#I say this because I tend to get worked up about things that I consider unjust

[timmydraker]

On a seemingly random Tuesday night, a few members of the Bat Family are free to spend dinner at the manner.

Jason was benched by his fellow Outlaws for a nasty hit to his chest and got tired of Biz’s worrying even if it was appreciated at first.

Dick had been taking a small break after a particularly bad case with work that involved some hurt children and wanted to be back home.

Damian had only ever made threats to move about but the newley eighteen year old was still at home.

Tim had been using his free time while Kon and Cassie visited their families to visit his own while Bart and Barry dragged Wally on a bonding trip. The poor West boy had to miss out a concert of some sort.

Stephanie, Duke and Cass were all busy with a case and had pleaded with Bruce to take some time off because he was, quote, “Broodier than Hamlet”. He eventually relented when Barbie and Kate promised to keep an eye on them.

The group had decided to watch a movie instead of playing games, mainly because not games were banned, and settled on something that Tim paid no mind to.

The problem came that it was cold out and everyone insisted on having the fire as hot as it could go, but Tim naturally ran hot. Jason and Damian tended to get the coldest and while only Jason would complain, Damian could and would set anything he wanted on fire to get warm.

So, Tim didn’t complain and just said he was going to get changed.

He spent at least half an hour on one of the arm chairs by himself with his tablet playing RuneScape, when Dick inhaled so quickly everyone heard it.

Tim assumed it was something to do with the movie and didn’t turn, tapping away at his screen, completely ignorant to Dick’s quickly forming tears.

It was when Bruce also made a noise, this time a poorly pronounced ‘oh’ that he turned around, assuming it had to be a truely grand thing for Bruce to react so openly in the movie.

Instead he finds his foster father and brothers staring at him.

More specifically, his thighs.

Tim hadn’t realised his shorts would ride up and stop covering him to just above his knee and show the hundreds of scars littered over the outside and inside of his pale skin. They were mostly faded, but with the width of some of them they were always going to be visible, especially with the sheer amount.

Pulling his pant leg down, Tim doesn’t bother to hide a sympathetic wince and says, “Sorry, didn’t meant to show them. Sorry if I made you uncomfortable.”

He looks away again, assuming that was that and trying to remind himself that it wasn’t his fault that people were upset by his scars, just like Black Canary told him.

Instead he hears a sob and turns back to find Bruce holding Dicks hand as his oldest brother sobs into his hand. He sees that Jason is seemingly fighting to not match him even with his wide eyes and Damian is staring at him with confusion.

Realisation finds Tim quickly, which makes sense considering he’s supposed to be the ‘smart Robin’.

“You didn’t know…”

Dick stands up, dropping Bruce’s hand and comes to kneel before Tim, holding onto his own hands like some kind of follower to a god, “Why? I- I don’t- why?”

The desperation in his voice makes Tim feel sick, and he looks around at the others for help because surely he had talked to at least one of them about it? He had been open with his friends, and he hadn’t exactly kept it a secret, but he did avoid showing them…

Tim moves to hold onto Dick in return, “I’m sorry, I thought you guys knew-… okay, look, I’ve got a two year clean streak and I’m in therapy, okay? I’m so sorry Dick, I just assumed you knew cause I use the shower in the cave with you guys and… I’m so sorry.”

There’s a silence for a moment as Dick drags him into his arms and squeezes him as tightly as he can, not even being careful like he usually would.

“I don’t understand.”

Damian’s voice sounds uncharacteristic in how small it is. He’s staring at Tim’s legs like he might be able to catch a glimpse of the scars in genuine confusion.

Bruce seemingly can’t speak and so Jason tries his best to explain to the youngest Wayne boy, “Look, bra-kid, some times when people aren’t doing to well they… they hurt themselves. Tim…”

Giving his brother a smile, Tim takes over as tears finally break away from Jason. Jason was always the most emotional and that’s evident in how he actually lets Bruce pull him into a side hug.

“Dami, you know how my parents kind of sucked?”

Damian makes a scoff noise, “I know they were incompetent, yes.”

Smiling, Tim continues as his eyes grow wet with the sound of his families cries, “Well, I really wanted to good for them but they had impossible standards. When I found I couldn’t reach them, I decided I needed punishment. So…” he takes a deep inhale and moves a hand to Dick’s head to comfort him as he finishes. “I started to cut myself.”

Damian doesn’t get wide eyes or anything, and Tim thinks it’s so much worse that there’s an image understanding in his little brothers eyes that show he sees that as completely logical.

But it is quickly overcome, his first thought always what he was raised with and quickly followed by the ideals he’s learnt and now values. He doesn’t cry either, but he does have a look of a pure heart break in his sweet little eyes.

Bruce finally comes over and pulls his two sons into a hug, adjusting to fit Jason in and saying nothing as Damian comes up behind Tim and leans his head against the others back.

Bruce asks other a few minutes of holding each other, “You said you haven’t for two years?”

Tim smiles once again and presses a kiss to his dad’s cheek. “Yeah. I learnt that family, real family like ours, would never want physical punishment, especially for something we can’t control. That’s not how loving people work.”

Damian moves to wrap his arms around Tim in their first ever hug and by all gods and mighty beings is Tim glad he stuck around.

Hugs from his family was well worth it.

[makiswirl]

can i just say. and this is probably a niche hill to die on. that i am so gobsmacked every time someone vaguely hints at the idea that jotaro doesn't care meaningfully for the other crusaders, usually particularly kakyoin and joseph, when those two actually tend to be the ones he reacts to being hurt the hardest

like he cares for his loved ones!!!! that literally plays into his character motives in every single part he shows up in!!! stop lying to me!!!!!!!

[lameotello]

peak brain of me yesterday to call antis and the current state of fandom an HOA. not only because it fits but because it gives a more tangible, real quality to it. Fandom is a neighborhood and we all have our own homes in it. My yard doesn't pass inspection. My house is bright and colorful and not to the HOA's tastes. They can tell me to change it but legally they don't have a leg to stand on

[puppyeared]

footnotes arent enough I need you to talk to me like im fucking Amelia Bedelia

[tsukimefuku]

voice kink ♪ nanami kento

I ended up watching a YouTube short of Kenjiro Tsuda and it made me deeply unwell, hence this 30 minute drabble. Have my horny. Part 2 here

Nanami was a dedicated — you could even say devoted — lover. Truly, after so much time together, you doubted there was anything vanilla-related this man wouldn’t do in bed if you asked him to. The sheer lengths he’d go to have you finishing at least twice every time you had sex were surprising.

However, there was this one thing that still nagged you. You thought about it, mulled it over, and considered talking to him after he got home. However, your eagerness to talk about it got the better of you.

“Kento, why don’t you talk dirty to me when we’re having sex?” you asked him, still laying on the bed with your pajamas on.

He turned to you surprised, already dressed in his classic blue buttoned shirt, beige formal pants, and yellow tie with a splatter pattern hanging around his neck as he got ready to leave for work.

“For no reason in particular. I think I just tend to focus on how it feels rather than talking about it,” he answered, “why? Would you rather have me talking more?”

“Perhaps. I mean… I find your voice very sexy,” you admitted, blushing a little, “and one of my favorite parts of sex is when I get to hear it.”

He lifted an eyebrow, a soft hint of amusement taking over his impassiveness.

“You do?”

“Yes.”

He seemed to ponder on something for a moment, and then, began walking towards the bed as he opened the top button of his shirt.

You were confused for a moment as he climbed with his work clothes from the end of the mattress. However, in an instant, he took both your hands, entangling your fingers while he pressed them to the sides of your head, and sunk his hips in between your thighs, his belt softly catching on the edge of your pants.

Having you caged underneath him, Nanami brushed his lips against your cheek, and slid them slowly down.

His warm breath caressed your skin, and Nanami grazed his teeth on your earlobe before whispering only inches away from your ear, “what would you like to hear me say?”

“A-anything, really,” you stuttered out, thoughts becoming nothing but jumbled bits in your brain.

He hummed, “then, let me tell you what my favorite part is.”

Each syllable had you melting like honey under him, his deep tone caressing your hearing in all the right ways.

“My favorite part is when you are about to finish for the second time with me inside you, and you always dig your nails on my shoulders. I really like when I look in the mirror and see those tiny marks you leave me with, because every time I notice that they’re gone, I know it’s time to get some new ones.”

You let out a moan, sinking your head back on the pillow and arching your back. He pressed himself a little harder, and proceeded.

“I also find your taste to be exquisite, but I’m still unsure if it feels better when I have my tongue deep inside as you tremble all around it or when I’m thrusting it in your mouth right after I’m finished eating you out.”

Another moan tumbled out of your lips as you felt your heartbeat throbbing in between your legs, and at that moment, you were absolutely sure that if he kept going, you’d cum completely untouched underneath him.

“K-Kento...”

“Also, feeling you all warm and wet and tight around my cock when you ask me to have you completely raw is one of the most delicious sensations I’ve had in my entire life, topped only by when I cum inside you and fill you whole, all thick and warm.”

Holy. Fuck.

Your body was quivering underneath him, your breath completely broken in hitches, and you squirmed your hips desperate for some friction over your pooling wetness.

“I hope I gave you enough for you to think about me while I’m gone at work, darling,” Nanami concluded, planting a kiss on your cheek before lifting himself up, carrying his warmth along with him.

You realized that moment you definitely should’ve waited until that night to tell him that.

[that-fic-girl]

HAZBIN HOTEL X READER HC #1

Head canon: what it would be like to date them.

characters: Alastor, angel dust, husk, vox

disclaimer: everything i write about these characters might not be accurate to the actual story, please take everything in the fic with a grain of salt, none of this is canon!!

Alastor

he hasnt been in an actual relationship in a while so being close and vulnerable with someone is quite hard for him, especially as someone who associates emotions with weakness.

First off, its safe to say he adores the ground you walk on. He's in love with everything about you, your clothes, the smell of your hair, your sickly sweet voice. his loves it all.

If there was ever a problem you needed fixing, a person you needed taken care of or even a errand you needed to run he would tend to it himself. he would not let you lift a finger.

PDA is a iffy thing for him, he wouldnt do grand big gestures but maybe a hand on the hip or a few words of affirmation.

everyone in the pride ring quickly learned of yours and radio demon's relationship. And no one dared to mess with you, ofcourse there was people who wanted to test their luck but they would have to pay the price later.

his love language is definitely words of affirmation, he will sweet talk the shit out of you. At night when it's just you two in bed, he will have his hands stroking through your hair whilst you rant to him about your day and he'll reply with sweet nothings

"oh darling, i've missed you all evening"

"you looked ravishing today my dear.."

"mm your hair smells amazing, my love"

Angel Dust

Angel is one of, if not, the horniest mother fuckers out there but somehow, he manages to somewhat make a healthy relationship with someone.

you two are seen as "the bad bitch" couple. you're always out together, always getting into dumb shit together. You'll get yelled at by vaggie at early hours in the morning because the two of you where playing a childish game of tag in the hotel halls.

his love language is definitely physical touch, he'll have his arms slung around your waist almost all the time. Kisses are a MUST every 5 minutes, like this boy will NOT part from you. especially in the mornings when you have to leave for work;

"mmnnnnoooooooo...stayyy for five minutes pleasseeeee"

"but sweets..you're soooo warm"

"sweetheart please, you feel so comfy"

yeah good luck with that.

nights with him are VERY eventful, if it wasn't obvious. You two would usually be at it late hours into the night but sometimes, when you two where too exhausted to fuck like rabbits, he would be sprawled across your lap whilst you stroked his fur.

Husk

Despite his harsh tone and uncompromising demeanor, you understood that Husk wasn't trying to be malicious towards you. It was simply his way of communicating, and you knew that his behavior wasn't personal. Even though he could be abrasive at times, you loved him for his rough edges and authentic personality

You and Husk's time together was mostly spent at the bar. You didn't like to drink much, but you loved seeing him work and make cocktails like a pro. You didn't mind that it wasn't considered a typical date, because you liked spending time with him in whatever way he felt most comfortable.

Husk is not used to receiving compliments, as he didn't often receive them in his past life. When you complimented him, it caught him off guard and he was surprised. But he eventually learned to appreciate it, and it even made him feel a little sentimental.

Despite the difficulty, you were able to help Husk realize that you genuinely cared about him. He had been used to being surrounded by dishonesty and hypocrisy, but you were always sincere and real. He held you in high regard, as you were the only source of light in his life, and he didn't want to lose you.

vox

You were known as a strong and independent person who didn't need assistance from others. You knew how to stand up for yourself, despite being harsh and tough at times. Despite your exterior, no one was aware of the soft spot in your heart that Vox's affection and touch alone could melt away your severity.

He appreciated seeing your affectionate side, as it felt special and intimate, like a shared secret between the two of you. He knew you valued your privacy, and he respected it by never sharing photos or other details on social media. He didn't want to betray your trust.

You were often feared and respected when you were with Vox. People found it hard to believe that someone as intimidating as yourself could have a tender, caring side that was kept hidden from most. Vox was glad that he was the only one who got to see that side of you. He didn't want to share something so special and personal with anyone else.

Quite often, he would call you on the phone, knowing that sweet words could be just as effective as a kiss. He enjoyed hearing how your voice softened from its usual seriousness to a more affectionate tone. He was aware that when he said loving phrases to you, you would blush and smile shyly, and sometimes he even regretted not being able to witness it in person.

"i've missed you today babe.."

"mhm look at my pretty girl/boy!"

[thebibliosphere]

I was just playing gotham knights again and noticed some passive dialog regarding Babs having a back brace, which is at least acknowledging that there was damage done, but I'm a little sad for the loss of some really cool disability representation. What are your feelings on her (and on a similar note Batman's) miraculous recovery from paralysis in DC?

I think Gotham Knights handled her disability fairly well, considering this is a universe where magic, nanobots, and puddles of evil green goo that can heal the dead exist. All things considered, it would have been very easy for them to either erase it entirely or just handwave and say, "She worked really hard and got better," as previous iterations of the canon have done.

Because she did work hard and get better, but the hard work is ongoing because they depict her issues as chronic.

She's got a limp (it's the most obvious in her Talon suit with no cape in the way), which means she can't rely on speed or high kicks like the others can (I mean, she can kick, but it's her slowest motion, and until you max out her suit, it's the most liable to get her thrown to the ground), so she falls back on precision and her tech.

Jason punches for maximum pain, Dick moves with dizzying speed, and Tim's gonna sneak up on you and drop you like a rock, but Babs is going for the pressure points with ruthless precision. Not to mention her drones.

The conversation with Tim, realizing she might need help boosting her suit to compensate for her pain/strength issues, is a nice little way of making the player aware that she's got these ongoing problems because, honestly, a casual observer could mistake her back brace for athleisure wear if they didn't recognize the shape of it. It's also a good way of throwing in some exposition about how she's still going to physical rehab and that her PT would like her to "wean off" her back brace, but because her PT doesn't know her actual job as a vigilante, Barbara admits she can't and is essentially finding ways to manage her own care and create her own accommodations. Accommodations which they are all shown to be willing to help with.

It's a nice little touch when superhero narratives tend to revolve around self-sacrifice to the point of self-destruction. Alfred giving Dick into trouble for pushing himself too far and hiding injuries is a nice touch, too, even if it's like trying to bail water on the Titanic with a teacup.

I also like that not only do you see her wheelchair lurking around the Belfry—along with the disability adaptations they put in place, like the ramps, the wheelchair elevator, and the desks that move up and down to wheelchair height—but that she also still uses her chair from time to time.

[ID a screenshot from Gotham Knights showing the Belfry. Light streams in through a giant clockface, showcasing a bank of computer screens. In front of the screen, Barbara Gordon is using her wheelchair as Dick Grayson stands behind her, probably making a bad pun.]

Whether she's using it because she's tired or simply because it's more comfortable than the computer chair is never revealed. Nor is it brought up or commented on. It's just something that's normal for Barbara to do, and I like that. I like that it's normal. It's not a part of herself she's trying to erase. She works with it, not against it.

Is it perfect? No. Do they outright erase her disability like so many of the comics are guilty of? Also, no. I'd argue that, in fact, they kept her disability. They just changed the nature of it.

Barbara now has a dynamic disability, one which fluctuates and requires different management based on her day-to-day (or night) activity. She's in active treatment for it and will be for the rest of her life. Are some of the physical feats she achieves realistic for someone with an injury of her nature? Not really, but again, this is a world where nobody stays dead, and there are zombie assassins coming out of the walls. I'll take the attention to detail and care they put into her story any day over the "Willpower Fixed My Spine" narrative we could have gotten.

As for Bruce getting healed by magic, again, it's Batman. Comic book logic is wibbly-wobbly at the best of times, and realistically speaking, they couldn't leave Batman paralyzed. His whole deal revolves around being stealthy and punching the shit out of people. He wouldn't be Batman anymore, and frankly, I don't trust the comic writers as far as I could throw them to handle that right.

By contrast, the Gotham Knights writers handled Barbara with much more care and nuance than I ever expected. And I'm thankful for that.

---

*I also like that both Dick and Barbara are often shown wearing joint braces. Dick's are especially reminiscent of the way gymnasts and people with hypermobility tape their joints to reduce pain and prevent injuries. It's a nice little touch. They're not invincible. Their bodies hurt. They're just like me but with money and much bigger problems like giant killer robots and zombie assassins.

[x-brik-x]

I'm seeing a lot of people say that punk fashion is expensive and inaccessible, which is very wrong. here is a list of some ways you can make punk fashion easier, cheaper and more accessible for you, since that's... kinda the whole point.

others are encouraged to add onto this!! (just don't recommend corporations like amazon. not cool.)

1. patches!! you don't need to buy them. DIY patches are not ugly or boring. in fact, they are encouraged here!! DIY, in my opinion, is always the best thing to do when it is an option and is safe to do so.

2. speaking of DIY, spikes!! you can make them!!

cut the top and bottom off of an empty can. cut down the middle of the cylinder and flatten it, so it's just a flat rectangle of metal.

cut out a shape that is kind of a third of a circle, but around 3/4 of the curved edge is taken up by triangle shapes. (I'm not very good at describing, so here's a badly drawn picture)

roll it into a cone, leaving the 4 triangles sticking out at the bottom. this bit is optional, but you can fill it with hot glue to make it more sturdy, just be careful touching the hot metal. I tend to hold the cone by one of the triangles with a bit of fabric wrapped around my fingers for this bit. cut 4 small holes in your fabric in this kind of shape:

and put the spiky bits of triangle through the holes. fold the triangles in on themselves to secure the spike in place. boom. spike obtained. this is one I made and attached to a little piece of fabric to test this method out:

3. battle vests!! (like the base jackets). the best places to buy these are charity shops and second hand websites in my opinion, but if anyone else knows any better options, please reblog with those!!

a good trick I find works well on eBay is to filter search results to your country (or state? can you do that in the US? idk) so that a: fast delivery because local, and b: all the sellers of everything that shows up are in YOUR TIME ZONE.

why is this important? when people sell something for really cheap, it goes FAST. check eBay at like, 2am or something. all the scalpers in your area are asleep. grab the cheap stuff while they can't.

4. sewing!! want patches, but can't sew for whatever reason? I've heard of a lot of people with joint conditions like arthritis complain about the inaccessibility of patch stuff, and that does sound extremely annoying, however:

safety pins!! while they are still a little fiddly, they're much less work so you don't have to fiddle about for long. if you can, you could even ask a friend to help, since it doesn't take long at all I'm sure someone will be willing to help out!! (I know I would, but that's just me, and I love this kind of thing). safety pins on clothes are also widely considered to be a symbol of solidarity, so if anything, you're adding some extra love and meaning to your patch pants/battle jacket.

if that's still too fiddly, fabric glue is always an option. unfortunately this means you won't be able to remove/reposition patches, at least without leaving a massive patch of residue, but if you're ok with that then fabric glue is probably your best bet.

for people who prefer sewing: as for where to get the thread, I've heard a lot of people recommending dental floss, as it's apparently much cheaper and works just as well. I haven't tried this myself so can't confirm that, but I thought I'd share it regardless.

5. where to get fabric!! old clothes. rip em up. you don't need any kind of fancy fabric from the craft store. my patches are made of old jeans that I grew out of.

don't have any old clothes and you don't want to waste any good ones? I'm not sure about other countries, but in the UK, as long as you're not on private property (trespassing), dumpster diving is perfectly legal.

I definitely ;) do NOT encourage ;) trespassing rich people's land ;) to steal from their dumpsters ;)

or tbh it doesn't matter too much how rich the person is, since it's all going to landfill anyway. if it's in the bin, it's free game, but you didn't hear that from me. ;)

please add onto this where you can!! and if I missed something or got anything wrong, add that on too!!

[lowkeyrobin]

Hawk x sensitive!reader where even after he becomes all "tough" and "badass" he's still gentle with reader. I just need fluff and everything is so sickly sweet like I want my teeth to rot.

- ♠️

(again i forgot which one it was)

YES OMG ☹️☹️☹️☹️ ; I'm screaming and crying were gonna fight wtf ; thank u for requesting some cobra kai stuff love u bae ; also sorry ab this cause I had no idea what to do here

HAWK MOSKOWITZ ; the one i love

summary ; while hawk is off becoming mean and badass, he's still nice to you, knowing you're kind of sensitive, and he doesn't want to lose his s/o

warnings ; language, talk of physical violence

track ; dedicated to the one i love, the mamas & the papas

word count ; 849

masterlist

Eli, these past few months, had changed. A lot. You didn't know whether you liked it or not either. He wasn't even Eli anymore, he was Hawk.

He'd taken on karate, got a new haircut, and completely changed his demeanor and personality. You couldn't lie, he looked cool, especially while showing off his moves, but what wasn't cool was him getting into unnecessary drama.

You'd seen some things online, though you tend not to stick around for any of it. You were caught up by Eli himself, considering you did online school. The bullying from Sam LaRusso and her friends had gotten too bad long ago, forcing you to hide away for the rest of your high school career.

You considered this transition good for Eli, as he was turning a new page in his story. He was able to defend himself, he was confident, and he wasn't being bullied anymore. But, at the same time, he was unrecognizable.

It wasn't in a bad way, not yet, at least. But this "Hawk" guy, wasn't your boyfriend, Eli. You fell into the arms of Eli Moskowitz, not Hawk.

Thankfully, he knew how to retain his relationship. Thank God his standards didn't raise, nor did his ego, as he changed.

You were slightly sensitive, you'd say, kind of emotional, mentally thin, maybe.

You had a bad day, though. That's all that mattered in this second.

You were trying to deep clean your room because it was nasty, and you were already mad. Nothing was working how you wanted it to. Your grades were dropping because you were becoming depressed and unmotivated, and you just wanted to see your boyfriend again. But of course, he'd been busy with karate and working out.

You yell out of pure frustration as you throw a pillow across the room toward your door before crashing onto your bed.

"Ow"

You quickly look up to see Eli standing in your doorway, having been hit by that pillow.

"Fuck, sorry" You mumble, proceeding to hide your face in another pillow that lays on your bed.

He slowly and cautiously steps in your room, picking up the thrown cushion. "What's wrong?"

"...Bad day"

He frowns, "What's wrong?"

You look up at him, spiky hair immediately catching your attention. "Can you wash out the gel before talking to me? You're intimidating looking like a badass"

He chuckles with a nod, "Yeah, I'll be right back"

You couldn't stand the mohawk. It intimidated you, like you were gonna be the next victim of his karate moves. He understood as you'd been honest about it long ago, and would often wash out his hair in the sink and use a towel to then dry his hair.

Now, his roots were dark brown, while the midsection to ends were bright blue. You'd helped him dye it, the reasoning why the bathroom sink was just barely stained with blue in the bowl.

He re-enters the room, his hair now damp, but un-styled. He sits on the bed beside you, allowing you to sit in silence with a pillow pressed against your face.

You slowly pull it away, looking up at him. You flop your back onto your mattress, staring at the ceiling.

"What's up?" He asks, his eyes gazing upon your tired and stressed expression.

You shrug, sitting up. "I hate online school, I have essentially no friends or hobbies, my proctors are shoving thirty assignments on me while I'm depressed and I need to do a million fucking other things-"

He quickly pulls you into a hug, silencing you. You accept his hug, arms draped around his shoulders as you rest your head on one of his shoulders. He does the same for you, his arms slung around your torso instead.

You groan, hiding your face from the light.

He lightly rubs your back, just trying to show you some comfort.

He speaks up after a solid minute of silence, letting you calm yourself down. "Do you want to get into karate? Or at least meet my friends? A lot of them would really like to meet you"

You shrug, unsure.

"It's okay if you don't want to"

You shrug again, your words mumbled from between his shoulder. "What if they don't like me cause I'm not like them?"

He smiles, a light chuckle escaping his lips. "Trust me, they're not gonna make fun of you or not like you in any way unless you give them a reason. And that in itself is pretty much impossible"

You nod, "Thanks"

"Is there any way I can help with your school stuff? What needs done? What can I do for you?"

"Calm down, Eli. I'll be fine. It's just when there's a lot on my mind, I stress out for no reason I guess. Like, I know everything'll be okay but... I dunno" You shrug, pulling away from his arms. "But thank you"

He nods, laying down on the bed beside you. "You tired? I am"

You nod with a smile, pulling him close to cuddle with him.

"Agh- your grip is insane!"

"Sorry"

[astrobydalia]

Astro knowledge pt. 2

work by astrobydalia

Cancer rules hotels, motels, etc. Hotels are all about hospitality, making people feel welcomed, comfortable, provide for basic needs like a bed, food, etc. Of course this will differ based on quality and the kind of place but in general places designated to provide shelter and a place to stay are ruled by Cancer

When I learned this it made a lot of sense cause my mom has Groom in Cancer and 7th house ruler in the 4th house and she met her fs at a hotel. I know a couple who has Cancer ASC in their composite chart and they met at a hotel

Jupiter is a very unpredictable planet and a negative manifestation of it is that it can make things grow uncontrollably without reliable results. Jupiter can give blessings yes but it does not guarantee success. Those blessings are just opportunities but it's up to you what to do with them.

Astrologically, the key to success is Saturn. That's why success is so hard to obtain and it's a symbol of status or accomplishment. And yes this applies to whatever it is you consider success. Saturn is not about obtaining success in itself, it's about growth, the way we feel accomplished and successful as humans is when we feel like we've grown and flourished overtime. That's why it doesn't matter what your definition of success is, in order to get it you need to mature and go through sacrifices and lessons related to your Saturn placement.

MC/10th house = what success means to you Saturn = also related to what success means to you, but it can specifically tell you how to get it

Moon is related to wealth that's why it is exalted in Taurus!

Moon in a man's chart indicates his wife because Moon symbolizes the divine feminine. Venus is important too but ultimately a man will commit to a woman that satisfies his Moon energy. That's why it is often said that men marry someone like their moms or the way a man treats his mom is how he's gonna treat his wife

5th house rules your creative endeavors and the 11th house rules your public/clients/fanbase/etc. That's also why 11th house is related to money you make in your career (2nd from 10th). If you wanna have your own business you gotta look at both the 5th and 11th houses

Something I don't see people mention much (maybe because its obvious) is that Libra energy makes things to be balanced in itself because Libra is all about avoiding any extremes. Libra makes this to be on the "elevated" or positive side but always keeping it moderate. For example, if you have Libra ruling your money houses your income could be averagely decent, like you could make good money (cause, Venus) but you're not insanely rich either or it does not appear that you are (cause Libra also rule appearances).

Aquarius rules heavy cold winds (you know like those very heavy and erratic winds), that’s why it also rules over airports and planes. I've also seen astrologers say that back in the day, Aquarius used to rule over sailing of bigger boats which also needed heavier winds in order to move

We all know Leo rules inner child. One thing about children is that when you're a kid you kinda don't have a concept of others being their own person and having completely different lives (that's something Aquarius brings awareness to, that's why its the humanitarian), but rather kids tend to assume everyone lives the same way as they do. That's what happens with Leo astrologically, they tend to not understand or fathom or be interested in things that go beyond them or their experience. Their own perspective of life is their whole world and what they will project on everything much like the Sun project its own light into the world. In the case of very unhealthy Leo energy this can go as far as actively minimizing other's experiences and perspectives. When Leo does try to understand others, they have a tendency to circle it back to something they can relate to or is relevant to them or they can understand

There's also another side of Leo that rules teenage years since that’s the period of our lives where we are finding our identity/expression and also where we start to become more interested in romance and sex

In composite, the ASC is how the relationship started and how it generally comes across as but the 7th house is the dynamic the two people have between them, how they actually interact with each other

Both Aquarius and Pisces are the last two of the zodiac wheel and both relate to themes of evolving as human and elevating spiritually but because of this, these signs are the hardest to develop healthily and many people fail to do so. That's why you see many Aquarius and Pisces placements with a god complex or huge entitlement cause both share this sentiment of feeling 'different', more elevated or special than everyone else

Venus finds fall in Virgo bc Venus is a sex goddess, she rules abundance, sensuality, pleasure and indulgence. Virgo on the other hand is the virgin, she's minimalistic, cerebral and modest, she’s too much of a “prude” for Venus.

Since Pisces is the most empathetic sign, its opposite Virgo is one of the most unkind signs unfortunately. Pisces wants to find the beauty in all things and people (Venus exaltation) while Virgo wants to find the flaws and everything that is wrong and needs to be improved or fixed. Pisces is about accepting the "soul" of things while Virgo is attached to an idea of how things should be. That's also why Venus finds falls in Virgo because Venus is related to kindness (this does not mean Virgo Venus people are inherently unkind, this can manifest in any unhealthy virgo placement, it's just an astrological explanation)

Domicile/exaltation is not always positive. When a sign exalts a planet it means that it can enhance both its positive AND negative qualities. That's why exalted mars can manifest as toxic masculinity or why exalted Venus can manifest as textbook enabling behaviour. On the flip side, planets are its fall/debilitation are challenging placements because the positive qualities of the planet are weakened but at the same time its negative qualities can be neutralized. For example, Mercury debilitated can be less prone to pointless rambles and have a more focused intellectual approach, debilitated Venus can be less compliant, etc

The energy that rules horror astrologically is Pisces/12th house/Neptune, we usually associate it just with dreams and idolization but it actually has a creepy and twisted side to it. Neptune is all about blurring the boundaries of reality including what we judge to be good or bad (Virgo). It rules over dreams AND nightmares. Not only that but Neptune energy does not understand the difference between a dream and a nightmare. This characteristic can range from blindness to red flags all the way to having rather morbid fascinations.

Following the above, the association of 12th house with nightmares is also explained by Saturn finding its joy is this house (the so called 'bad spirit', the never-ending burdens that come to haunt you). However, as I explained earlier in the post, Saturn is the key to success so this means Saturn is the key to help you achieve your dreams (12th house)

Pisces/Neptune energy rules spirituality but at its lowest it can also be the most superficial and vain sign (again, the negative side of Venus exaltation) because Pisces also rules illusions and idolization. It can focus so much on portraying an ideal image that it does not dive deep within, wants to escape reality and live a fake ideal

In terms of performance, Leo is theoretically better at sex than Scorpio

How to read the chart of a Nation + some observations

Sun signifies the characteristic of the rulers and it also symbolizes what that country is all about if that makes sense. For example USA is Cancer Sun and they've always been known for they patriotism and how they're very attached to their past as a nation.

Moon represents the people (civilians, population, the society). The energy you will likely experience by actually spending enough time there and start integrating yourself with the people. For example New York has Aries Moon and a relative of mine who used to live there once told me jokingly "with all the hustle and normalized criminality sometimes it feels like a war zone here"

Ascendant is the general national identity they present, the first thing that comes to mind when you think about that place. I've also noticed the stereotypes of a nation a lot of times relate to its ASC. For example Canada (Toronto) is Libra ASC and they’re known for being polite and nice to everyone. Japan (Tokyo) has Virgo ASC and their known for being super diligent and clean (think Marie Kondo). USA (nation) is Sagittarius ASC and they’re known for being loud, entitled, optimistic, multicultural, a massive country, cowboys and country music, etc.

work by astrobydalia

[qdbs-writes]

How do you think the Cullens would act around a disinterested crush? Maybe they're fated but reader isn't having it lol

(I love your twilight writing btw thank God someone is still doing it 🤤🤤)

ah it has been many moons since I've gotten a twilight request yay!

Cullen Clan Reacting To Their Crush Being Disinterested In Them

Carlisle Cullen

Being alive for just over 400 years tends to give one a good perspective on life and the bigger picture, and Carlisle sure has a pretty good idea of how all things pan out. So you're not interested in him? That's fine, Carlisle can wait for as long as you need to change your mind.

In the meantime, Carlisle will continue to maintain your friendship and continue to show just how hard he's worked to become the kind caring father figure he is. He knows you'll fall for him, eventually.

Esme Cullen

Obviously, she's not going to stop caring about you just because you don't return her feelings. But she might switch up how she shows her affection.

Rather than flirty winks and suspiciously candle-lit wine tastings, she'll back up to more traditionally motherly affections. Making sure you're eating right, baking cookies, etc. And of course, giving you homemade soup when you're sick is still one of her favourite things to do, no need to stop now.

Edward Cullen

Of course, you're not interested, how could anyone love a monster like him? Who did he think he was, thinking he was worthy of your love? Or so his inner monologue goes.

But it's really not that dramatic, it almost never is, Edward just sprung his crush on you suddenly and it caught you off guard. It was largely the excessively long preamble about how he was an irredeemable murderer that put you off first, but of course, he won't realise that until considerably later.

Rosalie Hale

She's a little relieved actually. All her mortal and immortal life, Rosalie has been aggressively pursued by people she wasn't particularly interested in, so the fact that she can crush on someone who isn't really that interested is a wonderful change of pace.

For the first time ever, Rosalie has butterflies in her stomach, she fumbles with her words when she speaks to you, and she feels like a silly, mortal teenage girl again, begging her mother to let her go to the dance just so she can sneak away to catch a glimpse of someone just like you.

Emmett Cullen

You and Emmett had been good friends for a while so when he casually drops a blissful "We should get married" into the conversation, you initially choke on your drink in laughter.

Emmett's a little heartbroken that you'd laugh at something like that, considering that he was being 100% serious. But since you've known him, the both of you have been constantly cracking up jokes, trying to get on each other's nerves, so no wonder you thought this was another one of his pranks. He decides to take this reaction as a blessing, you have no idea he's actually into you, now he knows he has to work out a different way to confess his feelings for you.

Alice Cullen

She's a little confused obviously, having multiple visions of the two of you in a romantic relationship kind of gave her the impression that it might've been going to come true, but your disinterest says something else altogether.

But the worst part is that those damn visions of you and her together keep coming back, taunting her, luring her in deeper to despair with the thoughts of what might be. It's all getting so intense, so she decides to skip town for a bit, see if that changes anything, or at least helps her clear her head.

Jasper Hale

Oh well, so you're not interested in a romantic relationship, so what? Doesn't mean you can't still be friends. Doesn't mean he can't be the charming Southern gentleman he is. Doesn't mean he can't still pull out chairs or open doors for you. Or send anonymous bouquets to your house. Or leave your favourite snacks in your locker when you're having a rough day. Of course not.

It doesn't mean he can't worry about other people who might want to date you. Doesn't mean he can't scare off people who'd be bad for you. I mean, what else are friends for?

[neptxn3]

Astrology Notes III

⋆౨ৎ˚⟡˖ ࣪₊‧°

Disclaimer, these are observations I have made through personal experience and thorough research, observations also vary depending on other natal placements involved

doesn’t resonate ≠ untrue 

♅ Pluto in the 10th house has a tendency to come across as very overbearing in the workplace. This is having a routinely structure you want to have done precisely every day, so this makes you ask your coworker if they want you to do the coffee run for a meeting, staying past closing time to make sure everything is in place, doing 10x as much work as your coworkers because you like things in a certain order.

it also causes coworkers to think of you as someone who’s willing to step over them in order to appear as this solid leader who is better than them ( and often times this does manifest in the native) but mostly it is subconscious.

It honestly reminds of the devil wears Prada where Andrea gets so good at guessing what Miranda’s expectations are that she goes over the top in order to please her and it gets to the point she manages to snag the trip to Paris that has always been given to Emily in the singular year she’s worked at the magazine. Andrea being Pluto person who unknowingly becomes the ‘better’ assistant.

♅ There’s a natural discomfort when one has the Moon placed in the first house, especially if placed in signs like Aquarius or Capricorn due to the fact that their emotions are put on display which is a forced vulnerability. 

I actually find fire placements (not typically Sagittarius) who actually find enjoyment in their faces being easily read? One because fire placements are less inclined to hide their feelings, and two because they can be a bit impatient to get their point across 

♅ Virgo placements are kinda funny in the sense that they’re not necessarily clean freaks, they won’t go out of their way to clean someone’s room because it’s dirty, but they are obviously very precise with their own mess, they don’t like being messy themselves you know? It’s not seen as a second nature to clean but rather an obligation for them because they need clean spaces in order to be productive with an active Mercury influence. 

I actually find it very common for Virgo placements to have an “organized mess” too. They know where they left their green paperclip in their messy rooms (it’s under the left desk leg). 

♅ Taurus placements , fixed signs in general, but especially Taurus placements grow up with a specific set of beliefs and morals that they follow through and through. It’s because of their fixed nature that they will refuse to change, in fact Taurus placements consider their perspective to be so correct, if afflicted, Taurus placements can be the hardest to evolve in your chart. 

♅ cancer risings tend to attract very dangerous men/women due to Scorpio being in their 5th house, this is actually why cancers fall under the sweet damsel in distress who dates the big bad boys in romantic tropes a lot lol but yes they actively seek people who have a dark reputation or damaged past as lovers

♅ People with Mars in the 12th house are often accused of being unmotivated and lazy by people in their life but it actually stems from the fact that mars is uncomfortable being in a house that’s connected to the unconscious mind while craving the open expression of anger and ambition mars naturally is. I actually find they overthink their actions. You can remind a person with mars in the 12th house to take out the trash before bed because the garbage collectors come tomorrow and they will spend the whole day cleaning the house, drain their energy and say “I’ll just wake up early and do it tomorrow” but they never do 😭 They confuse themselves!! 

it’s also interesting to note a person with a 12th house prominence that includes mars will be defensive about their said actions. “Take out the trash” “I was already planning on doing it but now I don’t want to”. I include 12th house prominence because a mars in the 12th also has stealthy actions and thoughts 🤫

♅ People with their 4th house ruler in the 7th house will have emotional withdrawals if their routine does not involve socializing with others. You’ll typically see this in people who choose to search for roommates during college, move in with close friends to “save on rent” or choose to never move out of their parents home ( I support this in this economy lol)

you’ll also see this in people who are serial daters, not to say that their relationships don’t impact them greatly, but they feel a requirement to express their feelings with others. 

Could make great therapists too actually

♅ Mercury square saturn people need precise instructions whenever they do something. Mercury can be very sporadic in square aspects because their communication is being misconstrued the same way a radios antennae need to be arranged in a certain way  in order to get signal. With Saturn representing structure, they prefer very detailed instructions on pretty much anything. You need them to get a wrench? It’s on the left? Top, middle, or bottom? And what color is it? Is it in the back or front of the cabinet? 

Also, Mercury square Saturn people, we’re you the kids who’s dad yelled at them for holding the flashlight the wrong way when fixing something? 

♅ I find it very funny when Aquarius placements are dubbed the people who change the world with their innovative ideas because you will connect that to them actively trying to improve society but it’s actually because they just want life to be easier to navigate for themselves. They’re the type to invent flying cars, not for the next Industrial Revolution that will forever change man once again, but because they want a cheaper way to save on overseas travel 😭. Don’t get the wrong idea, a lot of them realize their potential and eventually use their ideas for good, but it usually starts off as very personal and self serving. 

[felikatze]

ISAT and Ludonarrative Harmony: Combat is a Storytelling Tool

Or: How Siffrin is stuck in the endgame grind, forever

Please Note: This is primarily aimed at an audience that already played In Stars and Time, because I am bad at explaining things, and it's good to already know what the fuck I'm talking about. I tend to only bring up game elements as I want to talk about them.

Spoilers for.... all of ISAT! Especially Act 5!

(image to show how i feel posting this and as an attention grabber over my wall of text)

To pull a definition of ludonarrative harmony out of a hat, game writer Lauryn Ash defines it as follows:

Ludonarrative harmony is when gameplay and story work together to create a meaningful and immersive experience. From a design implementation perspective, it is the synchronized interactions between in-game actions (mechanics) and in-world context (story).

It is, generally speaking, how well game mechanics work hand in hand with the story. I, personally, think ISAT is an absolute masterclass of it, so I want to take a look at how ISAT specifically uses its battle system to emphasize Siffrin's character arc and create organic story moments. I want you to keep this in mind when I talk here.

So, skills, right? If you've played any turn-based RPG, you know your Fire spells, your "BACKSLASH! AIRSLASH! BACKSLASH!" and the many ways to style those.

Well, what does casting "Fire" say about your character? Not all that much, does it? Perhaps you'll have typical divisions. The smart one is the mage, the big brawny one is your tank, the petite one's the healer. And that's the barebones of ISAT's main party, but it's much more than that.

Every character's style of combat tells you something about them. Odile, the Researcher, is the most well-travelled and knowledgable of the bunch. She's the one with the expertise to keep a cool head and analyze the enemy, yet also able to use all three of the Rock-Paper-Scissors craft types.

To reflect her analytical view of things, all her skill names are just descriptive, the closest to your most bog-standard RPG. "Slow IV" or "Paper III" serve well to describe their purpose. The high number of the skills gives the impression there were three other Slow skills beforehand - fitting, considering the party starts at level 45, about to head into the final dungeon. She's also the oldest, so she's the slowest of the bunch.

Isabea, the Fighter, has all his skills in exclamation points. "YOUR TURN!!!" "SO WEAK!!!" "SMASH!!!" they're straightforward, but excited. He's a purposefully cheerfull guy, so his skills revolve around cheering on his allies. He's absolutely pumped to be here, and you see that from his skill names alone.

Mirabelle, the Housemaiden, is an interesting case. She's by all means the true protagonist of this tale - She's the one "Chosen by the Change God," the only one who survived the King's first attack, the only one immune to his ability to freeze time, the only dual-craft type of the game - just a lot of things. And her skill names reflect that facade she puts on herself - she can do this, she can win! She has to believe it, or else she starts doubting. This is how you get "Jolly Round Rondo" and "Mega Sparkle Heal" or "Adorable Moving Cure." She's styled every bit a sailor scout shojo heroine, and her moveset replicates the naming conventions of "In the name of the moon, I'll punish you!"

Even Bonnie, the Kid, who can't be controlled in combat, has named craft skills. And they very much reflect that Bonnie is, well, a kid. "Wolf Speed Technique" or "Thousand Blows Technique" are very much the phrasings of a child who learned one complicated word and now wants to use it in everything to seem cooler than they are, which is none, because they're twelve.

Siffrin's skills are all puns.

You have an IMMEDIATE feel for personality here. Between "Knife to Meet You!" and "Too Cleaver by Half," you know Siffrin's the type to always crack a joke no matter the situation, slinging witticisms around to put Sonic the Hedgehog to shame. It's just such a clever way to establish character using a game mechanic as old as the entire history of RPGs.

This is only the baseline of the way the combat system feeds into the story, though.

The timeloop, of course, feeds into it. Siffrin is the only character who retains experience upon looping, whereas all other characters are reset to their base level and skills. And it sucks (affectionate).

You're extremely likely to battle more often the earlier in the game you are - after all, you need the experience (for now.) Every party member contributes, and Siffrin isn't all that strong on their own, since they focus on raw scissor type damage with the addition of one speed buff. (Of course it's a speed buff. They're a speedy fucker. Just look at him).

At first, the difference in level between Siffrin and the rest of the group is rather negligible. Just a level or two. Just a bit more speed and attack. And then Siffrin grows further and further apart. Siffrin keeps learning new skills. He gets a healing skill that doubles as an attack boost, taking away from both Mirabelle's and Isabeau's usefullness. He gets Craft skills of every type that even give you two jackpot points instead of one - thus obliterating Odile's niche. Siffrin turns into a one-person army capable of clearing most encounters all on their own.

Siffrin's combat progression is an exact mirror of story progression - as their experience inside the loops grows, they also grow further and further away from their party. The party seems... weaker, slower, clumsier. Always back at their starting point, just as all of their character arcs are reset each loop. Never advancing, always stagnant. And you have Siffrin as the comparison post right next to them.

I also want to point out here a change from Act 2 to Act 3 - Siffrin's battle portrait. He stops smiling.

Battles keep getting easier. This is true both for the reason that Siffrin keeps growing stronger even when all enemies stay the same, but also for the reason that you, the player, learn more about the battle system and the various encounters, until you've learned perfect boss clear strategies just from repetition. Have you ever watched a speedrunner play Pokemon? They've played this game so many times, they could do it blindfolded and sleeping. Your own knowledge and Siffrin's new strength work in tandem to trivialize the game's entire combat system as the game progresses.

(Is it still fun? Playing it over, and over, and over again? Is it?)

You and Siffrin are in sync, your experience making everything trivial.

As time goes on, Siffrin grows to care less and less about performing right for their party and more and more about going fast. A huge moment in his character is marked by the end of Act 3; because of story events I won't delve too deeply into, Siffrin has grown afraid of trying something new. And his options of escape are closing in. They need an answer, and they need it fast. He doesn't have the time or patience to dumb himself down, so you unlock one new skill.

It doesn't occur with level up, or with a quest, or anything at all. At the start of Act 4, it simply appears in Siffrin's Craft skills.

(Just attack.)

No pun. No joke. Just attack. Once you notice, the effect is immediate - here you have it, a clear sign of how jaded Siffrin has become, right at every encounter. And it's a damn good attack, too! The only available attack in the game that deals "massive" damage against all enemies. Because it doesn't add any jackpot points (at least, it's not supposed to), you set up a combo with everybody else, but Siffrin simply tears away at the enemy with wild abandon. Seperated from the rest of the party by the virtue of no longer needing to contribute to team attacks (most of the time. It's still useful if they do, though).

Once again, an aspect of the battle system enhances the degree of separation between Siffrin and the static characters of his play. You're incentivized to separate him, even.

Additionally, there are two more skills to learn. They're the only skills that replace previous skills. You only get them at extremely high levels, the latter of which I didn't even reach on both of my playthroughs.

The first, somewhere in the level 70 range, Rose Printed Glasses, a paper type craft skill, is replaced by Tear You Apart. It's still a pun about paper, but remarkedly more vicious.

The second is even more on the nose. At level 80, In A While, Rockodile!, a rock type craft skill, is replaced by the more powerful Rock Bottom.

I didn't get to level 80. If you do, you pretty much have to do it on purpose. You have to keep going much longer than necessary, as Siffrin is just done. And the last skill he learns is literally called Rock Bottom.

What do I even need to say, really.

Your party doesn't stay static forever, though.

By doing their hangout quests, side quests throughout the loops that result in Siffrin and the character having a heart to heart, all of them unlock what I'd call an "ultimate" skill. You know the type - the character achieved self-fulfillment, hit rank 10 on their confidant, maxed out their skill tree, and received a reward for their trouble.

These skills are massively useful. My favorite is Odile's - it makes one enemy weak to all Craft types for several turns, which basically allows you to invalidate the first and third boss, as well as just clown on the King, especially once Siffrin starts racking up damage.

But the thing is. In Act 3, when you first get them, yeah, they're useful. But... do you need them? After all, they're such a hassle to get. You need to do the whole character quest again, you can't loop forward in the House or you'll lose them. If you want to take these skills to the King, you need to commit. Go the full nine-yards and be nice to your friends and not die and not skip forward or skip back. Which is annoying, right?

Well, I sure did think so during Act 4. After all, a base level party can still defeat the King, just with a few more tricky pieces involved. Siffrin can oneshot almost all basic enemies by the time of Act 4. It's this exact evalutation that you, the player, go through everytime you return to Dormont. Do I want this skill, still? Would it not be faster to go on without it? I'm repeating myself, but that's the thing! That's what Siffrin is thinking, too!

I also want to take a quick moment to note, here - all skills gained from hangouts have art associated with them, which no other skills do. This feature, the nifty art, hammers home these as "special" skills, besides just how they're unlocked.

Siffrin also has one skill with associated art.

Yeah, you guessed it, it's (Just attack.)

At first, helping the characters is tied to a hefty in-game reward, but that reward loses its value, and in return devalues helping Siffrin's friends every loop. It's too tedious for a skill that'll make a boss go by one turn faster. You, the player, grow jaded with the battle system. Grinding experience isn't worth it, everybody's highest levels are already recorded. Fighting bosses isn't worth it, it's much faster to loop forward.

Isn't this what all endgame in video games looks like? You already beat the final boss, and now... what challenge is left? Is there a point to keep playing? Most games will have some post-game content. A superboss to test your skills against, but ISAT doesn't have any of that. You're forever left chasing to the post-game. That's the whole point - to escape the game.

As most games get more difficult as time passes, ISAT only gets easier. The game becomes disinterested in expanding its own mechanics just as I ran out of new things to fight after 100%-ing Kingdom Hearts 3. Every encounter becomes a simple game of "press button to win."

The final boss just takes that one up a notch.

Spoilers for Act 5 ahead boys!

In Act 5, Siffrin utterly loses it. His last possible hope for escape failed him, told him there's nothing she can do, and Siffrin is trapped for eternity. So of course, they go insane and run up the entire House without their party.

This just proves what you already knew - you dont need the party to proceed. Siffrin alone is strong enough. And here, Siffrin has entirely shed the facade of the jokester they used to be. Every single skill now follows the (Just attack.) naming conventions. Your skills are: (Paper.) (Rock.) (Scissors.) (Breathe.)

To the point. Not a moment wasted, because Siffrin can't take a moment longer of any of this. Additionally, his level is set to 99 and his equipment becomes fixed. You can't even pick up items anymore! Not that you needed them at this point anyway, right? Honestly, I never used any items besides the Salty Broth since Act 2, so I stopped picking items up a long time ago. Now you just literally can't.

Something I've not talked about until now - one of the main equipment types in this game are Memories, gained for completing subquests or specific interactions and events. They all by and large have little effects - make Odile's tonics heal more, or have Mirabelle cast a shield at the start of combat. For the hangout events, you also gain an associated memory that boosts the characters' stats by 30. It lets them keep up with Siffrin again! A fresh wind! Finally, your party members feel on par with you again!

...For a time. And just like that, they're irrelevant again, just as helping them gave Siffrin a brief moment of hope that the power of friendship could fix everything.

In Act 5, your memory is set to "Memory of Emptiness." It allows you to loop back in the middle of combat. You literally can't die anymore. Not that Siffrin could've died by this point in the first place, unless you forgot about the King's instant-kill attack. This one memory takes away the false pretense that combat ever had any stakes. Siffrin's level being set to 99 means even the scant exp you get is completely wasted on them. All stakes and benefits from combat have been removed. It has become utterly pointless.

Frustrating, right? It's an artistic frustration, though. It traps you right here in Siffrin's shoes, because he hates that all these blinding Sadnesses are still walking around just as much. It all inspires just a tiny fraction of that deep rolling anger Siffrin experiences here in the player.

And listen, it was cathartic, that one time Siffrin snapped and stabbed the tutorial Sadness, wasn't it? Because who enjoys sitting through the tutorial that often? Siffrin doesn't. I don't, either.

So, since combat is an useless obstacle now meant to inspire frustration, what do you do for a boss? You can't well make it a gameplay challenge now, no. The bosses of Act 5 are an emotional challenge: a painful wait.

First, Siffrin fights the King, alone. This is already nervewracking because of one factor - in every other run, you need Mirabelle's shield skill, or else you're scripted to die. You're actually forced to fight the King multiple times in Act 3, and have to do it at least once in Act 4, though you'll likely do it more. Point is: you know how this fight works.

You know Siffrin's fight is doomed from the outset, but all you can do is keep slinging attacks. Siffrin is enough of a powerhouse to take the King's HP down, what with the healing and buff skills they have now, not to even mention you can just go all in on damage and then loop back.

(And no matter which way you play it, whether you just loop or use strategically, it reflects on Siffrin, too. Has he grown callous enough not even death will stop their mission? Or does he still avoid pain, as much as he can?)

This fight still allows you the artifice of even that much choice, not that it matters. The other shoe drops eventually - Siffrin becomes slower, and slower. Unsettling, considering this game works on an Action Gauge system. You barely get turns anymore. The screen gets darker, and darker. Until Siffrin is frozen in time, just as you knew he had to be, because you know how this encounter works, know it can't be cleared without Mirabelle.

And, then, a void.

Siffrin awakens to nothingness. The only way to tell you've hit a wall is if Siffrin has no walking animation to match your button inputs. You walk, and walk, until you're approached by.... you. The next enemy encounter of the game, and Siffrin's absolute lowest point: Mal Du Pays.

Or, "Homesickness," in english. If you know the game, you know why it's named this, but that's not the point at the moment.

Thing is, where you could damage the King and are damaged in turn, giving you at least a proper combat experience, even if its doomed to fail, Mal Du Pays has no such thing.

You can attack. You can defend. But it is immune to all attacks. And in return, it does nothing. It's common, at least, for undefeatable enemies to be a "survive" challenge, but nope. The entire fight is "press button and wait." Except, remember the previous fight against the King? The entire time, you were waiting for the big instant death attack to drop. That feeling, at least for me, carried forward. I was incredibly on edge just waiting for the other shoe to drop. And, as is a pattern, Siffrin is, too. As Siffrin's attacks fail to connect, they start talking to Mal Du Pays.

But he gets no response, as you get no attacks to strategize around. The wait for anything to happen is utterly agonizing. You and Siffrin are both waiting for something to happen. This isn't a fight. It just pretends to be. It's an utter rugpull, because Siffrin was so undefeatable for most of Act 4 and all of Act 5 so far. It's kind of terrifying!

and it does. It finally does something. Ma Du Pays speaks, in the voice of Siffrin's friends, listing out their deepest fears. I think it's honestly fantastic. You're forced to just sit here and listen to Siffrin's deepest doubts, things you know the characters could not say because it references the timeloops they're all utterly unaware of. This is all Siffrin, talking to himself. And all you, all Siffrin, can do, is keep wailing away on the enemy to no effect whatsoever.

So of course this ends with Siffrin giving up. What else can you do?

And then Siffrin's friends show up and unfreeze them and it's all very cool yay. The pure narrative scenes aren't really the main focus but I want to point out here:

A) Mirabelle is in the first party slot here, referencing how she's the de facto protagonist, and Bonnie fills in the fourth slot left empty, which shows all characters uniting to save Siffrin

B) this is the only instance of the other party members having act specific battle icons: they're all smiling brightly, further pushed by the upbeat music

C) the reflecting shield Mirabelle uses to freeze the King uses a variation of her hangout skill cut in, marking it as her true "final" skill and giving the whole fight a more climatic feeling.

It's also a short gameplay sequence with Siffrin utterly uninvolved in the battle. You can't even see them onscreen. But... it feels warm, doesn't it? Everybody coming together. Siffrin doesn't have to fight anymore.

At last, the King is defeated. Siffrin and co. make for the Head Housemaiden, to have her look at Siffrin's sudden illness. Siffrin is utterly exhausted, famished, running a fever. And this isn't unexpected - after all, their skills in Act 5 had no cooldown. For context, instead of featuring any sort of MP system, all skills work on a cooldown basis, where a character can't use it for a certain number of turns. The lowest cooldown is actually Siffrin's Knife to Meet You, which has a cooldown of 1. In universe, this is reasoned as the characters needing a break from spamming craft in order to not exhaust themselves.

Siffrin's skills in Act 5 having no cooldown/being infinitely spammable isn't a sign of their strength - it's a sign that he refuses to let himself rest in order to rush through as fast as possible.

Moving on, Siffrin panics when seeing the Head Housemaiden, because seeing her means one thing: the end. Prior to this in the game, every single time you beat the King, the loop ends when you talk to the Head Housemaiden.

Reality breaks down, the whole shebang. It's here that Siffrin realizes - they don't want the loops to end, because the end of their journey means their family will leave, and he'll be alone again. The happiest time of his life will be over.

Siffrin goes totally ballistic, to say the least.

As it turns out (and was heavily foreshadowed narratively), Siffrin has been using Wish Craft to subconciously cause the timeloop because of their abandonment issues. It's rather predictable if you paid attention to literally anything, but it's extremely notable how heavily Siffrin is paralleled to the King, the antagonist they swore to kill by themself at the start of Act 5. The King wants to freeze Vaugarde in time because it is, in his mind, "perfect," for accepting him after he lost his home - a backstory he shares with Siffrin.

Siffrin has become the exact antagonist he swore to kill, and it's shown by how the next fight utterly flips everything on its head.

Siffrin is the final boss.

In a towering form made of stars, Siffrin looks down at their friends. His face is terrified, because of his internal conflict; he can't hurt his friends, but he can't let them go, either. The combat prompt is simply changed to "END IT!"

This fight is similar to the previous, in that you just need to wait a certain number of turns until its over. However, this time, it's not dreadful suspense. It's... confusion, and hesitance.

You have two options for combat: Attack your friends, or attack yourself.

And... you don't really want to do either, I think. I certainly don't. But what else can you do? It's Siffrin's desires clashing in full force. Attack your friends, and force them to stay? Or attack yourself, and let them go safely without you?

Worth noting, here - when you attack Siffrin's friends, you can't harm them. Isabeau will shield all attacks. And when you attack yourself, Mirabelle will heal you back to full. And the friends don't... do anything, either. How could they? Occasionally, Mirabelle heals you and Isabeau shouts words of motivation, but the main thing is...

(Your friends don't know what to do.)

None of them want to harm Siffrin. Both sides simply stare at each other, resolute in their conviction but unwilling to end it with violence. It's of note that this loop, the last one, is the only loop where the King isn't killed. Just frozen. And now here is Siffrin, clamoring for the same eternity the King was. Of course everything ends in a tearfilled conversation as Siffrin sees their friends won't leave him, even after the journey ends, but I still have to appreciate this moment.

Siffrin is directly put in the position with their friends as his enemies, forced to physically reckon that keeping them in this loop is an act of violence, against both their friends, and against himself.

It's a happy ending. But... what does it mean?

Of course, ISAT is obviously about the fear of change. Siffrin is afraid of the journey ending, and of being alone. However, ISAT is also a game about games. Siffrin is playing the same game, over and over, because it's comforting. It's familiar. It's nice, to know exactly what happens next. These characters might just be predictable lines of dialogue, but... they feel like friends. Have you ever played a game, loved it, put countless hours into it, but you never finished it? Because you just couldn't bear to see it end? For the characters to leave your life, for there to be a void in your heart where the game used to be?

After all, maybe it became part of your routine! You play the game every day, slowly chipping away at it for weeks at a time. For me, I beat ISAT in four days. It utterly consumed me during this time. I had 36 hours of playtime by the end. Yeah, in that week, I did not do much more than play ISAT.

And once i beat it, i beat it, again. I restarted the game to see the few scenes I missed, most specifically the secret boss I won't talk about here. I... couldn't let go of the game yet. I wanted to see every scrap I could. I still do. I'm writing this, in part because I still do. It's scary to let go.

Ever heard the joke term of "Postgame Depression?" It's when you just beat a game, and you're suddenly sad. Maybe because the ending affected you emotionally and you need to process the feelings it invoked, or you search for something that can now fill your time with it gone.

The game ends, for real this time, the last time you talk to the Head Housemaiden. But Siffrin gets... scared. What if everything loops back again? And so, his family offers to hold his hand. They face the end, together.

For all loops, including the ending, you never see what happens after. After they leave the loop for good. Because the loop is the game itself. It's asking you to trust that life goes on for these characters, and it holds your hand as it asks you to let go. There's a reason for Siffrin's theater metaphors. He is the actor, and the director, asking everyone to do it over one more time. He's a character within the game, and its player.

There's a reason I talked about endgame content. This, the way it all repeats, there's nothing new, difficulty and stakes bleed away as you snap the game over your knee - it's my copy of White 2 with two hundred hours in it. It's me playing Fire Emblem Awakening in under 3 hours while skipping every cutscene. Are you playing for the sake of play, for the sake of indulging in your memories, because you're afraid of the hole it'll leave when you stop?

Of note: the narrative never condemns Siffrin for unwittingly causing their own suffering. He's a victim of circumstance. It's seen as endearing, even, that Siffrin loves their friends to the point of rather seeing the world destroyed than them gone. But Siffrin is also told: we'll stay with you for now, but we'll part ways eventually. And one day, you'll have to be okay with it.

Stop draining the things you love of every ounce of enjoyment just because you're afraid of what happens next. I'm not saying to never play your favorite games again. Playing ISAT a second time, I still had a lot of fun! I saw so many new things I didn't before, and I enjoyed myself immensely, reading the same dialogue over and over. But... it makes me look at other games I love and still play, and makes me ask... is this still fun? Do I still need to play this game to enjoy it? Even writing this is an afterimage of my enjoyment, but it's a new way to interact with the game, to analyze it through this lens. Fuck, man, I write fanfiction. Look at me.

All of this, fanart, fanfic, analysis, is a way to prolong that enjoyment without making yourself suffer for it. Without just going through the motions of enjoyment without actually experiencing any. But one day, the thing you love won't be fun to talk and write and draw about. And it's okay. You'll have new things to love. I promise.

In the end.... I'm certain I'll replay ISAT one day. Between great writing, art, puzzles and unresolved mysteries, it's my shoe-in for game of the year.

But I won't replay it for quite some time. I've had enough, for now, so I let my love take other forms.

Siffrin is never condemned, because love is no evil. Be it love for another person, or for a game. And please, if you're overempathetic - it's still a game, at the end of the day. The great thing about games is that you can always boot them up again, no matter how long its been.

A circle within a circle indeed.

To summarize:

The repetitiveness of ISAT's combat, lack of new enemies, and Siffrin's ever increasing strength eventually allows you to snap the combat over your knee, rendering it irrelevant and boring. Though this may seem counterproductive at first, it perfectly mirrors how Siffrin has also grown bored with these repeated encounters and views them only as an obstacle to get past. The reflection of Siffrin's own tiredness with the player's annoyance increases the compassion the player has for Siffrin as a character.

Additionally, the endgame state of the combat system serves as commentary on the state of a favorite game played too often, much like how Siffrin has unwittingly trapped themself in the loop. Despite the game having no more challenge or content left to over, a player might return to their favorite game anyway, solely to try and recreate the early experience of actually having fun with it. This ties into ISAT's metanarrative about the fear of change and refusal to let go of comfort even when the object (here, your favorite video game) offering that comfort has become utterly bereft of any substance to actually engage with. Playing for the sake of playing, with no actual investment to keep going besides your own memories.

Later on, stripping away even the pretense of strategy for a "press button and wait" format of final bosses highlights the lack of options at Siffrin's disposal and truly forces the player into their shoes. Truly, the only way to win is to stop playing.

[skaldish]

Alright folks. Here it is, my theory of what Ragnarok actually represents. It is very messy and I'm not sure I'm going to be able to actually convey my understanding clearly like I try with most things, because genuinely this is shit I would write a doctorate-level thesis on.

But we're going to try anyway.

So. After doing a lot to try to replicate animistic thinking, as well as taking a VERY deep read of the Norse myths, my theory is that Ragnarok is specifically allegory for societal collapse—the "end of the world" imagery and such is meant to convey what this feels like.

Recall what Odin says in Grimnismal. It goes something like this, since I can't be arsed to find the exact quote:

Huginn and Muninn fly over the world every day; while I fear Huginn ("thought") may not return, I fear Muninn's ("memory's") absence most.

When a society collapses, so does it's memory. It loses its technology, its methodologies, its paradigms, and everything it has learned about the world up to that point. Gone. Entire chapters of history erased.

What causes societal collapse is not always a conquering force, but is oftentimes the result of circumstances that a society orchestrates for itself. Think Rome.

People who have gone through societal collapse will probably develop an invested interest in figuring out how to prevent it entirely, so they don't have to start society all over again.

It's one thing to preserve the memory of "things collapsed and here's why" using a story. But it's another thing to do what apparently the Norse people did, which is cultivate a methodology for cognitively hardening their own society against collapse, using stories as a way to do it.

Like...I'm not kidding when I say they legitimately knew how the human mind works, and then built an entire system of stories and narratives that intentionally support the mind's freedom, cultivation, and agency. I can only convey a fraction of how this works in this post because the rest requires a deep-dive into behavioral psychology and neurological development.

All the tales leading to Ragnarok demonstrate various instances where the gods choose to follow their own agendas at the expense of the real people and forces in the world. All of these little things contribute to the magnitude of the event that is Ragnarok.

The tales represent these transgressions using allegories rather than literal events. This is because these stories were designed for children, who don't process information through a prefrontal cortex like we do as adults. They don't have them yet. But this gives kids an intuitive understanding for how circumstances of collapse feel, so they can recognize them in all their forms.

Loki is an allegory for the mischief we feel as children, and for the behaviors we demonstrate before we get to the age where we start valuing cooperation. In the myths, every time Loki causes mischief in ways that creates problems, the gods get mad at him and threaten Loki's life until he fixes his mess. Loki eventually becomes vindictive, kills Baldr in a jealous fit, and then is punished by being bound and buried beneath the ground, only to fight against the gods in Ragnarok.

The surface-level takeaway is a lesson in parenting: If we punish kids for their mischief, they're going to become vindictive adults, and these adults are going to have it out for the rest of society because they've been disenfranchised.

But it doesn't just end here. Consider how we punish ourselves for our own sense of mischief, beating ourselves up for having "problematic" thoughts and trying to bind and bury those thoughts in the depths of our mind.

These thoughts come from a place our mind known as the limbic system, which is focused on avoiding pain and seeking pleasure, and—most importantly—does not understand the world or make decisions using logic and reason, but in terms of what feels enjoyable and what doesn't.

We tend to call this system our inner child.

When we punish our inner child, that child starts doing exactly what Loki does and resorts to malicious and petty tricks. We can hold this behavior at bay until something causes us to "snap" (like Jörmungandr's tail does) and out comes the malice of the disenfranchised inner child, which creates a terrible cascade of social consequences for us.

Now, if we were to listen to these stories as kids, we would naturally be very upset whenever Loki was threatened of punished, because we think out of the limbic system at that age and Loki is meant to represent us—specifically, the state of being a kid. We would see what comes to pass, with Loki being imprisoned and fighting the gods against Ragnarok, and it would become clear to us that there's consequences for punishing mischief AND also causing too much of it.

Now I don't know about you, but I was very motivated by a sense of justice as a kid. Hearing Loki's arc would have inspired me to learn how to be friends with my sense of mischief while also learning to use it in ways that were cooperative and social, because this would have been how I could right the wrong I felt was done to Loki. It would also mean my own limbic system will not fight against me in the future, but be a modality of thought I can always access. (This is the beauty of the way the Norse myths are crafted; they are designed to instill knowledge of the world using mechanisms that reinforce one's own sense of agency and competency, so rather than being told the moral of this tale, it sets me up to run right into the conclusion it wants me to draw, but in a way that makes me feel smart and therefore inspires me to value it.)

The binding of Fenrir serves a similar allegory. When we become explosively angry in the way that Fenrir represents, it consumes our wisemind the same way Fenrir consumes Odin during Ragnarok. But this only happens if we bind Fenrir/our anger. By demonizing this nature of ours simply for existing, it will not only refuse to listen to us, but also turn against us. Remember that Fenrir was willing to socialize and cooperate with the gods before his betrayal.

(Honestly, I believe this is why ulfheiðnar existed the way they did. Even though the animalistic rage of ulfheiðnar was too terrible for domestic society, it was not demonized, but instead given a social function. People would learn to understand and partner with their own sense of rage, and I'm guessing this is also how they were able to keep their sense of reason and priorities straight even while going berserk from psychoactives.)

These two examples serve to illustrate how societal collapse stems from binding or punishing our own natures. But also fearing our own nature as mortals factors into it.

For example, Naglfar. This is a ship constructed of dead people's fingernails, and its completion is part of what signals the beginning of Ragnarok. But as the story goes, we can delay Naglfar's construction by trimming the nails of the dead before we bury them.

Naglfar represents "neglect for the dead," and this is significant because the act of no longer viewing the dead as people is sort of like the canary in the coal mine for no longer view each other as people...and no longer seeing people as people is what defines Ragnarok.

A society is at peace when its people have no fear of death, and having no fear of death comes only by incorporating death as a normal and familiar part of life, just like we do with birth. Our relationship with death is a litmus test for our relationship with our own humanity—if we fear the dead and cannot see them as human beings, then we are always going to fear a part of our own humanity, and be at war with it. The simple act of keeping the nails of the dead well-groomed because it stalls Naglfar's construction was a way to remind people why such a simple act was profoundly important.

And these are just the things that I can think of off the top of my head that are the most obvious examples. There are—and I shit you not—multitudes of these things laced within the Norse myths.

(I haven't even gotten to the part about how the Norse creation myth uses what the womb feels like to characterize it. Telling this story to very little children helps them establish a sense of familiarity, belonging, and secure attachment with the entire world from the get-go. If they learn the world is everything they've already experienced, then their bodies will never be afraid of it, because nothing about it will feel unknown or unknowable. Like, how fucking dope can you get.)

So here's where we get to the really dense irony of all this: Why we don't pick up on all these nuances as Westerners and have so far missed this entirely.

It is for two reasons.

The first is because our society values the things that the Norse people identified as contributing to societal collapse—namely, the act of conquering/competing against other forces and conquering/competing against our own natures. The transgressions of the Aesir are not things we register as problematic because to us they're normal.

The second is that we don't think animistically. The way we are taught to convey, interpret, and transmit information is designed PURELY by and for the prefrontal cortex, with neglect to everything else (if you ever wonder why Americans look weird in how we behave, this is why). But because we only prioritize communicating this way, we're missing out on all the context added within the Norse myths. These myths function the same way Old Norse kennings did, in that they are designed to speak to ALL areas of the brain at once and in tandem, but if we only engage with it using one part of the brain, we're only going to get a small piece of the picture and the rest is going to look weird.

(Little experiment for you: Try to logic something out in your mind or think through a complex problem without using words or sentences to do it. Use any other kind of thought-process besides language. I promise you that not only is this possible, but it yields a completely different kind of experience and conclusion than you might otherwise reach.)

Honestly, I don't even think Snorri himself fully understood what he was looking at when he was recording the Norse myths. I think he was just writing them down according to how they were told, word-for-word. But his cluelessness is our good fortune now, because he not only preserved the cultural stories, but also what I consider an entire cognitive technology.

And every time I look at it, I can't help but think about the generations of people who sat around the fire in the dead of winter, weaving, crafting, and figuring out better ways to fortify their society, raise kids so they became fine and truly fearless people, and conserve information. This is, as far as I'm concerned, real magic.

They knew some shit.

[monzabee]

bad idea right? – ln4

masterlist

Summary: The one where seeing Lando tonight is a bad idea, right?

Pairing: lando norris x ricciardo!reader

Word Count: 4.8k

Warnings: mentions of breakups and also fighting, cursing, kind of a toxic relationship?, allusion to smut, it's criminal how long it took me to finish this fic

Request: this wasn’t requested, but the idea is veeery loosely from this tiktok right here! (i might def write the scenario in the tiktok in the future though)

Author’s Note: hi, hey, hello!! it has officially been a month since i started my master's programme and i have to say it is absolutely kicking my ass, but thank you all for bearing with me while i adjust! this song has been stuck in my head for the last two-three (?) months and i really wanted to write a fic based on it. i also wanted to say that i've received all of your guys' requests, and i'm working on those, but it's harder for me to get out a request than a fic that just popped in my head because i tend to be more of a perfectionist with those - so, those are definitely on the way, don't worry! i hope you guys enjoy! good morning, noon or night wherever you are, xoxobee

Please also note that all of my works are protected under copyright, and not available for reposting on other platforms. 

It’s not that you don’t like spending time with your brother and his girlfriend – because you do, but considering the fact that spending a mere hour with them causes you to suddenly question your life choices (of being single), you are very eager to leave them alone for the night. Which brings us to the current situation, with you standing in front of your brother’s apartment complex in one of the hoodies you stole from the sample boxes, waiting for someone you should’ve never hit up in the first place. It was probably not your brightest idea to message Lando to ask him if he wants to go for a ride, especially because a) the last time you saw him a year ago the two of you were yelling and throwing things at each other and b) you’re definitely buzzed from the bottle of wine you hogged upstairs. But you know what they say; absence makes the heart go fonder, right?

So there you are with your phone in your hand, texting Lily in hopes of getting the tiniest bit of reassurance about your decision.

To lily m: i texted lando To lily m: he’s gonna pick me up From lily m: WHAT? NO To lily m: seeing him tonight To lily m: it’s a bad idea, right? From lily m: YES From lily m: DO NOT GET INTO THAT CAR To lily m: yes i know that he’s my ex, but can’t two people reconnect?

Fuck it, it’s fine, you decide as you quickly delete the last two messages. With a soft sigh, you wrap your arms around yourself to shield yourself from the cold air of the night. And while you could just wait for Lando inside the apartment building, you really don’t want to attract more attention to yourself. You can feel yourself getting more and more nervous as the minutes pass by, and you even contemplate cancelling the whole thing and going upstairs to sleep. Just as you’re about to give up on the whole thing, a car honk grabs your attention. When turn to look at the source of the sound, you see Lando’s unamused face through the open window.

He motions you to get in with his head, his voice as equally detached as he calls out, “Get in.”

Rolling your eyes at his behaviour, you do as your told. But you tell yourself that it’s not because he told you to, but because you’re cold. And so you get in the car making sure you slam the door as hard as you can, which makes him scowl as a small smile forms on your lips. “You know, you could really try on being more polite.”

“I’m picking you up in the middle of the night,” he points out as he puts the car on drive and starts driving off, “and put your damn seatbelt on.”

You give him a sideway glance as you put on your seatbelt, letting out a sigh, “Are you okay? I’m sensing some serious undertone.”  

Lando doesn’t answer you, mainly because he is smarter than he looks and he knows you’re trying to goad him into another fight. That’s what the two of you had always done, not that he hated you or vice versa, but the two of you mainly got along in fights which ended up in both of you twisted between the sheets of the whatever hotel you were currently staying in. And it had worked for a while, until of course it didn’t, and Lando was mature enough to admit that he had a huge role in fucking up your relationship.

“You changed your car,” you point out.

“Thought you’d appreciate a roof over your head this time,” he replies.

The car is silent as Lando drives down the now empty streets of Monte Carlo, and you find yourself involuntarily checking out his side profile because well, he always looked so good while driving. You suppose it’s only one of the things that didn’t change with time.

“So,” his voice draws you out from your thoughts, “why’d you call me tonight? Are you drunk?”

“I am not drunk,” you scoff, crossing your arms across your chest, “if you don’t feel like being here Lando, I can just get off and go home.”

“Now I didn’t say that, I simply asked a question.” He steals another glance at you, but this time a little smirk forms on his lips when your eyes meet and he sees your scowl. “It was a harmless question, really.”

Your voice comes off as clipped as you answer, “I’m not drunk.”

“Your cheeks are red,” Lando points out but the playfulness from mere seconds ago is gone, in fact, he’s more serious than you’ve probably ever seen him, “you either had wine or your rosacea is acting up.”

It takes a moment for you to take in his words, and there is no humour in his voice or on his face when you look at him to see whether he’s joking or not. “I had some wine,” you confess, voice much lower than before as you add, “but I’m not drunk.” One of his eyebrows rise up, and you find yourself mumbling, “Fine maybe a little bit, but not a lot.”

His jaw ticks as he mumbles, “Okay, whatever you say.” And as you try to assess whether his voice is cold or not, you see his hands tightening around the steering wheel.

“What?” You ask, a bit quicker than necessary (in your opinion), “What did I say?”

Now it’s his turn for his voice to be clipped, and his eyebrows furrow as he asks, “Did you only call me because you’re drunk?”

“No,” your reply is truthful to some extent, you suppose, you would’ve texted him even if you had no alcohol in your system. “I wanted to see you.”

He lets out a hum, “Why?”

It’s a hard question, and you contemplate not being a hundred percent honest – but deep down you know he deserves better, even if you had your differences. So, to reveal the truth, you turn your face away from him to look outside the window, “I missed you.”

He doesn’t say anything, and you don’t turn to see what his reaction will be. Everything is peaceful for a moment.

He takes you to a hill, the very one he took you for your first date. Though, it doesn’t carry the same excitement this time around. The two of you remain in the car with the windows rolled down, but the colder air doesn’t make you chilly. It’s silent, but it’s not an uncomfortable one. Neither of you make the first move to start a conversation, and you don’t know if that’s because you’re both obstinate or he doesn’t want to be there. Though, you suspect he would’ve told you ‘no’ if he didn’t want to be there – not that he could ever tell you ‘no’.

It's unnaturally hard, you realise, not looking at him on purpose when he’s seated so close to you. Especially because you haven’t seen him in months. Not that you’d confess that to him, or let yourself have another weak moment where you say you missed him. Because you can’t. Because it’s not the way the two of you operate. Because he broke your heart but you’re not strong enough to let him go. With that last thought, you take a sharp breath, undo your seatbelt and get out of the car. You lean against the hood of the car and he soon follows suit. But where your hands are splayed behind your back, his arms are crossed over his chest.

“You’ve not been sleeping.” It’s not a question, it’s a statement. Because he is not dumb (or blind enough) to let the circles under your eyes slide.

And it’s a statement that might be true. You only give him half of a shrug, “So?”

“It means that something is bothering you.” You’re about to object, but he quickly shuts you down, “I once drove you around for four hours so you could sleep in my car, honey,” his fingers move to gently turn your chin towards him so he can look into your eyes, “and that was because you forgot to bring me back junk food from Australia.”

Even if you’re taken aback by his physical touch, you don’t show it as you stubbornly maintain your eye contact. “It’s the jet lag, I haven’t travelled in a while.” You gulp down a breath as you gently push his hand away, “And don’t call me that.”

“Why?” He turns his body to face you, “You’re just as sweet, aren’t you?”

“Lando,” you warn him, “don’t.”

He raises a brow, “Why not?”

“Because we’re friends,” your response comes off in an instant, “I only see you as a friend.” The biggest lie you’ve ever said.

“Friends,” he repeats, tests out the word, then shrugs, “sure. Now tell me what happened tonight that made you call me. Did you and Daniel fight?”

“What?” an involuntary laugh leaves your lips, and you catch the corner of his lips turning upwards just the smallest bit. “No, we didn’t, it’s not about Daniel. Can we just not talk about it, please?”

He gives you a firm nod, and you catch his grimace as he turns his attention back to the view in front of you. “You can tell me, you know,” he mumbles, “you used to.”

He’s right, you realise. You used to tell him all the little thought that popped into your head, whether it was nice or not, and he’d accommodated your thoughts. It was easier to talk to him, once upon a time, and you’re not really sure why it hurts so much right now that you can’t.

“Why do you care?” The question comes out quickly, and your voice is not as strong as you’d like it to be. “After everything, why do you care?”

“We’re friends, right?” The words tastes unbelievably sour in his mouth, and he has to restrain himself from making any sort of face, but it seems harder than it actually is for him to do and he questions whether it is worth it to

“Friends,” this time it’s your turn to test out the word, and it tastes as bitter as they come, “sure, can we ride around a bit more?”

“Fine,” he gives you a nod and motions you to get in the car, “but I have to get gas first.”

The fluorescent lighting of the gas station is definitely not the most flattering thing. So much so that you’re sure the unflattering light outside is exaggerating the bags under your eyes. But that situation of course doesn’t apply to Lando because even under the harsh lighting, he looks too pretty. And compared to earlier in the night, you don’t try to hide the way your eyes focus on him while he’s driving, though you hope you do a much better job at hiding the thoughts that come to your mind. Even after he’s parked the car in the nearest pump, you find yourself staring at his side profile a bit too long, which earns you a sideway smirk and you try your hardest not to react, but the smile you keep trying to fight is too strong and eventually you find yourself with the tiniest smile playing on your lips.

Lando turns towards you, meets your eyes and leans over the console, “Do you want anything from the shop?”

You blink once, trying to come up with anything, twice, then “Can you get me those gummy bears that I like?”

He gives you another nod, reaches into his pocket and then hand you his phone. Ignoring your questioning stare, he explains, “So that you can play music or something, the password is still the same.” Before he gets out of the car, he does the unexpected and leans in just a little bit more to press a feather-light kiss to your temple.

You watch him get out of the car and walk away from you with your mouth slightly hanging open. You contemplate trying to unlock the phone, because why would he tell you that his password is the same? And why would he trust you with his phone when the two of you have been broken up for over a year? With shaky hands, your fingers put in the password, calling Lando’s bluff. Oh shit, you think when the phone unlocks, now what? Throwing the phone out of your hands onto the driver seat, you grab your own and quickly type a new message to Kika, who of course got the news from Lily and has been blowing up your phone, while ignoring her dozen other messages who went unread in your text thread.

To kika: this was a bad idea kika Tokika: a very *very* bad idea From kika: please tell me you’re going home To kika: um… To kika: sure From kika: GET OUT OF THAT CAR AND GET YOUR ASS HOME From kika: NOW!!

Chewing on your lower lip, your eyes linger on the messages spamming your phone, and you contemplate just getting out of the car and trying to find your way back home. But you also can’t help yourself but think… what’s the worst that could happen if you stayed? Clicking the button on the side of your phone, you place it face down on your lap after making sure you silence it for the rest of the night. With the reminder of the abandoned phone on the seat next to yours, you open your window to let some of the night air in. As your phone keeps buzzing on your lap, your eyes focus on the figure that comes out of the convenience store – and by some grace of God, he doesn’t realise the way your eyes basically undress him as he approaches his McLaren.

There’s no smile on his face, in fact, if you didn’t know Lando, you’d say he looks like an asshole; not that he occasionally doesn’t act like one. He gives you that boyish smirk when he’s next to your window, signalling you to roll it down by tapping on it twice. Lando leans against the car, his eyes locked onto yours. “Got your gummy bears,” he says, holding up the package and handing it to you once you roll it down. “It was the last one too, you’re lucky.”

Giving a tight lipped smile to the man looking expectantly at you, you accept the packet of gummy bears. “Thank you, Lando,” the softening look in his eyes is, ironically, strong enough for you to choke on the next words that are on the tip of your tongue. “I–”

“I’m sorry to bother you, are you Lando Norris?” A third voice interrupts you, and you find yourself moving your gaze from Lando to the woman who’s excitedly waiting for a response.

“Yes,” he breathes out, and you can tell he’s trying to keep his voice polite but he’s also very annoyed at the same time – though the way he eyes up the stranger definitely makes your blood boil.

With his attention on the woman, you find yourself feel the tension in the air and quickly look down at the packet of gummy bears in your hands. You start absentmindedly picking at the wrapper, your mind racing with a mixture of emotions. As the conversation between Lando and the fan continues, you steal glances at them from the corner of your eye. She's gushing about a recent race, talking animatedly about the thrilling moments she witnessed. Lando, for his part, is gracious and engaged, taking the time to listen and respond. And despite the polite exchange, you can't help but feel a pang of jealousy. It's a reminder of the world he's a part of, a world where fans approach him with admiration and excitement. A world you used to share, but now only observe from the sidelines.

You watch the woman place her hand on Lando’s bicep, laughing at a (rather mediocre) joke he made about the understeer of the car. It’s not a funny joke by any means, and you are not scared to admit that the woman’s laugh that fills your ears makes your insides twist uncomfortably. You remind yourself that you're here by choice. You could have left at any moment. But there's something about this night, about being with Lando again, that you can't quite let go of. It's a confusing mix of nostalgia and longing, wrapped in a blanket of uncertainty.

The woman’s voice hits your ears as you hear her ask, “Do you want to come back to my place?”

Without letting them both know that you’re actively listening into their conversation, you attempt to subtly let out a warning cough, but Lando covertly smirks as he leans towards the car with his hand grabbing the lowered window – without caring about the possible finger prints he might leave behind, might you add. Without any hesitation, you let your fingers go of the packaging to thread your fingers with his.

While his thumb gently starts to draw circles on the knuckle of your thumb, he does his best to supress the chuckle building up in his throat. “That’s, um, very kind – but I’m with my girl, you see, and we are both pretty tired.”

Maybe you would’ve given her a friendly smile over a misunderstanding if you were in a better mood, but as the woman looks at you with wild eyes, all you can offer her is an annoyed pout, and soon after she leaves after apologising to you both for interrupting your plans. You watch her leave until there is a good enough distance for her to not hear you, and then turn to Lando and give him a glare as you hiss, “I am not ‘your girl’.”

He finally lets out the chuckle he’s been holding as he watches you letting go of his hand with an exaggerated push, and then diverts his amused eyes towards you, “Sure, whatever you say, jealous girl.”

“I am not– I wasn’t jealous!” you exclaim, eyes narrowed. When he starts walking towards the driver’s side, you can’t help but call out, “I’m not jealous!”

Lando is still chuckling to himself when he gets in the car, and even as he starts driving, completely ignoring your whining complaints. “That’s alright, honey,” he says, voice full of condescension, “it was very cute.”

“You are an ass.” You roll your eyes as you cross your arms across your chest. “Maybe I should’ve gotten off when I had the chance, that way you could’ve fucked her in the back seat.”

“Bold of you assume she’s the one I’d want to fuck in my back seat,” he raises an eyebrow, then shrugs “but sure.”

Your face scrunches up in disgust, “You’re, ugh, you’re just the worst, Lando.” Shaking your head in disbelief, you add, “I can’t believe I’m arguing with you over you fucking girls in your car.”

Lando manages to get out a disapproving tut, and then contends, “I never said I’d fuck girls in my car, I’d said I’d rather fuck you in my car.”

Completely baffled by this revelation, not that you should’ve been, you turn to him in disgust, “Excuse me?”

“You heard me.” He shrugs again, noncommittally, and without paying you any mind continues to focus on the road.

“Well,” you laugh, breathlessly, “good thing that’s never happening.” Gently clearing your throat, you later can’t help yourself but add a silent, “Again.”

“If you’d rather a bed, that could also be arranged, honey.” Lando assures you, and you realise the little fucker has a smirk growing on his face.

“As if I’d sleep with you willingly,” you scoff.

A boisterous laugh is what you get from Lando, who tilts his head towards you, “Come on, I’m a good-looking bloke.”

“And I’m sure I’ve seen much hotter man,” you sing, but you just can’t remember when. So deciding to block out what Lando is rambling about, you pull out your phone to message someone who has the answer for you.

To lily m + kika: can you tell me someone who is hotter than lando? From lily m: alex From kika: pierre To lily m + kika: ew, be serious please From kika: what about the guy with the accent, from hungary? From lily m: the doctor? To lily m + kika: i think she meant the reporter From lily m: god no he was a creep From lily m: what about the surfer? From kika: oh yeah he was cute too To lily m + kika: i need someone hot, pleaseee From lily m: THE MODEL FROM MILAN From kika: WITH THE ABS From kika: and also porche From lily m: BUT ALSO THE ABS To lily m + kika: okay thanks To lily m + kika: love you guys

Getting lost in the conversation, with the aid of your ambition to prove yourself right and, naturally, Lando wrong, you don’t realise that he’s actually driven you back to his apartment instead of a bar or literally some other place that sells alcohol in that ungodly hour.

“This isn’t a bar.” You point out, eyebrows furrowed.

Lando dignifies your comment with a scoff, “Well aren’t you quite the detective?”

Crossing your arms across your chest, you basically hiss at him this time, “This is basically kidnapping.”

Lando glances at you, a playful glint in his eyes. “Kidnapping? Really? I thought we were just catching up.”

You shoot him a sarcastic look, but can't help the small smile that tugs at your lips. “Yeah, sure. Catching up in the middle of the night at your place.”

He parks the car and turns to face you, a smirk dancing on his lips. “Well, here’s my proposal. I’ll go to my apartment and you’re free to either join me or drive my car back to Daniel’s – I’ll come pick it up tomorrow.”

You hesitate for a moment, considering your options as you watch Lando give you an assuring smile and handing you the keys before getting out of the car. Going back to your brother's place doesn't sound all that appealing, and Lando's offer, as questionable and a bad idea as it may be, seems like the lesser of two evils. Though, there is also the reality that if when you go up to his apartment, you’re probably going to do something that either you or your friends will regret tomorrow morning. Watching Lando’s retreating figure move further into the apartment building, you think, fuck it, it’s fine.

So, you wait for a few minutes, anxiously twirling the car keys in your hand to make him wait – but you’re pretty sure it makes you suffer just as much. You take a deep breath, exhale slowly, and then climb out of the car. Locking it behind you, you follow Lando into the building. The familiar scent of his cologne hits you as you step into the elevator, and a wave of nostalgia washes over you. The elevator ride going up to the second floor is pure torture, and it leaves you squirming in your place the whole time. Basically throwing yourself out of the elevator once it lands on the second floor, you realise that Lando has been waiting for you, standing and smiling at his door.

He gives you a teasing look as you approach, clearly amused by your slightly dishevelled state. “Took you long enough,” he remarks, unlocking the door and holding it open for you. But instead of saying anything or retorting back, you quietly follow him inside his apartment. Lando closes the door behind you, the sound echoing through the quiet apartment. The dim lighting casts a soft glow, creating an intimate atmosphere. The first thing that catches your eye is the helmet collection he keeps in the living room. Without saying anything, you quickly make your way over to the shelves that display the helmets, trying your best to avoid his approaching footsteps behind you. The familiar design of a particular helmet has you instinctively tracing the number at the top, and the arms that hug your waist from behind makes you freeze for a moment. Lando's touch is both familiar and foreign, stirring up a mix of emotions you thought were long buried.

“That's from Monza, 2021,” he says, his voice close to your ear. The warmth of his breath sends a shiver down your spine.

You clear your throat, attempting to regain composure. “I remember,” you reply, your fingers still lingering on the helmet.

For a moment, neither of you speaks. The weight of the past and the uncertainty of the present hangs in the air. Lando breaks the silence, his voice low and measured. “I wasn't sure you'd actually come up.”

You turn to face him, meeting his gaze, but don’t attempt getting out of his arms. “I didn't think so either.”

Without breaking eye contact, he slowly leans in, his lips brushing against yours. It's a tentative touch, a testing of waters, and you find yourself responding to the familiarity of the kiss. The taste of the past lingers, and for a moment, it's as if the years haven't passed. But reality crashes back in, and you pull away, the distance now a necessary boundary. Lando looks at you, a mix of emotions playing on his face. There's longing, regret, and an unspoken acknowledgment of the complexities that bind you.

“I thought we could just catch up,” he says, his tone a mix of apology and yearning.

You turn in your place, facing him. “Catching up was never our strong suit, was it?”

“Not really,” Lando shakes his head, “no.”

You bite down on the corner of your lip, threading your fingers through his curls as you pull his face down to meet yours as you rise on your tiptoes, “It’s a bad idea, right?”

Lando lets out a supportive hum as he lets his lips softly brush against yours, “The worst.” And maybe he should have been the gentleman and pull away, but when he sees your eyes closing, he just leans in further to press his lips against yours – and the way you respond to his kiss? It's as if the world outside ceases to exist. The kiss deepens, each brush of his lips against yours reigniting a long-buried flame. Lando's hands find their way to the small of your back, pulling you closer, erasing the physical space between you.

You don’t complain as he pulls you towards his bedroom, or when he gently throws you on his bed, the anticipation hanging thick in the air. As he hovers over you, the weight of the past and the intensity of the present converge. His hands trace the contours of your face, memorizing every curve as if committing it to memory. And when the two of you get lost between each other within his sheets, the only thing that ends up coming from your mouth is either his name, or some sort of encouragement to keep him going. After he manages to wear you out, Lando decides that you’re definitely not going anywhere as he wraps you in his arms around you. The room is filled with the soft sounds of breaths syncing, hearts beating in tandem. Lando's fingers draw absent patterns on your skin while you check the messages that have accumulated in your phone. The glow of your phone illuminates the dim room, creating a subtle contrast to the warmth that envelops you. Lando's presence beside you adds an extra layer of comfort, a silent acknowledgment of the shared intimacy that unfolded moments ago.

From danny: please tell me you didn’t get kidnapped by the organ mafia From danny: wink twice if you’re alive From danny: this is not funny, where are you? From danny: fine i’ll ask alex to ask lily

Rolling  your eyes before sending him a text to let your brother know you’re okay, you decide to turn your attention to the group chat with Lily and Kika.

From kika: did you get home safe? From lily m: daniel is pretty stressed about it From lily m: please for the love of god tell us you’re home and not with lando right now To lily m + kika: omg just calm down i’m in bed To lily m + kika: and i’m going to sleep To lily m + kika: love you guys

You catch a glimpse of Lando’s grin over your shoulder as you click your phone off, but he only chuckles as he buries his face into your neck as he leaves small kisses to the skin there. “Well, I’m not lying, I just didn’t specify where I was.”

“Or in whose sheets,” his laugher gets louder as you jokingly slap him on the arm, “go to sleep, honey, we’ll be tired in the morning.”

And it might’ve been a bad idea to message him in the first place, but it certainly doesn’t feel like one.

[wombywoo]

Ok! I've finally decided to put together a (somewhat) comprehensive tutorial on my latest art~

Please enjoy this little step-by-step 💁‍♀️

First things first--references!

Now I'm not saying you have to go overboard, but I always find that this is a crucial starting point in any art piece I intend on making. Especially if you're a detail freak like me and want to make it as realistic as possible 🙃

As such, your web browser should look like this at any given point:

Since this is a historical piece, it means hours upon hours of meaningless research just to see what color the socks are, but...again. that isn't, strictly, necessary 😅

Once I've compiled all my lovely ref pics, I usually dump them into a big-ass collage ⬇️

(I will end up not using half of these, alas :'D)

Another reference search for background material, and getting to showcase our models of choice for this occasion~

When picking a reference for an actor or model, the main thing I keep in mind (besides prettiness 🤭) is lighting and orientation. Because I already kinda know what pose I'm gonna go with for this piece, I can look for specific angles that might fit the criteria. I should mention that I am a reference hound, and my current COD actor ref folder looks like this:

Also keep in mind, if you're using a ref that you need to flip, make sure you adjust accordingly. This especially applies to clothing, as certain things like pants zippers and belt buckles can be quite specific ☝️

Now that we've spent countless hours googling, it's time to start with a rough sketch:

It doesn't have to be pretty, folks, just a basic guideline of where you want the figures to be.

The next step is to define it more, and I know this looks like that 'how to draw an owl' meme, but I promise--getting from the loose sketch above to below is not that difficult.

Things to keep in mind are--don't go too in-depth with the details, because things are still subject to change at this point. In terms of making a suitable anatomically-correct sketch, I would suggest lots of studying. This doesn't even have to be things like figure drawing, I genuinely look at people around me for inspiration all the time. Familiarize yourself with the human form, and things like weight, proportions, posing will seem a little more feasible.

It's also important at this stage to consider your composition. Remember to flip the canvas frequently to make sure you're not leaning to one side too often. I'm sure something can be said for the spiral fibonacci stuff, which I don't really try to do on purpose, but I think keeping things like symmetry and balance in mind is a good start ✌️

Next step is just blocking in the figures. Standard. No fuss 👍

Now onto the background!

It's frankly hilarious how many people thought I was *hand-drawing* these maps and stuff 😂😂 I cannot even begin to comprehend how insanely difficult that would be. So yeah, we're just taking the lazy copy and paste way out 🤙

I almost always prepare my backgrounds first, and this is mostly to get a general color scheme off the bat. For collage work, it's really just a matter of trial and error, sticking this here, slapping this there, etc. I like to futz around with different overlay options until I've found a nice arrangement. Advice for this is just--go nuts 🤷‍♀️

Next, I add a few color adjustments. I tend to make at least 2 colors pop in an art piece, and low and behold, they usually tend to be red and blue ❤️💙There's something about warm/cool vibes, idk man..

Now we move on to coloring the figures. This is just a basic block and fill, not really defining any of the details yet.

Next, we add some cursory values. Sloppy airbrush works fine, it'll look better soon I promise 🙏

And now--rendering!

I know a lot of beginner artists are intimidated by rendering, and I can totally understand why. It's just one of those things you have to commit to 💪

I've decided to show a brief process of rendering our dear Johnny's face here:

Starting off, I usually rely on the trusty airbrush just to get some color values going. Note--I've kept my sketch layer on top, but feel free to turn it on and off as you work, so as to not be too bound to the sketch. For now, it's just a guideline.

This next stage may look like a huge jump, but it's really just adding more to the foundation. I try to think of it like putting on make-up in a way~ Adding contours, accentuating highlights. This is also where I start adding in more saturation, especially around areas such as ears, nose and lips. Still a bit fuzzy at this point, but that's why we keep adding to it 💪

A boy has appeared! See--now I've removed most of the line layer, and it holds up on its own. I'll admit that in order to achieve this realistic style, you'll need lots and lots of practice and skill, which shouldn't be discouraging! Just motivate yourself with the prospect of getting to look at pretty men for countless hours 🙆‍♀️

I'll probably do a more in-depth explanation about rendering at some point, but let's keep this rolling~

Moving forward is just a process of adding to the figures bit by bit. I do lean towards filling in each section from top to bottom, but you can feel free to pop around to certain parts that appeal to you more. I almost always do the faces first though, because if they end up sucking, I feel less guilty about scrapping it 😂 But no--I think he's pretty enough to proceed 😚

They're coming together now 🙆‍♀️ Another helpful tip--make sure you reuse color. By that, I mean--try to incorporate various colors throughout your piece, using the eyedropper tool to keep a consistent palette. I try to put in bits of red and blue where I can

Here they are fully rendered! Notice I've made a few subtle changes from the sketch, like adjusting the belt buckles because I made a mistake 😬 Hence why you shouldn't put too much stock in your initial sketch~

The next step is more of a stylistic choice, but I usually go over everything with an outline, typically in a bright color like green. Occasionally, I can just use my initial line layer, but for this, I've made a brand new, cleaner line 👍

And the final step is adjusting the color and adding some text:

Tada!! It's done!

All in all, this took me the better part of a week, but I have a lot of free time, so yeah ✌️

I hope you appreciated that little walkthrough~ I know people have been asking me how I do my art, but the truth is--I usually have no clue how to explain myself 😅 So have this half-assed tutorial~

As a bonus, here is a cute (cursed) image of Johnny without his mustache:

A baby, a literal infant child !!! who put this wee bairn on the front lines ??! 😭

Anyway! peace out ✌️