#J. writes: own

[enoughyi]

#0: masterlist

Hi, I'm J, and I write Hogwarts Legacy lesbians.

My OT3: Imelda Reyes x f!MC (Julia Wright) x Poppy Sweeting; but sometimes, I pair any two of them. They're not a love angle, they're a throuple. One day I'll post a bigger work where How They Came To Be will be explored in greater detail; same goes to the current timeline of my fics i.e. 10 Years After HL. Fics here are silly little drabbles, no less, no more. Enjoy!

Themes: Slice of Life ; Established Relationship ; Domestic Fluff

Kissy Throuple Fluff! - series tag:

Tag for the random stuff on this blog.

[prlssprfctn]

Cryptid!Alfred, who is actually immortal. Like, he cannot die for forever - he did once, during the war, and after that... for some reason, he kept coming back, completely without any additional magical help. He sometimes dies again, and then mysteriously comes back on the next morning, as if nothing happened. Bruce used to it at some point, so instead of asking questions (Alfred has no answers, anyway) he just pretends that it is normal. He gaslights kids to think the same. Like, what do you mean he died, Damian? No, he is alrightish. Look in the kitchen, he is making us breakfast. It probably was just a bad dream.

So, when Jason dies and gets back? Oh, Alfred knows his grandson has the same curse/blessing. Because it wasn't the Lazarus Pit that brought Jason back after all, but some strange, unexplainable force. Perhaps, both of them are just bound to end up as guardians, as warriors and protectors - that's why they keep coming back.

...Nevertheless, it doesn't make their family less... anxious about the whole thing. These two from the other side? Oh, they absolutely enjoy their immortal hang-out hours.

Jason: What was your funniest death?

Alfred: I am going to say... that one time, when I was teaching young master Bruce using a hunting rifle, and he accidentally shot me. I came back in fifteen minutes, and, of course, a poor thing was sobbing, but afterwards he was doing all chores for a month. Wonderful days.

Jason: Damn, poor Brucie... My funniest gotta be that one time, when Roy and I got drunk, and I legit jumped off the building because I thought I can fly. Roy had never got sober that quick.

(The first time Jason dies on the family's watch)

Dick, sobbing: Alfred... Alfred... He died! His neck was snapped! How can I live-

Alfred, casually leaning to snap Jason's neck again: Wake up, my boy.

Jason, dramatically gasping for air: Damn, who made me a massage, while I was sleeping?

Tim: What. The. Fuck.

[sunnymainecoonx]

How many people witnessed softie food addict horror who needed something in his mouth or he would actively kill and turn to cannibalism 🧍‍♀️ or was that just me.... anyways honestly it was silly.. he'd maybe get along with cook horror... I just like fanon crossovers guys*sadge

Anyways canon horror is also silly(really silly. What an asshole, man)(no seriously he's actually such an asshole.. I might love him for that but-) I don't think he would get along with the others(loser)

[lxvenderjewel]

stars

why do you look at me like i hung the stars?

it’s much more likely that it was you

sparkling even in smothering dark

even i could shine if i was next to you

we’re like the moon and sun

i’m only there because you are too

but you don’t need me to be yourself

and when i’m the moon, i rarely get to see you

we’re like light and a black hole

you glow in so many shades of blue

but of course, i suck it all up

and leave you without a clue

why do you look at me like i hung the stars?

don’t you know i hung them for you?

[djevelbl]

Oh clownzy, how I long to be able to depict your insanity accurately,,,,,,,,,,,,,

[sixespresso]

The Sass

"But if you won't, you won't" / "Then there's nothing more to say"

The Plea

"I would love for you to help me" / "I need you"

The Walking Away

"You're on your own with this one" / "Don't bother"

《Analogous Scenes Pt. 1: S2E1 / S2E6》

[doraminatook]

BBC and Amazon, my offer still stands.

I wrote a whole six episodes.

Just sayin'. ;)

[covertdismalness]

idol shouritsu doodles

[enoughyi]

#12: Among the Blooms

Ship: Imelda Reyes x Poppy Sweeting (x f!MC (Julia Wright))

Summary: The hills, the Sun, and Imelda's shy eyes whenever Poppy steals a kiss from her.

Prompt Number: 66. Staring At The Other’s Lips, Trying Not To Kiss Them, Before Giving In. [>>>link to the list]

Word count: 447. Rating: G-T.

A/N: It's brainrot-powered. Characters are in their 20's.

THIS and THIS.

Tags: @phinik and @myokk because you are responsible for my deth. @infernalrusalka @celestial--sapphic @espressoristretto-patronum

Read on AO3:

Rocky hills of Wales turned a bloom came spring and sprung air with sweet odours of newly grown swards, quickly an ever-presence to the nose still used to scentless crisp of the winter's cold. Scotland could never compare to Wales albeit its strong breath of the soil was a miss.

Neither could gift a weather stasis of Room of Requirement's mellow, homely retreats. But in none of them were winds, or weak gust of sea breeze, or changed angle of its bright yet lifeless sun. Asking Julia or her house elf companion, Deek, wasn't an option; not when the ever-lasting summer of the forest biome became Imelda's favourite haven to escape from rigorous training routines and last year of school, and to kiss her, to kiss them, to have them both to herself without a single interruption minus curiosity from Hazel, the unicorn inhabitant. That cosy addendum to life was a miss, certainly, too.

Life had changed. For the better, not for worse, but the sense of long in the air, stuck in it as the sun grew warmer, reeled up the memories in Imelda's head, Poppy had noticed few years ago.

It wasn't a tough observation.

Each spring, there would be a hill; critters buzzing joyfully at its slope. Imelda will never chose any in particular, but it would be in the open; and years after Poppy could recall wherever Imelda decidedly asked for a tongue snog --and proceeded with it-- with a pinpoint accuracy.

The only ask of Poppy was, "Don't lay me down on a fairy's trail."

A simple ask not to disturb little people always challenged Imelda but not enough to refuse the idea altogether and as decidedly move it to the bedroom. It just meant wherever would be a free patch of land, there will be sun at an angle so peculiar pink on Imelda's cheeks, -- usually unseen but nearly heartfelt by how warm her face would turn, -- would come to sight. Would prompt Poppy to kiss it away from her like many years ago, it playing cheerful red on her lips keeping Imelda wondering if she… if she should and when.

She became less hesitant over the years.

But was it the sun, too, to make her lip captivatingly glimmer?

Was it the smile? the adorable gesture, few fingers covering lips?

The giddy giggle?

What was anything stuck on the lips so fascinating to Imelda she couldn't look away?

She never told, but her eyes were full of shy, back then years ago and right here and there years after. Liked kissing pretty girls under the afternoon sun a tad too much and couldn't acknowledge the silliness to herself, Poppy supposed.

[idontmindifuforgetme]

I don’t understand it when people say that Carrie was also the problem bc she was anxiously attached bc like …. maybe she had a moment or two but for the most part it was absolutely Big being such a selfish prick and then justifying it w “ohhh I have commitment issues bc my last marriage fell through” umm ur a 45 year old BABY actually

[vivitalks]

Last night I saw the Great Gatsby musical. Before I went, I reread the Great Gatsby book (for the first time since 11th grade!) to get a refresher on the source material and the original story. Having the book so fresh in my mind made seeing the musical really interesting, and now I am going to do something I never thought I'd do, which is post some lengthy meta about The Great Gatsby. If you haven't seen the musical, this post may still be interesting to read, but it does contain some mild spoilers, so I leave that up to you. If you also haven't read the book, godspeed lol.

There's a lot I could talk about here when it comes to the way the book was adapted for the stage. But there's one particular thing I want to zero in on in this post, and that's the "unreliable narrator" of it all.

In the book, Nick Carraway is our narrator. He's an unreliable narrator practically by default - the idea is that he's retelling events that occurred two years prior, from memory. But even knowing that Nick is probably not reporting all events and characters with complete accuracy, it's hard to know which parts exactly are wrong, or what might have happened in reality, because even though he's an unreliable narrator, he's still the only narrator and this is the only version of events we know. We're forced to take Nick as our surrogate and take him at his word. Until the musical.

(I wondered how the show was going to deal with the fact that the story of Great Gatsby is not only told by an unreliable narrator but also by an outside perspective - generally speaking the events of the Great Gatsby aren't happening to Nick, they're just kind of happening around him. Yet he's the voice of the story, so in that way he's central to it, and I was curious how they were going to balance that fact with the fact that Gatsby is functionally the main character.

I think they struck a really good balance in the end. Nick's beginning and ending lines, lifted verbatim from his book narration, frame him clearly as the anchor of the story - I think that's the best word for it; the audience jumps from scene to scene, many but not all of which contain Nick, but we know that Nick is always going to be where the action is, or that he will at least know about it. He may not be the main character, but he's an essential character. But I digress a little bit.)

The difference between the way the story is imparted to the audience in the book versus in the musical boils down to this: in the book, Nick "plays" every character, so all their dialogue and actions, their mannerisms and the way they're described and reported, it's all informed by the beliefs Nick holds about them. Whether he means to or not, his biases paint certain characters in certain lights, and because he is our eyes and ears to the story, we have no choice but to absorb those biases.

But in the musical, every character is literally played by a different actor. Nick can only speak for himself. Nick can only tell his own parts as they happened. He may be "telling" the story, but we're watching the story. We have the benefit of an unblemished perspective on things - we can watch the events the way they actually unfold, regardless of how Nick believes or remembers they went down.

This difference - between Nick as the narrator and Nick as merely his own voice - is crucial in how the musical develops each character, some of them fairly different from how Nick described them in the book. And there's one book-to-stage change - a fairly small one, all things considered - that, to me, illustrated this difference perfectly.

There's a line towards the end of the Gatsby book. Something Nick says in narration, after his final conversation with Tom Buchanan, talking about how Tom gave away Gatsby's name and location to George Wilson (which ultimately led to Gatsby's death). Nick writes:

"I couldn’t forgive him or like him, but I saw that what he had done was, to him, entirely justified. It was all very careless and confused. They were careless people, Tom and Daisy — they smashed up things and creatures and then retreated back into their money or their vast carelessness, or whatever it was that kept them together, and let other people clean up the mess they had made…"

When I read this line in the book, I couldn't help vehemently agreeing. Screw those rich assholes! Money does corrupt! Tom and Daisy ARE careless wealthy people! It was easy to side with Nick, not only because he was the only perspective on the situation that I had, but also because he said this in internal response to a conversation with Tom, who, I think we can all agree, is a major jackass and a deeply unsympathetic character.

But in the musical, this line is spoken aloud by Nick. And he says it to Daisy, in her house, as she's packing up to skip town after Gatsby's death. In fact, he doesn't just say it; he shouts it, visibly and audibly outraged at her audacity to lead Gatsby on, ghost him, skip his funeral, and then move away to avoid the fallout. Nick is angry and highly critical of Daisy. But because we're no longer confined to his shoes, we also get to see Daisy's reaction - not as Nick remembers it, but as Daisy actually reacts. And because of that, we're able to really see, and confirm, that "Daisy is rich and careless" is not the full story.

I have to credit Eva Noblezada for a phenomenal performance (duh). Daisy in this scene is emotional, grieving, and it's clear she has been trying to contain these feelings for the sake of her husband and her own sanity. She's remorseful, not that Gatsby is gone necessarily, but that she allowed herself to entertain the fantasy of running away with him, only for it to be torn from her. She is trying to make the best of her unavoidable reality. And then Nick tears her a new one, calling her careless, accusing her of destroying things and being too rich to care.

And as I watched that scene, I was no longer wholly on Nick's side. I understood that this situation was so much more complex than Nick's chastisement acknowledged. Sure, Daisy wasn't innocent, but she also wasn't the callous rich girl Nick made her out to be. She did love Gatsby. And she also had a whole life with Tom. She had a daughter. She was a woman in the 1920s! That's a kind of life sentence even wealth can't erase.

The way Daisy responded may not quite have landed with Nick (if we consider the kind of fun possibility that the musical is the events as they happened and the book is Nick retelling those events as he remembers them two years later, then clearly Nick's disdain for Daisy's actions overtook whatever sympathy he felt for her), but the musical gave Daisy the opportunity to appeal to us. The audience. Having this omniscient perspective of things allowed us to draw our own conclusions, and I found myself a lot more sympathetic towards Daisy when I could both see and hear how she responded to Nick's verbal castigation.

In the book, Nick is the narrator. In the musical, Nick is a narrator. But he's no longer the sole arbiter of the story. The audience got to make our own judgements on the events as we witnessed them. Every one of us was a Nick - beholden to our own biases, maybe, but at least not beholden to his.

[akecsu]

old wip i found today. from pre-s6 times. i actually quite like this

Losers... (i say as i sink into the ground) mapicc is very important to me actually. he is so improtnat to me. i don't write about him enough.

i really like the comparison between planet and mapicc (who are Very Different characters) as bacon's teammates.

especially in the line, "being declared something worth fighting for".

i don't think i completely understand mapicc's character, but i think this is very mapicc. his loyalty, his willingness to let go of his status of powerful scary good pvper to team with bacon waffles zero. the Guy who sucks at pvp. mapicc's selfless in that regard.

while... s5 planet is unable to fight (metaphorically) his desire to be powerful, not even for the sake of bacon. planet is powerful physically at the beginning of s5, but still weak at the end of the day. weak in the way that he cannot face his closest ally in s4 after killing him in cold blood. completely icing him out after everything, like it all means nothing. it's selfish. it's cruel. i'd imagine it would be painful as fuck.

so in s5, we see mapicc, reduced down to a husk of his physical strength seen in s4 by choosing to team with bacon. planet, more powerful than they've ever been. mapicc, who does the things planet does not, sacrificing his status for bacon. planet, who leaves bacon behind, so easily, because hearts mean more. the parallels!! the contrast!!

bacon and mapicc are people from two entirely different worlds (s4) and you'd think they would be incompatible. but they work. they work so well. this is deeply upsetting actually

[doraminatook]

Oops...I wrote Episode 2

Butter fingers! I slipped, landed on my keyboard, and accidentally wrote a second episode for my Good Omens spec script. (Mostly because it was more fun than actually doing all the things that need to get done in my real life.)

At this point, it's less of a spec script and more of just fan fiction, but I'm not sorry.

[hikarry]

Okay, kiddos. This is it. 1941 is here and you know how feral I am over this damn year. We are entering the pivital point of the fanfic where shit is going down and there's no going back. (Someone hold Crowley's hand cause my bitch ain't prepared)

You have no idea how long I've WAITED to post this chapter (and the next). The two of them are my favorite and you will see why very quick.

Title: This Is How You Lose The Biblical War Warning: Major Character Death (Temporary) Rating: Explicit Fandom: Good Omens Chapter: 1941, London Relationship: Crowley/Aziraphale Characters: Aziraphale, Crowley, Original Characters Main tags: Crowley loves Aziraphale, Crowley is a Mess, Soft Crowley, Aziraphale and Crowley Through the Ages, Soft Aziraphale, Anxious Aziraphale, Genderfluid Aziraphale, Swearing, Alternative Universe - Canon Divergent, Secret Relationship, Pining, Sad with a Happy Ending, Angst, Angst with a Happy Ending, Female-Presenting Aziraphale, He/She/They Pronouns for Aziraphale Link: https://archiveofourown.org/works/55910521/chapters/154787563

Sneak Peek:

“Yes, Crowley?”

Crowley hesitated, the words caught in his throat. “Thank you,” he muttered, his voice barely above a whisper. “For reaching out, for taking the risk. I’ve…” He swallowed hard, trying to contain his emotions, but they still seeped in. "I’ve missed you.”

There was a soft intake of breath on the other end of the line. “I’ve missed you too, my dear,” Aziraphale replied gently, the words so tender that they almost hurt. “Tomorrow night.”

“Tomorrow night,” Crowley echoed, a smile spreading across his face as he finally, reluctantly, replaced the receiver.

Tomorrow night couldn't come soon enough.

That day and the next were agonizing. Every second seemed to stretch into an eternity, every tick of the clock mocking Crowley’s impatience. He checked his watch, then checked it again, and cursed at how time refused to move any faster.

Until, finally, the awaited moment arrived.

[celestair]

rin "my girlfriend doesnt tell me what to do" itoshi, except yes she absolutely does. acts like he doesnt need to ask for permission for anything but still does anyway, makes sure to get you everything you need, even when you dont need anything he still gets you something. when he has to go out he still asks you if he wants to go and if you say no he doesnt he simply wont.