk google each other and realize their siblings are friends and immediately begin having some of the craziest celebrity beef of all time. nobody can figure out why celebrated british scientist Dr. Kusuke Saiki is suddenly shit-talking japanese pop idol Mugami Toru to the press, and furthermore, why Mugami Toru seems to hate him just as much, if not more.

then one day, seemingly out of the blue, they get photographed kissing at a private expensive resort by paparazzi and the media lose it

Teen Wolf Character Scents

Okay this might sound weird, but I’ve been reading a lot of Teen Wolf fic lately and it always puts a heavy emphasis on what the character smells like. Because...werewolf senses and everyone has a natural scent. I personally love this so here are my headcanons for what each characters natural scent would be!!!!!

(I give reasons for why I went with those things but some of the reasons themselves are headcanons, and some just came to me and have no reason at all besides that fact that i love it that way)

So background info: I headcanon some scents are from birth, while some are added/change based on experiences, temperament and emotions. You have your own scent and it does its own thing, even when you’re human. Humans cant smell them since they aren’t necessarily real, they are more a smell supernaturals pick up that’s a cryptic reflection of ones personality.

Stiles: Gotta start with the main boi!!!! He smells like spicy chili peppers, honey and everything spicy. He is wild and loud and so so sharp. He uses cutting anger and snark and sarcasm as a defense mechanism, this reflects in a scent that burns your nose. But he cares and loves a lot and is super soft, hence the honey. If you focus on his scent too much your eyes water with the chili. When he gets angry he send tears down everyone’s faces and even reddens the cheeks and burns the tongues of the supernatural pack members in his anger, his scent becoming physical as his spark acts up.

Peter: He smells like cold. Like cold, and petrichor and mint toothpaste. He always has. He smells like the cold of ice, the cold you smell when you open a freezer in the cold isle of the grocery store and like Vick’s Vaporub but 10x as strong. As the left hand of the pack it was his job to kill, to eliminate threats, his job to bear all the blood on his hands, to have his hands permanently stained sticky red and his eyes glow blue, so that no one else in the pack has to live with the guilt of murder, even when justified. His first kill was at 8 years old and he would never forgive the fact that he had been given that burden. So he became unmovable ice and unending cold. With the thick smell of rain for the warmth he would always keep hidden.

Theo: His scent is that of fresh, right off the smoker, BBQ sauce-soaked ribs and apple juice. Its a scent he was born with, one that reflects the gooey warmth of his soul and his innocence before he was manipulated and tortured. His scent always throws people off since it usually reflects ones personality and he’s not a good person by any means, he is amoral and cruel; and such a warm, soft scent doesn’t make sense. But his soul (though no longer pure) would always hold his original innocence. The apple juice isn’t actually his scent, but his sisters, her heart such a part of him that his guilt manifested her soul in his scent. And if you focus hard enough, underneath all that you can find the sting of bleach. His time with the dread doctors (and the fact that he was surgically tortured into being a chimera) leaving part of his scent mangled and altered into the artificial tang of bleach. The fact that he forced his scent to remain mostly unchanged throughout his life (which was worse than hell on earth) is Very Very Impressive, even more so when in the beginning he wasn’t even supernatural.

Scott: Our ever-sweet true alpha. He smells like overly sweet pink and blue cotton candy and hot, buttered, movie theater popcorn. He’s literally sugar and spice and everything nice. His morals and warmth translating to the hot popcorn and his perpetual smiling and niceness coming though as cotton candy. He smells like fairgrounds and the laughter of children. Underneath all that he bears the subtle scent of rust,  a permanent reminder of his forced change to the supernatural and permanent resentment of the burden he must bear (and the guilt about that resentment)

Derek: He smells of Sandalwood, Patchouli, and Frankincense. He always smells like incense and spices, like the inside of a stereotypical fortune tellers shop. He becomes heat, warmth, and flame. Something that pulls at his soul since the fire. Something that is a comfort to the wolves around him. He also smells heavily of smoke (something that makes Peter unable to be in the same room as him for longer than 30 minutes unless forced) because of his never-ending guilt about his family, something that seared the event into his scent. When he’s angry (which is a lot) his scent gets stronger and the incense smell becomes extremely heady and makes his betas lethargic.

Lydia: She smells like metal, like your hands after handling handfuls of change. She smells like she bathed in pennies, her standoffish coldness bringing the bitter smell to her scent. Since she became a banshee she also smells strongly of spider lilies (also know as hell flowers), japans flower of death. You would think the contrast between bitter metal and floral scents, so strong you choke, would be bad but its actually strangely comforting. And while bitter its the only thing that can get Jackson to relax some days. The scent of the only person there for him for over a decade-and-a-half sometimes even more comforting than the scent of his boyfriend.

Isaac: His scent is of strong cologne even though he never wears any, he smells like he bathed in the Mahogany Teakwood candle from Bath and Body Works, or lived in an Abercrombie & Fitch for 50 years. He always had that smell, even as a child, but it just gets stronger the more confidence he gains. His childhood innocence and cleanliness of soul translates as a strong laundry soap smell. But hidden underneath there's an undertone of metal, plastic, and cold; that takes over his scent when he's scared and overwhelmes everything in a mile radius. It takes the Pack far too long to realize it smells like a freezer and metal chains.

Allison: She smells strongly of ozone and static (not rain though, never rain). Her anger and righteous fury making her scent like electricity and making the static-y-ness tingle in everyone's nose - sometimes making Scott sneeze. Nothing in her scent is pleasant or comforting to everyone's confusion. Its only when she feels negative emotions that she smells like roses and summer. Its like a warning but in reverse, the opposite of what it should be. Bad scents usually mean bad emotions or feelings or memories, and good scents mean good moods and positive things but for her its the opposite. Just like how she took the opposite path then what was laid out for her.

Jackson: He smells very very heavily of cherries, his scent so strong and sweet its like he took a bath in a hot tub filled with cherry cough medicine, chloraseptic cherry sore throat spray, cherry pie, cherry starburst, cherry Jell-O, and maraschino cherries. Its thick and sticky and strong enough to drown out the scent and stick for hours on anyone standing near him or touching him and it lingers on the Pack members even if they haven’t seen each other for years. Case-in-point: Jackson left for England after the kanima thing and Isaac left for France not long after. When Isaac came back 6 years later (2 years after Jackson came back) he still had the smell on him pretty strongly. Why cherries? No one knows. But its thick as hell and stronger than epoxy when it binds to things together forever. The Pack thinks it stems with his identity and abandonment issues, but once he claims you he wont let go, not even his scent. He is very self conscious and embarrassed about it so its never discussed, and he’s been friends with Danny for so long that his scent almost drowns out Danny’s own. 

Ethan: Ethan’s scent is subtle and barely there. He was the one who always stood in front of Aiden to protect them, and took the beatings when possible so his scent became as bland and barely-there as possible. The Pack can only smell his scent with intense focus and at least an hours meditation (unless you’re Aiden). He smells of freshly baked bread and homemade jam, comforting smells that easily calm Aiden down. In times of distress he smells of burnt toast, he scent twisting with negative memories. A reminder that all good things have eventually turned bad for him and his twin.

Aiden: Aiden on the other hand smells strongly like curry and lavender. An odd combination but one that speaks of his guarded- but angry, headstrong and stubborn- nature. The abuse left him angry and twitchy and paranoid, everything setting him off and his moods turning on a dime. His scent fluctuated wildly between spicy curry and calming lavender which indicated his mood and Ethan was the only one able to calm him down, doing so with a single touch between his shoulder blades where they merged.

Danny: Danny smells like he lived in a Eucalyptus oil factory for 50 years, the scent soothing and calm like he is. Its always the same and never changes, not even when his emotions do. It was concerning at first, since everyone else’s scents changed throughout the day, even when their mood didn't (the only other scent that barely changed was Peter’s but that was because the man hand an iron grip over his emotions, even in his scent. Which is super impressive). He was just that calm at all times, even when annoyed. The one time he got angry- and I mean really angry not just the pretenses he kept when ‘annoyed’ with Stiles who he more endeared with than anything- his scent overwhelmed the entire apartment complex ( the one Derek had bought out for his loft) with the horrible, strong, pungent scent of burnt rubber. No one angered him again.

But they did have a chat about his witch ancestry.

Erica: Her scent was that of a bonfire. A blazing bonfire, gasoline, and the smell of the world when it was so hot outside the air above the tar street shimmered. She was competitive, and fierce, and pure heat and burning. If she wanted something, she would take it she had always been that way, even when she was sick. And while her sickness may be gone she had a subtle distortion to her scent, one like poison, that made her always smell slightly sick. (Peter almost had a panic attack when he first met her because of her scent, he now never came within 10 feet of her).

Boyd: He smelled like a flower garden. He was so stoic that the floral scent took many by surprise. He had always smelled like soil and dirt, his down to earth personality manifesting as a calming and grounding scent. He also smelled like the ocean, like salt and brine, and waves. But that was all drowned out by the overwhelming smell of flowers, a scent that used to be his sisters, one that he subconsciously adopted after her death when he was still human. He empathized with Theo and would exchange heavy glances when the pack discussed their natural scents as a ‘pack bonding exercise’, they were both drowned in guilt for different reasons, but both over lost sisters. They never discussed it. That was all folks!!! Feel free to add on to this and/or use it as a fanfic reference!!! Do you agree??? What are your headcanons???

TW for suicide

So I know that about everyone assumes that Ben died because The Horror ripped him apart. And while that I a completely valid assumption and tbh most likely what happened I’m just going to put out my own Head Cannon before season 2 comes out and we have a chance of finding out the truth.

We know that Ben’s power was a horrible one. We know that he hated it. He hated the killing and the tentacles sprouting from his chest and the dimension in his stomach and being covered with blood and body parts as actual human beings get ripped up in front of him. He hated it. We also know that Klaus sees Ghosts as they died. What they were wearing, how old they were, every injury they have. So consider: 

If Ben was ripped apart by The Horror on a mission or in training...where was his uniform? where were his injuries? He is wearing a hoodie and a leather jacket and jean. We all know Reginald would have never allowed that during training or on a mission. And why is his body not ripped to shreds or at least full of lacerations and blood. 

I propose an alternate theory. What if he killed himself? Its not too far a stretch really. Steal a handgun from ol’ Reggies office, wear normal clothes bc its free time or bc you know what you’re planning and judging by Klaus’ powers don’t want to be stuck in the uniform for eternity. It would be worth the risk for Ben. No more killing. I think he shot himself through the roof of his mouth and back of his skull. We almost always see him with his hood up or only from the front. The few shots we do get of the back of his skull are fleeting or its dark. At that stage of his life Ben would have probably done anything to get rid of The Horror. Why not that?