#10 years and some things haven't changed

[ctl-yuejie]

definitely too old for apartment sharing nonsense. this guys place i am staying at advertised his flat in a way you'd assume he had experience hosting people, but turns out any time his friends or family come over there can't be any evidence a woman is staying in one of his rooms.

I already agreed to stay outside for the day but now he suddenly needs to get all my clothes into one of his overcrowed closets? (i had like three things on hangers in the room since the closets smell like damp) + he also wanted to take my clothes from the drying rack outside (i checked with him beforehand that i could do laundry) to also put them - still damp - in a closet.

my dude. do not offer to have people stay over if that is how you are living. and has the gall to self-advertise that he wants people to feel at home while they are at his place.

(this is only temporarily because i needed a place for 10 days and the owner of the place i actually live at arranged everything, so i feel even less bad about imposing a bit since he is getting paid quite a bit for this)

also, i feel like there is no need for this. if it's dark outside, no one will check the balcony. he could always say he just allowed a friend to use the washing mashine and his room as storage while traveling etc etc.

on a general level i feel for him, like growing up in such a patriarchial society that you have to do this elaborate play to somehow connect your families sensitiveties with your own open-mindedness...but my guy...this seems stressful for everyone involved.

[angorwhosebabyisthis]

today on my When All You Have is a D10 project: Rolling a 6 with a D100.

-

1-16: Option 1

17-32: Option 2

33-48: Option 3

49-64: Option 4

65-80: Option 5

81-96: Option 6

97-100: Reroll

-

if you get that last one you can reroll the ones column, tens column, or both, up to you. tune in next time for so fucking help me i WILL find an efficient way to substitute dice for a deck of playing cards

[hollowsart]

man. it's been so long since 2012-2014

it pains me to go hunting for and rediscovering old dA accounts with art and content of DC villains that I recognize and remember from when I still had my own DA.. and finding out the tumblr blogs associated in links on those old dA posts are deleted or barren now. no more sign of the old content I used to love to scroll through way back then after discovering it. at least I still follow the two artists here on tumblr, although they never post that stuff anymore or at all.

hurts to see your fond memories be quite literally dust.

[dawnoflemuria]

"I love you but I can't say those words":

I would drown even the stars for you.

When I look at you, I just think about how much things have changed since we first met.. my how time flies..

don't you think looking at me like that will give me the wrong impression?

oh, by the way, don't be late for dinner.

I don't think I would have rather done this with anyone else..

did you ever think we'd grow so close?

how many times have I had to nurse you back to health now?

maybe you should sit this one out, I've got it for now

why haven't you told me this before?

Please don't do anything reckless

Will you sit with me?

When was the last time you ate??

Anything that you have to say to me, you can say infront of [B]

I know you're not feeling the greatest, that's why I brought you [insert thing]

you just love to give me hell, don't you?

You're important to me.

I don't wanna lose you / I can't bare to lose you

do you need some help with that? allow me

Hidden Confessions:

I don't think you understand just how much you really mean to me.

I know how you are, and that's why I've decided that you won't do this alone.

You can't get rid of me that easily (after an argument)

don't think so low of my loyalty to you for I would burn the heavens if it mean saving the stars in your eyes.

you've always been the one person who I could never stay mad at

I cherish the memories we make together

I will never let anything or anyone hurt you

you won't take them away from me

don't you dare lay a finger on them!

if you so much as make a move on them I will kill you where you stand, you hear me?

so precious, our time together

I love whatever this is between us.

do you ever think about where we'll be in 10 years?

careful now, you just might make me blush talking like that

Sappy Sentences:

I don't think the heavens or the hells below could fathom the level of love we share.

If there were a way to bottle your love, I'd get drunk on it every day

Sometimes all I really want is to lay like this, with you in my arms forever.

For us eternity doesn't mean for the rest of time. Eternity is just for the rest of our lives together.

I don't remember giving you my heart, but I know it's safe in your hands.

Watching you get hurt is like a blade through the heart, I can't take it.

Even if I had six hearts, they'd all beat for you.

I can't blame those who stare at you, I get lost in your beauty myself.

I'd worship you as my supreme deity, bathe me in your grace

I'd do anything in the world for you. Just you name it.

Come lay with me, I want to heart your heartbeat.

Everytime I'm with you, I can't help but feel at peace with the world.

[dunmeshistash]

Ryoko Kui Q&A (part of the Autograph event in Shanghai, China)

Here's the full Q&A copied from the post by Minute_Profession_34 on reddit

Original on weibo

About Ryoko Kui

Q: You have created a lot of interesting short manga in the past, do you have any favorite short manga by other artists?

A: A classic choice though, I think it's the collection of short stories by Fujiko F. Fujio. Other impressive works include "Hanshin: Half-God" by Moto Hagio, "Hanashippanashi " by Daisuke Igarashi, "茄子" by 黑田硫黄, "Skygrazer" by Ishiguro Masakazu, and "Tabi (The Journey of Life)" by Irie Aki. However, I haven't really read many short manga compilations.

Q: Do you prefer to create short manga or longer ones?

A: Long manga.

Q: Do you have a game that you highly recommend to fans?

A: Although not a game title, Steam Deck is the best thing I have bought in the last few years.

Q: What kind of music genre do you like?

A: I'm really not a music person and don't listen to music at all. Sometimes I listen to something like Tropical House.

About the creation & worldview of Dungeon Meshi

Q: Is the main storyline of the comics conceived at the beginning? Is the final ending adjusted during the serialization process?

A: I decided everything from the beginning. It may sound overly pretentious to say that, but I am the type of person who cannot move forward with each and every story unless I have decided on the main flow of the story. Of course, there are parts that I changed during the process because I thought, "I was going to do it this way, but it might not be natural," and there are parts that didn't work out the way I wanted them to. However, I think the story turned out to be roughly what I had in mind at the beginning.

Q: Will people outside of the dungeon incorporate the use of magic into their daily lives?

A: It would depend on the region. There are many sorcerers in elven and gnome cultures, but I don't think you will find many in dwarf and most short-lived cultures.

Q: What secrets of ancient magic are the elves hiding? Why would one be punished for doing anything related to ancient magic?

A: It is about the existence of Demon. They restricted that information because they didn't know what effect it would have on the world if the existence of Ddemon became known.

Q: How do adventurers know the time? Is there any dungeon having a different time flow from the normal world?

A: Some people bring things like clocks, but most only use their biological clock. There are also Dungeons where the flow of time is different from that on the ground.

Q: In the world of Dungeon Meshi, how do you deal with natural disasters, what would Laios or Marcille or Canaries do when there's a drought or a storm?

A: I don’t think it is so different from us.

About characters in Dungeon Meshi

Q: It’s about to give the new puppy a name again. Can Laos still beat Falin?

A: 7 out of 10, Laios will win. Or it may be decided by rock-paper-scissors or a raffle.

Q: Who will inherit the Golden Land after the passaway of Laios? The children and grandchildren of Yaad? Or the descendants of Laios? Or will there be a new Devourer?

A: Maybe the descendants of the Laios will inherit it, or maybe it will be passed on to someone with no blood ties at all. Or perhaps the monarchy will be abolished.

Q: Will Laios continue to eat monsters in the castle? And who will cook, maybe someone better than Senshi?

A: Many people in Merini are good cooks, but Senshi's cooking must be special to Laios. He may invite Senshi to cook from time to time.

Q: Where will Falin prefer to travel to?

A: She may prefer places where she can see landscapes and cultures she has never seen before.

Q: Would Marcille befriend a half-elf, such as Fionil? Since half-elves shouldn't think too much about longevity amongst themselves. Or would they not consider race as a factor to make friends but by fate?

A: Because mixed species in this world grow at very different rates and have very different abilities from person to person, there is often not much of a sense of sameness when you first meet them. They may or may not become friends as a result of interacting with each other as we would with any other human being.

Q: Is there any special meaning of Marcille and her mother's ribbons on the neck? And what about Cithis’s ribbon?

A: In elven culture, people with magic tattoos on their necks sometimes wear decorations covering their necks to hide the tattoos (mainly military personnel) This has spread to the general population, and many people wear decorations on their necks even if they do not have neck tattoos. Marcille and her mother's ribbons are just for fashion. While Cithis may have something special.

Q: Why wouldn’t Cithis wear a gorget? Or she’s not afraid of Dungeon Rabbits?

A: Maybe it’s suffocating or simply not liking it? The head-cutting Dungeon Rabbit is a fearsome monster, but it is not the first thing for the rear guard to be on the lookout for.

Q: How will Izutsumi and Falin get along with each other?

A: They may work together if necessary, but I doubt that Izutsumi will actively show interest in Falin (as she does with everyone).

Q: Itsuzumi has a beast soul mixed with a small amount of human soul, and does she shapeshift between a beast-man and a beast form like Lycion?

A: It can be done, but once transformed, she may no longer want to return to her human form.

*This Q&A seems to be strange

Q: What would Thistle do if he attended the former dungeon masters meetings?

A: Perhaps he would feel angry at the incompetence of other masters (their dependence on the devil).

Q: How did Milsiril accept Helki to stay by her side? After all, she hated elves and was bullied by her Canary teammates.

A: In the past, Helki was abandoned by his comrades for various reasons, and she could not leave him alone.

Q: Has Kabru ever had a real relationship with a girl? If so, what race or personality type of the girl was she?

A: I don’t think he cares about race, etc...

Q: What kind of soba will Mithrun make?

A: I hope he can make delicious soba.

Q: I would like to know the name of Mithrun’s brother or his brother’s crush!

A: His brother's name is Obrin (オブリン). I haven't thought of a particular name for his brother’s crush, so I'll name her appropriately now. Hmmm. Sultha (スルスハ).

Q: Since Mithrun used to assist Canary from behind, I wonder what kind of weapons he was good at using? Or was he good at using no weapons? (this is new info from the Korean Q&A)

A: He used a magic staff similar to that used by Pattadol. He was issued with the same one by the team. However, he no longer carried it because he lost it easily.

[shepherds-of-haven]

The End of an Era, and the Road Ahead

Hi everybody, the recent news about Dashingdon shutting down feels like it's a bittersweet turning point for many in the ChoiceScript community. Before Don stepped up and took things into his own hands, volunteering his own money, manpower, and time to create and maintain the site, there was no good way for people to host ChoiceScript demos and games in one place: I think the previous solution had been different Dropbox links (which was eventually nuked by security changes in how they hosted files) and possibly separate Neocities sites? Without the Dashingdon site, none of us would have had such an incredible space to gather, share and explore and experience games together, or--for some--even feel motivated to write a ChoiceScript game in the first place, not without an easy and intuitive way of sharing it with others in a playable format. The Dashingdon site significantly lowered the barrier of entry for anyone wanting to make or play or share games; more than that, it was a place of memories, creativity, and connection, and I fully believe that it served as a vital backbone of the ChoiceScript community for many years. A lot of that community relies on the efforts of volunteers--including the creator of CSIDE and the moderators on the forums--and, as with them, I can only thank Don wholeheartedly for his generosity and his 10 years of tireless, selfless, and often thankless work. The fact that a lot of people didn't even know he was a volunteer shows his altruism!

However, all of that work could have only fallen on the shoulders of one person for so long. It's a sad loss to see, though, and I'm very sorry to everyone mourning the loss of the community space, old or inactive WIPs, and save files that will be lost when Dashingdon goes dark at the end of the month. I do wish that there could be an official, stable, company-supported place for authors to host their games in one place, but at least there are alternatives for people to migrate to! (Thank you too to @hpowellsmith and everyone in the community who's taken it upon themselves to spread the news and try to make this transition as smooth as possible for everyone surprised by this announcement. And thank you to the volunteer who's taken up the banner at cogdemos.ink!) I don't know if cogdemos.ink has a page set up to help defray costs, but Dashingdon himself has a ko-fi if you want to leave a tip or thanks for his years of service to the community!

To that end, I want to reassure you all that Shepherds of Haven is safe and isn't going anywhere, and that this change won't affect the game's future. The news has, however, sped up my announcement of something I've been working on for a long time: transitioning away from ChoiceScript and moving Shepherds of Haven to Twine.

Granted, this wasn't how I originally planned on sharing this news. Patrons have known about this move since I decided on it, but I'm a dogged perfectionist, possibly to a fault. I wanted everything to be absolutely polished before unveiling the Twine build, but this unexpected news has been the nudge I needed to take the leap sooner. It's always been my habit to polish my work to an extreme degree: I will rewrite entire novels five, seven, however many times it takes before I send it to my agent or editor... or even before I show it to my own fiance! I still haven't let him read Shepherds, or the novel that I've been talking to him about since 2019, because it "isn't ready" yet, not in my own mind. A common refrain I've always heard from career associates is that my work is "unusually impeccable" by the time it hits their desk. When I do share something, it's usually done. But if I'm learning anything as I grow as a writer, it's that progress matters over perfection. The sudden closure of Dashingdon has made me realize that no one moment will ever feel perfect--and that’s okay. I have to accept that things will never be as perfect as I want to make them before I let them out into the world. Instead of holding myself to an impossible standard, I’m embracing this opportunity to push forward and bring you something I'm truly proud of. (However nerve-wracking that may be!) So, instead of reuploading the ChoiceScript demo somewhere else, only to take it down again later, my efforts are going to shift entirely to getting the Twine version ready for release. It’s a huge task, but it ensures I’ll have complete control over Shepherds of Haven and its future. If I drop everything and focus entirely on this for the next several weeks, my best estimate is that it will take 3-5 weeks of full-time work to make that final push and finally get everything caught up and ready.

Why Twine? There were a lot of reasons behind my decision to move. The biggest of all was that, as the game's wordcount grew, so too did my creative vision for it, and I found myself longing for a version of ShoH that could be just as visually rich and mechanically engaging as I was imagining. Codex entries, interactive maps, infinite saves that can be downloaded directly to your device! Moving to Twine removes the limitations of ChoiceScript's simpler engine, and allows me to honor the game's creative potential and deliver on it in a way that feels true to the journey we've shared so far. It's also a platform that offers greater flexibility and independence for both me and the game: I've put so much work into this project that I'd prefer for its success to rest more in my hands, even if that means taking on the monumental task of publishing it myself, rather than anyone else's.

So. Both the public demo and the alpha build will be released in Twine as soon as I can make that happen. The majority of the work's already done--I just need to get the alpha build caught up with some lingering day off interludes and Chapters 8.5 and 9, and I need to address a queue of lingering quality-of-life questions and tweaks. I want to also note that, while there are very exciting additions to unveil, everything foundational to ShoH remains exactly the same. The story, text, and original functions have been ported in their entirety to Twine, outside of basic edits and refinements that would have happened in the normal course of revision, anyway. I have even taken pains to implement a visual "classic" setting that will replicate the font, colors, and general simplified look of the original version, if players want to use that instead. :) But otherwise, this thing is stuffed to the gills with awesome new features. Custom music soundtrack! Clickable maps! Actual trading card collectibles! Stunning new art! Revamped codex and store and inventory systems! Helpful tutorials and autosave points! Important quality of life improvements, like being able to select pronouns separately from gender and change them any time! This doesn't even touch the surface of it, but needless to say, I think we're going to have a lot of fun. Thank you all for your patience, encouragement, and support so far, and please give me some time to get my ducks in a row. A new version of Shepherds of Haven will be ready for you to play soon!

[whumptober]

Whumptober 2023

Welcome to Whumptober 2023 — the sixth year running!

COMPLETIONISTS/PARTICIPANT BADGES CAN BE FOUND HERE

To those of you who participated last year, welcome back! To everyone joining this year, welcome!

Please make sure to read the Event Info carefully, as most of your questions will be answered there already. For everything else, you are welcome to come to our ask box or ask questions in our Discord server here.

This year’s AO3 Collection can be found here.

And this years playlist can be found here.

There are 139 prompt options in total this year - this is including the alternatives list! A special thanks goes out to those who took part in our trope vote back in July. From the 1526 responses to our list of 223 tropes, we looked through the popularity results, as well as your honourable mentions, and were able to produce this years prompts list. Stay tuned, as we will be posting some of the results at a later date!

We’re very excited to see the community come together once more and be a wild, chaotic bunch of creators and consumers of whump. Go wild with the prompts, and support your fellow creators - we wish you all the fun!

Best of luck and happy whumping,

Mods Vanne, Yenn, Kitty and Surro

(All 31 Themes + Prompts, Event Information and FAQs are posted below the cut!)

Whumptober 2023 Prompt List

No. 1: “But now this room is spinning while I’m trying just to fill in all the gaps.”

Safety Net | Swooning | “How many fingers am I holding up?”

No. 2: “I’ll call out your name, but you won’t call back.”

Thermometer | Delirium | “They don't care about you.”

No. 3: “Like crying out in empty rooms; with no-one there except the moon.”

Journal | Solitary Confinement | “Make it stop.”

No. 4: “I see the danger, It’s written there in your eyes.”

Cattle Prod | Shock | “You in there?”

No. 5: “You better pray I don't get up this time around.”

Debris | Pinned Down | “It's broken.”

No. 6: “Do or die, you’ll never make me; Because the world will never take my heart.”

Recording | Made to Watch | “It should have been me.”

No. 7: " “I paced around for hours on empty; I jumped at the slightest of sounds.”

Alleyway | Radio Silence | “Can you hear me?”

No. 8: “I’ve got soul, but I’m not a soldier.”

Overcrowded ER | Outnumbered | “It’s all for nothing.”

No. 9: “Learning everything ain't what it seems, that's the thing about these days.”

Polaroid | Mistaken Identity | “You're a liar.”

No. 10: “Can’t you see that you’re lost without me?”

Broken Phone | Stranded | “You said you'd never leave.”

No. 11: “All the lights going dark and my hope’s destroyed.”

Animal trap | Captivity | “No one will find you.”

No. 12: “I haven't slept in days but who's counting?”

Red | Insomnia | “I’m up, I’m up.”

No. 13: “It comes and goes like the strength in your bones.”

Cold Compress | Infection | “I don’t feel so good.”

No. 14: “Feed me poison, fill me ‘till I drown.”

Flare | Water Inhalation | “Just hold on.”

No. 15: “I don't need you to help me I can handle things myself.”

Makeshift Bandages | Suppressed Suffering | “I’m fine.”

No. 16: “Would you lie with me and just forget the world?”

Gurney | Flatline | “Don’t go where I can’t follow.”

No. 17: “You’re the lump in my throat and the knot in my chest.”

Collar | Touch Aversion | “Leave me alone.”

No. 18: “I tend to deflect when I’m feeling threatened.”

Blindfold | Tortured For Information | “Hit them harder.”

No. 19: “I’ll take one final step, all you have to do is make me.”

Floral Bouquet | Psychological | “I’m not as stupid as you think I am.”

No. 20: “People don’t change people, time does.”

Blanket | Found Family | “You will regret touching them.”

No. 21: “See the chains around my feet.”

Vows | Restraints | “Don't move.”

No. 22: “They never saw us coming, ‘til they hit the floor.”

Glass Shard | Vehicular Accident | “Watch out!”

No. 23: “It’s gonna get me by the end of the night.”

Shadows | Stalking | “Who’s there?”

No. 24: “I’ve got a head full of chemicals; mouth full of ridicule.”

Goodbye Note | Neglect | “I thought they were with you.”

No. 25: “You’re not delivering a perfect body to the grave.”

Storm | Buried Alive | “They’re not breathing!”

No. 26: “Sometimes I get so tired; I don’t even know myself.”

Seeing Double | Working To Exhaustion | “You look awful.”

No. 27: “You drew stars around my scars; But now I’m bleeding.”

Matches | Scars | “Let me see”

No. 28: “We might not make it to the morning; so go on and tell me now.”

Bloody Knife | Sacrifice | “You'll have to go through me.”

No. 29: “I only sink deeper the deeper I think.”

Scented Candle | Troubled Past Resurfacing | “What happened to me?”

No. 30: “It’s okay, just to say, ‘I’m not okay’.”

Borrowed Clothing | Bridal Carry | “Not much longer...”

No. 31: “I thought that I was getting better.”

Emptiness | Setbacks | “Take it easy.”

Alternatives List:

Betrayal

Aftermath of Failure

Brass Knuckles

Decoy

Body Modification

Playing Cards

Examination

Hunting

Drugging

Shaking

Panic

Broken

Miscommunication

Lab Rat

Reluctant Whumper

Event Info & Rules

~ Please read our extensive event info posts before sending us an ask ~

WHUMPTOBER is a month-long, prompt-based creation challenge (think: Inktober, but whumpier). There are 31 official themes this year - one for each day of the month - which can be used, skipped, or combined in any way you’d like. The 'theme' of each day is the line of lyrics.

The prompts are merely to serve as inspiration without being taken literally (e.g. you don’t have to include the exact wording of prompts into your work). Feel free to run rampant on interpretation. For example, if the prompt is "flame", you could create something with reference to a candle/campfire, your character could have suffered a burn, or the flame could be related to the 'spark' of a relationship. It's truly up to you!

In total, there are 4 prompts for each day: there's lyrics, an object, a trope and a line of dialogue to choose from.  We want to give everyone as much creative freedom as possible, as well as increase event accessibility for folks with triggers and squicks.

Creators can PRODUCE work in any media they choose, including but not limited to: writing, visual artwork, photo/video/audio edits, paper crafts and elaborate recommendation lists (not just a list of links). Creators can PARTICIPATE as much or as little as they want (i.e. you don’t have to do ALL the prompts if you don’t want to) and prompts can be used in any order. They are also free to use even after the event ends.

When uploading Whumptober content to your blog, be sure to tag the with:

#whumptober2023 …..(the event tag)

#no.1, #no.2, #no.3, …..(day number)

#lyric, #bruises, #stabbing,  …..(the theme or specific prompt you chose)

#fandom or #OC, … (ironman, originalcontent, oc …)

#medium …..(gifs, fic, podcast, art, etc.)

#teeth, #gore tw, #etc …..(trigger warnings & any additional tags. Add "tw" AFTER the trigger/content warning. )

#nsfwhump …..(only for nsfw content)

#your own tags go here

PLEASE BE DILIGENT WITH YOUR TAGGING. Only properly tagged posts are considered for archiving on the official @whumptober-archive blog. They must be tagged in the order above. An elaborate post about our tagging system can be found [here]

Unfortunately, due to the sheer number of participants in recent years, we cannot guarantee your work will be archived. A random selection of properly tagged posts from all genres will be reblogged each day.

Whumpers who produce content for 31 total theme days are considered event completionists and will be tagged in a masterpost at the end of the month. A form will be published at the beginning of November asking you to tell us if you completed the event. You do not need to post anything you have created, we rely on trust and we will not check this.

Questions not addressed in one of our many event info posts can be directed to this blog. We will not answer any questions that have been answered in the FAQs or rules already.

Frequently Asked Questions

Q. How does this year’s prompt list work? What do I have to choose?

You can create something based on:

The overall theme/lyric of the day

Prompt 1, 2 or 3

One or several of the alternative prompts

A combination of the above

Q. Is [specific anything] allowed?

When in doubt: JUST DO IT!

Q. Do I have to do all 31 days?

Participate as much or little as you like! Just be sure to tag your posts properly (ex. #no.7, #radio silence). If you create works for 31 total theme days you will become a completionist. But apart from that, there are no repercussions if you don’t fill prompts for each day.

Q. Can I post early/late?

Yes, you can post whenever you want. We will only reblog posts during October, but you can use our prompts all year round. The day you post will only affect your probability of being reblogged.

Q. Will you reblog my post?

Due to the sheer number of content posted during Whumptober we can’t promise to reblog every single post. We will make a random selection trying to capture a wide variety of content. The following will increase your chances at being reblogged:

tag your post properly

post within 2-3 days of the theme you want to fill: if you fill the prompt for Day 1 your chances of being reblogged during October 1st to 3rd are highest and will go towards zero afterwards.

Q. What if I don’t understand a prompt/theme?

Send us an ask! We’re happy to help with wild, unhelpful clarifications or brainstorming. That being said, the themes are entirely up for interpretation. Don’t take them too literally. For example: You can be choking on a cherry, someone else can choke you or you could be choked up on emotions, etc.

Q. What kind of content can I make? Can it be NSFW?

This is a MIXED MEDIA event! You can write fic, post meta, doodle or paint, create a gifset or photo edit, link a song, or get crafty with video - anything goes. As for NSFW, make what you like, we just hope that you’ll tag your work accordingly so that others participating in the event can stay safe.

Q. Can I combine Whumptober with other creation challenges?

Absolutely, as long as the other challenges allow it too.

Q. Can I upload/repost my Whumptober content to other social media platforms?

Of course! You can post your own content wherever you like (or you can opt to not publish it at all). Additionally we’ve created an AO3 Collection to archive any fics posted there. It can be accessed here. The tumblr blog @whumptober-archive is the official archive, so please respect the boundaries of any closeted whumpers in your social circle.

Q. Can I use prompts to write a new chapter for an existing fic?

Yes.

Q. An existing fic I am currently writing contains many of the Whumptober prompts, can I use it?

If you are actively writing this fic at the moment with the Whumptober prompts in mind, yes. If you’ve previously posted something that checks the boxes, we ask that you not include it retroactively for this current year. You can, however, add new chapters relating to one or more of the prompts.

Q. What kind of characters can I write for?

Fandom characters, OC characters, human, furry, alien, cyborg, RPF, whoever you like. You can use the generic “whumpee” character or have specific ones.

Q. Does it have to take place in a specific fandom?

No, you can create works for your own worlds or for fandoms or for both. You can also create more generic or pan-fandom works. You can do cross-overs or use OCs, whatever you want.

Q. Can I use a prompt multiple times?

Yes, but it only counts once towards being a completionist.

Q. If I’m not comfortable with one day’s prompts can I use a prompt of a different day as a substitute and still be a completionist?

No, you can’t exchange prompts for different days. However, if all four prompts of a specific day make you uncomfortable, we have created an alternate prompts list that you can draw from. You can exchange any prompt with these, but please make sure not to use them twice.

Q. Where can I post my work?

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Yes, absolutely, and it would count towards being a completionist for both/all of you.

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One continuous story is fine.  The challenge is to write something for 31 prompts. If that’s spread over 31 fics or just one, you are still considered a completionist. (The same goes for every other media you choose.)

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Typically the genre includes situations where a fictional character is hurt, be it emotionally, psychologically, or physically. Fanlore provides information here.

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Thanks for reading, and happy whumping!

[reasonsforhope]

If I can also offer some additional thoughts to strawberryraviegutz, and anyone else who's worried about the same things:

There's zero evidence for the "250 year/10 generations" rule or whatever they call it. It's been a popular theory for quite some time, but every post about it cherrypicks examples of nations in history that lasted around that long and ignores all the ones that lasted longer or survived by adapting over time.

Literally every doomer post about it is based on that same cherrypicking and contemporary trends you see on social media, not long-term realistic projections used in actual academic circles, where they employ real scientific and historical evidence. Evidence that doesn't round off the lifespans of nations to some arbitrary number.

Not that I'm trying to downplay any existing problems, just that what we're dealing with today is hardly anything apocalyptic. It's really important to remember that increased awareness of a problem does not correlate to an increase in scale of said problem.

Also, despite what you may hear, there haven't really been many true collapses of entire civilizations in history. When states in the past have collapsed- Rome, China, India, the Mongol Empire, Alexander the Great's Empire, etc.- the people living there don't just disappear. They survive and go on to build new states that grow, change and evolve from there. That's a form of continuity, not total destruction.

And just as there has never been a true utopia, there has also never been a true dystopia. A dystopia is a literary device, not a state of being. So long as people disagree with and oppose cruelty and tyranny in any form, as is human nature, a true dystopia is impossible.

Especially because a dictator will never outlive the people. No matter how they may want to pretend otherwise, their grip on power is only ever temporary. The power held by the people is eternal.

I've seen more tangible good done in the last ten years than I thought would be possible, and I don't see any reason to stop believing that'll be true.

So don't give up just because of a few social media posts from people who have no idea what they're talking about. Every generation has had people who say these things and they're always proven wrong, so it's not worth your time and energy to worry about it.

Be kind to yourself and to others, and remember the world is a better place with you in it. We have not reached the end of history, not by a long shot.

Thank you for sending this in, and agreed!

[badnewswhatsleft]

rock sound #312 (nov 2024)

transcript below cut:

ROCK SOUND 25 ICON

FALL OUT BOY

A BAND THAT CAPTURED THE HEARTS, MINDS AND HEADPHONES OF A GENERATION OF KIDS WORLDWIDE, FALL OUT BOY UNDOUBTEDLY CHANGED THE LANDSCAPE OF THE ALTERNATIVE SCENE FOREVER, NEVER AFRAID TO EXPERIMENT, TAKE CHANCES AND MAKE BOLD CHOICES AS THEY PUSHED FORWARD. FOLLOWING A SUMMER SPENT EXPLORING THE 'DAYS OF FALL OUT PAST', PATRICK STUMP AND PETE  WENTZ REFLECT ON THEIR PATH FROM POP PUNK, HARDCORE MISFITS TO ALL-CONQUERING, STADIUM-FILLING SONGWRITERS AS THEY ACCEPT THEIR ROCK SOUND 25 ICON AWARD.

WORDS JAMES WILSON-TAYLOR

PHOTOS ELLIOTT INGHAM

Let's begin with your most recent performance which was at When We Were Young festival in Las Vegas. It was such a special weekend, how are you reflecting on that moment?

PATRICK: It's wild, because the band, I think, is going on 23 years now, which really came as a surprise to me. I know it's this thing that old people always say, 'Man, it really goes by so fast', but then it happens to you and you're just taken aback. There were so many times throughout the weekend, every 10 minutes, where I'd turn around and see somebody and be like, 'Holy shit, I haven't seen you in 18 years', or something crazy like that. It was hard not to have a good time. When I was going up to perform with Motion City Soundtrack, which was an exciting thing in itself, I turn around and Bayside is there. And I haven't seen Bayside since we toured with them. God, I don't remember when that was, you know? So there was so much of that. You couldn't help but have a good time.

PETE: I mean, that's an insane festival, right? When they announce it, it looks fake every time. The lineup looks like some kid drew it on their folder at school. For our band, the thing that's a little weird, I think, is that by deciding to change between every album, and then we had the three year break which caused another big time jump, I think that it would be hard for us to focus on one album for that show. We're a band where our fans will debate the best record. So it was amazing that we were able to look backwards and try to build this show that would go through all the eras - nod to Taylor obviously on that one. But it's also an insane idea to take a show that should really be put on for one weekend in a theatre and then try to take it around the world at festivals. The whole time on stage for this particular show production, I'm just like 'Is this thing going to go on time?' Because if the whole thing is working totally flawlessly, it just barely works, you know what I mean? So I give a lot of credit to our crew for doing that, because it's not really a rock show. I know we play rock music and it's a rock festival, but the show itself is not really a rock production, and our crew does a very good job of bending that to fit within the medium.

That show allows you to nod to the past but without falling fully into nostalgia. You are still pushing the band into newer places within it.

PATRICK: That's always been a central thing. We're a weird band, because a lot of bands I know went through a period of rejecting their past, and frankly, I encounter this thing a lot, where people have expected that we stopped interacting with older material. But we always maintained a connection with a lot of the older music. We still close with 'Saturday'. So for us, it was never about letting go of the past. It was about bringing that along with you wherever you go. I'm still the same weird little guy that likes too much music to really pin down. It's just that I've carried that with me through all the different things that I've done and that the band has done. So for us, in terms of going forward and playing new stuff, that's always the thing that's important to me; that there should be new stuff to propel it. I never wanted to be an artist that just gave up on new music and went out and played the hits and collected the check and moved on. It's all got to be creative. That's why I do it. I want to make new music. That's always why I do it. So something like When We Were Young is kind of odd really. It's an odd fit for that, because it's nostalgic, which is not really my vibe all that much. But I found a lot of nostalgia in it. I found a lot of value in looking back and going 'Wow, this was really cool. It was amazing that we did this, that we all did this'. That scene of bands, we're all old now, but it has taken off into such a moment culturally that people can point to.

Let's jump all the way back to the first ever Fall Out Boy show. There is very little evidence of it available online but what are your memories of that performance?

PATRICK: So the very first Fall Out Boy show was at DePaul University in a fancy looking dining hall. I actually applied to DePaul, but I never went there because the band went on tour. I think there were only two or three other bands. One was a band called Stillwell, who were kind of a math rock emo band, and then this heavier, more metallic band. And then we were there, and we had a guitar player, John Flamandan, who I have not seen since that show. He was only in the band for a week or two, and we were still figuring ourselves out. We had three songs and I had never sung before in front of people. I did a talent show at school one time when I was a kid and theatre kind of stuff where you would sing, but it was more in that context. And I was also a kid too. This was the first time ever that I'm the singer for a band and I was fucking terrified. We had a drummer named Ben Rose, really great guy. I haven't seen Ben in a million years, either, but we were still figuring ourselves out. The other thing is that all of us, with me being the exception, were in other bands, and all of our other bands were better than Fall Out Boy was. We were very sloppy and didn't know what we were doing, and so I don't think any of us really took it seriously. But there was a thing that was really funny about it, where even though we kind of thought we sucked, and even though we weren't really focusing on it, we had a lot of fun with each other. We enjoyed trying this other thing, because we were hardcore kids, and we were not the pop punk kids and the pop punk bands in town, that was like 'the thing', and we were not really welcome in that. There was a fun in trying to figure out how to make melodic and pop music when we really didn't have any history with that. It was very obvious that we didn't know what we were doing at the beginning.

So when did it begin to feel like things were finally clicking? When did you find your roles and what you wanted the band to be? 

PETE: In regards to the music, I liked Fall Out boy, way before I probably should have. I remember playing the early demos and it giving me a feeling that I hadn't felt with any of the other bands that I had been in. Now, looking back on it, I might have been a tad early on that. Then as far as the roles, I think that they've been carving themselves out over time. We've always allowed ourselves to gravitate to our strengths. Between me and Patrick, we'd probably make one great, atypical rock artist if we were one person. Because our strengths are things that the other doesn't love as much. But I think that what has happened more is it's less of a fight now and there's more trust. We have a trust with each other. There's things that Patrick will play for me or explain to me, and I don't even really need him to explain it, because I trust him. I may not totally understand it, but I trust him as an artist. On the other side of that, it's also very nice to have someone who can veto your idea, you know what I mean? It's nice to have those kind of checks and balances.

PATRICK: I had been in this band called Patterson, and all three of the other guys sang in kind of a gravelly, Hot Water Music vibe. I was not intending to be a singer, but I would try and sing backups and, it wasn't a criticism, but there was this vibe that, while I could do the gravelly thing, my voice was coming through and it didn't fit. It was too pretty and that became a thing I was kind of embarrassed of. So when Fall Out Boy started, I was actively trying to disguise that and mute it and hide behind affectation. Pete would really push me to stretch my vowels because that was in vogue in pop punk at the time. There were all these different ways that we were trying to suppress me, musically, because we were just trying to figure out how to do the things that the bands we liked did. But that wasn't really us, you know? It's really funny, because 'Take This To Your Grave' was recorded in three sections, about six months apart. Over the course of that time, I can hear us figuring it out. I think a really defining moment for me was 'Saturday', because I am not brave, I am not a bold person, and I do not put myself out there. When I was showing the band 'Saturday', we were jamming on the bit after the second chorus, and I was mumbling around, just mucking my way through it, and I did the falsetto thing. I didn't think anyone could hear me over us bashing around in Joe's parents house in this tiny little room. But Pete stopped, and he goes, 'Do that again'. I was so terrified of doing that in front of these guys, because you gotta remember, I was incredibly shy, but also a drummer. I'd never sung in front of anyone before, and now I'm singing in a band and I'm certainly not going to take chances. So I thought the falsetto thing was really not going to happen, but when I did it, there was this really funny thing. Somehow that song clicked, and it opened up this door for us where we do something different than everybody else. We were aiming to be a pop punk or hardcore band, but we found this thing that felt more natural to me.

As you embarked on Warped Tour, simultaneously you were finding this huge level of pop and mainstream success. How was it navigating and finding your way through those two very different spaces?

PATRICK: I used to work at a used record store and what shows up is all the records after their success. So I got really acquainted and really comfortable with and prepared for the idea of musical failure. I just wanted to do it because I enjoyed doing it. But in terms of planning one's life, I was certain that I would, at most, get to put out a record and then have to go to school when it didn't work out. My parents were very cautious. I said to them after 'Take This To Your Grave' came out that I'm gonna see where this goes, because I didn't expect to be on a label and get to tour. I'm gonna give it a semester, and then it will almost certainly fail, and then after it fails, I'll go to school. And then it didn't fail. Warped Tour was very crazy too, I was talking about this at When We Were Young with My Chem. Both of us were these little shit bands that no one cared about when we booked the tour. Then we got to the tour, and all these people were showing up for us, way more than we expected, way more than Warped Tour expected. So Warped Tour was putting both of us on these little side stages, and the stages would collapse because people were so excited. It was this moment that came out of nowhere all of a sudden. Then we go to Island Records, and I had another conversation with my parents, because every band that I had known up to that point, even the biggest bands in town, they would have their big indie record and then they would go to the major label and drop off the face of the planet forever. So I was certain that was going to happen. I told them again, I'm going to put out this record, and then I'll go to school when this fails. 

PETE: I think that if you really wanted someone to feel like an alien, you would put them on TRL while they were on Warped Tour. You know what I mean? Because it is just bananas. On our bus, the air conditioning didn't work, so we were basically blowing out heat in the summer, but we were just so happy to be on a bus and so happy to be playing shows. You go from that to, two days later, stepping off the bus to brush your teeth and there's a line of people wanting to watch you brush your teeth. In some ways, it was super cool that it was happening with My Chemical Romance too because it didn't feel as random, right? It feels more meant to be. It feels like something is happening. To be on Warped Tour at that time - and if you weren't there, it would be probably hard to imagine, because it's like if Cirque Du Soleil had none of the acrobatics and ran on Monster energy drink. It was a traveling circus, but for it to reach critical mass while we were there, in some ways, was great, because you're not just sitting at home. In between touring, I would come home and I'd be sitting in my bedroom at my parents house. I would think about mortality and the edge of the whole thing and all these existential thoughts you feel when you're by yourself. But on Warped Tour, you go to the signing, you play laser tag, you go to the radio station. So in some ways, it's like you're in this little boot camp, and you don't really even think about anything too much. I guess it was a little bit of a blur.

Pete, when you introduced 'Bang The Doldrums' at When We Were Young, you encouraged the crowd to 'keep making weird shit'. That could almost be a mantra for the band as a whole. Your weirder moments are the ones that made you. Even a song like 'Dance Dance' has a rhythm section you never would have expected to hear on a rock track at that time.

PETE: You know, I just watched 'Joker 2' and I loved it. I do understand why people wouldn't because it subverts the whole thing. It subverts everything about the first one. That's something I've always really loved, when I watch artists who could keep making the same thing, and instead they make something that's challenging to them or challenging to their audience. Sometimes you miss, sometimes you do a big thing and you miss, and we've definitely done that. But I gotta say, all the things that I've really loved about art and music, and that has enriched my life, is when people take chances. You don't get the invention of anything new without that. To not make weird stuff would feel odd, and I personally would much rather lose and miss doing our own thing. To play it safe and cut yourself off around the edges and sand it down and then miss also, those are the worst misses, because you didn't even go big as yourself. This is where we connect with each other, we connect by our flaws and the little weird neuroses that we have. I rarely look at something and go 'Wow, that safe little idea really moved me'. I guess it happens, but I think about this with something like 'Joker 2' where this director was given the keys and you can just do anything. I think a lot of times somebody would just make an expected follow up but some people turn right when they're supposed to turn left. That's always been interesting on an artistic level, but at the same time, I think you're more likely to miss big when you do that.

PATRICK: Going into 'From Under The Cork Tree', I had this sense that this is my only shot. It has already outperformed what I expected. I don't want to be locked into doing the same thing forever, because I know me. I know I'm not Mr. Pop Punk, that's just one of many things I like. So I would be so bummed if for the rest of my life, I had to impersonate myself from when I was 17 and have to live in that forever. So I consciously wanted to put a lot of weird stuff on that record because I thought it was probably my only moment. 'Sugar, We're Goin Down' was a fairly straight ahead pop punk song but even that was weird for us, because it was slow. I remember being really scared about how slow it was, because it's almost mosh tempo for the whole song, which was not anything we had done up to that point. But in every direction, in every song, I was actively trying to push the boundaries as much as I could. 'Dance, Dance' was one of those ones where I was seeing what I can get away with, because I might never get this chance again. We were on tour with a friend's band, and I remember playing the record for them. I remember specifically playing 'Our Lawyer…' that opens the record, which has that 6/8 time feel, and they kind of look at me, like 'What?'. Then I played 'Dance, Dance', and they're like, 'Hey man, you know, whatever works for you. It's been nice knowing you'. But I just knew that, on the off chance that I ended up still being a musician in my 40s, I wanted to still love the music that we made. I didn't want to ever resent it. It's ironic because people say that bands sell out when they don't make the same thing over and over again. But wait a second. Say that again. Think about that.

That attitude seemed to carry directly into 'Infinity On High'. If you may never end up doing this again then let's make sure we bring in the orchestra while we still can... 

PATRICK: That was literally something that I did say to myself this might be the last time, the likelihood is we're going to fail because that's what happens, so this might be the last time that I ever get a chance to have somebody pay for an orchestra and a choir. I always think of The Who when they did 'A Quick One, While He's Away' and there's a part where they go 'cello, cello', because they couldn't afford real cellos, they couldn't afford players. That's what I thought would happen for me in life. So I went in and thought, let's do it all. Let's throw everything at the wall, because there's no chance that it's going to happen again. So many things came together on that record, but I didn't expect it. 'Arms Race' was a very weird song, and I was shocked when management went along with it and had kind of decided that would be the single. I was in disbelief. It did not feel like a single but it worked for us. It was a pretty big song and then 'Thnks Fr Th Mmrs' was easily the big hit off that record. So then we have two hit songs off of an album that I didn't even know would come out at that point. But again, it was very much just about taking the risks and seeing what the hell happened.

As you went on hiatus for a few years, you worked on a number of other creative projects. How did those end up influencing your approach to the band when you returned?

PETE: On the areas of the band where I led, I wanted to be a better leader. When you're younger and you're fighting for your ideas, I don't think that I was the greatest listener. I just wanted to be a better cog in the machine. When you're in a band originally, no one gives you the little band handbook and says 'these are the things you should do', you know? I just wanted to be a better version of who I was in the band. 

PATRICK: There's a combination of things. 'Soul Punk' is a weird record. I love that record but I kind of resent that record for so many things. It's my solo record, but it's also not very me in a lot of ways. I had started with a very odd little art rock record, and then I had some personal tragedies happen. My EP that I put out far out sold expectations so then all of a sudden, Island Records goes, 'Oh, we think this could actually be something we want singles for'. I think we had all expected that I would be putting out a smaller indie record but then all of a sudden they were like 'oh, you could be a pop star'. So then I have to retrofit this art rock record into pop star hit music, and also channel personal tragedy through it. I hadn't ever really been a front man - I'd been a singer, but I hadn't really been a front man, and I hadn't really written lyrics, certainly not introspective, personal lyrics. So that whole record is so strange and muted to me. So I went from that album, which also failed so fucking hard - I should have gone to school after that one. But Pete had reached out to me just as a friend, and said 'I know you're in your own thing right now, and I know that you're not the kind of person that is going to be in my fantasy football league, so I'm not going to see you unless we make music. But you're my buddy, and that kind of bums me out that I don't see you at all, so I guess we have to make music'. I thought that was a fairly convincing pitch. It's true, that was what we do when we hang out - we make music. So we reconvene, and going into it, I had all these lessons that really made me understand Pete better, because Pete is the natural front end person. So many of our arguments and frustrations and the things that we didn't see eye to eye on, I grew to understand having now been in the position of the point man that had to make all the decisions for my solo thing. It really flipped my understanding of why he said the things he would say, or why he did things he would do. I remember early on thinking he was so pushy, but then, in retrospect, you realise he was doing it for a reason. There's so many little things that really changed for me doing 'Soul Punk' that were not musical but were more about how you run a band and how you run a business, that made me understand and respect him a lot more.

What are memories of that initial return and, specifically, that tiny first show back at the Metro venue in Chicago?

PETE: Those first shows were definitely magical because I really wasn't sure that we would be on a stage again together. I don't have as many memories of some of our other first things. We were just talking about Warped Tour, I don't have many memories of those because it is almost wasted on you when it's a blur and there's so many things happening. But with this, I really wanted to not take it for granted and wanted to take in all the moments and have snapshots in our own heads of that show. I did a lot of other art during the time when we were off, everybody did, but there's a magic between the four of us and it was nice to know that it was real. When we got on that stage again at the Metro for the first time, there was something that's just a little different. I can't really put my finger on it, but it makes that art that we were making separately different than all the other stuff.

Musically, as you moved forward, everything sounded much bigger, almost ready for arenas and stadiums. Was that a conscious decision on your part?

PETE: Patrick felt like he was bursting with these ideas. It felt like these had been lying in wait, and they were big, and they were out there, and whether he'd saved them for those records, I don't really know. That's what it felt like to me. With 'Save Rock And Roll', we knew we had basically one shot. There were really three options; you'll have this other period in your career, no one will care or this will be the torch that burns the whole thing down. So we wanted to have it be at least on our terms. Then I think with 'American Beauty...' it was slightly different, because we made that record as fast as we could. We were in a pop sphere. Is there a way for a band to be competitive with DJs and rappers in terms of response time? Are we able to be on the scene and have it happen as quickly? I think it kind of made us insane a little bit. With 'American Beauty…', we really realised that we were not going to walk that same path in pop culture and that we would need to 'Trojan horse' our way into the conversation in some way. So we thought these songs could be played in stadiums, that these songs could be end titles. What are other avenues? Because radio didn't want this right now, so what are other avenues to make it to that conversation? Maybe this is just in my head but I thought 'Uma Thurman' could be a sister song to 'Dance, Dance' or maybe even 'Arms Race' where it is weird but it has pop elements to it.

PATRICK: I had a feeling on 'Save Rock And Roll' that it was kind of disjointed. It was a lot of good songs, but they were all over the place. So when we went into 'American Beauty…', I really wanted to make something cohesive. I do think that record is very coherent and very succinct - you either like it or you don't, and that's pretty much it all the way through. By the time we got to 'MANIA', I had done all this production and I'd started to get into scoring. The band had done so many things and taken so many weird chances that I just felt free to do whatever. At that point, no one's going to disown me if I try something really strange so let's see what happens. 'Young And Menace' was a big part of that experiment. People hate that song, and that's okay. It was meant to be challenging, it's obviously not supposed to be a pop song. It's an abrasive song, it should not have been a single. However, I do think that record should have been more like that. Towards the end of the production, there was this scramble of like, 'Oh, fuck, we have no pop music on this and we need to have singles' and things like that. That took over that record and became the last minute push. I think the last half of that record was recorded in the span of two weeks towards the end of the recording to try and pad it with more pop related songs. I look at that record and think it should have all been 'Young And Menace'. That should have been our 'Kid A' or something. It should have really challenged people.

But we have spoken before about how 'Folie à Deux' found its audience much later. It does feel like something similar is already beginning to happen with 'MANIA'...

PETE: I agree with you, and I think that's a great question, because I always thought like that. There's things that you're not there for, but you wish you were there. I always thought about it when we put out 'MANIA', because I don't know if it's for everyone, but this is your moment where you could change the course of history, you know, this could be your next 'Folie à Deux', which is bizarre because they're completely different records. But it also seems, and I think I have this with films and bands and stuff as well, that while one thing ascends, you see people grab onto the thing that other people wouldn't know, right? It's like me talking about 'Joker 2' - why not talk about the first one? That's the one that everybody likes. Maybe it's contrarian, I don't really know. I just purely like it. I'm sure that's what people say about 'Folie à Deux' and 'MANIA' as well. But there's something in the ascent where people begin to diverge, you are able to separate them and go 'Well, maybe this one's just for me and people like me. I like these other ones that other people talk about, but this one speaks to me'. I think over time, as they separate, the more people are able to say that. And then I can say this, because Patrick does music, I think that sometimes he's early on ideas, and time catches up with it a little bit as well. The ideas, and the guest on the record, they all make a little bit more sense as time goes on.

'MANIA' is almost the first of your albums designed for the streaming era. Everything is so different so people could almost pick and choose their own playlist.

PETE: Of course, you can curate it yourself. That's a great point. I think that the other point that you just made me think of is this was the first time where we realised, well, there's not really gatekeepers. The song will raise its hand, just like exactly what you're saying. So we should have probably just had 'The Last Of The Real Ones' be an early single, because that song was the one that people reacted to. But I think that there was still the old way of thinking in terms of picking the song that we think has the best chance, or whatever. But since then, we've just allowed the songs to dictate what path they take. I think that that's brilliant. If I'd had a chance to do that, curate my own record and pick the Metallica songs or whatever,that would be fantastic. So it was truly a learning experience in the way you release art to me.

PATRICK: After 'MANIA', I realised Fall Out Boy can't be the place for me to try everything. It's just not. We've been around for too long. We've been doing things for too long. It can't be my place to throw everything at the wall. There's too much that I've learned from scoring and from production now to put it all into it. So the scoring thing really became even more necessary. I needed it, emotionally. I needed a place to do everything, to have tubas and learn how to write jazz and how to write for the first trumpet. So then going into 'So Much (For) Stardust', it had the effect of making me more excited about rock music again, because I didn't feel the weight of all of this musical experimentation so I could just enjoy writing a rock song. It's funny, because I think it really grew into that towards the end of writing the record. I'd bet you, if we waited another month, it would probably be all more rock, because I had a rediscovered interest in it.

It's interesting you talk about the enjoyment of rock music again because that joy comes through on 'So Much (For) Stardust' in a major way, particularly on something like the title track. When the four of you all hit those closing harmonies together, especially live, that's a moment where everything feels fully cohesive and together and you can really enjoy yourselves. There's still experimental moments on the album but you guys are in a very confident and comfortable space right now and it definitely shows in the music. 

PATRICK: Yeah, I think that's a great point. When you talk about experimentation too and comfort, that's really the thing isn't it? This is always a thing that bugged me, because I never liked to jam when I was a kid. I really wanted to learn the part, memorise it and play it. Miles Davis was a side man for 20 years before he started doing his thing. You need to learn the shit out of your music theory and your instrument - you need to learn all the rules before you break them. I always had that mindset. But at this point, we as a band have worked with each other so much that now we can fuck around musically in ways that we didn't used to be able to and it's really exciting. There's just so much I notice now. There are ways that we all play that are really hard to describe. I think if you were to pull any one of the four of us out of it, I would really miss it. I would really miss that. It is this kind of alchemy of the way everyone works together. It's confidence, it's also comfort. It's like there's a home to it that I feel works so well. It's how I'm able to sing the way I sing, or it's how Andy's able to play the way he plays. There's something to it. We unlock stuff for each other.

Before we close, we must mention the other big live moment you had this year. You had played at Download Festival before but taking the headline slot, especially given the history of Donington, must have felt extra special. 

PETE: It felt insane. We always have a little bit of nerves about Download, wondering are we heavy enough? To the credit of the fans and the other bands playing, we have always felt so welcomed when we're there. There's very few times where you can look back on a time when... so, if I was a professional baseball player, and I'm throwing a ball against the wall in my parents garage as a kid, I could draw a direct link from the feeling of wanting to do that. I remember watching Metallica videos at Donington and thinking 'I want to be in Metallica at Donington'. That's not exactly how it turned out, but in some ways there is that direct link. On just a personal level, my family came over and got to see the festival. They were wearing the boots and we were in the mud. All this stuff that I would describe to them sounds insane when you tell your family in America - 'It's raining, but people love it'. For them to get to experience that was super special for me as well. We played the biggest production we've ever had and to get to do that there, the whole thing really made my summer.

PATRICK: There's not really words for it. It feels so improbable and so unlikely. Something hit me this last year, this last tour, where I would get out on stage and I'd be like, 'Wait, fucking seriously? People still want to see us and want to hear us?' It feels so strange and surreal. I go home and I'm just some schlubby Dad and I have to take out the compost and I have to remember to run the dishwasher. I live this not very exciting life, and then I get out there at Download and it's all these people. Because I'm naturally kind of shy, for years, I would look down when I played because I was so stressed about what was happening. Confidence and all these have given me a different posture so when I go out there, I can really see it, and it really hits you. Download, like you said, we've done before, but there's something very different about where I am now as a person. So I can really be there. And when you walk out on that stage, it is astounding. It forces you to play better and work harder, because these people waited for us. The show is the audience and your interaction with it. In the same way that the band has this alchemy to it, we can't play a show like that without that audience.

[yuanist]

kuroo texts you at 3:52 am, almost three months after you broke up.

admittedly, you probably should've silenced notifications from him by now, but when you roll over—eyes barely open, a little headache from the light—you know you're much, much too late.

a text, from your ex-boyfriend, the big, blue bubble stretched across your phone.

i just moaned your name during sex.

you blink at the screen.

you what?

moaned your name, he sends. totally ruined the moment.

you look up, and then down, and then up one more time to make sure what you’re looking it is real and not some strange, midnight hallucination before typing again.

you’re fucking with me, right?

dead serious, he replies. worst moment of my life.

you can hear his voice in the text, and if you weren’t so caught up in thinking about the poor girl who probably just had the worst sexual experience of her life, you would laugh.

you need to find a hobby or something, tetsurou. you send. and preferably one that doesn't involve tinder.

i have hobbies!

non-sexual ones?

he types for a while before a short, little totally! pops up on his side of the conversation.

and you hate that this is the part of him that’s most intriguing. the unintentional charm, too weird for his own good part that keeps you texting him at four in the morning.

yeah, you send, quicker than you intended. totally.

and suddenly, you're really considering something you shouldn't. before tonight, you hadn't heard from in a while—at least not enough to be thinking about him. you'd resigned yourself to your little, single life and you figured boyfriends might be more harm than they're worth (at least for a while, anyway), but now you have a new little do you wanna come over? typed out into your messaging app, finger hovering over the send button.

you take a minute, trying to rationalize.

the responsible part of you thinks it's way too late to be asking for anything good. you have class in the morning, and you're all tucked into bed, and bringing him here would really stir up some old feelings you weren't looking to bring back right now.

the other part of you—the more fun of the two, you'll admit—knows that you're thinking about him and he's... definitely thinking of you, so what's the harm in indulging a little bit? maybe nothing would happen anyway and you'd just end up staring at each other for a while, but sitting in your bed alone, staring doesn't sound like the worst thing in the world.

you send the text.

there's radio silence for a moment, and you think you might have just fucked the whole we can be exes and friends! thing up, but after a moment or two, he replies.

really?

and you sigh, don't make me change my mind.

he sends an immediate be there in 10, and you flop yourself back into the pillows.

now, okay, you'd be lying if you said you haven't been in this situation before. you and kuroo have always had a strange habit of—gravitating towards each other, to put it politely. it doesn't matter how many times you guys swear each other off, there's always going to be a party, or a text, or a run-in at the grocery store that brings you together (in more ways than one).

the whole i just moaned your name thing, though, that one's new.

your eyes flicker up to the ceiling, then down to your feet, and then, finally, your phone—the reality of this whole thing sinking in a little.

are you supposed to—shave your legs for this? put on your good pajamas: the ones that ride up a little when you bend over? is that where this is going? you're pretty sure it is, but every time this has happened before, it's been a little more spontaneous than this. right now, you have time to prepare and time to think, which you're now realizing is something you really did not want.

you sit there for a minute, coming to the conclusion that this is kuroo. you dated for two years, and you shared a bed at night for more of that time than you'd care to admit, so what does it matter how prepared you are?

you hear a key turn in the front door (the one from under the mat; you took away his actual key you think) and, all of a sudden, you're kind of nervous.

you haven't felt this way in a while, especially when it comes to him. you think you might hate it.

nevertheless, your feet hit the floor and you let yourself pad your way into the entryway, just in time to see someone sliding his shoes into the gap between the doorway and the wall.

you flick the light on, and he jumps a little.

a beat of silence, and then, "hi."

that's all you can come up with right now, truly, and you blame half of it on the time and the other half on the fact that kuroo looks like that.

he's always been pretty, no doubt about that, but right now he looks a little beat up in a way that you have to admit you're kind of into.

his hair's messed up: half of it shifted more left than right, with a little curl to it that he doesn't normally have. his cheeks are red, and he's a sort of out of breath and—did he run here?

"hi," he says, smiling, heaving out a breath.

(oh, he totally did. maybe you're a little more alluring than you thought).

you chuckle out one more, final hi, before he steps towards you.

he smells good—not that that's something you focus on, obviously—but he's still wearing that cologne you bought him last christmas and there's a little tinge of sweat to him that suits him so much better than you'd think.

he has a t-shirt on—one you got from a concert a couple years ago; you can't remember exactly when anymore, but it's clear that the thing has gotten its wear. the hole in the left shoulder is glaring at you from here and you kind of want to poke it.

"i have your key, by the way," he says then, dangling the little thing between his fingers. "did you ask for it back?"

oops.

"i—meant to." you snatch it from him, tossing it onto one of the side tables. "definitely meant to."

his hand lingers there for a second, a big, toothy smile spread across his face. "oh, sure you did."

and you eye him, a short what's that supposed to mean? rolling out of your lips.

he shakes his head, moving closer again—so much so that you can feel the cast of his breath along your cheeks.

"you still like me," he says, and you swear you can see his vocal cords bob in his throat.

"pardon?"

"you think i'm fun—and endearing, and still worthy of a house key."

"i think you're nuts." you say, fluttering your lashes a little. "and really not in the position to be making these accusations."

"you really think so?" he leans in one more time, close enough that his lips brush that arch between your jaw and your neck. "go ahead—tell me all about how crazy i am."

you feel something inside you quiver.

this right here, this is the whole game between the two of you. some sick little cat-and-mouse thing that always leads to something that you regret in the morning and—inevitably—repeat next week.

truthfully, though, you're getting kind of sick of fighting it.

"god, i can't stand you." you back away, edging towards the hallway that leads to your room. "are you coming with me or what?"

and he grins, because of course he is.

reblogs are appreciated! ⋆𐙚₊˚⊹♡

[quarkfancam]

hello everyone. ummm. my star trek ocs. the crew of the uss hawking (shitty ship that gets put on all the worst missions and gets all the leftover people)......... character descs under cut.....

(lined up in very top image from left to right)

Lt. Jr. Morris (he/him, Chief Engineer... somehow) - an amicable old human man who has somehow never been promoted to senior officer ranks despite having been in starfleet for almost his entire adult life. charming and playful, likely the easiest to make friends with on board. unfortunately not great to work with, yet, somehow, knows at least one person on every federation planet. he fucks somehow

Lt. Cdr. Dakail (he/they, Chief of Security) - a gentle and soft-spoken bajoran. a little bit too chill considering what they get into. just here to have a good time most of the time and if the good times aren't coming he will be a little miffed about it. probably the most normal person on board unless you look closer he's a little bit of a freak

Cpt. Karal (he/him) - a cardassian man, middle-aged, rather distant. Has a bit of an ego problem, but not related to being Cardassian in the slightest. seems to want to push away any Cardassian association entirely (for some mysterious reason!). strict, a connoisseur of the arts, slightly frustrated with his post.

Cmdr. Wollenbach (she/her, 1st officer) - a human woman who rose through the ranks through hard work and her friendly attitude. appears a little too friendly at times to the point where it seems fake. definitely not a Changeling who has been impersonating a dead woman for the past few years. Don't worry about it

Lt. Cdr. T'Sik (she/her, CMO) - a vulcan woman who has been working with starfleet since forever, lowkey ptsd'd to hell and back but won't let that bother her. she just wants to do her job. unfortunately her fellow officers are all kind of a little annoying. a bit of a gossip. don't tell anyone

Lt. Nul (she/her, Science officer/Nurse (eventually)) - an ambitious young woman, one of the first Ferengi women to join starfleet. constantly on edge and despite everything holds on to a lot of ferengi culture which makes it a little awkward for her sometimes. mischievous & even goal-driven when it comes down to it. failgirl numero uno

there's more people on the ship i haven't given much thought to but this is all i got rihgt now. enjoy... and here is one last secret thing if you read this whole post

okay so the thing i didnt tell you is that they're actually revamps of my 10 year old tng ocs except i changed their species and snapped one of them out of existence bc i didnt know what to do with them. if you are a real lt. cmdr. 10 fan let me know i will bring them back . #TENHEADS

[elumish]

In the wake of what's going on in the world, I see a lot of rhetoric that basically boils down to the idea that everyone has a responsibility to watch every bad thing that's going on in the world all the time. That awareness itself is a responsibility that everyone has always.

I'm not going to say that people do or don't have a responsibility to be aware of things, but I want to talk about how to take care of yourself and others while doing so.

For some context, I spent close to a year and a half reading about every terrorist attack in the world as part of my work on the Global Terrorism Database. It was 2015/2016, so this was the height of ISIS/Daesh, it was a major time for Boko Haram, and it was when there was a lot of political violence that we weren't sure how to classify in places like Yemen, Crimea, and Libya (stuff the GTD didn't know how to classify had all of is information recorded, and then it went into purgatory until someone above my paygrade decided what to do with it). What this means is that I was spending 10-20 hours a week reading about hundreds or thousands of attacks a month and, in my case, recording infomation about the type of attack and the type of weapon. Much of my life was reading terrible things.

Limit what you do in isolation. One of the worst changes for me during that time, mental health-wise (even though it was great for my commute) was when I went from working in-person to working remotely. With other people, there are ways to diffuse the pain. A burden shared is a burden halved and all that. That may mean talking about it, or joking about it, or finding some other way to engage with it that isn't just reading about the most horrible things in the world and then stewing in your own thoughts about them.

Find something to do that's totally unrelated. I highly recommend finding something to do with your hands, if you can (knitting, Lego, cooking, whatever), but regardless of what it is, you should have some time when you entirely switch away to something different. During a fair amount of my time with the GTD, I was also doing my undergrad thesis about terrorism on TV, so a huge amount of my life was about terrorism in some way. The only other thing I watched was Great British Bake Off, and I would just rewatch the episodes, over and over.

Be compassionate about how you share information and with whom. Use trigger warnings, and consider using consistent tagging on places like Tumblr so people can blacklist it if they need to. Also consider whether it's appropriate or necessary to share photos of bodies or other results of horrible violence. What is it accomplishing, to show that? Can that goal be accomplished other ways that don't require the equivalent of jumpscares of unexpected photos of dead or brutalized people? Are you just showing it because you think that everyone should have to see it? If you are showing it, are there ways to mitigate against harm it may do?

Do what you can to avoid an echo chamber. Sometimes, when everyone around you is upset or angry about the same thing, it just amplifies itself, and you all get angrier and more upset in perpetuity without accomplishing anything.

Work towards action. Watching terrible things happen for the sake of saying that you haven't looked away isn't as meaningful as taking action in some way. Write to your Congressperson. Donate. Do whatever is appropriate for the thing you want to stop. But penance via watching terrible things happen doesn't accomplish anything.

Recognize compassion fatigue and do what you can to mitigate it. If you spend long enough doing this, you start to lose context, and you start to become less able to have compassion about things. If you're reading about attacks with dozens or hundreds of deaths regularly, five can start to not seem like that many. If you're reading only about the worst suffering in the world, "lesser" suffering of those around you can start to seem unimportant and petty. Do what you can to mitigate that.

Be kind to yourself. You do nobody any good if you burn out. Look away, if you need to. Take a break. Do things so you can enjoy life, because otherwise you are just another person suffering in the world. Other people's pain isn't a hair shirt for you to wear.

[jmtorres]

i just saw a post about how we just have to "live with" covid and wanting more protections from our government is unreasonable because we'll never wipe it out, it jumps species and is in all sorts of animal populations (like, true ok) so why even try to

and apparently the argument was aimed at people (who I haven't seen in the wild) who are arguing we should still be in lockdown. and i have mixed feelings about the idea of extended lockdown or attenuating isolations; but my main feeling at this point is not that the government should keep us apart but that the government should be trying to make it safer for us to be together

things the government could/should be doing about covid:

we know that ventilation/air movement helps a shitton. we should be incentivizing upgrades to ventilation systems in all public buildings with shit like rebates or tax deductions, while phasing in eventual legal requirements. (and uh. it has occurred to me that the US might actually be doing this sideways by there's currently this decade enormous tax incentives in re energy efficient upgrades for slowing climate change and you know. energy efficient hvac does tend to improve ventilation. extra point to biden here.)

mandatory paid sick leave so workers aren't under social or economic pressure to work when sick

passing out RT-LAMP tests like metrix that actually work instead of the rapid antigen tests that have become less and less reliable as the virus mutates

i don't know how you'd write this law but like 95% or more of computer-based work can be done remotely and companies should not be allowed to force people to return to the office. I know there's people who want to be back in person and I'm not saying they should be forced to stay home but ffs I know of at least two people CLOSE to me who worked remotely before the pandemic and at some point their workplaces tried to tell them they weren't allowed to do that anymore despite the pre-existing contracts. stop canceling remote work for people that want, need, or prefer it.

for that matter, every college lecture that was an online class during covid should still be offered as an online class, there is no reason to force students into auditoriums in person. you got the communications infrastructure up and running, why are you tearing it down. give people the OPTION. it increases accessibility for everyone!

covid vaccine immunity lasts about four months. this should be well-publicized and everyone should be able to re-up for free every four months. "every year, like the flu vaccine" is demonstrably not often enough. actually "for free" isn't good enough start handing out $10 gift cards you will be shocked at how many people who are resistant to the idea of vaccines will fold for $10 a shot

are there already laws on the books about masks in medical settings that some medical professionals are blatantly ignoring because they forgot what best practices were before the plague and they're 'tired of masking'? if not, pass laws. if so, fucking enforce them

oh another incentives for upgrades phasing into legal requirements thing: brass doorknobs and railings over stainless steel or whatever. microbes do not survive on brass surfaces

i mean. i know this one sounds too extreme to a lot of people but. UBI.

most if not all of these measures will prevent or ameliorate other pandemics of different diseases that may arise in the future. and just. generally improve our health and quality of life for other reasons.

I haven't felt safe to go to a concert since 2020. Maybe if I knew a venue was legally required to have ventilation to a certain standard and that none of the ticket takers and ushers were on the job sick to avoid risking loss of paycheck or job, and knew a larger percentage of the crowd had up to date vaccinations--maybe if any or all that, I might ever feel comfortable going to a show again.

wouldn't it be nice if those of us who have been disabled, by covid or other conditions, had accessible remote options but also occasionally felt safe enough to interact with and participate in wider society?

one of the arguments on the post I saw was how isolation was massively psychologically damaging and various strata of society were affected in all sorts of ways, from undersocialized kids to increased depression in--well across the board, I think. and here's the thing: WE KNOW. PEOPLE WITH CHRONIC HEALTH CONDITIONS, LONG COVID OR OTHERWISE, KNOW ISOLATION SUCKS REAL BAD. because we, both for our own health and due to disability ostracism, are still isolating and isolated more than most.

what are you as individuals or societies, what are our governments, doing to help make it safe and accessible to rejoin you????

[theambitiouswoman]

I have been celibate for 3+ years & I wanted to share how this has helped shaped who I am.

Disclaimer: This is not me telling you what to do with your life and your bodies. It comes with zero judgement. I am of the belief that there is a season for everything, and we evolve into many different people in our life. I would be remiss if I didn't say that I definitely think it's a good idea to practice it. I do believe that psychologically, spiritually & emotionally having casual sex has a lot of negative implications for both men and women. However your beliefs around intimacy are purely up to you. Sex isn't bad, that's not what I am saying, but when you are having sex with someone you are absorbing their energy, and the energy of their past lovers too, so having sex with the wrong person can really ruin you.

Honestly the idea of anyone touching me if they do not meet my needs emotionally, mentally, physically etc absolutely disgusts me. I have never been of the type of let anyone "have me" but even more so now. Remember that when you start treating yourself differently, your perspectives and the things you are attracted to also start to change.

Maybe some girls don't understand this so I am going to say it. You do not have to sleep with a man for him to like you, love you, treat you well, or buy you things. If you haven't experienced this, you may not agree. But this is my reality and the reality of so many others, so yes it is actually totally possible.

I will say that the first year can be difficult but after that it gets much easier cause your mindset changes. I recommend taking that first year to really dive in and analyze your relationships, work on your wounds etc. Feeling lonely is something I see come up a lot, and while human beings are not designed to be alone, you should not feel lonely and that is probably a good starting point to work on with yourself if that is the case.

Anyway, these are some of the changes I have experienced:

1. Greater mental clarity and can focus more on personal goals, career & self development.

2. Reduced emotional turbulence. Creating better emotional balance and inner peace.

3. Realizing self love and self worth come from you, rather than seeking external validation. It reduces stress, increases self awareness & provides identity outside of others.

4. Higher standards, better boundaries. Intimacy is a choice, not a necessity. Being unable to control your lust is a weakness. Understand that falling in love purely through sex is lust, wounds and attachment / abandonment issues, need for validation, insecurity etc.

5. Insane increase to intuition.

6. Gives you control over your body and life. It allows you to be more selective about who you let into their personal space.

7. Increased creativity & passion to channel into art, projects, or other personal endeavors.

8. For those recovering from past trauma or heartbreak, celibacy can be a time for healing and self reflection. It offers the space to process emotions, heal old wounds and rediscover yourself.

9. No energetic enmeshments with toxic souls, which btw you are absorbing all of it. Grosses me out any time I think about it.

10. Even prettier than before (but i'm sure not entertaining toxic men and drama contributes to that as well)

11. People are even more drawn to be because of my strong sexual energy & pure aura.

[purpdrawsthings]

You'll Be Back Mr Puzzles MAP!

No this is actually real soahsodhsoshsi

Hihi everyone saw my last post hahahhhh I wasn't joking 💀

READ THE ENTIRETY OF THIS IF YOU WANT TO JOIN ‼️‼️‼️‼️

I don't want no nobody to not understand anything

Anyways, onto the details!

Wait, what's a MAP?

Ah.. I should explain that shouldn't I?

MAP stands for Multiple-Animator Project. It's basically a collaborative project made up of numerous animations by different creators!

You might have seen these before in the art fandom, if not, you're not a real artist /jk /nsrs /lh

Jokes aside, these projects tend to be fun for most creators and I'm hoping that this would bring some fun to the people joining :)

Is this begginer friendly?

Why yes it is! Regardless you're good at animation or not, you're welcome to join! Just... At least put some effort rather than being lazy?

Regardless, everyone is welcomed with open arms here! So don't be afraid ;)

What canvas size should I use?

1280x720 preferably! Just to make sure it doesn't take up too much of my data ;w;

But you can use any canvas size you'd want besides that! A box shape, or that weird YouTube short form... Nvm exclude that one but anyways, yeah any canvas size that you're comfortable with!

Is there a specific theme?

There's actually none! The map is supposed to just be a silly Mr puzzles map :3

This includes the setting and etc like- go crazy! Do a sad, fun, crazy, angry moment or something! Do what your imagination can make out of that song using Puzzles ^^

Is it okay if I can't remove my animating apps watermark?

It's completely fine if you can't remove it! Don't worry you're not the only broke one here ;)

Am I allowed to put my watermark?

Yes! You're incouraged to add in your watermark so people know it's your part!

Dw, if you don't have one them I'll just put your name while I'm editing the entire thing :)

Can I include my OCS or my Mr puzzles design?

Yes you can! You can also change your Puzzles aus whenever you'd like.

E.g my Showman Puzzles on part 1 and my Puzzles kinsona on part 2

It's just an example! If you're adding ocs, it's good! But the animation should primarily focused on Puzzles! He can interact with other characters but it's mostly just him. Oh and if you're wondering, it doesn't have to be SMG4 OCS :)

How many parts can I take?

Hey hey don't be greedy /hj

2 parts! I want everybody to take their chances and do some cool stuff :D

Where should I ask for parts or send submissions at?

In the discord server I made! The link will be at the end of the post. I know I just replied to some in this blog and they got their parts, I will NOT be accepting any ask parts OUTSIDE of the server.

The same goes with submissions/finished parts, please do send it in discord.

Why is this? This is because I want everything to be easier for me so I could manage stuff. I get frustrated very easily so yeah 😭

Is there a deadline?

Well uh- I'm not sure! But it's probably going to be planned on the June or July, somewhere in the middle of the year. Though I will be making sure nobody feels rushed for their sake

Have you ever host a MAP before?

Wait where tf did that one come from-

No I haven't unfortunately, this is my first one! I've always wanted to make a MAP because of how cool the idea itself is.

Now that that's done, here are the parts! As time progresses a and people enter, I'll fill them up :3

Intro : me

1. @e-v-e-l-l-e

2. @rainbowrocketraichu

3. Entity-lol

4. @lari-the-dragon

5. @rat-n-atty

6. @madhalo

7. @mrtophat518

8. @fenicearts420

9. @cosmicoreo9

10. Entity-lol

11. @niranutcake

12. @madhalo

13. Me

14. @alex-dolmatescu2-0

15. @libbytwq

16. @alex-dolmatescu2-0

17. @rr3d2y

18. Me

19. @niranutcake

20. Rainbowrocketraichu

21. @messydoodlesyt

22. @messydoodlesyt

23. @icedbeverageenjoyer

24. @mrtophat518

Outro : me

Last but not least.. Please do enter your submissions in the discord server below this sentence :D

You can post your part outside the server if you want but I'm only taking the ones submitted in the server itself :)

Andddd that's about all! You can ask questions here and in the server. Yeetus chat!

[canihaveacalmtime]

Your entire life wasn't any eventful in any means aside from the fact that you were targeted and bullied in your intire school life from primary to highschool by the same pair of twin brothers.

You don't know how it started, you don't know when it started, hell you don't even know why they targeted you out of all the other weaklings.

Everyday, the moment you step your foot inside the school ground, they always going to find a way to make your soul jump out of your own body and begin their daily mocking essay, perform it straight into your ears then leaving you with a new wound deep within your mental health.

Near the end of the final year of highschool, you begin to form a plan that will separate you and them forever by telling them with a scared tone about what college you will attend when they ask, behind the scene, you will begin study hard for another further away college, maybe even try to get in one that's out of the country.

Your plan worked and you begin following your dreamt path that you've chosen, you felt relieved, you felt happiness, you felt like the biggest obstacle in your life has been gone.

For the moment, at least.

So imagine meeting them again after applying for a secretary job and now having them as your boss? Sure it'd be so horrific due to them forcing you to work over hours and dump so many paperworks on your work table everyday. Even so, you noticed that they aren't like how they were like years ago anymore and for some kind of reason, you feel really nauseous and wary, your mind screams to you so.

One late night, a day where you have to work over hours, you got really surprised when you realize they haven't went home like how they used to but instead stay and out of nowhere handing you a small box of (flavor) tiramisu cake, saying that they just want to gift you something for your help with assist the company to reach the top 10 in the country.

To you, that excuse were rather foolish to say the least, your mind insist on telling you that you must not take that but your body really needs sugar or it'll collapse by the next 30 minutes so you accepted and politely thanked them. So you wait for them to leave your work room, then finally feel safe enough to take a bite.

The only image you see before you black out was the big twin carrying you in the bridal style as the small twin holding you face, they both have the same love sick face directly at you.

----------

Back when the three of you were in kindergarten, you were the only one who helped them fight off the bullying and rude comments from other kids. Those kids called the twin as ugly, weirdos, psychopaths and any other snarky comments they could make out.

Technically, you were friends with them until primary when they began to becone very popular because they have grow their hidden beauty and no longer the shy and weak twins you know anymore. They turned against you, begin to call you names, begin to use their powers against you and soon enough, you no longer have the will to continue thinking that they will change back to themselves before and accept your fate as a fun thing for them to curse, hit and make a show out of.

That's the 'point of view' that you've been living in for your entire life, your point of view only but how about their point of view?

The twins despite born in a super wealthy family, they never really get to experience 'love' as their parent always busy with works and outside relationships related to business so for them to not know how to understand love let alone giving out love, is a completely normal thing.

They really love you, they wish to cherish you, to protect you and make you happy but they didn't know how and the way they used to express their feelings towards you ended up making your life miserable. They didn't stop the bullying until they went through with the plan of putting cameras in your house, that's when they realized how much damage they have already done to you but fixing that would already be too late since the time they knew about that was also the time you made the plan to cut them off completely.

When you moved out of your parent house, went to the college you study so hard to get in and enjoying the freedom to longed for, they were waking up everyday to regret and hopes of finding you again after they knew about your leave.

The moment they saw you as their new secretary, they knew that they can't not waste anymore time they've already wasted, either they lock you in their arms now or lose you again, forever.

----------

As you wake up from a good sleep since a long time, you immediately know that this room is not yours and by the small picture on the bedside table, you can already guess where you are right now. You noticed that you're currently wearing your favorite type of sleep clothes, you flop back down on the comfy bed, wanting to have another good sleep when suddenly you hear the door open.

The twin notice you've already awaken and are looking at them right now so they await for your reaction, wether it's positive or not but what they didn't expect is you just casually say "hey" to them. And you, you don't even know where did that came from but it felt nice to greet them like how the three of you used to be in kindergarten.

When you were still spacing out, a hand had placed on your head to ruffle your hair follow by a soft kiss on your forehead.

"Did you have a good sleep, darling?"

You look at them for a few seconds before nodding lightly, they also notice that you've been spacing ever so slightly.

"Is something bothering you?"

"No", you said, "it's nothing, just... it's been a while since we talk- like this and it's not that I feel uncomfortable, I-I like it, it feels nice, I was just.. trying to get familiar with the old feelings and-"

"Alright alright", they smile, "we get it (y/n), it is really nice."

They stand up from the bed and look at you, "Let's go have breakfast, you must be hungry now, we gonna have (favorite food) today, what do you think?"

You give them a soft smile.

"Let's go enjoy it then."

-------------------------------

A/N: This is much more longer than I anticipated, dayum 💀 Still, hope y'all enjoy it though, not the best work but I kinda like this one. I can write more about them if you like lmao, do let me know in the comments ❤