#I'll try and keep adding to this

[salamispots]

last fam gift wip :0

[gummi-ships]

Kingdom Hearts Dream Drop Distance - Traverse Town

[rwby-tuesday]

just a girl and her big scary guard dog

[screamingintothestarss]

winner!

summary: you go to an arcade with crosshair

pairing: crosshair x reader

rating: 16+

warnings: light swearing, banter, slightly suggestive content, crosshair being a gremlin, light fluff?

word count: 3.1k

notes: so sorry for the lack of content, school is eating up all of my time rn but we ball regardless. enjoy!

───── ⋆⋅☆⋅⋆ ─────

“You coming?” A low voice drawls, its serpentine timbre rattling around in your ears. 

A carton of mantell mix is plopped into your hands, and you flash the vendor a pretty smile before turning to the voice’s owner.

“Thought you weren’t excited,” you quip, popping a piece into your mouth.

“I’m never excited.” It comes out flat and lifeless, but you know him better than that. Like the popcorn crumbs on your shirt, you brush him off and head towards strobing lights and neon signs. 

He’s like a shadow, you’d say: a silent protector–an assassin. He remained in the shadows so your light could shine. Wherever you went, rest assured he was somewhere nearby, keen eyes clear-cut and focused. You remained in his scope, and if someone else dared to come into the picture, he wouldn’t hesitate to take the shot. He took pride in it, silently puffing out his chest and putting on a show for you, and you loved it. 

Deft fingers snake their way toward the carton, breaking the shadow, and you quickly pull the box close to your chest.

“Nuh-uh, you said you didn’t want any!”

“Well, I do now,” he counters, a playful lilt to his voice.  

“Crosshair, you do this every time. You always say that you don’t want anything, and when I get something, then, and only then, do you want it!” 

“Maybe I just like you,” he drawls, and you hate how it has you reeling, stripping your head of all logic and replacing it with cotton candy and heat. You sharpen your tongue, but before your words can spear him, the carton of mix is plucked from your hands, and you groan. 

“Are you kriffing-”

A large hand digs in and pulls up a handful. He’s full of smug, lithe body craning down to your ear only to shovel it into his mouth, and then he’s crunching into your ear–loudly. Bleeding behind the eyes, you’re seeing red, and you shoot him a withering glare. He stares at you; your brows knit together and lips all pouty–he thinks he’s fallen in love for the fifth time today. 

You’re not having it. 

You shove his face away from your ear and try to retrieve your snack, but he’s dodging your attacks with infuriating finesse. You’re flailing around his lean form, arms swinging this way and that without avail. It’s almost like a game: you go left, and he’s going right; you step forward and he’s stepping back: going up? Well, he’s coming back down. Your simmering frustration boils over, and he laughs, the sound burrowing into your ears like a parasite.

This is the most fun he’s had all day, he thinks.

He activates his finisher: holding the mix in one hand and raising it straight into the air. You were done for. 

“I swear I’m actually going to kill you!”

“Mhm.”

Then he’s staring at you, and he has to keep himself from getting lost in your colors. He figures red doesn’t suit you though, and sets the box into your hands with a dull thunk. He stalks off, dripping with audacity, and you try not to slip on the puddles. 

“You’re such an asshole!” It’s venomous: slick and corrosive, but non-lethal. A part of you knows it’s all in good fun, but it doesn’t assuage the feeling of wanting to rip his head off. You stick an indignant hand into the mix, and your eyebrows shoot up.

It’s nearly empty. 

“Your mother’s a droid!”

He ignores your insults, a sly smile smudged across his face. His arms are loosely folded across his torso as he uses his side to keep the door propped open for you. You smack his stomach as you brush past him, and he laughs through his nose, staring at your backside as you fade into bright lights. 

A cacophony of strobing lights, sounds, and smells override your senses as you try to gauge where to go first. Familiar blue and white lights catch your eye, and you make your way over. 

You stand before a skeeball machine, setting your snack down to run a hand over its console. You’re about to lay a heavy hand on the start button, but realization hits you. 

“Kriff, I forgot the-”

“Tokens?” That slithering tone wraps itself around your ears again, and you swallow the annoyance bubbling up your throat. You lazily whirl your body around, and find that same smirk you wanted to wipe off of him earlier. He’s leaning against the body of a machine, little gold coins clinking in his palm as they shift. He’s devilishly alluring, and it's the effortlessness that has you perplexed. He’d be doing the most mundane of tasks, and it would have you fiending, your eyes tracing long fingers and even longer legs. 

Cool brown eyes slide up and down your frame, stripping you bare on the arcade floor. You have half a mind to smack him, a staccato tch tch tch snapping off your tongue, but instead you redden, the tips of your ears ablaze.

“T-thanks.”

He slots a coin into the machine for you, and the start button blinks to life. You turn towards him, a question waiting behind your lips. 

“You’re not going to-?” The words die in your throat as he gives you that look, and you huff. 

“You’re such a buzzkill, you know that?”

He tuts. “You’d lose.”

Oh. Oh.

So that was the game he wanted to play.

Crosshair loved to goad you on, pushing your buttons to see what made you tick. You both were in a constant game of tug of war, and he wasn't cutting you any slack. If this was the hill he wanted to die on, fine: you just had to pull on the end of your rope a little harder. 

You flutter your eyelashes at him and shrug. Fronting nonchalance, you lay your hand on the start button with a smack. Blue and white lights snap to strobes of rainbow, and balls dispense from the holder with a hiss.  

It's on.

───── ⋆⋅☆⋅⋆ ─────

You're moving like a well-oiled machine, gracefully rolling smooth little balls up the lane into little holes. 

75 points turn into 100, 100 quickly turns into 250, and 250 shoots up to 500. 

Crosshair stands behind you with folded arms, feigning uninterest, but the way you're looking right now chips away at that mask as your points rack up.

The timer runs down, and you get a few more tosses in before flashing red lights put you to a stop. A cheeky grin lines your face, and you saunter over to him, tongue slick with audacity. 

"Read it."

"What?"

"My score."

He stares at you for a moment and scoffs. That smug he'd been dripping with earlier was drying up, and you were loving it. 

Wordlessly, he strides over to the machine and cranes his head to peek at the purple 8-bit font. 

"25,000." The number rolls around uncomfortably on his tongue, and he isn't sure he likes the taste. 

Then you're at his side, laying an insincere hand on a broad shoulder. 

"Remember it when I wipe ass with you."

Your warm breath fans in his ear, igniting the sparks in his chest. His sharp eyes slide over to yours, oozing with challenge. He straightens, and the glow of the machine highlights that familiar glint in his eye. 

He reaches into his pants pocket, retrieving two tokens, the cheap metal slotted between his pointer and middle finger. 

"The bet?" And the way it rolls off his tongue has you short-circuiting. 

You don't break eye contact though, keeping that grip on your rope. You pluck a token from his fingers and the number falls from your lips with an enviable coolness. 

"One hundred." 

───── ⋆⋅☆⋅⋆ ─────

"Your balls were coming out faster."

"Well maybe if you focused on your own balls instead of mine, you'd have won," you snark. 

"Don't have to, you give mine enough attention already."

"Crosshair!" you hiss, a confusing blend of heat and embarrassment settles at the base of your stomach, and you're unsure if you want more. 

He's laughing again, and that bug in your ear buries itself even deeper, and you wish you could snatch it out.

He may have been down one hundred credits, but he'd gladly throw them to the wind if it meant he could keep drawing reactions like these from you. 

But you didn’t need to know that just yet.

He was having too much fun right now.

Your annoyance dissipates as wide eyes lock onto your favorite fighting game: Star Fighters 6. His gaze follows yours, and that smirk plays across his features again. You turn to him, but he’s already staring back at you, and he feels that familiar fullness in his skull; those flowers you’d planted up there all those years ago were beginning to bloom. 

He knows you feel it too, and he’s tempted to hook an arm around your waist and lug you through those doors, but you made a bet.

“Crosshair…” you say tentatively, debating giving in to that heady feeling in your gut.

He hums, your voice like a hook in his ear, and he’s being reeled in. He hears his name slip past your lips again, and he’s about to make a break for the surface until he feels something being shoved into his hands. He looks down, and you’d placed the mantell-mix-carton-turned-ticket-bucket into his hand, moving on to play your video game. Like the sun shifting behind a cloud, your warmth had disappeared, and he’d claw his way into the stratosphere to find it again. 

You slip a coin into the slot and tinny theme music sounds. It’s balmy and familiar: a blast-to-the-past wave of nostalgia that swaddles your ears like a warm hug. You never held onto your credits for long, laying them in the hands of some moody teenager for tokens in a heartbeat. You made it your own little mission: rocketing up leaderboards, dismantling high scores, and leaving some poor kid in tears. Times were a lot simpler then, so you kept the memory tucked close to your heart, eventually giving him access to that little corner too. 

“C’mon, let’s do this one!” You’re beaming, and Crosshair commits it to memory. He almost tells you to stop, wanting to cover your pretty face and lock that smile away for himself. Selfish–he’s selfish. 

He nods and slots himself next to you, his frame brushing against your own. You pay it no mind, your head swimming in the bloody waters of combos and finishers. The character selection screen blinks up on the monitor, and you click-clack away at blue buttons; selecting your favorite character and adjusting her stats like it’s second nature. 

Crosshair hesitates for a bit, the grip on his rope slipping. He’s like a fish out of water when it comes to stuff like this, flip-flopping around and mouth hanging open after you’ve knocked the air out of him. He was privy to what went on inside that pretty little head of yours: you had the advantage. He’d allow it, for now. 

He selects a character and does whatever with the stats before pushing a slender finger down on the start button. You don’t even try to hide the snicker tickling your nose. 

His expression is incredulous, a silent what the hell? that has you nearly keeling over, your knees knocking together. 

“Nothing,” you sing, and the melody has him suspicious. 

He’d picked the worst kriffing character, you thought. 

You mash the start button and your characters blink into existence, standing across from each other in some type of natural arena. Their stances exude battle readiness and you lock in, colorful lights fading into black and gray. 

You grip the joystick and jerk it to the left, mashing down on the buttons simultaneously, hitting Crosshair’s character with a lethal combo that has him floored. You’re merciless–decisive. If he liked to come at you with all teeth and fangs, then you wouldn’t hesitate to bite. Your moves are devastating; each one leaving his ego all bloodied and purple–but he’d patch himself up later. He wasn’t finished with you yet.

───── ⋆⋅☆⋅⋆ ─────

To say you were shocked was an understatement. That tick tick ticking in your head comes to a full stop, a creaking and crackling of nerves that has you sick. You’re short-circuiting, a droid in disrepair, all of your bells and whistles are going off and Crosshair’s reveling in the chaos. The thought is like poison, something you’d use to silence some unruly senator. 

He’d beat you. And he cheated!

“You’re such a-!”

“Winner?” You want to grab that serpentine tone of his by the tail, wrap it around his throat, and pull. 

Your eyes flit to the monitor, its bright chromatic screen flashing winner, winner, winner! in the same shade of red you’re seeing right now. 

“You pushed me over so you could get the power up! I had you!”

“You would have lost anyways, your health bar was too low,” he shrugs, loose and nonchalant like throwing credits at a dancer. He’s staring at you, feasting on your reaction, and he’s far from satisfied. He’d pulled you over to his side, your feet skidding in the mud, but you had no intention of falling over.

You didn’t want to admit that he’d picked up on the mechanics rather quickly; what took weeks of memorizing a myriad of move sets and tactics for you only took a few rounds for him. You let the salt in your head settle in on the fact that he was a super soldier, learning and adapting quickly was in his genetic code.

It didn’t make it sting any less, though. 

“I want a kriffing rematch!”

“Fine.”

You kick his ass this time.

───── ⋆⋅☆⋅⋆ ─────

Tickets spill from the bucket, the papery material stringing down the container like vines on a tree. They sit up high and bouncy, and you try to gauge where you’re even walking by peeping through the holes. 

“You're sure you can carry all that?” He asks for the fourth time, and you have half a mind to chuck it at his handsome face.

“I told you, I got it-”

You collide with something firm and unmoving, and the bucket slips from your palms. 

“...sorry,” you’re muttering into his back. 

He turns and peers down at you with a pointed look. You don’t even need to meet his eyes to know that it’s there; you’ve seen it plenty. Whether you spilled something, tripped, or stumbled over your words, he’d either laugh or give you that look, a pointy silver brow and the pretty little corners of his mouth downturned ever so slightly. He’s steadfast; severe and unyielding, as Tech had once put it. He was stubborn, sure, but you’d grabbed him by the horns and steered him into your orbit. He was always there for you, like air to your lungs, he’d given you life. It didn’t matter how much shit you spilled or how many times you fell, he’d be there waiting, a rag in one hand and the other reaching out to you. 

He’s taken the ticket bucket from you now, and you pretend you’re not grateful. 

You shift in your shoes, that familiar ache bleeding into the soles of your feet. You’d both made a day of it, bouncing from game to game like that pinball machine Crosshair whooped you on. You both came to a draw, but the game was far from over. You’d pick it back up another day, you thought.

He feeds the tickets into the counter and that familiar crunch crunch crunching has your ears tingling. You peer over at him, your eyes rolling over the steep slopes and angles of his face, and you think maybe if you were some mathematician, he’d be a perfect object of study. He’s like your favorite meal, you think, you know what he looks like, feels like, tastes like, but you’d never grow tired of him. Never him.

“Take a holo, it’ll last longer,” he drawls, not even having to face you and your shamelessness. 

You’re snickering, and he strolls up, handing you a coupon for 2,500 tickets. 

“That’s all?” your voice is incredulous, dripping with suspicion. Surely you’d have more than that, considering how you both had nearly gutted the place. 

“Mhm.”

You blow, laughing to yourself. You weren’t one for the prizes: a cornucopia of cheap plasticky gizmos and doodads that crumbled like Tatooine sand as soon as you forked over your fortune. You figured a special someone would appreciate the gesture, though.

“Maybe we can get Omega something?” 

“We’d have to get Wrecker something too, you know how he is,” he says, and it’s that faux annoyance in his tone that has you chuckling.

“I know just the thing!”

───── ⋆⋅☆⋅⋆ ─────

“Why’d you get two?” you prod at him, and he bats you away with a hip. Wordlessly, he extends an arm, holding out one of the cartons of mantell mix up to your face. Your eyes narrow, and you see a serpent tempting the unassuming, its tail wrapped around something forbidden and primed to strike. 

“You’re screwing with me, aren’t you?” The question is cautious, wrapped in suspicion with a pretty little bow of skepticism on top. You weren’t exactly too keen on having an instant replay of today’s earlier events–served with a side of embarrassment and a bruised ego. 

He shakes his head and a small smile splits his face; it should be something sacred, a rare jewel coveted by some royalty on a faraway planet, but instead, it has you narrowing your eyes even further. 

You reach a tentative hand out, and ease the box from his hands, ready for him to attack at any moment.

He doesn’t, but instead waves a white flag of truce, and you delightedly munch away. 

You both make your way towards the ship, the Mantellian sun making its final descent into the horizon, and Crosshair stops for a moment to watch you glow in its light. 

You’re perfect, he thinks, and he feels his heart melt into putty. It was as if the galaxy had compressed itself into your form, lighting a path his gaze could always follow. He chuckles to himself, remembering when he’d first met you, all starry-eyed and pure mischief. He’d readily admit that he found you rather annoying and cumbersome at first; like a raging Wookiee in a cantina, you’d made a mess of his carefully crafted space–a mess he slowly grew fond of. Like ringed ripples in a pond, you created movement within the stillness of his heart, and one day he’d pluck one of those rings from the surface and place it on your finger.

“You coming?”

Lost in the weeds, your voice pulls him back out again.

“Mhm.”

✦ . 　⁺ 　 . ✦ . 　⁺ 　 . ✦

-

-

-

[onadarklingplain]

i have a sickness, someone please send help

[mirensiart]

Okay but imagine Key and Chain taking a cooking class together :)

You said they Chain is mid at cooking and Key is just... Key, but what if they do like a cooking class thing? Aaaand let the chaos unfold...

Anyway, have a great day/night :D

Oh it would be a disaster lmao

Key would try to improvise and Chain would blindly add spices and they would make the worst dish ever lmao

Like Chain is a super mid cook, but has the potential to be decent, however he doesn't really care for cooking so he's not interested in getting better

Meanwhile Key is super impatient and would try to improvise by doing short cuts so the food is done quicker, which means absolute disaster

They would also bicker the entire time and try to sabotage the other by adding weird shit to their dishes lmao

The person teaching them to cook would need a raise cause no one signed up to deal with them

[setmeatopthepyre]

I think if we come up with enough b-words we can predict what else Buck will get up to in this season because so far his storylines are all b-related (did someone say b-plot ahahah i'll show myself out)

08x01: Bees + [saving Gerrad from a] Buzzsaw

08x02: [trying to reach] Bobby + [accidentally also picking up] Brad

08x03: [commandeering a] Bike + [assisting the] Boeing rescue

08x04: [Gerrard calls him] Buddy [and touches him (not like that)]

08x05: Billy Boils + [actual] Boils + [he calls Tommy his] Boyfriend

08x06: [don't make me say it oh god] Breakup

08x07: Baking + Babysitting

[taffingspy]

i need to romance this man with a chubby dwarf lady

[regionalpancake]

(pst...made you a present @song-spero 😘 )

"you ok there, buddy?" "yeah, why do you ask?"

Based on this post [x]

[thatscarletflycatcher]

Tumblr isn't letting me find again @fictionadventurer's and my own posts on epistolary novels, but I have been thinking about it again, because I fell down a Goodreads review rabbit hall and I have thoughts again.

So many people dislike the style, and honestly, I don't blame them, because it's so often done... not well. It is in some aspects, a deceptively easy one, and in others, deceptively hard. And because I'm trying to write a novel with this format myself, I have been thinking about what makes or breaks an epistolary novel.

I talked yesterday about TGLPPS, because it is an interesting case to analyze. I have thought many times about it, and cannot think of a single non-merely-aesthetic reason for it to be told in an epistolary style. A lot of it depends on -British- people who have survived some terrible war conditions willingly opening up to a stranger about their experiences, and that's made... even more difficult if the medium is letters? typically writers will appeal to tropes like making the reserved character drunk, or have them share an extreme experience in isolation with the stranger to create sudden intimacy. None of this is possible in writing; if anything, one is much more self-conscious about the things one writes than the things one says; verba volant, scripta manent.

It seems to me the story would have flowed much more naturally if Juliet had been stranded on Guernsey for some reason -like the first author herself!- suddenly Dawsey commenting that he got a book from her library makes so much more sense! Yes, certainly, if you met a stranger out there, and they introduce themselves and you realize you have a book that once belonged to them, you would tell them so! And it is in this way that the epistolary format does violence to a story that would otherwise sound much less contrived.

Another problem is the large cast of characters and multiple settings. For all I complain about Dracula, Stoker manages this pretty well (of course he has the model of The Woman in White, but TWiW has fewer povs), at least on the first half, because structurally the storylines of the characters are converging, and that does a lot to guide the reader in the understanding of the character's relationships. TGLPPS's relationship structure is more of a multidirectional flow chart, and that becomes confusing really fast.

Another novel I read reviews for recently is one set in WWI, composed of back and forth letters between two lovers torn apart by war, and one common complaint was... that the climactic scenes, the times they meet, etc all happen... off-camera. It is a fair complaint, but also one I cannot really blame the author for, because that's what usually happens with real life compilations of letters of that kind. Sure, usually the editor/compiler will fill in the blanks sometimes and add an epilogue of sorts explaining what happened afterwards, and that is possible if you are writing it fictionally too, but some may think it spoils the effect of immediacy and whatnot, which, fair too.

But it makes me think of how aware Jean Webster was of these difficulties, and how deftly she managed them in both Daddy Long-Legs and Dear Enemy. Both novels have aged badly in terms of content and message, but they are very interesting stylistically.

DLL is a bildungsroman with a dash of romance; through Judy's letters to daddy long-legs we can see how she grows as a person, gaining independence intellectually and economically, and as a writer, as her grammar and vocabulary change and grow. Between making Judy an orphan who hates the orphanage where she has lived her whole life, and one where she lived past the usual age of being thrown into the world, Webster does away with the need for letters between Judy and her friends and family: all her friends and family are her college roommates and her benefactor, who is the person she writes to. The benefactor scheme also makes it so that she doesn't have to write dll's replies, which in turns makes it much more natural and acceptable for the reader when Judy writes him the ending's love letter describing the feelings and impressions of their finally meeting in person and in truth; Judy has become a writer, and she is so used to write to him as another person all the time, that it just makes sense for her to write to him one more letter at the point where her benefactor and her lover become one and the same person. She has written a novel where the core is the correspondence between lovers AND managed to include as well all the moments of their meetings that we would otherwise miss.

Dear Enemy is a similar, but longer and more ambitious story. Instead of one relationship-connection (Judy and Daddy's), we have Sallie as a nod of connections: she's Judy's friend, Jarvis' "employee", the boss of several characters, has a tense colleague-boss relationship with the visiting doctor, a boyfriend of sorts in Washington, and a family we have met before. It is, in that way, a similar setup to TGLPPS: a urban girl of means becomes a fish out of water in a different setting till she ends up assimilating to it, and settling definitely through marriage. But Webster does a few things differently to make it click.

For starters, it is clear to her that this is the story of Sallie's maturation -I have sometimes talked of Dear Enemy as a novel where a Mary Crawford-like character undergoes a transformation arc. The happenings and stories she meets and tells Judy about along the way serve this arc, besides standing on their own as case studies to illustrate the problems, ideology and solutions proposed to the secondary themes of the story (education and social reform). I feel like TGLPPS is much more interested in Guernsey's survival through the war, in which case Juliet's story is already a frame, which, again, makes the epistolary format cumbersome rather than complementary.

Dear Enemy adds more correspondents, but it is very austere/economical with them, and narrows the letters we see to only those Sallie sends. YMMV regarding if it was too much cutting or not, but the undeniable effect is structural soundness; you are never confused by what is happening or who is writing to whom. We can guess the Honorable Cyrus Wykoff probably wrote some indignant letters to Jervis, and those would be funny to read, but... would they be worth the break in the flow of the narrative? I don't think so. To this effect, just having Sallie write a line to the effect of "I expect at this point you have at hand an irate letter from the Hon. Cyrus" is enough to paint a picture for the reader. Perhaps a letter or two from Dr. MacRae would have helped develop his character more -definitely a first read of the story obscures how much misdirection there is in Sallie's narration to Judy, which in turns tends to create an impression of suddenness to the closing letter that doesn't come across well to the reader.

The choice of Sallie mainly writing to Judy is, IMO, a really good one too. It not only establishes a connection with DLL, but it also allows for the intimacy that makes disclosure believable (something TGLPPS struggles with, as I mentioned above). When you add a few letters to the doctor and Gordon and Jervis, you also get a better perspective of Sallie's personality, how she deals not only with a friend, but with acquaintances, romantic partners and coworkers.

From all this it is pretty evident that for Webster the main function of epistolarity as format is aiding in showing psychological and moral development. But that's not the only thing the format can be really good for: perspective is another, and Austen uses it to great effect in both Lady Susan and Lesley Castle.

Both stories deal with mainly static characters, but who have very strong perspectives of the same situation, and it is this singularity of setting and story that anchors the narrative to avoid confusion, while the variety of perspective brings interest. In Lady Susan, we are dealing mainly with the marrying off of Frederica and seduction of Mrs. Vernon's brother, Reginald. There where Lady Susan paints Frederica as an undisciplined, irrational and ungrateful daughter, her sister in law, Mrs. Vernon, paints her as a sweet girl and a victim of her mother's ruthlessness and lack of love. Both agree that Reginald is being seduced, but, of course, with opposite goals: Lady Susan wants him to succumb, Mrs. Vernon, to escape, and this is a delicious struggle for the reader to follow!*

Lesley Castle being an earlier effort, and unfinished, does show some of the defects I have mentioned before (mainly, the relative confusion of having several correspondents in separate storylines), but illustrates well this same perspective effect: Margaret writes to Charlotte about the new Lady Lesley, and the new Lady Lesley writes to Charlotte about about Margaret and her sister... and in these contrasts lies the main interest of the narrative.

Some conclusions to these musings, then:

Not every story is suited to the epistolary format.

The epistolary format seems to work the best when it is used for either A) showcase psychological and moral development B) to play with perspective on people and/or events.

One of the main difficulties of the format is finding a narrative element to anchor and structure the letters around.

It must have a core couple of correspondents, or at most, two. More than that will make it confusing (unless, perhaps, the story is very short and about a single event or two).

A delicate balance must be found so that the secondary correspondence doesn't cut the flow of the main one, and if possible it must feed into it.

*It is interesting how Love and Friendship, being such a delightful -and I sustain one of the best ever- Austen adaptation, is by force of the perspective switch towards a more impersonal third person, more about a love story between Frederica and Reginald than a struggle between Lady Susan and Mrs. Vernon. Which isn't dissimilar to how adaptations of DLL end up being more about the romance between the leads than Judy's coming of age in college; tropes aside, I feel like if the epistolary format is well embedded in the story, it's going to be nearly impossible to reproduce the effect in adaptation.

[hue-kangz]

Hello! I know I'm only a new creator in this fandom but I wanted a way to highlight other gifmakers here and so I created a community!

The purpose for now is to simply reblog and feature gifsets being made by MOA, no matter the level, as I think anyone making anything for the boys should be featured. My hope is to gather more fans to it so that they can reblog and support more of the content people are making! I'd appreciate if you'd join!

[meownotgood]

started writing a smutty machine herald viktor fic because I wanted something quick and fun to do in between working on the aki fic. and I somehow wrote 3k words in a day of pure filth but also way too much emotional angst

[fuckinmemesman]

have no fear, I came back with a positive post to make up for yesterday's complaining!

[spaghett-onaplate]

sixth day at my new school and i didn't sit alone at lunch today 🥳🥳

[drumlincountry]

[manofthepipis]

OKAYOKAY, question because a lot of people have different answers in the Deltarune community and I wanna hear your take on it!

How long do you think the Ads have been around? Time clearly moves differently from the light world versus the dark world, with Jevil being in jail "for an odd hundred years" and the darkners having full backstories supposedly on a portal that seems open yesterday. (Personally, I like to think they always existed and the dark world only made them personally accessible to the lightners [double-sided since they interact daily] within that day. Especially since the "Spamton is 45, May 3rd 1978." headcannon is near and dear to my heart. I love middle-aged men with trauma. I also REALLY like the idea that Spam was in his early twenties when he was at the peak of his fame, (if they have adolecent years of any kind) and then completely fell off before he reached his thirties. Especially since a lot of people consider that to be the prime of their lives.

On that topic, how long do you think the Adds were friends before Spamton went MIA? Do you think they had some type of childhood years? Is there a significant age gap between any of them? How many years did they have a relationship to where his absence significantly impacted their lives like that? I'd love to hear it <3

thanks for asking!! i'm actually rlly intrigued at this topic :D

I don't think the addisons have such a thing as a 'childhood' or 'adolescent years' actually haha like i imagine them as quite literal programs, who once developed by lightners, just kinda spawn into their cyber world, already familiar with how to operate. The concept of age is irrelevant, but is replaced with 'order of appearance'. Honestly i've always headcanoned spamton as the first addison on the scene, with the next following later. (Online advertisements rlly got hot in the early 90's, so there's a definite gap between him and the rest of the ads).

spamton's just always had that middle-aged shady car salesman vibe to him ever since moment one to me.

i'd feel they were around spamton for quite some time before he got his special call, say a couple years or even close to a decade. enough time to have been a witness of the extent of his desperation, while also getting to know the good side of him to max out their regret by the time we meet them in the trash zone.

but like in the concept of time it's so weird from light world to dark world. Like jevil's been locked away for ~100 years but the extra classroom hasn't been unused for that long presumably? That and spamton's whole deal and timeline. Truly, I've pondered that time also gets a metaphoric transition into the dark world, and becomes weird. Kind of like how the light world characters have a set time compared to us, the players, who are waiting 2+ years for their 'tomorrow'. It's kind of like that but for the dark worlds. I'm clinging to time being sort of ambiguous until it's explained in further chapters :D

i do share the headcanon where the fountain being opened let the dark world be accessible, as we get spade king's whole deal of their world being abandoned=the extra classroom closed and then him like hating lightners.

even if i'm completely wrong lol i will die holding the "spamton is a middle-aged guy with trauma" headcanon so close to my heart and everybody else can try to pry it from my cold dead hands :)