#(edited because i decided to add the image with it

[lotro-tooltips-daily]

[christian-zelda]

I'm still salty about them changing his design after the first movie.

EDIT: Since people keep saying the changes are subtle/not really there, I'm putting this in the main post.

EDIT 2: Since a lot of people have brought it up: Yes, I know that the design change is meant to show him aging. But I think that the way they did it was stupid, and I still like his first design more.

EDIT 3: I don’t mind his HTTYD 2 design. It’s not ideal, but enough time passes after HTTYD 1, that the design change could be natural. HTTYD 3 has no excuse though; that design can burn.

EDIT 4: I also want to clarify, I do love some aspects of his later designs. Like the bigger spikes, and extra nubs to show age. But I like them because those changes make sense from real life standards.

EDIT 5: Because it was requested, I added images of his live action design for comparison. I also added a few others images to show how his body shape has changed, and how he lost his markings as time went on. (body shape comparisons from this post, drawing of his OG design compared to the LA from this one).

EDIT 6: added a comparison of just HTTYD 2 and 3 that I found.

EDIT 7: (hopefully this is the last one) I decided to add his design from the TV shows and shorts. Now, these kinds of things get way less funding than movies, so that's probably the main reason he looks different. But I'm still adding them for comparison.

[the960writers]

Do you think it's a good idea to try and get away from Google Docs when it comes to writing? I really can't afford any other fancy program to write my drafts in, and it honestly seems like the easiest - not to mention, most convenient - program to use to share my manuscript with beta readers. I could use advice on this matter because I keep seeing things across the net about it being a bad place to work on writing, but I have no idea what to turn to to make things easy for me and my future beta readers.

This is such a good question. Thank you.

So, a little backstory. Ever since Google removed their motto "do no evil" they have gone down the rather predictable path of all big players of the rot economy: putting profits over user experience.

A little while back, there was rumor that Google trains AI with the content of google docs, then they said they don't really, they only scan the content and do nothing with it, and then they started blocking access to documents with sexy images. Do we believe that Google has our own best interest at heart? That's something everyone has to decide for themselves.

Back then, I made a post with alternatives for Google Docs, you can find it here, also check the reblogs for more options:

Now, is it a good idea to switch from google docs? I think it is, but I'm also not consistent with it. As you mentioned, it seems to be the easiest to share writing with beta readers, and I also still often use it for fanfiction.

But there are alternatives, and they require very little adjustment in the process. Let me give you two free options.

Ellipsus is webbased, meaning you can write in it in the browser on any device. They have sharing, specifically for beta reading, and an export function for AO3.

Reedsy (marketplace around everything self-publishing) has an editor. It is webbased, and they also have an option for sharing with beta readers. This software is aimed at book type-setting and exporting but it works just fine for copying to web.

Personally, I'm currently switching everything to LibreOffice (also free!) files in some cloud connected folder. I used to do a lot of mobile writing on my phone with a bluetooth keyboard but currently, I'm taking my laptop everywhere so LibreOffice works great for me. If I have to use my phone or tablet for some lightweight mobile writing, on vacation for instance, I can still use something webbased.

So, I hope I gave you some interesting options. Do I think it's a good idea to make us less dependent on Google? Yes, I do. I don't trust them.

We have alternatives, and they cost us nothing more than a little adjustment.

~ barbex

[uwingdispatch]

Y’all have been so enthusiastic about the new tees and crews I’ve been making inspired by Andor season 2, so I thought I’d drop them all here in one post with some thoughts on my process. 💜 Shop is here. And if you’re seeing this between June 25 and July 9, 2025, I'm also having a sale right now, so all apparel is currently 10% off!

Starting out with my I have friends everywhere tee, which y'all have made a best seller. The Aurebesh has the above mentioned rebel codephrase alongside the Andor starbird, a U-Wing, and a starry sky.

I knew I had to make a Cassian tee with this line from the first time I heard it. The Aurebesh reads "You're coming home to yourself." It's such a pivotal moment right at the beginning of season 2.

And who are we as a fandom without kalkite memes? I made an English and an Aurebesh version of this tee, which reads "kalkite · synthetic kalkite · kalkite alternatives · kalkite substitutes." I used crystals because based on the project the kalkite is being harvested for, and Galen and Lyra Erso's body of work, they would be looking for crystals. (I'm not a geologist, but I've read all the Rogue One books.) Also there's a tiny Imperial cog there at the bottom.

There's pretty much no Kleya merch so I wanted to make a tee that reflected not just her but her relationship with Luthen and the Rebellion. The Aurebesh reads "know your way out," advice Luthen often repeated to her. I'm hoping to make some more Kleya things in the future, but I love how this tee came out.

After the second Ghorman arc, I wanted to make something to represent the people that could perhaps be a tourist tee. On the top the Aurebesh reads "call your kin to come and sing," from the Ghorman planetary anthem. On the bottom it says "Ghorman · Sern Sector."

I wanted to make a Melshi tee that connected the Narkina 5 arc to the final arc of Andor, so I used an image of him from the end of the 3rd arc as he makes his way to Yavin. I used colors that reminded me of Yavin and the quote "people have to know about this," which Melshi says to Cassian when they part ways on Niamos. He's a messenger, like Cassian, with all the risks that entails.

Edited to add in the Mon Mothma tee I just dropped. The Aurebesh reads “the death of truth is the ultimate victory of evil” which was a lot of text to get on there so I wasn’t sure I was going to be able to make this work. But I think it came out pretty great. I also really wanted to use an image from her getaway car moment, her ultimate commitment to the rebellion as she leaves the Senate.

Edited again to add this Bix tee. I really wanted to use both Ferrix and Mina-Rau colors in this. The Aurebesh reads "I choose the rebellion." It took me a while to decide on which image of Bix to use here, but ultimately I went with a moment from season 1 that feels hopeful.

And these last two tees are pretty self explanatory. And in English. I hope you love them.

Shop is here. Thank y'all for all the love. 💜

[jungkoode]

FIVE SECONDS TO FREEDOM | 01

˗ˏˋ corporate by day, streets by night ˎˊ˗

"The thing about living a double life is that eventually, the lines blur. And when they do, you realize one of those lives was never really yours to begin with."

next | index

⋆｡°✩ chapter details ✩°｡⋆

word count: 5.2k

rating: mature

content: board room suffocation, underground racing salvation, lollipop theft, overheard family secrets, & the weight of expectations vs. the freedom of speed

jimin’s skyline r34 | y/n’s toyota ae86

✧ author's note ✧

Hi. Hello. Yes. It’s me again. Back on my bullshit. (⌐■_■)

Welcome to the fic where I apparently decided that “you know what would go crazy? If Jimin was Latino, dangerously charming, emotionally layered, and casually obliterated me with a phone call to his baby brother.” So here we are.

Let’s talk about this beast.

This story is set in Tokyo’s underground street racing scene because I have exactly two moods: high-octane chaos and identity crisis. And guess what? This fic is both. We’re following a Y/N who is not the typical “relatable girly with a shit job and a dream.” No. This Y/N has money. Like money money. Corporate-heiress-pressure-cooker-money. Unrelatable? Maybe. But I wanted to explore what it means to be trapped even when you “have it all.” Because sometimes your prison has marble floors and a driver’s license with your dad’s last name on it.

And then there’s Jimin.

Who, yes, is Latino in this one. Because the power. The flavor. The emotional complexity. Because I couldn’t stop thinking about the boy who speaks different languages depending on who’s listening and smokes like it’s the only thing keeping his hands from shaking. And because I desperately wanted to give him a backstory that feels lived in—messy family dynamics, financial trauma, and protectiveness so sharp it’s basically a character flaw. (Also, his pet names are lethal. Just sayin’.)

This fic is about duality. Public image versus private life. Corporate obligation versus personal freedom. The daughter and the driver. The mechanic and the monster you have to be to survive in a world built for people who look like your father.

Jimin and Y/N exist in parallel—each of them double-lifing through their days, hiding parts of themselves behind steering wheels and sarcasm. And I’m obsessed with the way their masks crack in front of each other.

ALSO. Yes, Jimin speaks a lot of Spanish here. And I did include translations in parentheses where it matters to the narrative. For short expressions or filler phrases that don’t really add anything to the dialogue (like “ay, pues” or “nah, hermano”), I either left them be or translated them only if it shifted the tone/context. If you’re wondering “what did he just say,” trust me—if it’s important, it’s already translated. And if it’s not important, it’s flavor, not plot. You’re safe. You don’t need Duolingo. (But like… maybe you want it after this fic. I won’t judge.)

This chapter ended up… long. Because I love suffering and also because I have zero restraint when it comes to character psychology, apparently. So if you’re here for racing scenes and sexual tension and moral ambiguity and emotional repression in leather jackets? Buckle up.

We’re going full throttle from here.

Edit: reminder that chapter 1 takes place 6 months after the prologue!

⋆｡°✩ read on✩°｡⋆

ao3

wattpad

The Hayashi legacy weighs forty-seven million yen per quarter, and tonight it feels like every yen is sitting on your chest.

You walk out of the conference room with that smile still glued to your face—the one you've perfected over more than twenty years of being the perfect daughter, the ideal heiress, the future of Hayashi Motors Corporation. 

Each step brings you closer outdoors. Each step means a flick of your kitten heels against the marble floor of the corporate building. Each step means freedom.

"Excellent points during the quarterly review, Y/N-san," your father had said, pride gleaming in his eyes as the board members filed out. "Your suggestions for the new electric vehicle division show remarkable foresight."

You'd nodded. Smiled. Thanked him for his confidence in your vision.

You hadn’t mentioned that you'd spent the last three hours fantasizing about ramming your pen through the mahogany table when Nakamura-san had questioned your engineering credentials for the fifteenth fucking time. 

Or that when board member Sato had asked if you thought you were ‘ready for such responsibility at your age,’ you'd wanted to remind him that you've been rebuilding engines since you were sixteen and probably know more about automotive dynamics than his entire golf club combined.

But Hayashi daughters don't lose their composure. Hayashi daughters smile politely and prove themselves through results, not outbursts.

Hayashi daughters are perfect.

The elevator ride down is not—because it feels endless. 

Forty-three floors of suffocating corporate air, each ding marking another level between you and the person you actually want to be. 

Your reflection stares back from the polished steel doors—black Armani blazer, pearl earrings, hair pulled back in a sleek chignon that your mother's stylist spent an hour perfecting this morning. 

You look exactly like what you are: the face of Japan's automotive future, groomed and polished to perfection.

But perfection means nothing to you if it doesn’t come in four fucking wheels.

The parking garage is a different world. 

Darker. Quieter. Real.

Your steps quicken as you approach the sleek Mercedes S-Class—the car that screams ‘responsible heiress who makes sound financial decisions.’ The one you drive to corporate events, family dinners, any place where appearances matter more than what's under the hood.

But tonight, appearances can go fuck themselves.

You slide into the driver's seat and immediately feel the weight pressing down on your shoulders, your chest, behind your fucking eyes. 

Three hours of quarterly projections, market analysis, and thinly veiled suggestions that maybe you should consider ‘sharing leadership responsibilities’ with a more experienced male colleague. 

Three hours of nodding along while grown men who've never held a wrench explained automotive engineering concepts you learned before you could legally drive.

Your hands shake as you grip the steering wheel.

It all cracks.

Your forehead drops forward, hitting the leather with a soft thud, and your fingers tangle in your hair—fuck that stupid chignon anyways.  

A shaky exhale escapes your lips, then another, and for just a moment in the darkness of underground parking level B3, you let yourself feel the exhaustion that's been building for months.

The quarterly reviews are getting more intense. The board meetings more demanding. The expectations heavier.

Sometimes you wonder what would happen if you just... stopped. Stopped smiling through the condescension. Stopped proving yourself to men who measure your worth in profit margins rather than skill. Stopped pretending that sitting in conference rooms talking about market demographics is what gets your blood pumping.

But that's not an option. 

The Hayashi name doesn't get to quit.

You take three deep breaths—in through your nose, out through your mouth, the way you know how to control adrenaline spikes. 

Center yourself. Focus on what matters.

Tonight, what matters is speed.

You reach into the back seat for the gym bag you strategically placed there this morning. 

Inside: worn jeans, a black tank top, your racing jacket with the faded sponsor patches, and the fingerless gloves that have seen more action than your corporate wardrobe ever will.

And really, changing clothes in a car? Not ideal.

Luckily for you, it requires a specific kind of coordination you've perfected over the years. 

Blazer off, carefully hung to avoid wrinkles—because if your mother sees it tomorrow morning looking anything less than pristine, there will be questions. 

Pearl earrings removed and tucked into the center console. 

Hair tie pulled free, letting your hair fall to your shoulders in a way that feels like salvation.

Of course, the transformation is more than cosmetic. 

As you pull on the jeans, you can feel your breathing slow. Tank top over your head, and your shoulders relax for the first time in hours. The racing jacket slides on immediately, and when you zip it up, you're not a Hayashi, no automotive heiress, no board meeting survivor.

You’re just… you.

And that you knows where she’s going tonight. 

The underground parking garage has a service exit that most people don't know about. You discovered it during your rebellious teenage years, when you first started sneaking out to watch street races from highway overpasses. 

Now it's your escape route—a way to slip from one world into another without anyone noticing the transition.

Your real car is waiting three blocks away in a rented garage space that doesn't appear on any family financial records. 

Your beautiful, sweet AE86.

Black and white paint scheme that earned you some stupid ‘panda’ nickname.

But it doesn’t matter, because tonight—as many others—this is your ticket to freedom.

You start the Mercedes.

No soul, no personality, just reliable transportation from point A to point B. 

Everything your family expects from both their vehicles and their daughter.

But as you navigate through Tokyo's late-night traffic toward the garage where your real car waits, you can feel your pulse quickening. 

Because earlier, Maya texted that there's a gathering at the docks. Nothing official, just people showing off their builds, talking shit, maybe some impromptu runs if the mood strikes. The kind of casual meet where you can breathe, where your worth is measured in tenth-of-a-second reaction times rather than quarterly profit projections.

And you need this. 

Need the smell of gasoline and burnt rubber. Need the sound of engines being pushed to their limits. Need to remember who you are when you're not performing the role of perfect daughter.

You need to move toward the place where the Hayashi name doesn't matter and the only thing that counts is how fast you can make eight-six liters of pure joy scream down a stretch of asphalt.

Your phone buzzes.

𝐌𝐚𝐲𝐚🐝 : 𝚋𝚒𝚝𝚌𝚑 𝚠𝚑𝚎𝚛𝚎 𝚝𝚑𝚎 𝚑𝚎𝚕𝚕 𝚊𝚛𝚎 𝚞??? 𝚝𝚑𝚎 𝚝𝚠𝚒𝚗𝚜 𝚊𝚛𝚎 𝚑𝚎𝚛𝚎 𝚝𝚊𝚕𝚔𝚒𝚗𝚐 𝚝𝚛𝚊𝚜𝚑 𝚊𝚋𝚘𝚞𝚝 𝚢𝚘𝚞𝚛 𝙰𝙴𝟾𝟼 𝚊𝚐𝚊𝚒𝚗 𝚊𝚗𝚍 𝚖𝚢 𝚑𝚊𝚗𝚍𝚜 𝚊𝚛𝚎 𝚒𝚝𝚌𝚑𝚒𝚗𝚐 𝚝𝚘 𝚋𝚎 𝚝𝚑𝚛𝚘𝚠𝚗 

You don't reply. Don't need to.

The thing about earning your place at the top of Tokyo's food chain is that punctuality becomes optional.

You pull into the lot twenty minutes after Maya's text, because showing up on time is for rookies still trying to prove they belong. The ones who circle the block three times before working up the courage to park. The ones who check their mirrors obsessively, making sure their cars look perfect from every angle.

You? You just fucking drive.

The familiar crunch of gravel under your tires signals home in a way that marble corporate floors never will. 

Engine off, and immediately you can hear it—the symphony that makes your pulse quicken. Revving engines, bass lines thumping from custom sound systems, the occasional screech of someone showing off with a burnout. 

This is your world. The one where board meetings and quarterly projections don't exist.

Your AE86 settles and you can already feel eyes tracking your movement. 

You've earned every glance, every nod of respect, every whispered comment about how the panda-colored Toyota shouldn't be able to keep up with cars worth ten times as much—but somehow always does.

You scan the lot for Maya's ridiculous purple Silvia, but before you can locate her in the maze of modified metal, a familiar arm snakes around your neck from behind.

"My giiiiirl," Maya drawls, and there's that tilted accent she gets when she's been drinking or fighting or both. 

Probably both, knowing Maya.

You chuckle and drive your elbow back into her ribs, just hard enough to make her grunt. 

"Dramatic much?"

"Always," she grins, but doesn't let go of your neck. Maya's version of affection usually involves some form of minor violence, which explains why she gets along so well with the racing scene. "You missed the opening act."

"So where's the twins, huh?" You ask, sliding your keys into your jacket pocket. 

Maya's grin turns sharp. "Twins have been dealt with."

You frown. "Huh?"

Instead of answering, Maya just tilts her head toward the far end of the lot, and your stomach does something complicated when you follow her gaze. 

A midnight purple R34 Skyline GT-R.

Him.

Jaque fucking stands near his car like he owns not just the vehicle but the entire lot it's parked in.

The bastard who handed you the only loss of your racing career. 

The one who earned his place here by beating you, which means he gets to be in this lot, in your crew, in this weird little bubble where surnames don't matter at all; but rather how fast you can make your car scream.

One loss. 

O n e.

But apparently that's all it takes to earn yourself a permanent pain in the ass who shows up to every meet like he's got some kind of standing invitation to make your life complicated.

Maya snorts behind you as you start walking toward the Skyline, but she follows anyway, because Maya never misses a good show. 

And this? This is definitely going to be a show.

Your boots crunch against loose gravel and cigarette butts as you cross the lot. A few conversations pause as you pass—the usual mix of admiration and speculation that follows you wherever you go in this scene. 

But tonight something is making your spine straighten and your hands curl into loose fists at your sides.

Because Jaque isn't just here. 

He's here and apparently he's been ‘dealing with’ the Tanaka twins, which could mean anything from out-racing them to putting them in the hospital. 

And knowing the twins' habit of running their mouths about your car, your driving, your right to be here in the first place, you're not entirely sure which outcome you'd prefer.

His car still feels warm, oozing off expensive modifications from here—high-octane fuel, performance oil, the metallic scent of carbon fiber still warm from whatever run he just finished. 

Everything about the car screams money and precision, the kind of build that most people spend years saving for.

But you know better than most that the car is only as good as the driver behind the wheel.

And Jaque? 

Jaque is very, very good.​​​​​​​​​​​​​​​​

"Jaque."

The name comes out flat. Matter-of-fact. Like you're reading from a grocery list instead of addressing the one person who managed to crack your perfect record.

He looks over his shoulder, and that glance transforms into something that makes your stomach do things you refuse to acknowledge. 

Full-blown smirk, eyes included. 

It spreads across his face like spilled oil, slow and inevitable.

He lowers his sunglasses—the ones he always wears even at nighttime because apparently being cocky as hell isn't enough, he also has to be stupid—and raises his eyebrows in mock surprise.

"Hello to you too, princesa." 

The pet name hits exactly like it's supposed to—annoying and warm in equal measure. 

You ignore the warm part, though. 

He turns fully now, back against the Skyline's midnight midnight purple paint job, arms crossing over his chest like he's settling in for a show. The position makes his shoulders look broader, his stance more relaxed, like your presence here is the most entertaining thing that's happened to him all night.

Which, knowing Jaque, it probably is.

"Cut the bullshit, lover boy." You stop just close enough that you have to tilt your head slightly to meet his gaze. "The twins."

His grin widens. "What twins?"

The innocent act might work on other people. 

The way his head tilts just so, like he's genuinely confused by your question. 

Like Shinji and Akira Tanaka haven't been running their mouths about your AE86 for the past three months.

It doesn’t fool you though. Never does. 

You sigh, loud enough that Maya chuckles. Your tongue presses against the inside of your lower lip—a habit you've never been able to break when dealing with particularly dense specimens of humanity.

Or Jaque, to put it simply.

"Don't play stupid," you say. "It's too easy."

That gets a chuckle out of him. Low and rough, like gravel under tires.

"Siempre tan bocona, tú." (Always so mouthy, you). 

The Spanish rolls off his tongue like he's commenting on the weather, not insulting you in two languages at once. His smile never wavers. 

"Twins are not here."

You want to throttle him.

"I could see that much, thanks for pointing out the obvious."

"Ay, pues." He shrugs, and the movement is liquid smooth. "You don't want stupid answers, don't ask stupid questions."

Maya snorts behind you. Traitor.

Your jaw ticks. Just once. Just enough that you know he notices because his eyes flick down to catch it, that smirk getting smugger by the second.

"Shinji," you say, because playing his word games is getting old fast. "Akira. The Tanaka twins. Where are they?"

"Ah." Like understanding has just dawned. Like he hasn't been deliberately obtuse for the past thirty seconds. "Those twins."

"Yes, Jaque. Those twins."

He straightens slightly, the lazy posture shifting into something more intentional. Not threatening—never threatening with you—but focused. Like you've finally said something worth his full attention.

"¿Por qué?" (Why?) The question comes out slow, curious. "Miss them?"

"Because they were here twenty minutes ago talking shit about my car, and now they're not." You cross your arms, mirroring his stance. "And you're here looking entirely too pleased with yourself."

"I always look pleased with myself, gatita." Another pet name. Another small flame of irritation. “Es mi cara natural." (It’s my natural expression.)

"Answer the fucking question."

He laughs again, and this time it's genuine. Surprised. Like you've done something delightful instead of threatening to wrap your hands around his throat.

"Calma, chiquita." One hand comes up in a placating gesture that somehow manages to be condescending and charming at the same time. "No need to get all worked up."

"I'm not worked up."

"No?" His eyebrows climb higher. "Think you are."

Your eyebrow twitches. He smiles. 

"They're not here," he says finally, voice losing some of its playful edge. "Took a little drive. Might not be back for a while."

"What kind of drive?"

"The educational kind." He pushes the sunglasses back up his nose, hiding his eyes again. "Someone had to explain proper parking lot etiquette to them."

Your hands ball into fists at your sides.

"I don't need—"

"Hey, tranquila." He holds up both hands now, but he's still smiling. Still enjoying this way too much. "This is your territory, ¿no? They talked shit about the boss lady. Someone had to warn them."

Boss lady. 

Like you're some fucking mafia princess instead of a racer who's earned every ounce of respect through skill and stubbornness.

"That's how we do it in my country," he adds, like that explains everything.

"This is Japan."

His smile turns sharp. Dangerous.

"And I'm latino."

You scoff, looking sideways because seriously—he's unbelievable. 

Like being Latino is some kind of universal excuse for whatever bullshit he decides to pull. 

Like slapping his ethnicity on the table explains away every reckless move, every stupid decision, every time he decides to play knight in shining armor when nobody fucking asked.

Like he’s not basically insulting his whole ethnicity when he does that: 

Your hand dips into your jacket pocket, fingers finding the familiar crinkle of cellophane.

"Right," you say, unwrapping the cherry lollipop with sharp, efficient movements. "Because your passport gives you a free pass to stick your nose in everyone else's business."

The wrapper finds its way back to your pocket.

"No es eso, princesa." (It's not that, princess.) His voice carries that lazy drawl that means he's having way too much fun. "But where I come from, you don't let randos disrespect the people you—"

You pop the lollipop into your mouth, cutting him off mid-sentence.

The words die on his tongue.

His eyebrows lift, and he makes this low snorting sound that has absolutely no business being as distracting as it is. Like he's just witnessed something worth stopping traffic for.

You turn back to look at him, lollipop stick jutting from between your lips.

 "What?"

The smirk that spreads across his face is slow and dangerous. 

"Nada, nada." (Nothing, nothing.) But his eyes haven't moved from your mouth. "Keep going."

Before you can ask what the hell that's supposed to mean, an arm locks around Jimin's shoulders from behind. 

It’s Taeyang, appearing like he materialized from the fucking parking lot shadows or something.

"J is off his game tonight."

Jimin doesn't even try to shrug out of the hold. Just keeps staring at you with that insufferable expression.

"Nah," he says, voice dropping lower. "Just distracted."

He gestures lazily with his chin, eyes still locked on yours.

"Can't focus when you keep putting things in your mouth like that."

The lollipop nearly falls out of your mouth.

What the actual—

Your hand moves before your brain catches up, grabbing the stick and yanking the candy free. The cherry flavor lingers on your tongue, sweet and artificial and suddenly too much.

“Ay, dale, beba. Don’t stop on my account. Looks tasty.”

"You want it that bad?" You hold the lollipop out toward him, voice dripping with mock sweetness. "Here. Choke on it."

The parking lot goes quiet.

Not completely—engines still rumble in the distance, someone's still blasting music from their stereo. But the space between the four of you turns into this weird vacuum where even Taeyang stops breathing.

Jimin straightens.

Slowly.

Like a cat uncoiling before it pounces.

Taeyang's arm slides off his shoulders as he takes a step toward you. 

Then another. 

Until he's close enough that you can see the exact moment his pupils dilate, can smell that mix of cologne and gasoline that shouldn't work but does.

He reaches out.

Plucks the lollipop from your fingers as if this is just something he does every day.

And pops it into his mouth.

The cherry-stained stick disappears between his lips, and he just stares into your eyes like he’s hoping for a reaction. 

"What's wrong, princesa?" The words come out muffled but still carry that infuriating drawl. "Didn't think I'd take it?"

Your pulse hammers against your throat. Hard. Visible.

Fuck.

Your mouth opens—ready with some cutting remark, some dismissive comeback that'll put him back in his place—

Nothing.

Not a single goddamn word.

Jimin's grin spreads. 

"Naaaah, wait." He lets the word stretch, savoring it like the candy between his teeth. "You actually—" 

A soft, amused chuckle escapes him. His tongue flicks against the lollipop, deliberate. Testing.

"—speechless?"

Heat crawls up your neck like flames licking gasoline. .

"Shut up." The words snap out before you can stop them, but your voice wavers. 

Just enough. Just fucking enough for him to catch it.

Jimin hums, a low sound of pure entertainment. He steps back—not far, just enough to keep you teetering on the edge of whatever this is.

"I should steal your shit more often," he says, amused. 

The comment jolts you back to yourself. Back to solid ground.

"Give it back."

He rolls the candy between his teeth, considering. Like he's weighing the entertainment value of compliance versus continued torment.

Then he grins.

Shifts the lollipop to one side of his mouth, head tilting as he watches you with that same lazy, predatory amusement that makes your skin feel too tight.

"You really want me to give it back, mami?" 

That accent. The way he wraps around the word like silk, all rolling consonants and heat. 

Something flickers up your spine. Quick. Electric.

You don't react. Won't give him that satisfaction. Instead, you let your mouth curve into something unimpressed, arms folding across your chest as you pretend to consider.

"Up to you," you say, voice carefully casual. "But it's mango."

The reaction is instant.

Violent.

Jimin spits the lollipop out so hard you hear it hit the asphalt with a wet thwack. His whole body jerks backward, hand swiping across his mouth like he's trying to scrub away poison.

The grimace that twists his features is beautiful. Pure disgust mixed with betrayal.

Maya fucking wheezes beside you, the sound high and breathless.

You press your lips together, feigning concern. Let your eyebrows lift in mock surprise.

"Oh, wait—" You blink, tilting your head like you're just remembering something important. "Actually... it was cherry."

His entire body goes statue-still.

Slowly—so slowly you can count the seconds—his hand drops from his mouth. His jaw locks. His tongue darts out, running over his teeth like he's confirming what his taste buds already know.

The lingering sweetness. 

Cherry. Not mango.

"You—" Jimin's voice comes out sharp, exhaling like he's been sucker-punched. His eyes snap back to yours, flat and accusing. "Are you fucking serious?"

You lift one shoulder in a casual shrug.

"I mean..." Your head tilts, innocent. "Can't you taste the difference?"

Jimin stares at you. Then at the discarded lollipop on the oil-stained asphalt, sticky and abandoned. Then back at you.

The silence stretches.

"Do you think at the mention of mango I was taking a damn moment to assess—"

"You should've," you interrupt him, voice honey-sweet and absolutely ruthless.

Before Jimin can fire back, someone from his crew—Daniel, probably, the loudmouth who never knows when to shut up—pipes up from behind him.

"Yo, you allergic or something?"

The words hang.

Maya's grin freezes mid-wheeze. The rest of Jimin's crew shifts, glancing between him and the spat-out lollipops

Your stomach drops.

Cold. Fast.

Jimin doesn't look at them. Doesn't acknowledge the question floating in the air like clouds, just stays flat, unreadable, but his jaw ticks—just slightly, just enough for you to catch it.

And suddenly, you realize—

They don't know.

None of them know.

It's such a small thing. Insignificant. A stupid fruit allergy that probably means nothing in the grand scheme of underground racing and territorial bullshit. But still—

You're the only one who noticed.

The only one who clocked it months ago when he shoved aside a drink without explanation. The only one who saw him swipe a fruit skewer off someone's plate but carefully, absentmindedly, avoid the mango piece in the middle.

No one else ever caught on.

Your chest tightens with something that feels dangerously close to... understanding.

Jimin exhales sharply through his nose. Reaches into his pocket with movements that are just a fraction too controlled to be casual. Pulls out a pack of gum.

"No," he says, popping a piece into his mouth. His tone is clipped, dismissive. Final. "I just don't like surprises."

He chews once. Twice. Like that explains everything.

Like it's enough.

His crew buys it.

They snicker, shake their heads, make some comment about how dramatic he always is. Daniel laughs too loud at his own joke about Latino attitude. The conversation shifts, interest dissipating like vapor in hot air.

Just like that, the moment passes.

But not for him.

And not for you.

Because Jimin's gaze flickers back to yours—sharp, searching, like he's trying to read something written in a language he doesn't quite understand.

You hold it.

The stare. The challenge. The unspoken question floating between you.

His jaw tenses. His tongue presses against the inside of his cheek, working the gum like he's trying to scrub away more than just the lingering taste.

Then he huffs. Quiet. Humorless.

Looks away.

"You're so annoying," he mutters, shoving his hands deep into his pockets.

The words should sting. Should make you defensive, ready to snap back with something twice as cutting.

Instead, your mouth curves.

"Feeling’s mutual," you say, voice soft enough that only he can hear it. 

Jimin doesn't answer. Just shakes his head once—like he's trying to clear it of something he doesn't want there—and turns toward his car.

But you catch it. The way his shoulders set. His somewhat robotic movements now.

The realization that someone saw through his bullshit.

That someone noticed.

The sound of his voice speaking Spanish hits different when he thinks no one's listening.

You're half-listening to Maya complain about her clutch slipping when movement in your peripheral vision catches your attention. Jimin peeling away from his crew, phone pressed to his ear, heading toward the far corner of the lot where the lighting gets spotty and conversations turn private.

Something about the way he moves—purposeful, almost urgent—makes you tune out Maya's mechanical rants entirely.

"—and then the fucking thing just started grinding, you know? Like metal on metal, which obviously means—"

"Mm-hmm." You nod absently, watching Jimin settle against a concrete pillar about thirty feet away. Far enough that his crew can't hear him, close enough that if you strain just a little...

"Are you even listening to me?"

"Clutch. Grinding. Very tragic." Your eyes don't leave Jimin's silhouette. "Keep going."

And Maya does. 

But you're already tuning her out again because Jimin's voice carries just enough on the night air, and the shift in his tone is immediate. 

No trace of the lazy, teasing drawl he uses with everyone here. 

"¿Martín? ¿Qué pasó, hermano?" (Martin? What happened, brother?)

"No, no, tranquilo. Decime qué pasó." (No, no, calm down. Tell me what happened.)

There's a pause, and you can see him run his free hand through his hair. His shoulders tense.

"¿Cómo que se pelearon? ¿Por qué?" (What do you mean they fought? Why?)

Another pause. Longer this time. His jaw ticks.

"Ay, Martín... ¿y le dijiste qué?" (Oh, Martin... and you told her what?)

You edge closer, using Maya's continued clutch commentary as cover. 

"No, está bien, está bien. No es tu culpa, cabrón." (No, it's okay, it's okay. It's not your fault, dude.) His voice drops, gentler. "¿Pero por qué le dijiste que andaba en los clubs? Sabes que se pone loca cuando piensa que ando de joda." (But why did you tell her I was at clubs? You know she goes crazy when she thinks I'm partying.)

He reaches into his jacket pocket, pulls out a pack of cigarettes. The lighter flicks once, twice, before catching.

The first drag makes his voice rougher when he speaks again.

"Sí, ya sé que no sabías qué decir. Pero la próxima vez decile que estoy trabajando, ¿dale?" (Yeah, I know you didn't know what to say. But next time tell her I'm working, okay?)

You watch him take another drag, the cherry glowing orange in the dim light. 

The way he holds the cigarette—practiced, automatic—suggests this isn't a recent habit.

"¿Qué más te dijo?" (What else did she tell you?)

The pause that follows is different. Heavier. You see his free hand clench into a fist at his side.

"¿Cómo que no va a aceptar más plata?" (What do you mean she won't accept more money?) His voice sharpens. "Martín, ¿qué carajo le dijiste exactamente?" (Martin, what the hell did you tell her exactly?)

Another drag. Deeper this time.

"No, no, no. Escuchame bien, cabrón." (No, no, no. Listen to me carefully, dude.) His tone shifts, becoming more authoritative. "Vos no te vas a poner a trabajar. Tenés trece años, boludo. Tu trabajo es estudiar." (You're not going to start working. You're thirteen years old, idiot. Your job is to study.)

You can hear the frustration building in his voice, see it in the way he paces within the small circle of light.

"¿Necesitás libros para la escuela? Yo te los compro. ¿Necesitás zapatillas? Yo te las compro. No digas huevadas, Martín." (Do you need books for school? I'll buy them for you. Do you need shoes? I'll buy them for you. Don't talk nonsense, Martin.)

The cigarette moves to his lips again, and apparently the sound carries through the phone because his brother says something that makes Jimin pause mid-drag.

"¿Qué?" (What?)

A beat.

"Naaaah, no estoy fumando." (Naaaah, I'm not smoking.)

You don’t even speak Spanish like that but you know that’s a fat lie coming off his lips. Pretty clear he’s talking about smoking by the way his eyes flicker to the cig.

You almost snort.  

His brother clearly doesn't buy it, because Jimin's response is immediate and defensive.

"¿No me creés? Pues decile a la mamá que vos también fumás, a ver qué dice." (You don't believe me? Well tell mom that you smoke too, let's see what she says.)

There's a pause, and then Jimin's voice turns sharp with realization.

"Ah, ¿no, cabrón? ¿Ya sabía, ya sabía...?" (Oh, no, dude? I already knew, I already knew...?) He takes another drag, and his chuckle is dark. "¿Qué te creés, que no vi los cigarros que guardás en el cajón?" (What do you think, that I didn't see the cigarettes you keep in the drawer?)

The next words need no translation. It’s a threat. A big brother threat. 

"Cuando vuelva a la casa te voy a agarrar a palos, Martín. Dejá de fumar." (When I get home I'm going to beat your ass, Martin. Stop smoking.)

But there's affection underneath the threat. Worry. The kind of protective anger that comes from caring too much.

"No, no me importa si todos tus amigos fuman. Vos no." (No, I don't care if all your friends smoke. You don't.)

Another pause, and his voice softens slightly.

"Mirá, hermano, yo sé que está jodida la situación con mamá, pero..." (Look, brother, I know the situation with mom is fucked up, but...)

He trails off, takes another drag. The silence stretches long enough that you wonder if the call dropped.

"¿Martín? ¿Seguís ahí?" (Martin? Are you still there?)

Whatever his brother says next makes Jimin's shoulders slump. The fight goes out of his posture all at once.

"Sí, ya sé que está preocupada. Pero no puede rechazar la plata y después quejarse de que no alcanza para nada." (Yeah, I know she's worried. But she can't reject the money and then complain that there's not enough for anything.)

His voice drops lower, more intimate. Like he's sharing a secret.

"Escuchame, si ella no la quiere aceptar, me re vale verga. Le voy a hacer el ingreso igual." (Listen to me, if she doesn't want to accept it, I don't give a shit. I'm going to deposit it anyway.)

Your eyes absentmindedly flick to him as he considers his next words. Or maybe he’s listening in.

"Nah, nah, escuchame." (Nah, nah, listen to me.) His voice softens again. "No le digas nada a mamá de esto, ¿sí? Si pregunta dónde ando, decile que… no sé, que ando con amigos. Que ando estudiando. Lo que sea." (Don’t tell mom anything about this, okay? If she asks where I am, tell her that… I don’t know, that I’m with friends. That I’m studying. Whatever.)

A pause.

The phone is still pressed to his ear when his expression changes.

Goes cold. Hard.

"¿Qué dijiste?" (What did you say?)

His voice drops to something lethal.

"¿Que la mamá prefiere agarrar dinero del papá?" (That mom prefers to take money from dad?)

The cigarette trembles between his fingers.

"Martín, decile a la mamá que como se atreva a agarrar dinero de ese pendejo—" (Martin, tell mom that if she dares to take money from that asshole—)

He cuts himself off. Takes a sharp drag. Exhales through clenched teeth.

"No, no, hermano. Escuchame." (No, no, brother. Listen to me.) His free hand scrubs over his face. "Ese cabrón no va a mandar ni un peso. ¿Sabés cuánto le va a costar mandar dinero desde México? ¿Las transferencias internacionales? ¿Los fees del banco?" (That asshole isn’t going to send a single peso. Do you know how much it’s going to cost him to send money from Mexico? International transfers? Bank fees?)

A bitter laugh escapes him.

"Y aunque mandara algo, no va a ser suficiente. Nunca es suficiente con él." (And even if he sent something, it’s not going to be enough. It’s never enough with him.)

The words come out sharp. Angry.

"No, no hay pero que valga, cabrón." (No, there’s no ‘but’ about it, dude.) He takes a sharp drag, the cherry flaring angry orange. "Ese hijo de puta nos abandonó. Nos dejó sin nada. Y ahora que nosotros estamos bien, ¿quiere jugar al papá responsable?" (That son of a bitch abandoned us. Left us with nothing. And now that we’re doing well, he wants to play responsible dad?)

You can hear the pain underneath the anger. Raw. Bleeding.

"¿Sabés cuánto pinche dinero perdimos en las transferencias cuando nos fuimos de Argentina? ¿Cuánto nos costó empezar de cero acá?" (Do you know how much fucking money we lost in transfers when we left Argentina? How much it cost us to start from zero here?)

Silence stretches. You can see him listening, jaw working around the cigarette.

"Sí, hermano, entiendo que está enojada conmigo. Pero prefiero que esté enojada y segura a que esté contenta y en peligro." (Yeah dude, I understand she’s angry with me. But I’d rather have her angry and safe than happy and in danger.)

He flicks ash onto the pavement with sharp, agitated movements.

"Nah, hermano. Nah. Ese dinero está sucio. Todo lo que toca ese hombre se vuelve una mierda." (Nah, bro. Nah. That money is dirty. Everything that man touches turns to shit.)

Another pause.

"¿Y sabés qué más? Aunque tenga que meterle el dinero a la cuenta sin que sepa, lo voy a hacer. Porque ustedes son mi responsabilidad. No la de él." (And you know what else? Even if I have to put the money in the account without her knowing, I’m going to do it. Because you guys are my responsibility. Not his.)

The cigarette burns down to the filter between his fingers.

He flicks it away.

"Decile que si necesita dinero, que me hable a mí. Que yo siempre he estado acá. Yo nunca la dejé. Yo nunca—" (Tell her if she needs money, to call me. That I’ve always been here. I never left her. I never—)

He stops himself. Takes another drag.

"Martín, ¿me estás escuchando?" (Martin, are you listening to me?)

A reply. Confirmation, you guess by his expression.

"Ese dinero de papá… no lo agarren. Por favor. Yo sé que parece fácil, pero nada de lo que viene de él es fácil. Siempre hay un precio." (That money from dad… don’t take it. Please. I know it seems easy, but nothing that comes from him is easy. There’s always a price.)

He sighs now, listening in before he leans his head back against the wall. 

"Decile que no me espere despierta hoy. Que llego tarde. No quiero pelear con ella. No hoy." (Tell her not to wait up tonight. I’m coming home late. I don’t want to fight with her. Not today.)

His eyes flicker to the sky above him. Perhaps pondering; perhaps buying himself more time. Then:

"Tengo que colgar, hermano. Cuida a mamá. Y si ese pendejo trata de contactarla, me avisas inmediatamente, ¿me escuchaste?" (I have to hang up, brother. Take care of mom. And if that asshole tries to contact her, you let me know immediately, you hear me?)

His voice goes soft again. Protective.

"Te quiero, Martín. Todo va a estar bien." (I love you, Martín. Everything’s going to be okay.)

He ends the call.

Takes another cigarette from the pack.

And when your eyes flicker to his movements—you notice he lights it with hands that aren’t quite steady.

goal: 300 notes

taglist: @cannotalwaysbenight @taevescence @itstoastsworld @somehowukook @stutixmaru @chloepiccoliniii @kimnamjoonmiddletoe @annyeongbitch7 @mar-lo-pap @mikrokookiex @minniejim @curse-of-art @mellyyyyyyx @rpwprpwprpwprw @jkrailme @weasleyswizarding-wheezes @dltyum @dailynnt @sashakittyct @bjoriis @hemmosfear

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[clairewritesfanfics]

Hello! I would like to request Variants with reader who likes to feed them as their love language, theyre not truing to baby them, they just find feeding their partner so domestic!

a/n: Hi, anon! I wasn’t sure if you meant feeding as in literally, physically feeding or if you were referring to preparing their food for them, so I decided to include both. 

He eats it up, and yes, pun intended. These Marks either didn’t get enough positive attention from their parents or lost it and yearns for that warmth once again.

He finds out early in your relationship that he enjoys getting spoonfed by you–only you. He’ll sneer at anyone who tries to do the same. Also, while he doesn’t demand that you make his food and drinks for him, he can’t help but expect that you always have something cooking on the stove every time he’s around. He also gets  grumpy when other people try to eat the food you prepared, in his mind, only he gets that privilege. 

flaxan, omni-mark, FULL MASK, target, no goggles

It’s not that he doesn’t appreciate it when you feed him, but at the same time it makes him competitive, because acts of service are a big part of how he expresses affection. When you bake him a pie, he feels pressured to bake you a cake. When you brew him expensive coffee in the morning, you’re getting freshly squeezed lemonade in the afternoon. When you cook fried chicken, he’s making spaghetti–you get the idea, right? 

shiesty, PRISONER, head cap

The normal ones. More or less. 

If you push a grape into his lips, he’s going to accept it graciously and it’s not going to feel any different from when he’s letting you take a sip of his smoothie. It doesn’t matter where the food is coming from or who is feeding who, the thing that matters most to him is that you are eating together.

maskless, sinister, mohawk, viltrumite

inside the little theatre (these are just random scenes that form in my head while i write but have no place to put in the actual fic, you may ignore them if you want)

setting: angstrom has gathered the alternate marks for war, but it’s lunch time

omni-mark: (takes out a boxed lunch wrapped in a pretty handkerchief)

shiesty: (peers at the contents and laughs) is the rice supposed to be shaped like a bear? what, did you steal that from a fifteen-year-old girl?

omni-mark: (meticulously sets down the expensive-looking lunchbox on the floor and pours himself tea from his insulated bottle) no, my dove made it for me (he says proudly)

the rest of the marks, revealing their own bento: so did mine. 

edit: I FORGOT TO ADD SINISTER OMG

another edit: AND HEAD CAP JKDSFS

Disclaimer: The image used in this post does not belong to writerclaire. It was lifted from: https://gamerant.com/invincible-all-alternate-dimension-invincibles-fates/

ദ്ദി(｡•̀ ,<)~✩‧₊

MAIN MASTERLIST

Any questions for the author? Ask here.

[brandyschillace]

The Forgotten History of the World’s First Transgender Clinic

I finished the first round of edits on my nonfiction history of trans rights today. It will publish with Norton in 2025, but I decided, because I feel so much of my community is here, to provide a bit of the introduction.

[begin sample]

The Institute for Sexual Sciences had offered safe haven to homosexuals and those we today consider transgender for nearly two decades. It had been built on scientific and humanitarian principles established at the end of the 19th century and which blossomed into the sexology of the early 20th. Founded by Magnus Hirschfeld, a Jewish homosexual, the Institute supported tolerance, feminism, diversity, and science. As a result, it became a chief target for Nazi destruction: “It is our pride,” they declared, to strike a blow against the Institute. As for Magnus Hirschfeld, Hitler would label him the “most dangerous Jew in Germany.”6 It was his face Hitler put on his antisemitic propaganda; his likeness that became a target; his bust committed to the flames on the Opernplatz. You have seen the images. You have watched the towering inferno that roared into the night. The burning of Hirschfeld’s library has been immortalized on film reels and in photographs, representative of the Nazi imperative, symbolic of all they would destroy. Yet few remember what they were burning—or why.

Magnus Hirschfeld had built his Institute on powerful ideas, yet in their infancy: that sex and gender characteristics existed upon a vast spectrum, that people could be born this way, and that, as with any other diversity of nature, these identities should be accepted. He would call them Intermediaries.

Intermediaries carried no stigma and no shame; these sexual and Gender nonconformists had a right to live, a right to thrive. They also had a right to joy. Science would lead the way, but this history unfolds as an interwar thriller—patients and physicians risking their lives to be seen and heard even as Hitler began his rise to power. Many weren’t famous; their lives haven’t been celebrated in fiction or film. Born into a late-nineteenth-century world steeped in the “deep anxieties of men about the shifting work, social roles, and power of men over women,” they came into her own just as sexual science entered the crosshairs of prejudice and hate. The Institute’s own community faced abuse, blackmail, and political machinations; they responded with secret publishing campaigns, leaflet drops, pro-homosexual propaganda, and alignments with rebel factions of Berlin’s literati. They also developed groundbreaking gender affirmation surgeries and the first hormone cocktail for supportive gender therapy.

Nothing like the Institute for Sexual Sciences had ever existed before it opened its doors—and despite a hundred years of progress, there has been nothing like it since. Retrieving this tale has been an exercise in pursuing history at its edges and fringes, in ephemera and letters, in medal texts, in translations. Understanding why it became such a target for hatred tells us everything about our present moment, about a world that has not made peace with difference, that still refuses the light of scientific evidence most especially as it concerns sexual and reproductive rights.

[end sample]

I wanted to add a note here: so many people have come together to make this possible. Like Ralf Dose of the Magnus-Hirschfeld-Gesellschaft (Magnus Hirschfeld Archive), Berlin, and Erin Reed, American journalist and transgender rights activist—Katie Sutton, Heike Bauer. I am also deeply indebted to historian, filmmaker and formative theorist Susan Stryker for her feedback, scholarship, and encouragement all along the way. And Laura Helmuth, editor of Scientific American, whose enthusiasm for a short article helped bring the book into being. So many LGBTQ+ historians, archivists, librarians, and activists made the work possible, that its publication testifies to the power of the queer community and its dedication to preserving and celebrating history. But I ALSO want to mention you, folks here on tumblr who have watched and encouraged and supported over the 18 months it took to write it (among other books and projects). @neil-gaiman has been especially wonderful, and @always-coffee too: thank you.

The support of this community has been important as I’ve faced backlash in other quarters. Thank you, all.

NOTE: they are attempting to rebuild the lost library, and you can help: https://magnus-hirschfeld.de/archivzentrum/archive-center/

[welpuu]

Do you want to get into ALIEN STAGE but don't know how?

Introducing the Intro to ALIEN STAGE Masterdoc! I've compiled the MVs + lore relevant or older official media for you to better understand the story :) (among other things)

please share this around if you need to :)

please note that I did all of this alone so might be a few mistakes in release orders and other things 💀

Please please feel free to suggest things that I can add or fix

I tried to give the feeling I had when I was waiting for each release and lore drop in real time

also there isn't any like purely wholesome or miscellaneous art that doesn't have any lore/tidbits or foreshadowing attached to it on here because I feel like you can find those on your own after seeing everything else

*aside from actor au because that's its own thing now

comics are a little different but most of them are important so i put most

Edit: I also decided to add the promo images of each round

Edit 2: birthday arts added

[everythingisamazing]

I really feel like we, as jayvik shippers, need to talk about this shot more:

Like, I have seen it mentioned here and there, but I actually think it's one of the most glaringly obvious hints (its not even a hint tbh) that what is going on between Jayce and Viktor is undeniably framed as romantic. As it was stated by one of the animators: Every detail in animation is intentional. This shot was chosen and it was chosen for a reason.

First of: The timing. This happens after Viktor leaves Jayce. We all know the scene - it often gets (jokingly) called the breakup scene, leading up the "divorce era". So what do we typically see in movies or whatever media after the big breakup? What's the cliche? We see the protagonist, reminiscing and yearning for what has been lost. Often in a montage. Overlaid with some music. Well, it's exactly what we get with Jayce. And while we hear Heimerdingers song in the background going "Go and make some mistakes. You live and you learn", we see Jayce sitting in the rain looking at those two very much male looking figures looking like they are leaning in for a kiss. If that's not enough, I will add more: Jayces scenes are altering with Ekkos in the AU, where he developes his romantic relationship with Jinx. Arcane in general relies heavily on parallels to tell the parts of the story that are not directly shown on screen. And they will very often do it in this manner, were they cut back and forth between scenes, that are thematically relevant to eachother. I will let you decide for yourself, what the thematic relevance could be. Also, speaking of heartbreak - I actually could not remember this shot from watching the show, so I always believed it was edited when I saw it posted as an image, but it's real? Like, you can see the heart, broken in half by the ravine Jayce just climbed out of? The ravine in which he hallucinated Viktor in the fire? Yeah, okay. I am sure whichever highly skilled artist who drew this blatant symbolism (in red and pink, mind you), did it completely by accident. Or maybe they just thought that would be the best way to show their platonic brotherly relationship *shrugs*

Here is something else: As a few people pointed out before, the shot reminded them of the "Lovers of pompeii" - two human remains that were initially thought to be women, but then later discovered to be men. I say, if the people watching made that connection, there is no way in hell that the artists, who work on these shots for months, would not think of this comparison. Especially because the way the corpses are hardened but retain their shape in the AU, is very much like an Arcane-corrupted version of Pompeii. So yeah. I get kind of annoyed when I read comments complaining why people can't accept that Jayce and Viktor are just brothers (I'm talking about the "why does everything have to be sexual/gay" comments). I get annoyed, because if you have a quantum of media literacy, you will CLOCK all the tricks they pulled in the show, that are frequently used in media when portraying romantic relationships. And again, I am talking about a single shot here. As we all know, there is SO MUCH MORE.

[evilmascotsblog]

CatCafe Set Part 1

Hello!

This is what happens when you remember you have free will

This post will be a bit long, mostly because this set is a sort of a frankenstein and i need to explain a few things. I also decided to divide in two parts to try to keep it organized

First, theses itens by SyxamCC, low poly:

I recomend @episims catOMSPs to make the cat furniture functional. Otherwise they will be only decor objects.

Next, the CatFlower by LeoSims (around 5k), and the KittySofa by PixelVibes (around 3k):

I reduce the polygons of theses objects, so it may have a fews scratches around the mesh if you zoom too much around. Dont zoom too much around.

Theses ones are from Cowbuild, also medium poly reduced (around 3K):

Unfortunately, i dont know how to add OMSPs on custom shelves, so this one is only decorative.

And last the wall decals and wall menus... by me! Yay

I didn't find what i pictured in my mind anywhere, so i modified some game meshes and made theses simlishs recolors. Low poly. Images mostly from Pinterest and Canvas

Anyway, that's it. Let me know if you have some problem!

Edit: I noticed a small problem in the cat chair shadow, now fixed. Please redownload if you download before this edit

Download by Simfile 🐈☕Here☕🐈

The part 2 will be a few custom foods that match the theme... But i dont know when it will be posted. idealistically, beetween this week or next week. But i cant promisse anything. I will let this wip here so you can have a ideia of what I've been planning:

[asphaltwhims]

Edit this screenie with me!

This is an unused screenie of Penny Pizzazz and Marcus Flex. Feel free to save the screenshot (Dropbox link below) and follow along with the instructions, or play around with it and do your own thing! I’m going to keep the instructions as simple as possible; hopefully they make sense.

Note: My process is kinda involved, but it’s a relaxing hobby for me. You do not need to do all of these steps! If the process doesn’t bring you joy, don’t bother!

I’m using procreate, but I’m also a photoshop user. You can use any software that has layers and blend modes :)

Instructions and downloads under the cut!

Dropbox link to the screenshot, and overlays!

1. Let’s start with shadows. The first step is to create a new layer. Put the blend mode to “multiply” (this darkens anything you draw on the layer). Then select a soft brush. We’ll start with Penny’s face. Use the eyedropper tool to choose a shadowy color of her skin (hold your finger on the color you want).

2. Decide where the light will be coming from (we’ll be placing it behind them on the top left). Deepen the shadows already made by the game, and add some shadows opposite to where the light will be. Choose a darker color to match each area you’re drawing on (Penny’s hair, her shirt, Marcus’ skin, his sweater).

When you’re finished drawing the shadows, go into your layer and lower the opacity. Less is more!

3. Choose the eraser (set it to soft brush). With a light hand, soften any shaded areas that are too harsh. Basically you want to blend the shadow with the skin using the eraser. You can also use Gaussian blur!

4. Let’s add some background lighting. This will also be our guide as we add bolder highlights in the next steps. Make a new layer and set the blend mode to “add.” Take your soft brush and a yellowy-orange color, and draw some glowy light coming from the top left.

Lower the opacity and take the eraser and erase much of the light on the right side of Marcus, and erase a bit of the light on their skin/ hair/ etc (like we did with the shadows). You can use Gaussian blur here too!

Note about lighting and highlights: experiment with the color of light, because some will look better depending on the environment and the sims skin tones. Because Penny and Marcus have dark skin, a bolder or darker yellow/orange will look much better than a pale yellow.

5. Let’s start adding more highlights! Make another new layer and change the blend mode to “add.” Choose a yellow-orange and paint some highlights on Penny’s hair, her left shoulder, her chest, cheekbone, and the left side of Marcus’ face. I made the image on the left a different color so you can see where I put the highlights.

Lower the opacity, and use the eraser or Gaussian blur to blend.

6. More highlights! Make a new layer and set the blend mode to “overlay.” Overlay lightens while adding color. I use “light pen” for any outlined highlights (the outer left of Penny’s hair, Penny’s shoulder, the left side of Marcus’ face), and I use a soft brush for the rest. Lower with the opacity, and use the eraser to blend.

This is a great time to play around with other highlight colors! I’m sticking with yellows, so I chose a peach color. Note: the red is to show what I drew.

7. We’re going to import a light leak overlay, and set the layer to “screen.” Then take your eraser, and erase any areas where you don’t want there to be too much light (red areas).

Finally, I’ll merge the layers together and bump up the highlights by going to adjustments > curves. Then I’ll add noise, and a vintage dust overlay. Sometimes I do more than this, sometimes less. I also like to draw hair strands and stuff, but that’s a whole second tutorial.

[simandy]

CREATE YOUR OWN LOADING + MENU SCREEN TUTORIAL MASTERLIST so you won't be held hostage by AI anymore

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*if this is outdated, @vyxated got our backs with this bug fix

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Thanks @ellesimsworld !!

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Unsplash / Pexels / Pixabay / LifeOfPix / Vecteezy

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Paint Tool Sai (🏴‍☠️) (thank you @fangirlinginleatherboots !)

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I think that covers it. And remember kids, bots were supposed to be doing things humans weren't capable of doing! If you can do it and there's a bot taking your place, revolt! This includes ART. Defend art! Make your own stuff and never be dependent on people who didn't want to make any effort to remain human.

[prentissluvr]

take my breath away — sam winchester

pairing : sam winchester x gn!reader ➖⟢ genre : angst, hurt/comfort, fluff ➖⟢ cw : features dean x reader (platonic), near death experience, suffocation, other canon violence and death, injuries, blood mention, swearing, so much pining, case fic, stereotypical witch, (not) unrequited love, petty fights/arguments, petty sam, kissing, crying, guilt, reader vaguely implied to be shorter than sam, pet names, food mentions, (baby, honey - from sam, darlin'/kiddo from dean), no use of y/n, mentions of end of season 2-4 spoilers, poorly edited, lmk if i missed something! ➖⟢ wc : 13.7K summary : because of an unexpected witch's curse, it's almost too late for you and sam to confess your feelings to each other.

MOVED BLOGS TO @sammyluvr !! no longer active on this blog! all fics can be found there!

you see sam when it rains. even if he’s sitting right in front of you, you’ll look out the car window and at the rivulets of water rushing down the glass, distorting the image of an empty highway and summer-time trees at dusk, and you’ll see him at seventeen with rain in his hair and running down his cheeks. you’ll think of that smile he gave you as he took your hand and how that look he had in his eyes haunts you worse than any ghost you’ve seen, because you think it could’ve been love. sometimes, you’ll still see glimpses of that sam, but he can be rare. so, you go as far to wonder if maybe he still looks at you like that when your gaze is turned away. 

once, when the windows were down and he was sitting in the back with you for a change, the spring air was nice and clean as it filtered into the sometimes stuffy car, and you felt his multicolor gaze watching you. the look on his face changed when you locked eyes, but for an imagined moment, it seemed that you—your eyes closed against the wind and a light smile on your face that, for once, wasn’t grim—were his everything.

you press your temple to the cold glass of the window, hoping it’ll sober you up a little from your love-drunk state. it’s so goddamn stupid that you’re even thinking about him like this right now, because he’s still sort of mad at you for something rash you did during your last hunt. only you don’t think it was stupid, so you’re half pissed that he won’t let it go. staring at the back of his head and the pretty curled ends of his hair, you sigh quietly. even his shoulders rising up past the seat are handsome. you miss him, and he’s close enough to reach out and touch.

dean’s voice breaks your reverie, and you have to draw in a deep breath. without you even noticing, thinking about sam so hard makes you breathless, almost every time.

“so, why don’t you give us the full rundown, sammy? ‘fore either of you decide to conk out on me,” dean suggests. that means he’s bored, because neither of you will fall asleep for at least another hour or two, and you’ll probably take your turn driving for a few soon.

“sure,” sam agrees, and you hear the shuffle of papers as he digs out a newspaper article and some notes. “three people in the last three weeks all died from suffocation, but with no apparent cause. they just,” sam’s shoulders move a little as he motions vaguely with his hands, “stopped breathing.”

“sounds witchy to me,” dean says, very predictably. you think you could’ve said those exact words at the exact same time if you wanted to tease him about it.

“yeah. what’s weird is that the vics were reported feeling out of breath up to 16 hours before they actually died. says it looks like they slowly died from oxygen deprivation,” sam adds.

“huh. so not hex bags, but another sort of spell?” you wonder aloud, easily talking about the case despite the remainders of tension between you and sam. that’s just how it is, with all of you. even when you’re mad, you still work the case.

“most likely,” sam agrees, “the vics went about their days pretty much normally until they died, so they were in different places as they were dying. seems like a hex bag wouldn’t work unless it was on them the whole time.” you nod, and though he’s not turned around to look at you, you’re sure he knows anyway.

“alright, well. looks like we’ve got our work cut out for us,” dean states, “we’ll be in town in the morning, so we’ll rest up real quick then head to the police station. you two can do your interviewing magic with the vic’s families and hopefully we’ll know more by then.”

this was easily predicted as well. for as long as you’ve been able to pass as an fbi agent, he’s mostly left interviewing the families to you and sam since the two of you tend to be more socially appropriate, and thus, more able to get information without raising alarms. though, the questions you ask never cease to be weird and confusing to the world’s oblivious civilians. of course, dean makes exceptions for pretty girls who he can flirt his way into telling him just about anything. this time, you wish dean would make an exception because it kills you that you and sam aren’t getting along perfectly right now. you know that you’ll work it out soon, probably within the week, but you still hate it.

through the impala’s windows, you watch the sky turn dark and the moon come out. you drive, then fall asleep to the rumble of the engine for a few hours, and wake to see the sky turn light again. keeping it all to yourself, you revel in the sunrise and the way it turns the sky bright and the clouds cotton candy pink around the edges. 

you sink into the sight of sam sleeping in front of you, the early morning light kissing his features and shining through his mousy brown hair. if you lean a little to the left, you can soak up the image of his softly closed eyes, the mole by his nose, and the relaxed curve of his lips. you smile to yourself at the way his hair is all messed up on the side of his head that’s resting against the window until you catch dean’s gaze on you through the rearview mirror. you tear your gaze from both brothers and latch it to the moving countryside out the window. for a while now, you’ve figured there’s no way dean doesn’t see that you’re in love with his brother, but despite such, he doesn’t say much outside of lightheartedly teasing for the both of you. he’s the only one who knows that sam looks at you just like that when you’re the one who’s asleep. he’s the one who sees sam turn, trying to be subtle, just to look at the way the moonlight kisses your lips, wishing it was him.

it’s eight in the morning when you pull up to the first motel you see. you wished sam hadn’t woken up on his own half an hour ago. that way, you could’ve put your hand on his shoulder, shaken him all soft and gentle like you do just for him, and mumbled, “wake up, sammy. we’re here.” then he’d stir, still sweet-looking from sleep and give you a little smile if he’d managed to dream without nightmares before remembering he’s supposed to still be upset with you.

instead, he’s fully awake when he climbs out of the car and pops your door open like he does every time you can’t beat him to it. he doesn’t talk about that habit, because he knows you can take care of it yourself. but if it’s so easy for him to do it as you grab your bag, then he thinks there’s no harm. besides, you’ve never told him off for it, so he does that and just about any other little thing he can get away with for you. and much to your chagrin, he still does it all when he’s pissed at you. he’s too good like that, even if you think he should just get over what happened a few days ago.

the three of you are just about wordless as you check in and pile into the room, all tired and without anything of importance to say. when you catch sight of the couch in the room, you sigh in relief. it would’ve been sam’s turn to share the bed, and you’re not sure you could do that this time around. sometimes it’s hard to breathe when he’s right there, so close after you’ve spent literal hours in the car just plain old pining over him. so, you find an extra sheet in the closet and steal a pillow from dean’s bed, all but collapsing onto the couch with a morning-time “goodnight.”

you don’t care that your feet hang over the edge unless you curl up or mind the way the springs dig into the flesh of your side, all you want is to welcome quick sleep. you’re lucky, and drift off moments later. you barely have time to think about how glad you are that you won’t have one of your nights where you lay awake, staring at the ceiling as you wonder why you would fall in love with someone you can’t have. him and dean are all you have, and no matter how your heart aches to pull sam close, you’d never do anything to jeopordize what you have, here and now. he’s your best friend, that’s all you can ask for in this life, maybe even more than you should.

waking as you normally do to the sounds of sam and dean moving about the motel room, you sit up, a little groggy. you glance at the clock, and you’ve slept for about four hours, just as predicted.

“up ‘n at ‘em,” dean says as he walks past you, giving you a playful clap on the back.

“mhmm,” is all you respond with, swinging your legs off the couch and digging through your bag for your pant suit and toothbrush. dean’s already in his, and sam’s brushing his teeth in the bathroom, still in his tshirt and jeans from yesterday. you don’t even have to say a word for sam to move out of the bathroom as you approach. so he won’t have to wait with a mouth full of tooth-paste and spit for you too long, you change quickly, leaving your clothes on the bathroom floor and opening the door for sam as you begin to brush your own teeth. the two of you maneuver around the cramped space with practiced ease, and when he’s done, he disappears back into the bedroom space without a word. when he’s petty to other people, you think it’s kind of hot. but when he does it to you, it makes you want to ring his neck. 

“asshole,” you mumble to yourself. it’s a classic tango between the two of you; you want him to just get over it, and he wants you to admit that he’s right, or the other way around. and both of you are far too stubborn to be the one to relent first, so you’ll be pissy at each other for a few days until you get bored of it or dean gets too annoyed. all it takes to get past it is you putting your head in his lap after a long day, maybe him resting his head on your shoulder, or the two of you laughing too hard over something together to keep being mad, and maybe just a few mumbled apologies from the both of you. if it’s really big enough for none of those things to work, then you talk about it until things are okay again.

dean drops you off at the first victim’s house, with the promise that the second is close enough to walk to, and the third he’ll join you for once he’s done at the coroner’s office.

sam still won’t talk to you as you wait on the front porch of the house after ringing the doorbell. a young woman opens the door, probably around your own age, and you smile at her before flashing your badge.

“hi. i’m agent green. this is my partner, agent smith. we’re looking for natalie goh?” you greet, comfortable and at ease in your ruse.

“that’s me,” she confirms for you, sounding nice enough. “how can i help you, agents?”

“we would just like to ask a few questions about your late boyfriend, henry,” sam explains, “may we come inside?”

her face falls when he mentions her boyfriend, but she nods her head. “of course, come in.” you follow her to the living room where she motions for you to sit. “let me grab you something to drink,” she offers, disappearing into the next room before you can refuse. “is lemonade okay? my next door neighbor brought me so much when she heard about henry… you know. i can’t possibly drink it all.”

you want to say no, not wanting to make her go through the extra effort, but you accept for both you and sam out of sympathy. she sounds like she needs to keep her hands busy to distract herself. 

she sets the drinks down in front of you, asking as she sits, “what, uhm, what is the fbi’s interest in … in henry?”

“we’re investigating a few odd deaths, like your boyfriend’s, in the area,” sam explains, “now, was there anything unusual the day of or the days leading up to his death?”

“i, um, i don’t– i don’t think so, like what? and, i’m sorry, the police told me he most likely choked on something, how is that strange?” natalie frets. you glance at sam and catch him readjusting his features as a brief look of surprise crosses over his face. it makes sense that that’s what the police told her, but you hadn’t known they’d said so.

“well, natalie, the cause of his death wasn’t entirely clear, and because a few more people have died similarly since, we’re just being extra thorough,” you do your best to placate her before she starts getting too wary of you and sam. “it really could mean nothing, but it’s important for us to cover all of our bases. so, can you tell us if there was anything out of the ordinary? was he acting strange, or did you notice anything unusual around the house, like maybe cold spots or flickering lights?”

she furrows her eyebrows in confusion, “um, no. no, nothing like that. he was just being him, you know, he was such an amazing boyfriend, he made me breakfast that morning even though he said he was tired. i already told this to the police, but he sounded kind of out of breath when we called. that was the last time i talked to him,” her voice begins to tremble, so you reach out a comforting hand and place it atop hers from across the table. “i had to stay late at work, and when i got home, he was … he was gone. i found him in the kitchen.” a tear slips down her cheek, and she moves her hand away from yours to wipe it off. you shift back in your seat and glance at sam, trying to give him the hint to get moving. but, he keeps his gaze trained elsewhere.

you resist the urge to roll your eyes at him, almost ready to pull the “may i use your bathroom” ruse first. it’s almost always sam who does it, and sure enough, he clears his throat to ask.

“would you mind if i used your restroom?”

“oh, sure,” she says, “there’s one by the pantry, through the kitchen and to the left.”

he stands, thanking her a bit awkwardly before disappearing through the doorway to the kitchen.

once he’s gone, you turn your attention back to natalie. “i know that this can be a difficult question, but is there anyone that comes to mind who might want to hurt henry?” absentmindedly, you take a sip of the lemonade after speaking. it’s sweet, but not too sugary. you discover that it’s just about perfect, and you can’t hold back from continually taking a few sips here and there to fight back the heat of the afternoon.

“oh, goodness, no,” she sounds horrified by that prospect, “henry was just the kindest. the best boyfriend i could ask for,” she reiterates. “you think that someone– that someone…?”

“no, no,” you lie, “there would be signs if someone else hurt him, but like i said, we just need to be completely thorough. i’m sorry to even have to ask. now, if you’re okay with it, could you tell me more about henry?”

“yes, yeah, i can do that,” she sighs in relief. it’s clear she wants to talk about him, and probably how much she misses him. you do your best to pay close attention and keep her focused on you and your questions as sam takes forever “in the bathroom.” nothing she says is very useful, it’s all about how loving and kind and just about perfect he was to her. at first, you’re able to listen without a qualm, but the more she rambles about how much she loved him, and maybe even more so how much he loved her, your mind inevitably wanders to sam. sam and your bothersome, bottomless pit of unrequited love.

you kindly cut natalie off and stand when you hear sam’s footsteps approach. “it sounds like henry was a wonderful person. i’m so sorry for your loss.” despite knowing those words don’t mean or do much, you still fill them with as much sincerity as you can. sam is at your side again. “we really appreciate you taking the time to talk to us. we’ll get out of your hair now.”

she shows you to the front door out of courtesy, and you give her one last thank you and kind smile before turning your back and heading to the sidewalk, sam just ahead of you. pushing off the ground a little harder for a few steps, you catch up to him and his long strides, unable to resist the urge to let your gaze wander to his face.

“anything?” you ask, hoping he’ll look at you too.

“nope,” he shakes his head, “no emf, no hexbags, nothing out of the ordinary.” pursing your lips, you let your gaze fall to the sidewalk ahead of you when he doesn’t make eye-contact. “anything on your end?”

“not really. she just rambled about how in love they were. said there was nothing strange about the day, or him, and that he had no enemies. she made him sound like a complete angel.” without you realizing, your lip curls a little in jealousy.

sam just huffs in response, likely bothered by the lack of information. “let’s hope we can find something about the other two.”

you repeat the ruse at the next two homes, and sam’s hopes are dashed, because by the time you, sam, and dean are back at the motel room, just about the only thing of value you bring back is a paper bag of takeout.

spread out in the room, with your respective assortments of food, notes, and computers, you share all the details you can think of to hopefully find a pattern. dean’s on his bed, sam on the couch, and you at the dingy table. the biggest discovery is on dean’s part. according to the coroner, each of the victim’s hearts had inexplicably shrunken and shriveled up. this detail was kept out of the public eye because of how strange it was; it happened after each victim died, as it very clearly did not contribute to the cause of death. that, and the coroner is absolutely stumped by how such a thing could possibly happen.

dean asks if the first two interviews were as fruitless as the last, and you sigh as you explain just how unhelpful they’d been.

“the only common threads are that they were young adults, all in a relationship, and all sounded to be just about the perfect partner,” you report. “i mean, maybe the witch is targeting people in loving relationships? jealousy? or maybe they have some sort of secret we couldn’t dig up just by interviewing. the people we talked to were obviously biased. the first victim’s girlfriend wouldn’t stop talking about how amazing he was, the second’s sister told us she was the sweetest girlfriend out there, and you heard how the third’s husband described them.”

“really?” dean asks. “i mean, yeah, i heard the last guy, but i ran into the first vic’s girlfriend’s sister at the station. she was doing something for her sister there, and she did not seem too impressed with the guy when i asked about him.”

you raise your eyebrows, about to speak again when sam beats you to it.

“so maybe we are looking for secrets. did she say what she wasn’t impressed with?” sam says just about the exact thing you were about to.

dean shrugs. “jus’ said he was sort of a lazy boyfriend. didn’t take good enough care of her or show his love all that much.”

“maybe he was cheating?” you suggest.

“maybe,” dean repeats. “how’s this? you can dig into records and see if you can find any dirt on the vics. sam, you can look for a spell that might’ve caused this, and i’ll scout out a few local places. the officer i was talking to gave me a few places the vics probably spent time at.”

“sure,” you agree, a teasing edge to your voice, “just don’t get too distracted. we all know by ‘local places’ you mean bars. no sex unless you solve the case, and if you solve the case, no sex because you have to report back to us.”

“so no sex?” he plays along, acting all offended.

“nope!” you confirm, giving a firm shake of your head. 

dean’s already on his way out the door as he chimes, “no promises!”

“seriously!” sam calls after him, “we need info!” he groans and shakes his head when the only response he gets is the shutting of the door. when he doesn’t make a snarky comment about dean to you, you clench your jaw.

“sam.” it takes a lot of willpower to sound bothered by him, rather than say his name all sweet.

“mhmm?” he’s purposely keeping his gaze on his computer and his response short.

you roll your eyes, “c’mon, can’t you just get over it? it’s not like you haven’t done stupider things to get a case done.”

since you insist on arguing about it, he lifts his gaze, looking unimpressed. “doesn’t mean you shouldn’t have done it. you almost got dean hurt.”

“and i already apologized for that!” you say indignantly, annoyed that that’s his argument. he knows full well, better than anyone, that dean can deal with a measly vamp, even if he wasn’t expecting it. “it’s not like dean can’t handle himself!”

“you should have at least run the plan by us,” he says. you roll your eyes again.

“it was a spur of the moment decision. unless you wanted me to shout it out, compromise my position, and let every single vamp in that nest know exactly what i was gonna do?” you retort. sam sighs, in the way that you can tell he knows your argument is better than his. so, you still can’t figure out why he’s still upset about it, outside of his usual stubbornness.

“it could’ve gone so wrong,” is all he can come up with, “and you know that. it was stupid, and you could’ve gotten hurt. or worse.” there it is. his voice changed when he said you could’ve gotten hurt.

it’s your turn to sigh, this time because you finally understand. it makes your heart flutter a little, and it makes you even more annoyed. “sam, i can handle myself. you know that. sure, it was kind of stupid, and not a fully thought out plan, but i had to figure out a way to get us out of there! four vamps were about to find you, so i had to distract them. easiest way was with my blood. one vamp found dean, but he handled that just as easy as he always does. i knew you’d have my back, so i let the other three come after me. and look! we’re all here, alive and kicking! this is such a stupid thing for you to get mad over.”

“it’s stupid for me to want you to be more careful?” he counters.

“sam, we have to take risks in this job, we do it all the time. that’s just how this works, what’s different about this time?” you question.

“just–” he presses his forefinger and thumb to the bridge of his nose as he tries to come up with a reason that’s good enough. a reason that’s not “i worry about you,” because that’ll make you even more angry, make it sounds like he doesn’t think you’re a good enough hunter. and he certainly can’t explain that that’s not it, he worries because the worst possible thing to him is you getting hurt. because then you’d ask why and he wouldn’t be able to tell you the truth.

“can’t we just be done with this?” you ask, and the tone of your voice is one he can’t deny. you’re upset, bothered, and tired of his pettiness. more so, you’re just plain old tired. it takes too much effort to stay upset with one another. he lets your question sit in the air for a moment longer.

“yeah,” he relents, voice quiet now. he’s holding back words, touches, feelings. he wants to tell you, “just please don’t put yourself in danger, it scares me. i get so worried. it makes me want to pull you close and protect you even though i know you don’t need it. that’s why i’m upset.” he wants to get up from the couch and set his computer across from yours, sit across from you, just so you’re a little bit closer. he wants to touch you so bad that it sort of hurts.

instead, he has to live for the relieved breath that huffs out through your nose, so quiet it couldn’t quite be counted as a sigh.

“good,” you say, voice matching his own quietness. there’s still tension hanging between you, but soon enough, it’ll dissipate altogether, and tomorrow, you’ll be back to joking with one another, brushing shoulders, and hiding how in love with each other you are. maybe he can even convince you to share his bed tonight. the couch is horridly uncomfortable.

only after you’re convinced that sam won’t be all pissy to you until the next time you find something silly to be angry about do you begin on your research. it’s just as fruitless as everything else today, and after hours searching and drawing banks, you go back to the interviews, jotting down all the details you can remember in case seeing it on paper helps something new and useful jump out at you.

all you get is a dull ringing in your ear, probably courtesy of some old motel appliance. but the ringing grows louder, and in your tired state, it becomes completely bothersome. you press your hand against your left ear—it’s loudest there—and shut your eyes. it’s been an hour or two since sam has shifted to sit across from you to escape the digging springs of the couch, so the movement catches his attention quickly.

“you alright?” he asks, already with a little pinch of his eyebrows in worry.

“yeah, ‘m fine,” you say, realizing the ringing must be the beginning of a headache, since sam can’t seem to hear it. “just a headache,” you explain.

“want me to get you some advil?” he offers.

“no, no that’s alright, i’ve got it,” you deny, but you don’t get up. your head doesn’t really hurt, and the ringing fades as fast as it appeared. you’re about to sigh in relief, when suddenly, you’re sort of breathless, and you gasp to take in air. the moment passes, and you shake your head to yourself a little. it’s weird until you remember that sam’s looking at you with that little furrow to his brow, sweet and concerned, like the last thing he wants is for you to be in pain, even if it’s just a measly headache. that look in his eyes as his gaze focuses on you and only you is certainly enough to take your breath away. it just took you by surprise this time.

“you sure you’re okay?” he asks again, worried by your gasp.

“mhmm,” you hum, trying to keep your tone light and trying not to look too hard into his pretty hazel eyes. “jus’ hurt for a second, but i think the headache’s gone away.”

“okay,” he relents, not fully convinced, but willing to take your word for it and refocus on his computer screen. you turn your own attention back to the papers in front of you, away from his face, so close that it sends your heart into wild palpitations every time your mind wanders from the case and to his presence. in other words, it happens often.

you’re determined to find something, some detail that clicks and leads you to anything important. but after another unfocused hour, your eyelids are heavy, almost as much as your head as you wish to just sink down and fall asleep right there on that little table.

“you should get some sleep,” sam says, no stranger to the way you look when you should quit being stubborn and just go to bed. and normally, you’d resist, but the idea of sleep, of closing your eyes and letting your breath even out, slow down, is far too inviting.

so, you relent, and close your laptop. “yeah,” you say as you shuffle the sheets of paper together and set them on a neat pile on top of your computer.

“take the bed, too,” he insists, “you look exhausted.”

“mm, glad to hear it,” you joke halfheartedly, “but, no, sam, that couch is too small for you. it’s small for me, even.”

“and it’s seriously uncomfortable,” he adds.

“so we’ll share. i’ll leave space for you. you should come to bed soon, too. ‘s not like we should wait up for dean,” you snicker. sam rolls his eyes, but easily agrees with your conclusion. as you settle into the covers of the motel bed, you consider waiting up for him so you can feel the dip of the bed, then the warmth that radiates off him as he lays beside you. you want to feel the brush of his long arms, the heel of his foot or nudge of his toe, sometimes you’re treated with the broad expanse of his back. but sleep claims you before you can even make the attempt.

sam’s big hand on your shoulder brings you back into consciousness, and you breathe in long and hard since it seems like you can’t quite fill your lungs. then your eyes flutter open, and sam’s figure is hovering over yours, his hand lingering, then slipping away as he sees you wake. he doesn’t stand fully upright yet, unsure if he should say something or not.

he keeps his voice low, not wanting to alert dean, who’s changing in the bathroom. “are you feeling fine?”

groggy as you sit up, you peek at the clock. 8:43. you slept through the 8:30 alarm. odd.

“uh, yeah, i’m fine,” you answer, voice gravelly from the morning’s first use, “why?”

sam shifts to sit on the bedside opposite you. “nothing just… i don’t know, you were just breathing really light last night. i could barely even tell you were breathing at some points and normally you breathe pretty noticeably while you sleep. and, you know, given this case, i just wanted to check.”

sam notices the way you breathe when you sleep. that’s just about all you can take away from his words. sam pays enough attention to the way you breathe when you sleep to know when your breathing is different. sam thinks about the way that you breathe. maybe that’d be creepy from anyone else, but you think about the way he breathes too. the way it lulls you to sleep when he’s close, the way it catches when he’s surprised, or the way it changes when he’s about to laugh.

then you remember he’s said something you’re supposed to address. “it’s nothing, sam. i feel totally fine, just tired from working back to back cases, is all.” you say this because you’re sure of it; you do feel just fine. and sam makes you breathless all the time, so there's nothing out of the ordinary there.

“are you sure?” he presses, “you slept straight through the alarm, like a rock.”

“i’m sure,” you say.

“okay,” you can immediately tell that he’s not entirely convinced as he says this, “but if anything happens or changes or you feel like you’re out of breath, you promise to tell me or dean?”

“of course.” you may not want to be fussed over, but you certainly don’t want to go out in such a stupid, horrible way. “i promise,” you add, just for his sake. dean’s phone starts ringing, and he appears out of the bathroom.

“either way, let’s get this case done, and quick,” sam insists.

“don’t have to tell me twice,” you agree, throwing off the covers to get ready for the day.

dean’s voice keeps you from lingering by sam’s side. “hey, crazy kids, let’s hurry it up. just got off the phone with the sheriff, there was another death last night.”

“dammit,” you and sam swear in unison. 

on the way to the scene, dean updates you on his findings from last night. he was just as unsuccessful as you in finding major dirt on any of the victims, though he recieved similar testimonials to the sister’s about the first, henry. otherwise, he was able to find the witch’s possible hunting ground in a bar where all three victims have been seen with their partners. sam reports that he’s getting close to finding the right spell after discovering a few similar ones. 

when you reach the victim’s house, sam and dean check in with the police officers, and you immediately head to interview whoever found the victim’s body. he’s obviously distraught, and probably still in shock from losing his boyfriend. you do your best to stay gentle, kind, and understanding as you lead him through the interview, interrupting your questions for the occasional “he sounds like he was a wonderful partner,” or other such comforting phrase as the man, tyler, rambles about how great he was, how guilty he feels, and just about nothing helpful except for adding another data point to the one pattern you have.

“thank you for your help,” you say, giving him a tight lipped smile before standing and drifting over to sam on instinct as you mull over the information you recieved. he’s poking around in the kitchen, subtly searching for anything abnormal and most likely coming up empty as this house follows the unhelpful trend of the rest.

“anything?” he asks once you’re by his side.

you shake your head, “just the madly in love bit. everything was pretty much the same as the other vics as well.” sam sighs like he expected that answer.

“i think we should look more into the first victim,” he suggests, echoing the same thought that you had. “maybe interview natalie again, see if she admits something different about henry if we push it a little.”

“i agree, though i’d say let’s hold off on interviewing her again unless we can’t find the spell soon. even if she admits that he wasn’t as good to her as she said before, i’m not sure how much good that does in comparison to the spell. if you keep looking into that, i’ll check henry’s records more thoroughly. i looked into him less last night since we already had something on him.” you revise the plan a bit, and sam nods in agreement, making that sort of awkward face with his lips pursed and eyebrows raised that he does when someone without the knowledge you have comes in hearing range. you glance behind you to see the figure of a police officer through the kitchen doorway and are fast to quit all talk of spells and witches to avoid sounding insane.

“dean can scout out the bar again to see if this most recent couple frequented there as well,” sam puts the last piece in place for your plan, just as you imagined it. once it seems like there’s nothing left to glean from the house, you grab dean and head out back to the car. the brothers walk a bit ahead of you as sam fills dean in on the plan.

“excuse me! agent,” a voice calls from behind you. the three of you turn, and you wave the two of them away to indicate that you’ll deal with it.

“yes?” you respond as an officer approaches.

“your partner asked for the full coroner’s reports on paper from the first three victims,” she says, holding out a file as she reaches you.

“ah! right. thank you, officer.” you give her a polite smile and take the papers before turning away. sam and dean have made it to the impala, parked a bit away due to the police cars surrounding the house. you jog at a casual pace to catch up, but falter about halfway there as your breaths turn all shuddery and quick. you stop, trying to right yourself and desperate to brush this off, but you just keep gulping in breaths, feeling like you’ve run a mile at top speed without warming up. 

shit. shit, shit, shit, is all you can think. fuck.

as you stare at the car, dean’s already in the front seat and sam is pulling the passenger’s door open, and you will with all your might that neither of them will turn to look for you. you don’t want them to catch you like this. instead, you want to explain it to them, calm and collected and full of breath because your body’s beginning to readjust and you should be fine to walk over in moments and dammit– sam’s twisted around to find you, his hands resting on the top of the car and the door. the second he catches sight of you, just standing there with your chest heaving up and down, he’s launched himself away from the car and towards you. he calls your name, worry flooding his voice. you had tried to recompose yourself the second you saw his head turning, but it was too late, and now he’s jogging your way.

sam is in front of you in moments, his hands on your shoulders and his face fallen in a deep frown.

“you’re not okay, are you?”

“i– i’m–,” you can’t think of what to say, and though your breath is returning to normal, you can’t deny him. “let’s just get in the car. please.” 

his jaw clenches and his eyes flick all over you, from the top of your head to the point of your shoes like he always looks at you when he thinks you might be hurt. he’s taking you in, quick and almost panicked so he can fix it right away. he takes a steadying breath because he’s so ovewrought he can barely think. “fine,” he says, voice carefully hushed. if he doesn’t control it, he might start shouting, panicking even. sam can’t bear to leave you untouched now, so he leaves a hand splayed on your shoulder blade as you finish the short walk to the car. he opens the back door and climbs right in, completely foregoing his spot in the passenger’s seat. you realize he wants to sit in the back with you, and it would’ve been sweet if it wasn’t because you’re probably dying.

jaw clenched, you follow him in, and dean’s already twisted around in his seat, gaze shifting between the two of you to try and read what just happened.

“what was that all about?” he questions, eyebrows raised. you put a hand on sam’s knee to stop him from telling dean.

“the witch got me,” you drop the news without much hesitation, more focused on getting your two cents in before either of them start grilling you with questions and making stupid suggestions to try and fix it, “it’s gotta be someone we met or passed by yesterday. one of the people we interviewed or someone from the diner we had lunch at; these types of spells normally require the victim’s dna. and before either of you do anything stupid or crazy, we’re gonna stick with the same plan. dean, you can drop us at the motel so we can find the spell and reversal, and you find out what you can at the bar. got it?”

dean looks at you like you’re crazy, and you ignore sam’s gaze altogether. 

“got it?” dean repeats back to you, incredulous, “not so much, kid, i’m gonna need you to explain this to me a little better. what do you mean the witch got you? you mean you’re gonna stop breathing in some odd hours that might not be enough time for us to find and gank this witch?”

“yes, dean, that’s what i mean. try to keep up,” you turn a little mean as your frustration takes over in order to compensate for your growing fear. “and i’m not going to die, so quit being so pessimistic. we’ll find the witch, as long as we stay focused on the plan. unless you have a faster way, which i’d be happy to abide by.” neither have a good enough retort to that, so you continue, “can we go now? we might not have that much time.”

with much effort, dean turns back in his seat and starts the engine. his voice is low when he asks, “what do you mean by that?”

“well, i don’t know exactly when this whole thing started!” you answer as he pulls into the street, “sam said my breathing wasn’t totally normal last night. if that means anything, well, i went to bed early last night, around eleven. that could mean it’s been at least, i don’t know,” you check the time, “eleven hours. which gives us five, minimum.” you think you can physically feel sam tense up next to you.

“five hours?” sam repeats, his voice taut, like he’s holding back anger, fear, maybe more. “and were there any times before that you felt out of breath?” 

you think back to yesterday. sure, every time i looked at you, isn’t quite an answer that you can give. “um, i’m not sure,” you say, sounding more cryptic than casual, as you had meant. you see dean’s eyebrow raise through the rearview mirror.

“you’re not sure?” dean asks, unbelieving. the two brothers are starting to sound like a broken record as they repeat every other thing you say back to you.

“yeah. nothing comes to mind,” you say, more firmly this time.

sam sighs. “you can’t seriously think it’s a good idea to hide that sort of thing from us if it happened. this is serious.”

you scoff, “oh, really? i wasn’t aware, it’s not like it’s my life on the line, or anything like that.”

“alright, let’s not get pissy,” dean intervenes.

“pissy?” you scoff again, “right, because this is serious and i’m apparently unaware of that.”

dean says your name, voice a little chiding as he tries to disperse some of the tension that’s building within the small space of the car. “let’s focus on the case here. sam is right, we need to know everything you do. was there anything else weird you noticed last night?”

“i don’t know!” you exclaim before calming down a bit and taking a deep breath. “i had this ringing in my ears for a minute, around ten. i thought it was a headache. and … i did feel breathless, but just for a second. i thought it was … something else.”

“why didn’t you say anything?” sam asks, immediately remembering this. you had pressed your hand to your ear. he believed you when you said it was a headache, but he should have known better. you’re far more likely to rub your temples when you feel a headache coming on.

“i thought it was something else,” you repeat.

“like what?” he presses.

“like–” you hesitate, “like nothing. just nothing, i don’t know.”

dean interrupts again to get things back on track, “so that could mean four hours, not five.” you see sam’s jaw clenching out of the corner of your eye.

“yeah,” you confirm, hoping your voice doesn’t reveal how anxious you really are.

“my question is why just you?” dean asks. “i’d normally figure it’s because they suspect you to be a hunter, but if they were able to get your dna, they probably had access to ours, too. the witch think you’re madly in love with sammy or somethin’?”

you fluster at that, mind scrambling, why in the goddamn hell would dean say that? does he want me dead faster? “uhm, uh,” you laugh a little, completely awkward about it, “why would they think that? we were clearly, you know, in a working relationship, not a, hah– romantic,” you clear your throat, “relationship. i’m sure it’s just the hunter thing, maybe they couldn’t get your dna… or they thought i was more worth killing,” you attempt at a joking insult, but you’re still sort of jerking through your words and reeling from someone saying “you’re madly in love with sammy” out loud.

to your left, sam looks almost as flustered as you feel, which brings you an ounce of comfort.

“whatever you say,” dean shrugs.

when you get back to the hotel, sam’s practically running inside to pull out his laptop, and dean speeds away the second the car doors close behind the two of you. both of you are fidgety and antsy as you conduct your research in silence. you think sam’s even more nervous than you, with his leg bouncing and teeth chewing away at his lower lip. you’re not sure if you should comfort him, or let him be in favor of getting the research done. it doesn’t take too long for him to find the original spell, and as he tells you about it, some nervousness dissipates when the both of you get back into the groove of a normal hunt, trying to pretend that this time, the consequences aren’t as personal as they could ever get.

you can’t find any dirt on henry in any records, so you focus on staff from the bar and diner from yesterday to see if there’s any overlap that could have gotten dna from both you and all the other four victims. something else entirely jumps out at you as you check employment records.

“sam, it’s natalie,” you blurt out into the silence of the room. he raises his eyebrows, and you explain before he can even ask. “she works at the bar. and i drank some of that lemonade she gave us. she had easy access to everyone’s dna, and henry was the only deviation from the pattern.”

sam stands as you explain, “okay, let’s go.”

“no, let’s call dean and finish finding the reversal spell. i’d like to have a backup plan, if that’s alright.” sam purses his lips, looking like he wants to argue. you propose something more rational than his idea, “we’ll call dean and let him know. he can go to her house and make sure she’s the real deal before we go, too.”

“fine,” sam agrees, pulling out his phone, just as it begins to ring. he answers it and puts it on speaker, “dean, it’s natalie.”

“yeah, i know. that’s what i was about to tell you, the idiots from last night didn’t bother to mention it,” he complains. “i’m headed to her house right now.” to prove it, you hear the car door open and close. “how’s it going on your end?”

“we found the spell, we’re looking for the reversal right now,” you answer. “call us if you need help.”

“mm, you just take care o’ yourself, alright? i’ll call you back.” after that, all you get is the hang-up tone. 

a bit later, your concentration is interrupted by the pinging of sam’s phone. you watch him as he checks the messages, then looks up at you with a poorly hidden scowl.

“she wasn’t at her house,” he explains, “dean’s headed to her sister’s to look for her there. but it’s definitely her, he found a secret room full of, y’know, as he’d say, ‘witchy stuff.’”

you try to hide your disappointment and the uneven rise and fall of your chest. sam’s stayed mostly focused on the research, but every now and then, you feel him looking you over, brow furrowed and eyes concerned as he checks for anything abnormal. he’s looking at you like that now.

“damn,” is all you manage in response while still trying to stay casual about it.

“how are you feeling?” he asks. you expected the question, but you still don’t want to answer. you’re about to tell him you’re fine, since you’re not really running out of breath yet, until he speaks again before you can, “and don’t say ‘fine.’”

“i am fine,” you insist immediately, “just extra tired from getting a little less oxygen than normal. but nothing crazy. i can still focus on this research and i can still hold a weapon.” you demonstrate by grabbing one of the knives you keep strapped to your thigh and twirling it a little in your hand. sam’s face spells out the word “really?”

“just– tell me if it gets worse. please,” he’s just about begging, and with a bit of puppy dog eye action, you’re crumbling.

“okay, sam,” you relent, letting your voice go soft. he’s really scared for you, and it makes you feel just about every little thing. you want to comfort him, reassure that you’ll be okay, even when you’re terrified for yourself. you want him to comfort you, for that exact reason, and you want to hold his hand. maybe you can be scared together, a little closer than you are now. you want to kiss him, because what if this is the only chance you get? that thought horrifies you. then you wonder if it’s for the best. maybe you should die as his best friend, because dying as his anything is better than scaring him away first. it’s hard to concentrate on the research, but it’s not hard to find the motivation. the hope is to avoid death completely.

finally, you find it.

“i got it, sam!” you’re excited, then a bit breathless after pushing so much air out of your lungs so fast. the breath you take in is sort of shuddering, and it makes sam frown. he doesn’t even try to hide how worried he is. his face is nothing but unadulterated concern and care and … and something else before that expression melts away and he’s focusing on the computer screen that you tilted towards him. the crease between his brows only grows as his eyes flit down the list of ingredients.

“we don’t have the half of these ingredients,” he worries.

“no,” you admit, “but there’s a witch in town who’s away from home who might.”

to get there, sam doesn’t hesitate to steal a car from the motel parking lot, and this time you can’t even argue given the fact that you’re pretty sure you have less than two hours to live at this point. you promised sam you’d tell him if it got worse, but as it does, you want to say something less and less.

sam picks the lock of the door, entering the house carefully with you right behind. weapons drawn, you walk the route that dean gave you to the hidden room, the door in the wall of the hallway left open for you by dean.

it’s much darker than the rest of the house from the lack of windows and bright lights. this, paired with the eerie assortment of basic herbs to what might be jars of blood, makes it look like natalie really leaned into the witchy aesthetic, which you’d find understandable if she weren’t using her magic to kill people.

sam walks faster than you know is wise to match paces with, so you follow behind him slowly as he rushes to set the computer with the list of ingredients on the table in the center of the room abd begin the spell. you’re a split second too late to shout in warning when you see a figure emerge from behind a shelf of herbs.

sam whirls around at your cry, gun raised, only to be hit on the side of the head, hard, by a wooden bat in natalie’s hand. he crumples to the ground despite his size, and without batting an eye, your knife is flying through the air, straight for the spot between natalie’s shoulder blades. but at the last second, she spins around, and with a flick of her hand, the knife falls to the ground. you reach for your gun, but through your hindered breathing, you’re slow. she has no trouble launching the bat at you at an unnatural speed. the wood slams into your chest, sending you sprawling and gasping in your weakened state. you’re fighting for breath so hard that you can barely register her hauling you up and tying your hands behind your back, then doing the same to sam. somehow, she’s able to get his weight on a chair and tie him to the wobbly piece of furniture. then, it’s your turn, and by the time you come back to your senses, breathing far more labored than before, you’re tied to a chair, back to back with sam.

natalie gives you a horrid smile as she tugs at a knot to tighten it.

“well, isn’t this fortuitous! such a lovely surprise for you two to visit me,” she chimes, just as you feel sam stirring behind you. his head lolls back, brushing against your own. you completely ignore her in favor of calling his name. a rumbling groan escapes his lips as he stumbles back into consciousness.

“that’s right!” natalie grins, “it’ll be much better with pretty boy awake.” she walks around you, and you hear a smacking sound that you presume to be her hitting his cheeks to wake him further.

“don’t touch him,” you practically growl. it sounds far less intimidating than you hoped in your breathless voice. she laughs and sam lets out an audible huff of air as he wakes.

“there he is,” natalie grins. “now i’ve got two love birds at my mercy! much better than i could have imagined. you know, i couldn’t watch the deaths of the others, so this is far more exciting. i thought i’d have to miss yours, too!” she motions to you. “but now i get to watch you die, watch pretty boy watch you die, and then kill him, too! lovely isn’t it? i’ve never had such luck, thank you idiots for bringing it to me.”

“you’re not killing anyone today,” sam retorts, anger filling his voice. with a bit of an uncomfortable stretch, you twist your fingers around to grab a hold of his. it’s awkward, but you take advantage of her horrible ramblings to keep her distracted and try to guide sam’s hands to the tiny blade attached to the seam of your jacket sleeve.

“i’m not?” she laughs, “mmm, you don’t really seem like you’re in the position to determine that, pretty boy.” you hate her calling him that. “well, love will do that to a person. makes you easy targets, blinds you. you two were just too easy, so busy making eyes at each other to pay any proper attention to me.” you conclude she’s crazy, rambling on about what made her angry enough to kill. you’re sure she caught you making eyes at him, but she’s crazy talking like he’s visibly in love with you too. immediately catching on to your plan, sam’s hands are fumbling around with your jacket sleeve, trying to get the knife unstuck so it can slip down and into your hands.

“it’s so goddamn irritating when people are just so in love with each other. makes me want to hurl,” she complains.

“sounds to me like you’re just jealous your boyfriend didn’t treat you like that,” you prod at her weak spot. she whirls on you, grabbing the front of your jacket and yanking you towards her.

“so i killed him. and everything he was supposed to be,” she hisses. “and know i’m going to kill you two pining idiots. you know, you don’t have very long,” she feigns sympathy in the condescending tone of her voice. when she slams you back against the chair, it takes your breath away for a frighteningly long time. sam’s so worried, calling your name out over and over again as you choke on nothing, that he almost doesn’t realize that the movement also helped dislodge the knife and let it fall into your hands. it slices a thin line down your arm, but you couldn’t care less as you begin to work on cutting through his bonds.

“oh, shut up, lover boy,” natalie growls, hating the way he says your name with so much care as she stays leaning over you, a sick smile on her face. why the hell is she calling him lover boy? you know that’s not what you should be so worried about in this moment, but it’s the one thing that you can think about. “i’m busy watching your little lover die! i think you’ll look so good crying over them, won’t you?”

when sam’s ties snap, he stays in place, holding onto the rope so it doesn’t drop to the ground and alert her. he just shimmies the knife from your hand to his and begins working on your own ties. through it all, he pretends to struggle helplessly, cursing at her wildly.

natalie rolls her eyes, then stands straight. “if you don’t shut it, i’m going to make you,” she snarls, stalking around to stand in front of sam. in an instant, he brings the knife to the rope binding him to the chair, snapping it and lunging towards her. judging from the choked cry that escapes her throat, sam’s already plunged the knife into her neck. you hear him grunt, then the sound of her body hits the floor before he’s turned back to you, quickly freeing you all the way and pulling you to your feet. he’s halfway to the door with his hand gripping yours when you tug back.

“wait… sam, wait!” you gasp, and he’s immediately face to face with you, sweet eyes looking you up and down with confusion and worry. “it’s not– it didn’t work. the spell, we need to do the spell.”

“what do you mean? that’s impossible, killing the witch who performed the spell always–,” he fully takes you in for the first time. your chest is still heaving, your breath rattling, and it’s undeniably getting worse by the minute. “okay, okay. just sit down.” he guides you back to a chair, turning it to face the table so he can keep an eye on you as he works. this time, you’re having a hard time hiding the fear from your eyes, and he reads that loud and clear. he lets you have his strong hands cupping your face for just a moment. “you’re gonna be fine. i’m gonna fix this.” he says it with such conviction that you’d do anything to believe him. then his warm touch is gone, and you’re again hit with the reality that it’s getting harder and harder to breathe, to get any satisfactory amount of air.

your eyes follow him desperately as he rushes about the area, checking and rechecking the spell as he adds ingredients to a small cup he finds. his movements become more and more panicked by the second as he notices your breathing getting worse, more fluttery and gulping. sam’s muttering to himself as he works, too scared to look at your face for too long. unable to find one of the ingredients, he curses loudly as he searches, shoving a whole rack of ingredients to the ground. glass shatters and the metal rack clangs against the ground, the sound echoing throughout the space.

flinching at the sound, you cry out his name, struggling to speak, “you have… you have to.. to calm .. calm down.”

“i can’t!” he practically shouts, and you think you’ve never seen him this distraught, this helpless before.

“why?” is all you can manage between gasps.

“because you’re dying! and i can’t let you die, i won’t.” he’s still rummaging through ingredients as he speaks. he’s still refusing to look at you.

you want him to say it, the truth, so you repeat the question, “why?” you wheeze out, desperate to hear it in case he can’t finish the spell on time.

“because i love you!” he’s no longer shouting when he says it. his voice is all desperation and helplessness and utter sincerity, said like all he needs in the world is for you to understand that. you’re not sure if the shuddering breath you let out could count as a sigh of relief, but it’s the closest you’ll ever get.

you take him in. tears running down his cheeks, lips pursed and eyebrows pinched like he’s holding back from crying out. he’s pretty like that, you think. maybe that’s a cruel thought, but you love him too much to think otherwise. he’s always pretty; when he’s mad at you, when he’s bleeding, when he’s stitching himself up, when he’s biting his lip in concentration. when he talks about something that makes him excited or when he’s crying. when he’s oblivious of the way you look at him while he sleeps, and when he makes you love him so hard that it hurts worse than anything a monster could do to you.

you’re lightheaded, and taking in so little air that you can’t say it back. all you want to do is say it back. you slide out of the chair and onto your hands and knees, shaking so hard you can barely hold yourself up. from the ground, you can hear sam, moving around, letting jars fall and shatter to the ground, crying.

when you collapse to the floor, writhing and gasping for any semblance of air, sam snaps. he can’t find the goddamn rosemary, such a simple and common herb, even for a normal kitchen, especially compared to all the other ingredients, but he knows it’s essential for its protection, purification, and healing properties. he can’t give up, he can’t let you die, but you’re writhing on the ground and crying inbetween gasps and all he wants is to hold you close, brush your tears away and tell you it’ll be alright. he barely catches the sound of your voice over the noise of his searching.

“please…”

“what? what is it, honey?” he asks through tears, unable to look at you as his eyes scan a new shelf for the basic pine-needle shape of the leaves, maybe even the little purple flowers to help it stand out.

“hold me,” you wheeze, afraid of dying alone on the stone cold floor as you feel your consciousness slipping through your fingertips like the sand of an hourglass. sam feels like he’s had his heart cleaved in two by a blunt ax coated in the world’s most vile poison.

he chokes on a sob before he can speak again, “i can’t. i’m so sorry, baby, i can't. i just need the rosemary, it’s so close, please, baby.” he’s not sure who he’s begging to. you, to stay alive? god, to intervene? himself, to finish the spell on time? anything and anyone who will listen, most likely. you don’t have the energy to ask him to hold you again.

that moment of silence is the most horrible of them all, then the door swings open with a bang, letting the bright lights from the rest of the house flood into the dark space. dean’s eyes zero in on you on the floor, grasping helplessly at your throat, and he’s on his knees by your side in a second.

he scoops you up in his arms and to his chest. “hey. hey, hey, hey. it’s okay,” he comforts, his eyes wet because he doesn’t know if he believes himself, given your state. “sam’s gonna fix it, darlin’. you’re gonna be just fine.” he’s holding you too tight to wipe away the tears that helplessly stream down your face and he clings to the fact that your hand is gripping his wrist tight.

“dean, rosemary!” sam barks. dean looks up from you, eyes scanning the mess around you; natalie’s dead body and the blood from her wound seeping slowly over the floor, the shattered glass and clutter of dried herbs along with other magical ingredients. sam realizes dean probably won’t recognize it on his own. “dried bundle, purple flowers, thin leaves,” he instructs as best as he can as he continues his own search. dean feels awful as he lets you fall back to the ground and your weak hands fingers scrape at his arms, but he thinks he sees it, rolled far away and invisible unless you’re crouched to the ground. he scrambles across the floor to grab it and tosses it to sam, who barely manages to catch it with his shaking hands.

sam rips at it with thick, clumsy fingers, crushing the brittle leaves between the pads of his forefinger and thumb into the mixture. he’s silently praying it’s enough as he mixes it in, letting a few drops slosh over the side of the cup in his rush. dean’s back with you, holding you up in a sitting position for sam with a hand smoothing up and down your arm in his best effort of a comforting gesture. he presses a kiss to your temple as sam drops down in front of you. sam uses one large hand to cup the side of your face, and the other to bring the cup to your lips. for a moment, he’s terrified beyond comprehension when the first bit of the liquid he pours into your mouth just dribbles right back out and down your chin.

you’ve gone nearly completely still; your eyes are barely open and your breathing so shallow that only dean knows you’re still inhaling because he’s got you so close.

“please,” sam begs, whispering your name with such conviction, such desperation, that it pulls you away from the claws of unconsciousness just enough to get you to swallow weakly. sam tilts the cup up, just a bit more, and the rim knocks against your bottom teeth as more foul tasting liquid seeps into your mouth. you swallow again, then gag a little when he pours too much for you to handle in your current state. sam’s hopeful when half the mixture is down your throat and he tilts the cup for you again, but the liquid falls down your chin this time, and your eyes are closed. you’ve gone totally still in dean’s arms.

“no, no, no, wake up. c’mon, we’re almost there. you gotta wake up,” sam begs again, more tears spilling onto his cheeks after his hope is stolen away, more cruelly than ever. “please, please, please, honey. please wake up.” his voice breaks as he calls out your name again, setting the cup on the floor and taking you from dean to pull you into his own arms. dean lets him, swallowing hard and not daring to move an inch as he takes in the sight, maybe just about the most horrible thing he’s seen in his fucked up life. that’s the second family member he’s had die in his arms, and the first is holding your limp body as he shakes, cries, and begs, beyond distraught as he denies the fact that he couldn’t save you. dean curses his life. he wishes it was him, thinks about the fact that he’s always too late to make a difference. he’s ready to sell his soul again, ready to go to hell and back.

you’re dead weight against sam’s chest, your clammy forehead and tear-sticky cheeks pressed against the sweaty skin of his neck. he gathers you closer, his hand tugging at your jacket and rubbing up and down your back, begging for you to wake up.

dean’s about to interrupt sam’s mourning to tell him he’s gonna look for the nearest crossroads, that all sam needs to do is keep your body safe. then you shudder in sam’s arms and he’s calling your name again, far beyond desperate that you’ll hear him. he says your name like a prayer, with so much reverence, far more than he could ever muster up for the god he wants to believe in.

you take in a sharp breath, your eyes fly open, and you’re gasping for air, grasping at sam’s sturdy arms like you’ve almost just drowned. sam just about sobs in relief, comforting you through his own tears, “oh, you’re okay, honey, you’re alright. i’ve got you. just breathe, baby, just breathe, that's all you gotta do.” his voice instantly calms you, and you wrap your shaky arms around his neck to show him you understand. he’s got you. he buries his face into your neck, trying not to hold you too tight for fear of restricting your breathing. you feel the wetness of his tears on you, warm and so tired. you don’t want him to cry. he loves you.

his hands smooth up and down your back, helping you set a pace to calm down your erratic breathing as you let a fresh wave of tears fall on his hot skin. they’re tears of relief, most of all. of exhaustion and leftover fear, and oh, glory, tears because he loves you. he said it, and now he can’t take it back because you love him far too much for that.

“sammy,” you breathe out. he just holds you tighter. “don’t cry, sam. it’s okay. i’m okay.” you slip your fingers into his hair, your hand so gentle as you run it through his pretty locks. you just want to comfort him, take away all the fear from the last few hours that he's been holding onto, letting pile up and up into an unmanageable, unruly, ugly tower. you suppose him crying so much is him letting the tower topple over, almost as simple as a toddler’s chubby, innocent hands to a wooden block castle. but it still tugs at your heart, pulls at you so hard because you hate to hear him cry, feel him shake and stiffen up around you, too scared to let you go for even a second. “i’m okay,” you repeat, voice fragile from the whispering brush of death’s fingers to your palm, but you try to make it strong and confident for him, “you saved me, sammy, i’m alright. it’s alright. it’s over. you don’t need to worry anymore.” 

you think he relaxes just a touch at your words, but he doesn’t move an inch from his spot on the ground, or say a thing to interrupt the sound of your breathing. all he does is cradle you close, one hand to your back so he can feel it shift when you take in or let out air, and the other splayed from the curve of your neck, up to the base of your head. without moving too much, he presses a long kiss to the ambiguous space above your ear. that’s not enough, so he tilts his head more to press his lips to the skin of your forehead.

dean hates to break the silent reverence between the two of you, and it means more than the world, the whole goddamn universe or anything else he could ever think of, to see this instead of you dead in sam’s arms. you might be the love of sam’s life, but that just makes dean all the more protective of you. to dean, you’re family, and you have been for a long time. that’s why he needs to get the two of you away from here, before anyone finds you and the dead body.

“sam,” dean interrupts, voice somehow both gentle and extra gruff, “we gotta go.” he knows sam can get you up on his own, but he still places a firm hand on your elbow as the two of you stand. he doesn’t want to let his hand fall away from you, but he does anyway. on the way out and to the car, you’re tucked safe into sam’s side, and dean’s got his gun in hand, ready to protect the both of you need be.

dean expects it when sam climbs in the backseat with you, just thankful to get away from the damned house and back to the motel. the ride is mostly silent, save the rumble of the engine, and sam’s hand stays securely wrapped around yours, itching to pull you even closer. you yawn and sam tugs at your hand, then drops his gaze to his lap when you look at him, offering to let you lie there. you can’t resist, because historically, your head in his lap has been heaven, and you figure that this time, after having heard him say “i love you,” it’ll be something better than heaven, something undiscovered and infinitely more precious than all the gold and silver in the world. so you drop your head to his thigh, and his hands are immediately on you. you’ve got the warmth of his palms on your head and your shoulder. your own hand is on his knee, taking in the feel of his time-worn jeans, and the muscle, sinew, and bone underneath.

you fall asleep, just 10 minutes from the motel, and sam doesn’t want to wake you, but you always do anytime he tries to carry you to bed.

he calls your name, all tenderness and sweet as he rubs your shoulder. you stir easily, only having fallen into a light slumber. the sigh you let out when you sit up is soft, and sam thinks it’s cute. then he thinks about the fact that, when you both settle down, he won’t have to hold that thought back. “you’re cute,” he can say, and make you both a little flustered before pressing a kiss to your lips. until then, he’s getting out of the car with you, only letting his hands stray from you when dean pulls you into a hug, right then and there. he holds you tight, showing you how scared he was too, so you squeeze back with extra care.

“don’t scare us like that again, kiddo. you got it?” he mumbles into the embrace. 

you nod, “i got it.” he lingers for a moment, then presses a quick kiss to the side of your head before parting and letting sam take over again.

he’s got a hand stuck to your back on the way into the room, all the way to the bed you shared last night. you don’t hesitate to peel off your dirty shirt and go to put on a new one, but sam’s already holding one out to you. dean disappears into the bathroom, despite not wanting to let you out of his sight.

you tug on the shirt, then collapse into bed, taking sam with you.

“you stink,” you complain lightheartedly, looking at him with honey-sweet love in your eyes. he wants to joke back, but he’s not quite there yet.

“i’ll shower after dean, if you want,” he offers, nothing but sincere. you smile at him, his nose inches from yours.

“but then you’d have to get up,” you say.

“sure, but if that’s what you want,” he repeats. he’d do anything for you, you think.

you shake your head. “that’s not what i want. i don’t want you to go. but i also want to fall asleep in your arms, and it sucks that you smell like blood, sweat, and nasty potions.”

“so what do i do, baby?” he asks, voice light, but you think he really means it. you melt at the pet name.

“hmmm,” you consider, truly not sure. you’re all quick in the shower after years of experience in motel bathrooms, but that still feels like such a long time to be away from him, especially since you should probably shower, too. you decide to suck it up. “you shower, then me. dean said the water was still hot yesterday, even when he went last.” you’re not sure when your voice dropped to a whisper, but it’s quiet now. he sighs, half disappointed, but knowing it’ll be much more comfortable that way.

the second you’re out of the shower and dressed, sam’s tugging you back into bed with him and tucking you into his chest. his hold is still protective and a little wary. you want to make him relax, so you wiggle away just a bit to look at his face.

“sam, i’m so hungry,” you complain. he smiles at you, thinking you’re too cute to resist when you whine just a little. and he just loves it when you say his name.

“you’re gonna make me get up again?” he asks, and you hold back a triumphant grin because his voice has turned pleasantly lighthearted.

“you’re gonna let me starve?” you tease back.

“fine,” he huffs, “we can go to the vending machine together.” he really doesn’t want to be far from you.

“no,” you protest, dragging out the ‘o’ just a little. “we had that earlier. and chips don’t count as a meal. poor dean probably hasn’t eaten at all today! we deserve a treat,” you argue.

sam can’t deny you anything you want in this moment. “we do,” he agrees, “what d’you want? maybe we can convince dean to pick it up for us.”

you smile. “mmm, that’s not fair. dean deserves a treat, too. i’ll satisfy myself with vending machine food for a few hours, then we can go out to an early dinner.”

“are you sure?” sam asks. you smile more.

“mhmm,” you nod. “i have the excuse to buy a candy bar too now.”

dean, splayed out on his own bed, has likely been listening in on this whole conversation, and graciously chosen not to interrupt. he smiles at you as you exit the room.

with a glance that no one’s around, sam slips his hand into yours as you make your way to the vending machine down the hall. your heart blooms at the feeling, at the way he’s been looking at you without shame and suddenly you realize you never said it back. sam punches in the number for an excessive amount of snacks, getting all of yours, his, and dean’s favorites, waiting til they all fall down to collect them. he bends over, gathering them all in his big arms and wide pockets and handing a few to you. the crinkling of plastic fills the quiet air as you watch him with a sort of worship and adoration dripping from your eyes. you take in the curve of his back, the peek of his spine that you get from his tshirt riding up a bit, and the pretty brown hair on the back of his head. when he stands, he catches that gaze, and for once you don’t hide it away or tuck it into that corner of the drawer where you keep all the little trinkets you don’t need, but can’t bear to get rid of. because you need this, and you can have this.

“i didn’t get to say it back.” your voice comes out hushed, reverent.

“say what?” he asks, matching his voice to yours without even trying. you take in all the subtle ways that his face changes, as he thinks about what you could mean. the left side of his mouth quirks down, just a bit, and his eyebrows pinch together. it’s not quite the expression he makes then he’s worried or upset, just thinking.

“i love you, too.” when those words finally escape, finally make themselves known and heard, everything is different. it’s like you’ve never really breathed before this, because the simplest of things, like an inhale that fills your lungs with stale motel air, is so good, so satisfying, so much better when he looks at you like that. “for as long as i can remember, sam, i love you. when we were kids at bobby’s, seventeen and getting soaked in the rain, every moment before then and every moment after, and–”

his lips are on yours and there’s a messy ruckus of plastic wrapped snacks being dropped to the floor, because he couldn’t care about anything except kissing you. his warm, rough hands are so gentle cupping your cheeks and pulling you into him, and you follow suit in disregarding the food in your hands to place them firm on his waist, almost squeezing his sides because you need this to be as real and as solid as it possibly can be.

some might question the merit of this being your first kiss with each other. but it’s so you and sam, standing in an empty motel hallway next to the vending machine and it’s crappy food scattered around your feet. plastic crinkling and rustling when you get closer, and a hunger so insatiable that it makes it hard to breathe.

when you finally break away, panting just a bit, sam’s eyes swim with concern as his mind flashes back to you just an hour ago.

“i’m okay,” you interrupt his paranoid thoughts and loop your arms around his neck, “i’m okay, sam. ‘s just you. baby, i know this is a horrible time to say this, but you always take my breath away, in the best way. you’re so pretty, and i’m so in love with you that when i look at you for too long, i forget to breathe, and–”

his lips are back on yours, telling you me too, me too, me too. saying as they push and mold against yours, you take my breath away and i love you for it.

[lover-of-mine]

hang onnn is eddie’s shirt/jacket/whatever blue? are they wearing blue and green in that scene? is that….. something? 😅

Okay, so, first, blue and green buddie. (Blue and Green Masterpost here, it was written mid s7 but it does explain the use of the combo in excruciating detail if you're up for it)

Buddie has 6 explicitly blue and green scenes (when I say explicit, I mean they have a top that is blue or green, in this house the coding counts for every element of the scene, but this exercise doesn't need it). 613 when they are discussing Buck's math powers, 617 when they are leaving the station and discussing the fact that Chim should propose, 704 at the hangar, 706 at dispatch, the street where Chim was and the wedding (I'm counting this as one scene because it's the same outfit), 805 when they are discussing the boils at the loft, and the hotshots scene in 808.

One thing you will notice is that Eddie is always green and Buck is always blue. Which makes sense. Except for the hangar (that has a few different rules at play considering the black jacket for Eddie and the red hoodie for Buck) those are not scenes that have any major developments for their relationship. The blue and green doesn't have to be Something, it's mostly about creating visual unity, since blue and green are analogous colors, which means they are right next to each other in the color wheel, and that's a color scheme used to create a harmonious look, it's about cohesion, bathena also wears the combo very casually, but madney does tend to have big changes happening in those colors, you can read more on masterpost.

Buddie is casual with the combo. Big changes with them tend to happen in blue and yellow, same happens with henren, you can read about that here (this post is very deranged tho).

But Eddie is a green character, Buck is a blue one, that makes sense.

Now though? We have the inversion of colors.

I feel like I made the fact that Buck being in green means something is wrong very clear (I will link my original post about that here because I feel like it's more detailed than the one that also explains the Eddie and maroon thing), and yes, that forest green color that we nicknamed the breakup green is part of something going wrong in his life, even if the breakups are meant to be, they're never fun.

But something about other instances he wears green (times that are not explicitly about his love life falling apart), those being the 316 arc where he's trying to fix Red, the coma dream, the cemetery scene, and the gym scene in 705, have a bigger problem that Buck is not dealing with. (There's also 707 when he burns the lasagna but I remembered it editing this and I don't want to add the image here, that scene has different rules because of the blue apron tho).

The thing with Red is about his fear of ending up alone, the coma dream is about him learning to do it for himself, the cemetery scene is about him not dealing with the way dying made him feel, the gym is about him not being ready to tell Eddie how he feels. But they all have Buck running around trying to ignore the source of the issue. He makes Red about himself, he tries to fix Maddie and Bobby before finally accepting that he needs to decide to leave the coma, "I feel like she sees me", talking around what he wants because he can't make himself say what he means at the gym.

Funny enough the cemetery scene and the gym scene are blue and green coded, because of Buck's green jacket and the blue elements around Eddie. And before you @ me with the fact that I'm using the sky being blue as proof, the sky is only blue behind Eddie, you can check the scene, they desaturated the sky behind Buck.

But anyway, there's an overall theme of Buck being misguided. Even surrounding some of the breakups, he's in green hiding from Taylor at Eddie's because he doesn't want to face it, he is asking Tommy to move in a desperate move to pretend their connection is more than it is. It's almost Buck going overboard to keep things in, because let's face it, this dude has no clue how to process a big emotion in a healthy way.

As for Eddie with blue, it's not a common color on him, but it is a color we see him in enough outside the uniform. That seems to be a denim jacket, and we discussed Eddie in denim a LOT this past few months lol, but I keep coming back to these 2. Deciding to move to LA and giving up the truck to have the chance to fix his relationship with Chris.

Granted that's a lot lighter than the one in the still. I just like the Eddie breaking free trying to move forward aspect of those 2 scenes.

That color is a lot closer to the blue of their uniforms, and the only comparable Eddie outfit I can think of is 701 locker room.

@stagefoureddiediaz talks about this in her meta of disconnected, but there's also the way that they use this shade of blue to keep Eddie connected to LA. It's a similar tone to the uniform, it's an outfit you expect Eddie to wear in LA in a way that the plaid flannels aren't, so maybe there's something there too.

Okay, this is a lot of information, what does it mean for the both of them? Well, realistically, since they don't have big movements in blue and green, not much. BUT I talked about how the combo is about creating visual unity, there's a chance that is the goal, placing them as a unity, partners, because 613, we see bathena and madney in blue and green after seeing Buck and Eddie in it, so it ends up connecting them.

The same way that the couples, including Buck and Tommy (granted in a less obvious way than the rest of them, since the combo tends to be matchy matchy and Tommy in navy and Buck in mint doesn't really match, there's also the fact that Buck is actively matching Eddie, but that's a whole other post), are in blue and green in the same scene 706. (Maddie and Chim are blue and green in different ways throughout the episode, again, details in the masterpost).

So my current bet is that they'll have their own arcs, Eddie with his feelings about not being there and moving forward and maybe even back to LA, and Buck struggling with his own feelings while he tries to be a stabilizing presence for the rest of the team, because Bobby asked that of him and because he's Buck and he wasn't inside the lab, so that boy will feel like he's not allowed his feelings. And that maybe we will see other couples in blue and green, to create that connection in the same way as 613 and 706.

Anyway, this got long as hell, hope it makes sense, if you read this, I love you 🫶

[1x20]

hello and welcome to my tutorial on how to create gifs like this one! full explanation under the cut, but if you wanted to take a little peek at the gifset attached to this tutorial, here ya go!

for the purposes of this tutorial i am assuming you know

how to make a gif

what vhs footage looks like

STEP ONE: MAKING YOUR GIF

choose your footage and plug it into your desired software of choice! i use photoshop for this so i can only attest to the efficacy of these methods in that context

as for shot selection, you could feasibly choose anything. however, i prefer shots without too much movement in them - makes it look more like a home video.

because of the heavy amount of colors and filters, i'd recommend a gif somewhere around the 40-50 frames! but of course you can play around.

oh i also set the frame delay to 0.08 seconds. this is slower than most gifmakers tend to set theirs, but it makes it run buttery smooth imo.

STEP TWO: MAKING THE COLORING

here's where we get vhs specific. if you're unfamiliar with vhs footage, i recommend clicking through this youtube playlist! if you're not interested in the coloring, skip to step three (smart object fuckery + filters)

now while making a set i tend to choose some primary colors for my gifs. in the gifset i linked above, i chose to work with blue and orange-y yellow. in some of the other gifs i'll be using as examples (from an unfinished set) i chose green and yellow.

to create the above coloring i generally use these steps:

1) curves

i'm a maniac so i use the same curves layer to initially edit the luminosity AND colors of my gifs. the purpose of this layer is to edit brightness/contrast like i normally would and already start the process of changing the colors a little bit. this is my curves layer for the blue house gif:

to make the gif go from the left image to the right image:

as you can see i used the brightening curves to make the footage a whole lot lighter. i also increased the reds to get rid of the cyan tint a lot of blue footage has, slightly increased the blues, and once again decreased the greens to get rid of any cyan. this does make the blue hue a bit more purple, which is a nice bonus!

as for the gif of the boy, that one's a little harder to show a before and after for, but i'lls how the curves for good measure:

the original shot was already quite bright so i only edited the brightness a litttle bit. because i knew i wanted the gif to be green and yellow, i increased the greens, decreased the reds (except in the shadows), and decreased the blues (to get yellow)

2) channel mixer

now the channel mixer layer takes a little getting used to so i recommend experimenting. ALWAYS USE THIS LAYER ON THE COLOR BLENDING MODE for a more even result.

i use channel mixers to sort of... unify the colors a bit more. for the house gif, for example, i increased the blue channel to +110% blue, but decreased the blue in the red (-12%) to retain the yellow in the window.

if you want me to explain this more in depth, send an ask! it'll be kinda longwinded though

before / after of the boy gif with curves/channel mixer.

3) levels

this is where it starts looking more vhs-y! vhs footage has light shadows and dark highlights.

first, set your levels layer to luminosity blending mode to retain your beautiful colors.

then, crunch the hell out of your gif to make it very... mid.

this may feel a little wrong at first but i prommy it'll look okay at the end. a before/after for the boy:

now that's starting to look familiar right?

4) color fill/gradient map

because i want to unify my colors/make sure my gif is saturated, i usually add either a color fill or gradient map layer. in the case of the house, i chose to go with a dark blue color fill:

because the coloring of the boy gif was a little more complex, i decided to go with a brown to green gradient map.

this will make the shadows yellow, and the highlights green.

BOTH THESE LAYERS ARE SET TO OVERLAY. i usually fiddle with the opacity of them until i like it, but it's anywhere from 7% - 17% depending on what i feel like that day

5) curves (again)

this layer is probably useless but i do it anyway to make myself feel better. this is just a regular curse layer to up the brightness a tiiiiny bit and amke sure everything's clear. also it helps counteract the darkness your overlay color will add in.

6) color balance

this is my most subtle layer so i won't be able to show before and after but i fiddle with the color distribution a little until i'm satisfied. set this layer to color blending 'cause that's what you wanna affect!

i decided i wanted the house gif shadows to be a little more purple, for example, so i added in red (+3), magenta (-1) and blue (+1). etc etc. do what feels good!

STEP THREE: SMART OBJECT FUCKERY AND FILTERS

OKAY that was a lot. sorry or you're welcome. but good news: now's the fun part. convert your animation to a timeline, then select both your coloring and gif layers, right click, and select convert to smart object.

now that your gif's a smart object, i usually crop it. i tend make vhs aes gifs a 4:3 ratio (so 540 x 405 px) because that's what vhs footage was usually recorded as! crop your gif, resize, and then we can continue.

1) color bleeding

vhs footage usually bleeds its colors - this manifests as a short of... weird subtle halo around any object. the way to recreate this in photoshop is to duplicate your smart object.

set your copied smart object to color blending. now move it to the side a couple of pixels (i usually do around 5px, but you do you!)

as you can see, the tree and chimney (and everything else but less prominently) have a yellow shadow to them. this is exactly what we want!

2) filters

now's the time to add your filters and make it look like shit (but on purpose!) first, select both smart objects and convert to smart object again. this will ensure the filters apply to all layers evenly.

i use the following filters:

unsharp mask (amt 35%, radius 4px) - this will subtly add some sharpening but only on the edges of objects

add noise (amt 7.5%, distr. uniform, not monochromatic) - this will add the signature vhs grain.

box blur (2px) - i edit this to be 75% opacity with the little arrows to the right, just to make sure you can still make SOMETHING out when you're looking at the gif. MAKE SURE THIS FILTER IS ON TOP OF YOUR NOISE FILTER. tumblr will kill your gif otherwise

4) ONE LAST THING

usually at this point i'm not happy with either the saturation or levels. (usually the levels). so on top of your smart object, add another saturation or levels layer and fuck around!

in the case of the house gif, i thought it was too bright still so i set my output levels to 13 and 216. for the boy, i thought the shadows were too dark, so i set my shadow output to 11.

BEFORE & AFTER:

aaaand that's it! thanks for reading! if you have any questions, feel free to come to my askbox, i'm always happy to explain my process. happy giffing 🥰

[goregfx]

MY GO-TO'S FOR EDITING.

I’ve decided to put together a masterlist of the resources I use, since I get asked about them pretty often. If you're somebody who can’t commission resource makers or you’re just wanting to get into editing or creating commissions yourself, I hope this helps.

pinterest. IMPORTANT NOTICE IF YOU UTILIZE THIS: avoid usings people's art; if you can get permission from an artist to use a piece, that's another discussion. Be warned there may also be ai mixed in, which I've personally got a good eye for spotting; i prefer to go by images i've seen long before the ai craze, since i've been on there for a while. your best bet is looking through miscellenous character boards. From there, you can choose images to blend or even make pngs out of, to give unique flare to your edits.

remove.bg + photokit. if you're looking to save time or don't have a way to cutout images manually ( i sometimes like to use my art tablet if I want to be really precise ), these are good ways to make pngs out of images you find, as opposed to png sites. i prefer this because ive caught adware on png sites before, plus there's also a lot of ai on those as well.

for screencaps, i use google images or youtube, since the quality is higher than anything on pinterest...though, psds are what normally cover up quality issues, from what i've learned. then again, it might depend on the psd. IMPORTANT NOTE IF YOU UTILIZE THIS: If you’re using google Images, searching for actual screencaps might lead you to blogs or websites dedicated to capping—many of which ask for credit if you use their content. Also, avoid reposting people's edits or gifs, since those will inevitably show up when searching faceclaim names and similar tags. on the off chance you find free-to-use faceclaim content, be sure to credit if/when asked !

photopea. it's a great alternative for those of us who can't be assed to learn adope, nor can afford it .

I know it doesn't look like much, but this is genuinely my go-to formula. I don't think there's any need for anything over the top. That said, if you guys have better alternatives or anything to add, feel free—this is just based on my own experience.

ADDITIONAL EDITING TIPS: If you find yourself stumped creatively or unsure how to approach using these, I’d recommend breaking down the character or setting you’re working with in terms of aesthetic. What are some keywords or imagery you associate with that muse ? Take a character like h/arry p/otter, for example—focus on individual visuals, important symbols, and signature colors. For him, I’d think of round glasses, lightning bolts, owls, candles, spell books, brooms, etc. Then, take each of those elements and explore them individually. I’d maybe start by looking up “owls” on Pinterest; from there, I might find images that can be turned into pngs. Repeat that process with every vibe or detail that comes to mind. You don’t have to limit yourself to making pngs either—feel free to experiment by blending different images together and building a look from there.

ADDITIONAL UPDATES/RECOMMENDATIONS:

Screencapped ( * will need an account )

VLC Media Player ( * good for screencaps / things you've downloaded from youtube )