#THAT WAS TOO MUCH IMPORTANT CHARACTER STUFF IN TOO SHORT A TIME

[mookybear12404]

Listening to the backstory mini episodes like

[ahalliance]

how do i turn qantoine’s spontaneous marriage proposal to qetoiles into evidence of his early-days fear of qfrench drifing away and keeping secrets from one another

[icewindandboringhorror]

Recent game related things .. hrmm...

[longagoitwastuesday]

While I loved that interaction, that is all we got about something that could be taken as two of the most important (alive) people in Gojo's life mentioning him, thinking of him with fondness, or coming anywhere close to mourning him.

Then we got two pages of resolution of whatever emotional turmoil these two have going on

[jesuistrestriste]

♡ Cooking & Cleaning; Art Donaldson x Reader ♡

nsfw! (18+) cw: service sub!art donaldson, dom!reader, afab/fem reader, use of ma'am as an honorific, brief food play, oral sex (reader receiving), begging, handjob, brief edging, praise, degradation, multiple orgasms (character receiving), dry orgasm

wc: 6.3 k (whoops)

note: this was pulled from the most depraved parts of my brain. i refuse to be held accountable for the absolute filth this contains ! :)

�� ˚｡⋆୨♡୧⋆ ˚｡⋆. ⋆ ˚｡⋆୨♡୧⋆ ˚｡⋆. ⋆ ˚｡⋆୨♡୧⋆ ˚｡⋆.

The very second that your key is in the apartment door and you're finally home, you find your legs nearly collapsing underneath you as you step inside and kick off your black kitten heels.

"God," you groan, shutting the door behind you before you move to peel your chic new blazer off of your shoulders. You toss it onto the coatrack nearby and bring a handful of your fingers up to your forehead to rub at it tensely, sighing deeply.

It had been a long day at the USTA (United States Tennis Association) office, and all you wanted to do was come home and see your husband.

-

After Art had lost several important and consecutive tennis matches, as well as his confidence on the court (despite his actual tennis skills still being phenomenal -- he just psyched himself out too much), he had decided to give up his life as a professional athlete.

At first, this devastated you. Not only did you love your partner and believe in him throughout his career, as well as believing in his very real ability to eventually win the US Open, but this decision of his also meant that your position as his coach would become obsolete..

You actually became quite anxious about you and Art's future at the time.. you had needed a purpose, and so did he. You both were just those kinds of people; you and him both wanted to feel that you were contributing to something bigger than just yourselves, and that you were being useful to someone or something.

Luckily, his many previous years of successful tennis playing had scored you and him a shit ton of wealth. Like, genuinely a lot. You were beyond grateful, but you still wanted a life of your own. You didn't dare to think about the idea of becoming a stay-at-home wife while he went out and did whatever he wanted. Yuck. It just wasn't for you.

Your fears and inner turmoil about this change in your lives were quickly eased once Art had sat you down about two weeks after he had left his tennis career behind. He had taken your hands in his, smiled softly like he always did, and told you that he wanted to stay at home and take care of everything in it while you went out and continued your career in the field of professional athletics.

Of course, you immediately and excitedly agreed with the idea of this new plan, and then that was that!

You two developed new lives and new roles as people over a short period of time, but it didn't take away from the love you two shared. That always stayed consistent and at the center of everything.

Eventually, after a month or so of coming home from your new job to Art doing things like vacuuming the wooden floors of your guys' expensive New York apartment, or making elaborate protein-packed smoothies for the gym sessions that you two still did together, you came to realize that the whole "house husband" persona was actually kinda hot.

He had realized it too. Quicker than you had, actually. In fact, he can distinctly remember the overwhelming feeling of heat that had pooled deep in his gut the first time he had ever served you a home-cooked meal after you came home from a long day at your new job. He had gently rubbed your sore feet that night while you ate, and then suddenly couldn't find a way to deny how this new practice of.. servicing you.. made him feel.

I mean, God, he loved doing that stuff for you.. cooking.. tidying.. pampering.. washing.. he would do it all. You knew that he worshipped the ground that you walked on—reminding yourself constantly of the time he had admitted to you during sex that he believed he would be "nowhere without you"—and you devoured the increased sense of power that came with it every. single. time. It eventually became very easy and comfortable for you to let him take care of you. You grew hungry for it.

And then this persona of his, over time, dissolved into something much more intimate..

-

After tossing your blazer on the rack and rubbing at your temples, you drag your pantyhose-covered feet across the floor and into the kitchen.

Your nose is instantly filled with the aroma of fluffy, vanilla sweetness and a bit of nutmeg. you sigh happily as you turn the corner and see Art standing over a mess of what appears to be flour and sugar in a large bowl on the kitchen counter. He looks over his shoulder briefly with a smile as he mixes the dry ingredients together with a whisk.

“Hey, hon,” he grins, before turning back to look down at his current baking project.

you shuffle up behind him and hug him, your cheek pressing against his warm upper back as your arms reach to wrap gently around his abdomen. You sigh deeply.

“Hey, babe.. ‘m so tired. It was such a long day.”

He laughs softly, which shakes you a bit as you hold him.

“What’d your colleagues do now?”

You shake your head against him, groaning dramatically.

“I don’t want to talk about it.. what are you baking? It smells good in here.”

“Nothing crazy, it’s just some holiday cookies. I found the recipe online this morning after you left.”

“How many are you planning to make? There’s already some in the oven.” you ask, peeking around his frame from behind to see him set the bowl aside and wipe his hands on the apron he’s wearing. (It was white with small pink hearts by the pockets. You got it for him when he started cooking for you everyday, and he used to feel weird about it. He said it made him feel “slightly emasculated”, but he quickly grew to absolutely adore it. It was just another way for you to claim him as your personal chef. One night before you got home, he jerked off while wearing it, but he would never tell you that.)

“I don’t really know,” he shrugs and chuckles sheepishly, “there are twelve baking right now, but I thought that maybe I could make some for our neighbors.”

You chuckle softly, your hands disconnecting from their place on his stomach to reach down and give his ass a small squeeze. He jumps a little at the feeling, embarrassed laughter bubbling up in his chest.

“Where’d all this holiday cheer come from?” you smirk, pulling back from your position against his back to lean your hip against the counter. You just wanted to look at his pretty face. Your eyes quickly fixate on the fact that he’s got a bit of flour on his flushed cheek.. It’s only a small puff and smear of the white substance near his jaw, but for some reason it starts a flame in your lower stomach. There was just something about the way he got a little messy when he cooked or baked for you.

His cheeks plump up in shape ever-so-slightly as he grins at you.

“I don’t know.. I had time before you got home- I mean, well, before i thought you’d get home, and so i thought I’d just-”

You take a step forward, nodding at his words while your body is now only inches from his. You look up into his glassy blue eyes.

“You thought you’d just.. what?” you purr, your hand coming up to caress his lower back.

He swallows thickly, briefly looking down at the mess on the counter before he looks back to you. His body temperature is steadily rising as he feels your fingertips caress him over his loose t-shirt.

“I just thought I’d make some more,” he whispers.

You lean in, reaching your other hand up to gingerly hold the side of his neck while you press a kiss to it.

“You’re such a sweetheart, aren’t you?”

He nods, slowly, his eyelids fluttering slightly at the feeling of your mouth on him.

“I..I mean, yeah, I guess.”

You lean in a bit more, sucking softly at his neck. His head lolls a bit forward, and you nip at him when the sound of his shaky breathing reaches your ears.

You pull back, a small smirk covering your face as you look up at him.

His focus darts from your eyes to your lips as he reaches both of his hands out for your waist, but he’s rudely interrupted when the timer for the oven goes off— cookies are done.

You both nearly jump out of your skin at the sound; the incessant beeping pulling you both out of the thick fog of tension between your bodies and minds.

“Shit,” he mumbles, flushing pink from his cheeks to the tips of his ears as he turns off the timer at the top of the oven and moves to hastily grab an oven mitt from the lower drawer.

He pulls open the oven door, and you step back to watch him pull the tray out and set it on top of the stove area.

He sighs, pulling off the mitt and setting it aside as he leans over the cookies. His eyes are inspecting each one, and he has a very focused expression plastered on his face. He was as much of a perfectionist in the kitchen as he used to be on the court, that was for sure.

Your body moves in to stand beside him, also peering down at the tray of gorgeous golden-brown cookies. You place a hand on his upper back, rubbing it encouragingly.

“These look incredible,” you say, smiling at him.

He nods, still inspecting them, “They look better than I thought they would.. I actually messed up earlier and accidentally added three-fourths of a cup of sugar instead of two-thirds..”

“They look perfect, don’t stress.”

He looks to you, his gaze meeting yours and then suddenly everything was back to how it was before the timer went off. His hands reach for your waist, squeezing at your hips as he looks lovingly down at you.

“Be proud of yourself, Art.. you did a good job,” you laugh softly, your hands reaching up to cup his face. He pulls you closer.

“I am.”

“Are you?”

“Mhm.”

“Good.”

You suddenly get a very filthy idea.

“Can.. can you tell me what the recipe called for?”

His brows furrow slightly as he seems taken aback by your request, his cock already starting to stir to life in his sweatpants just from holding your body. He didn’t want to talk about the damn cookies anymore.

“What?”

You roll your eyes, one of your hands dropping from his face to reach around the fabric of the front of his apron and grope him over his sweats. Your other hand moves down too, but just to gently hold the side of his torso. His whole body jolts forward and his lips part instantly.

“You’ll like where this is headed, trust me. Just talk to me.. tell me what you did to make the cookies look so perfect..”

He breathes unsteadily, his fingers digging into your waist as he feels your hand start to work his cock up to a full-blown, hot, twitchy erection.

“I.. uhm.. I just..” he breathes out, his eyes growing lidded as he absentmindedly bucks up against your touch, still trying to maintain eye contact as pleasure starts to flood his senses, “one cup of b-butter.. ngh-!.. two cups.. two cups of flour… and then- ugh!- two.. two-thir-r-ds.. of..”

His voice trails off, shaky and low and broken as he hangs his head a bit, leaking incessantly into his boxers. It was that easy for you to work him up.

You frown, “Uh oh.. come on, baby, don’t go nonverbal on me that quick.. we’ve just barely gotten started…”

A small whimper leaves his chest as he tries to finish his words, “Two-thirds, I m-mean- three-f-fourths of a c-cup of.. s-su.. sugar… one teasp’of vanilla.. and.. o-one.. teaspoon of nutm-eg.”

You smile, stroking his cock over the fabric of his pants, “Good boy.. God, you’re so pretty when you’re slurring for me..”

He moans obscenely, melting at the praise while he feels his length grow suddenly intensely hot. A certain kind of numbness starts to creep over his crotch before his hands are flying from your hips to your wrist.

“Wait! W-Wait!” he gasps, his eyes squeezing shut as he blows a concentrated shaky breath from his lips, his fingertips digging into your arm.

Your eyebrow lifts and you smile as you take in the way his body shakes and shudders as he holds it in for you. He knows how to behave.. what would make you happy.. what would make you disappointed.. After all, he’s been trained by you in more than just tennis.

“Close?” you whisper.

His body starts to slowly relax again as he regains some of his composure. He blinks his eyes back open slowly, looking into yours.

“Very,” he groans.

You pull your hands from his body, and he whines softly.

“Take off the apron. Put it on the floor.”

You’re sure you’ve never seen him move so fast— his hands reaching behind his back and undoing the tied string. Then, he pulls the apron off over his head, tossing it off to the side. He watches you study him with parted lips, and he bites onto his own.

“Now take your sweats off for me.”

He does as he’s told; his shaky fingers reaching down to slip his pants down to his lower thighs, and then down to his knees and ankles, and then he steps out of them. He kicks them gently next to where the apron was thrown, now making a mess of grey and white fabric where both items pooled on the kitchen floor.

You step close to his body, cupping his face before running a hand through his messy strawberry-blonde locks. But it doesn’t take long for your eyes to travel solely down to the bulge prominently pressing against the inside of his navy boxer briefs. You run a fingertip up and over the outline of his dick, relishing in the way it makes him shake. He was now just in his tee shirt, boxers, and white socks, while you stayed fully clothed. But not for too much longer.

"My pretty husband.." you coo to him, making his lips part to let out a few uneven breaths. You glance around his frame and notice a bowl off to the side that had remnants of the soft cookie dough from the first batch of the cookies. You smirk.

You lean forward and swipe your thumb along the inside of the bowl, gathering some of the sugary, buttery mixture on your digit. His gaze remains lidded and locked onto your face, not finding any importance in your hand's movements at the kitchen counter. You bring your thumb back in, showing him what you did.

He spares your thumb a quick glance, but then his eyes are back on yours, and then your lips, and then the way that your breasts are peeking out from the low-cut collar of your work top. You bring your thumb up to his mouth.

"Open," you whisper.

He does as he's told, parting his lips further and leaning in to encourage your finger to slip past them.

You push your cookie dough-covered thumb into his mouth, feeling him immediately begin to suckle on it; his tongue swirled over it, and his eyes fluttered shut right after they began to roll back. His brows furrow, and a couple of faint whines bubble up out of him as the taste of his homemade sweetness melts seamlessly on his palate.

While your thumb is in his mouth, you push it down softly on his tongue.

"Knees, baby," you say breathlessly.

Art knew this command like the back of his hand.

Effortlessly and steadily, he dropped down to his knees one after the other, keeping your digit in his mouth the entire time. He didn't dare let it go. He moved to sit on his calves.

"Good job.. good boy..."

He whimpered, the vibrations of his pathetic sounds causing your hand to buzz slightly.

"I want your mouth on my cunt.. can you do that for me, darling?" you purr, running your hand through his hair for a moment. He nods around you.

"Y'sh, m'm.." he mumbled, trying his best to speak while still relishing your touch with enough attention.

You pull your thumb from the heat of his wet mouth, and smirk as you watch his lips chase after it.

"What was that?"

You already had a good idea about what he had murmured, but it was just.. best to be sure.

"Yes, ma'am," he gasps out softly, his eyes glazed over.

He reaches up and pulls at your skirt, shimmying it down and over your ass and thighs, letting it fall to your ankles. You kick it aside, and lean your back against the countertop. Art positions himself on his knees so that he's on the floor in front of you, looking up at you. His hands shakily reach up to the sides of your pantyhose, his tongue licking out over his bottom lip. He digs his fingers into the taut fabric and looks up at you once more, beginning to pull them down.

Immediately you grab his wrists, halting his movements. His eyes look up into yours, worried that he had made a wrong move, but you shake your head with a soft smile.

"You can rip them."

He doesn't even mean to, but he moans when you give him permission to be a little desperate right now.

In an instant, his strong hands are pulling needily at your tights, causing them to rip from your crotch to your lower thighs. He hooks one of his index fingers into the inside of your panties, his thighs tensing up at the feeling of your wetness, and then he's pushing them to the side. His tongue rests out over his bottom lip as he leans in, holding the back of your leg with his free hand as his eyes flutter shut and he engulfs your heat with his mouth.

"Oh, fuck-!" you yelp, reaching down to tangle your hands in his soft curls, "fuck, fuck, that feels good, Art, don't stop.."

He moans, his eyes squeezed shut as he lathes his tongue up and down and over your wet hole. He lewdly sucks and swallows your slick that's quickly spilling over his tongue, trying to focus harder on your pleasure (and less on the feeling of his cock throbbing rapidly in his boxers.. he can feel himself leaking).

You remove your hands from his hair and move to unsteadily grip the countertop, your back pressing hard against it. Art hums around you in his mouth, moving his tongue up to lick sloppily at your clit. He opens his eyes, his brows furrowed, and looks up at you.

"God, you're so good at this.. you're doing so well.. i'm getting.. close.." you breathe out, studying the upper half of his face while the lower half remains buried in your pussy.

He doubles his efforts, smushing his face deeper against you, his lips pursing to suckle against your sensitive nub as his grip on your leg tightens. Art has half a mind at that moment to just scoot forward a bit and slot your ankle between his thighs, but he won't. You came first, in his mind. Literally, and figuratively.

You sling the leg that he's holding over his shoulder, giving him more access, and then you begin to feel an overwhelming, hot numbness creep over your lower half..

"ANGH!" you moan loudly, squeezing your eyes shut as your body begins to shake. Your fingers grip the kitchen counter so hard that you're afraid you'll break a nail.

"I'm going to cum, Art..!"

"Mm! Mm-mm!"

"I'm.. oh my god.... I'm... I'm-! Cumming-!" you whine, feeling your orgasm crash over you.

"MM-!" he laps at your pulsing cunt, squeezing his eyes shut before forcing them open so that he can watch the way your beautiful face moves to contort in ecstasy.

You groan and whine as your orgasm's aftershocks are uncomfortably prolonged by Art's relentless tongue, and your hands release the marble countertop to reach down and grab two soft fistfuls of his hair. You try to tug his head back from your cunt, but he just closes his eyes and presses his nose and mouth further against your core. The repetitive movements of his tongue over your folds cause lewd, wet noises to fill the kitchen.

"Art... A-Art..! Enough!" you slur out as the pleasure from before starts to melt into a prickly sting of oversensitivity.

His eyes flutter open and you shoot him a warning glance as he peers up at you.

"I said enough, yeah?" you snap, "stand up."

He immediately pulls his mouth away from your sticky body and stands up on shaky legs. His eyes look downward, guiltily avoiding your gaze, as he wipes at the clear slick covering his chin with the back of his hand.

You try to catch your breath for a moment, studying his chest as it heaves up and down -- him trying to catch his breath all the same. You reach out and take his lower jaw softly in one hand, forcing him to look at you properly.

"You got a little fucking greedy there for a minute.. didn't you?"

He bites his bottom lip for a second, nervously chewing on the inside of it as he debates what answer he could give that would result in the least amount of punishment from you.

"Did you hear what I said?" you whisper coldly, taking a step closer to him as your hand grazes against the erection standing proudly in his underwear.

His body automatically jolts forward, and he lets out a shaky breath as his brow twitches. "Yeah.. I did.." he huffs out.

You smirk, wrapping your hand around him over the dark blue fabric, "And what do you think, hm? Were you being greedy?"

He looks deep into your eyes, his lips parting as he feels you start to stroke him. He tries to stop it, but his hips start to shallowly buck against your grasp, and now he can't get any words out. He wants to, but he just.. he really can't.

You roll your eyes.

"You know what I want you to say, honey. Use that big brain of yours."

He moans softly, his hands coming up to hold the sides of your upper arms as his eyes grow lidded.

"I'm.. I was being greedy.. I'm greedy," he moans lowly, thrusting into your hand a bit quicker and with a tad bit more abandon.

"Yeah, yeah you are. You're a greedy little whore for this, aren't you?"

He nods slowly but repeatedly as his brows pinch together and his breathing picks up.

"Yesss," he says brokenly, his voice straining a little as his moans start to become whimpers and whines, "I'm.. s' greedy for you.. jus' for you.. mm..!"

You nod and smirk up at him as his face becomes pinker and pinker, "That's it, pretty boy.. good job. You like when I stroke your pretty cock?"

He lets out an obscenely loud moan as his abdomen curls in over itself a bit, his hands gripping the sleeves of your work top and pulling helplessly at the fabric as he feels a spurt of precome burst into the inside of his boxers.

You chuckle a little as you watch him visibly get closer to his climax, but then he suddenly releases the hold on one of your sleeves and urgently grabs the hand that's moving over his clothed length.

You look down to where his hand holds yours, and he lets out a filthy whimper as he pulls your touch off of him and then urgently pushes your hand past his waistband and down into the front of his boxers. You gasp at his seemingly impulsive actions, feeling your fingers finally come into contact with his slicked-up cockhead. Your fingertips just barely brush over his hot, leaking slit.. sliding over a thick glob of pre.. and then he's being sent over the edge. To the average person, the touch would be essentially imperceptible, but not to him.. not to Art. He was just far too sensitive.

Your husband lets out a startled cry as he doubles over your frame in front of him and frantically moans, his whole body trembling and tensing as his balls draw up, "I'm cumming!"

You don't even have time to really process what's happening until you feel your hand being covered in warm fluid, the substance dripping down your fingertips as Art basically comes untouched. You look up at him, dumbfounded, before you feel your abdomen grow warm and tingly. That was kinda.. hot?

"Jesus, baby," you whisper breathlessly as his hips jolt a few more times before stilling as he gulps air down into his lungs, "didn't realize you were that worked up.. that was a little quick, no?"

He moans softly, still feeling your fingers graze him inside of his boxers.

"I'm sorry, I didn't mean to.." he says, his breathing hitching in his throat as he tries to get the words out in spite of the pleasure still thrumming through his veins. He was still rock hard.

You smile, quickly using your clean, opposite hand to pull his boxers down to his lower thighs. His length slaps up lightly against his stomach before bobbing out in front of him, a tiny pearl-like bead of cum still leaking from his tip. He sighs shakily as he looks down at himself, and then up at you. You wrap your cum-covered hand around the base of his shaft, causing Art to jerk forward from sensitivity. He pulls a sharp breath in, his face scrunching up a little as he tries to control his body.

"I'll let you cum again," you start, watching his eyes light up, "but! you need to give me a warning this next time, okay? I want a clear warning, love."

He nods at your words, a more serious expression plastering over his face, "I will, I promise.. I.. I can give you a proper warning, ma'am.." he whispers.

And with that, you slide your hand from his base to his tip in one smooth motion, your thumb gliding over the head.

"GAH-!" he shudders forward, hissing in pain for a moment before he starts to moan again.

"You okay? Can you handle this?" you ask, your tone soft but seductive as you try to tease him but also legitimately check in. You two were always good at looking out for the other's wellbeing during your sessions together; the exchange of love and tender-care came easily to you both-- it was never something either of you had to question.

He nods, "Yeah, yes-ss, I can t-take it.." he slurs a little, watching your hand move up and down over his throbbing length.

"Look up into my eyes, darling," you purr, your hand starting to pick up speed, "does it feel good?"

He meets your eyes, his blue ones swimming with lust and desperation as he felt the beginnings of his second orgasm start to creep in, "Yes, fuck-! Yes! It feels so fucking good--!" he whines.

"Remember what we just talked about?"

He nods fervently, sucking his plump bottom lip in between his teeth as his focus darts from one of your eyes to the other. You speed up your hand, squeezing his shaft a little more to give him some pressure that you assume he needs.

He keens instantly, a loud moan rumbling from his chest as his thighs start to shake and his eyes squeeze shut.

"Art," you murmur in a seductive but warning tone.

He shakes all over, nodding his head, before his back stiffens up and he becomes incredibly tense. You keep your hand moving at the same fast pace, hoping his memory today is as good as his stamina.

"I'm going to cum," he whispers quickly, bringing his hands up to hold onto your shoulders as he pulls you closer.

You smile in approval, leaning in close to his ear and breathing warmly against his skin as you speak softly, "thank you for telling me, angel. do you want to cum for me?"

He nods, whining out a hasty "mhm". He lets out a breathy moan as he feels your hot words against his upper neck.

You press a chaste kiss there, and then you slide your hand up to gently grip his shaft while your thumb moves to rapidly swipe over his frenulum.

"Come."

And he does just that.

Art's back arches as soon as your one commanding word reaches his ears, cumming uncontrollably with an abrupt cry of pleasure. At first, his body is incredibly rigid as he lets go, his brows pinched up together as he feels the first, pulsing waves of his orgasm hit him, but then the full sensation of his release hits him and his whole body shudders deeply. He lets out little breathy moans and gasps as he relishes in the bursts of pleasure rolling over his cock. You slow your thumb down a bit as you watch him spurt rope after rope over your hand and onto the kitchen floor as he comes undone for you a second time.

"Fucking hell," you moan, now going back to stroking him fully instead of just rubbing a digit against his tip.

He grits his teeth in an instant, being pulled from his afterglow by the feeling of your hand forcing him back into a feeling of overstimulation. "Ah-! Ah!.. T-Too much, too much," he whimpers, his hands instinctively reaching down from your shoulders to push at your hand that's currently working him towards a third, uncomfortable orgasm that he's not even sure he wants anymore.

You use the hand that's not stroking him to move his hands away from your occupied one, giving him a small shake of your head.

"Hands behind your back, please. We're not done yet, okay?" you coo.

He quickly follows orders, moving both of his hands behind his back and away from his aching length, although not without letting out a sniffly whine of protest first.

"Please, ma'am.. I'm.. I can't do it I can't do it-- I'm-- AH!"

You cut off his soft moans of agony with a brief squeeze to the base of his dick, looking intently up into his eyes through your lashes.

"If you really want to stop, baby," you tilt your head teasingly, "you can always use the safeword, yeah?"

He bites his lip before he lets out a warped cry, his head lolling backwards in the same instant. You stop moving your hand.

"Art, darling," you whisper to him comfortingly.

He brings his head back upright to look down into your eyes, his face blank with pleasure; he almost looked drunk. His eyes were glazed over, his cheeks were pink, his hair was a mess, and his lips were parted to let out harsh little breaths of air as he tried to regain some semblance of being grounded in his own, ruined body.

You reach your free hand up to cup his jaw, brushing your thumb over the side of his face.

"Does it really hurt that bad? You know that you can be honest," you whisper, now a little concerned that maybe you pushed him too far.

He thinks for a moment before shaking his head slowly and swallowing a bit of drool that he realized has been collecting in his mouth for the past minute or so, "N-Just a little.." he breathes out.

You nod, giving him one soft stroke of his come-covered cock. He gasps and his torso jolts at the sensation, faint tears springing to his eyes.

"Sorry, sorry," you hum, "should we stop here then? I think maybe that would be best for you.. you've already done so well for me.."

The latter half of your sentence, that subtle bit of praise, gives him all the motivation he needs to want to unravel again.

He looks down at his still-hard cock, and then back up at you, and shakes his head. His tongue pokes out over his bottom lip and wets it as he tries to collect his thoughts.

"No.. no, I can do- I can go again, ma'am.. I pro-promise.." he slurs out, thrusting up into your hand.

You raise a skeptical brow at him and his movements, keeping your hand still.

"Are you sure? You know that I won't be upset with you if you want to stop, Art."

He shakes his head again, his lip trembling, "Please."

You smile softly and start to move your hand up and down over his cock again. Despite his previous indications that it was painful, the feeling has now seemed to morph back into unfiltered pleasure as he lets out a high-pitched moan of your name. He babbles endlessly, a mixture of pleas for more, letting out repetitive mumblings of "feels good", and "yes", and an assortment of stuttered expletives.

It doesn't take long for Art to get close again.

"I think 'm gonna come again," he mumbles, letting his eyes fall shut as his head slumps forward against your shoulder. You stroke him quicker, focusing on his hypersensitive tip as you feel a drip of precome come out.

"Oh? You want to come again?" you tease coyly.

You could be cruel sometimes. He had known that this part was coming eventually.

He shakes his head against the crook of your neck with a whine, "don't do this, please.."

You stop your hand at the base of his cock, halting his orgasm just as his load started to rise up his length. Art bites back an obscenely loud moan of protest that is dying to be let out..

"No, no no noo," he squirms against you, repetitively shaking his head as his face remains buried in your neck.

"You know what you need to do, darling."

"Please," he moans, "let me come.."

"You want to come?"

"Yes."

"You do?"

"YES..!"

"How should I make you come?"

"Can y- keep stroking my- I want my cock to be- I-" he mumbles incoherently.

You place your free hand on the back of his head, pushing your fingers pleasurably into his hair as he trembles against you.

"You want me to keep jerking you off? Hm?"

"Y-Yes-ss!" he moans out brokenly, using every bit of restraint within himself to resist the urge to move his hands from behind his back and relieve his aching parts.

He would never do that, though.. no matter how much he wanted to. He would always follow your wants and needs first. Those were most important to him.

"Ask me for what you need again. Nicely; just the way I like it."

"Please, can I come?"

"Again."

He whines, his hips involuntarily bucking up against your stilled hand wrapped around him.

"Please," he sobs, "can I please come for you?"

"Yes, honey, you can come."

You start to stroke his cock once again, and within just a few pumps Art is releasing again. Even though you can't see them because his face is still in your shoulder, his eyes roll all the way to the back of his head as he lets out a couple pitiful squirts of white, sticky liquid over your hand. "Ooh, that's it.. good boy.. are you my pretty little slut?"

When Art hears this, he isn't exactly sure what happens, but it's like the orgasm that's already halfway finished just completely starts over.

"Ohh my fucking- oh my god-dd-! Ugh! HNGH-!"

It's like every single nerve ending in his body is lighting up at once, and he can't do a damn thing about it.. he can't stop it...

His legs nearly go limp underneath him, and he has to lean further into you to prevent himself from collapsing.

Art then releases the most pornographic moans you've ever heard and tenses up in your hold all over again. You're not really sure what's happening until he--

"I'm cumming again! I'm cumm-m-ing-! Again! Ohmyfucking--! GOD!"

He whines and sobs against your body, his arms still held behind his back as you feel his cock jump and pulse in your hand again. This time, nothing comes out. It's odd because it's clear that he's cumming for a fourth time, but there's nothing to show for it.

You slow your hand but continue to stroke his length which is now covered in the creamy-white filth of his previous loads. His cock softens a little, but you're unsure when his orgasm ends because, again, nothing is coming out.

Art's frame suddenly begins to jerk around every time your hand brushes over his tip, and he lets out a hiss of discomfort through his gritted teeth and a sniffle afterwards. As soon as you hear that, you know he's done and you quickly remove your hand. Any extra stimulation and he'd genuinely start to cry. You could save that for another time.. if he wanted you to.

You move your other hand from his hair to his clothed upper back and rub small, comforting circles over it.

"I've got you," you whisper, "you did such a good job, baby. You just came dry for me."

He nods, sniffling wetly and exhaustedly.

You continue to rub his back for a minute or so in silence as he comes back down to earth; the pleasurable waves of his release's aftershocks allowing him to bask in the ebb and flow of it all as he tries to calm his ragged breathing.

"I feel weak," he groans softly.

You nod, "I'm right here, you're okay.. take some deep breaths for me, honey."

He nuzzles deeper against your neck and sighs contentedly, the fuzziness in his head starting to dissipate with your caring words and gentle touch.

"You're my good boy," you whisper, pressing your cheek against the side of his head.

"Mhmm," he hums, "always for you."

⋆ ˚｡⋆୨♡୧⋆ ˚｡⋆. ⋆ ˚｡⋆୨♡୧⋆ ˚｡⋆. ⋆ ˚｡⋆୨♡୧⋆ ˚｡⋆.

notes; WOAH. ok. so this has been like months in the making by now i think..? but i finally finished it :D thank u so much to everyone who has been patiently/loyally waiting for this one after i teased it for over a month on this blog 😭 + thank u to anyone who gave me some kind words of encouragement when i had to put this aside for a while. i luv u guys !! <3

reblogs are always allowed + appreciated!

[aquickstart]

i need to talk to you guys about the colors of the Cattons (Felix specifically) and Oliver. the clothes they are wearing are telling the story of Oliver taking over and leaving his mark throughout the whole movie, with Oliver's failures and successes and a final triumph. holy shit. get in. this is long and ends in ancient greek culture trivia. let;s talk please.

disclaimer: am starting from Oliver's arrival at Saltburn. before that the outfits are also very intentional, but it's a lot more complicated and it has been discussed before. the world distorts once we are at Saltburn and the story gets truly gothic there, and every detail—including color!—is enhanced in meaning. also, special thanks to @kivlaro for doing this with me, the thoughts on this specifically and the Saltburn craze on the whole. pics and detailed analysis under the cut!

let's start from the beginning. here is Oliver at the door. simple, blue shirt.

the shirt is sort of its own character. logically it makes sense as Oliver's suitcase is small and he spends the whole summer there, of course he'll rewear stuff a bunch. but it is blue.

in contrast to Felix, in yellow. yellow is one of Felix's colors (he is the sun, which i've talked about here btw, so this makes sense).

same to Pamela, in blue. first time we see her, she is next to Elspeth, wearing the color that is Oliver's, taking the place that he takes right away, in this very scene. the only other time she is physically present on screen is at dinner, in black and white, and black and white are a blank slate. she is stripped of color and gone very fast.

a bit of crucial data for later: Oliver, in blue, and Felix in pink. pink is very important on Felix. this is their first morning together. they are separate and opposite, solid, contained.

where it starts to get good is the morning after the vampire strike.

Venetia is a Felix extension, just as everyone in the house is to Oliver. i will eventually rant about Saltburn as a whole entity and Cattons as aspects of one self, and Oliver as psychosis, but not here. so, yes, Venetia is a pink riot, a euphoria of self-containment because Oliver gave her a piece of something she felt she lacked to feel whole (validation, attention, care), not a piece of blue, of himself. Oliver is expectedly solid blue. Felix is incredibly interesting and something i didn't pay much attention to at first: predominantly blue, incredibly upset at Oliver for ditching him, with a tile of bright red (on the left! close to heart! over-reaching here but like still!), which still tracks. i mean, really, if i had so much foreign color bleed into me and then abandoned, i'd be pissed, too. nice little touch is sir James' beloved hydrangeas, behind Felix, also pink, very pink, always pink; i don't think i've seen them blue in the movie, although the sort exists.

Farleigh. sweet baby Farleigh i love you. I'm not dead-set on my interpretation of this specifically but i think multiple things are happening with Oliver and Farleigh here. like Rent, which is their song, blue is their color of outsiders and the triers to fit in. Farleigh points out the favoritism and preference of Oliver to him and his mother here, so it may also be appropriation of color to draw attention to Farleigh as almost (but never quite) Oliver. it may also be as simple as that Farleigh, as much as he denies and resists, still retains Oliver's influence, which bleeds into him very slowly.

a nice little moment of Felix wearing blue swim shorts with just tiny specks of a pink pattern. Oliver's shorts also have a bit of pink, but less than Felix's. Oliver is pretty good at remaining unaffected and uninfluenced overall.

and we're getting to where it all clicked and started for me. the Quick family house, the failed reconciliation, and the immediate aftermath. oh it's so good.

on the drive there, Oliver is blue, Felix has a pink polo shirt with a solid blue pullover over it. this is the most blue Felix has ever been (this is the most blue he will ever be!), this is trust. however shaky and toxic it is, Felix loves Oliver and accepts him into his world. as a side note, Oliver's parents are also very blue, mom more so than dad. nice!

and then it crashes. immediately after, it's the evening of the same day, but Felix is not wearing the blue pullover anymore. this is very, very important. this is rejection. it's the end for Oliver in Felix's world and with his trust. Felix, again, in solid pink, Oliver in solid blue. Felix successfully rips him out with the roots and everything. ouch.

daddy. sorry. is that highlighter? sweat? fuck. let me- daddy. SORRY

no i actually have a point about this.

the clothes are replaced by the lights, but we roll with it. Oliver basks in the blue-green light, while Felix is on the other side, in pink and purple and red. sure, blue shines through, and Oliver also walks through the slashes of pink, but it is mostly pretty separate, Oliver watching Felix's pink in his own blue from a distance.

the morning after palette is deep. the wine color that is so prominent in these scenes is fascinating to me. if i were to over-reach again i'd say it's the Oliver in Felix's attributes and in his place that requires the robe to be so dark, not usual definite pink, because deep blue has leaked into the color itself, mixed with it, made itself integral to the shade. but it's also just a nice color, and it is pink in its core. the flowers (with sir James in the background) i think are also this specific shade for the same reason. you look at what remains of Felix everywhere here, and it is his color.

and finally oh the lunch scene. the last supper. the judgement day. the who's afraid of virginia woolf madness.

i think we've established what's up with Oliver, but i also think it's important that he is his own color at lunch but in Felix's pink/wine right before and after. lunch is where he attacks, whereas before and after is where he grieves and enjoys. Farleigh is almost completely blue save for a strip of the same deep pink, and he is soon cast out, and Venetia is striped, blue and pink/salmon, affected deeply by Oliver yet still clinging on to the Catton pink with grief, probably, but also love for Felix.

and after all this, Oliver leaves himself.

no, like, actually, literally himself. sure, he'd got a taste of the Cattons and the pink, but he is a monolith, a solid blue when he leaves Saltburn. he has not been affected by the house, he has taken what he wanted but stayed true and whole. what a power move, honestly.

but it's an even bigger deal that 16 years later, Elspeth runs into Oliver wearing all white and a blue scarf. oh, she's not let this go, alright; it was a long time ago, "but not to me," she says. What Oliver has been up to in that time is a great question, without a doubt he's been keeping tabs on the remaining family as much as he could; but Elspeth has never moved on, either. She has held on to Oliver's blue and the pink is not important at all now. Oliver, of course, is invariably, unwaveringly blue. welcome back to his show.

and welcome back to his triumph.

the only color (except for, again, white and black) we see him wear in the flashback about Saltburn inheritance is the all-too familiar deep pink. wine. bright pink mixed with deep blue.

now i will take a liberty and step back, over-reach, over-interpret and go insane. here's a fun bit on ancient greek culture trivia for you.

this is an interesting and complicated historiographical and linguistic debate that i will not even attempt to relay here, but the essence of it is this: for us, the sea is conventionally deep blue. historically, one of the most prominent civilizations considered "deep wine" to be the descriptor for it (not necessarily the color but the property. highly rec to look this up it's so fascinating). what it gives me here is that Oliver has changed color, but not his self. he has integrated, mixed, but persisted, completely winning over, triumphing. long live the king!

in conclusion, i would just like to propose "colors" by halsey as the next cattonquick anthem. thank you for your attention, please let me know your thoughts. yours, yes, you. cheers. god. peace out

[thebibliosphere]

Hm. I'm rereading something I wrote, and I can't decide if it's going to be infuriating for some readers, or if there will be more going "OH, same!"

Given that my readership is largely in the Autistic 🤝ADHD vampire fan club (Vlad), I'm hoping it'll be the latter, but it's still making me hesitate because it's not how people expect sex scenes to read.

Everything's usually boiled down to a laser-focused precision of sensations and evocative, heated language -- and that does eventually happen with this. You just have to get past Vlad's brain wandering around for a bit because while Nathan's doing a good job of getting his attention in the moment, he's not being consistent, and it's giving Vlad's brain time to wander. Like noticing that Nathan squints a bit when he reads. ("(Hyperopia, Vlad’s brain supplied helpfully before he could smother it.)") Or just generally having full-on conversations in his head in the downtimes between stimulation -- and by downtime, I mean the split second it takes for Nathan to grab something from the nightstand.

Another part of me worries people will think I'm playing to stereotypes or I'm hamming it up to be "quirky," but given my brain is the epitome of the "hyper 8-year-old boy who can't sit still shiny disorder" despite being a 36yo cis woman, I've pretty much resigned myself to some people calling Vlad a stereotype anyway.

A larger part of me just... kind of really wants to see this kind of thing in a sex scene. I want to see my own thought patterns and acknowledge that even when you're getting hot and heavy with someone -- arguably an act that should consume all of your attention -- you'll still find your mind wandering. You'll notice something out the corner of your eye and go, "fucking shit, laundry, do not forget, do not forget" (and then you'll forget), or you'll be about to go down on someone, and the dick joke your friend told you three months ago will pop into your head and suddenly you're snickering with no tactful way to explain it.

(This is another thing that I always think is sorely lacking in sex scenes. No one's messy. No one's laughing like an idiot because they just thumped their head into the headboard, or a joke just popped into their head. Or someone's body made a fart sound because there's lube in places and things are thrusting. Like, maybe it's me, maybe I'm weird, but I think those are the moments you can build real romance out of. Not necessarily erotica, because those things (supposedly) aren't sexy, but there's so much emotion you can show with partners who are able to laugh with each other in those moments. You can show so much love and reverence through the mundane it hurts.)

It'd just be nice, for once, to have the character be absolved of the guilt that often happens in those moments because you're supposed to be focusing on what is happening, and your idiot brain just won't shut up.

Ultimately, it doesn't matter too much. It's a short story I'm hoping to fling out at some point (as soon as my idiot brain shuts up and lets me finish it). But it feels more important than it actually is because it feels like I'm exposing a major part of my psyche. Like pinning down all the ugly parts of my brain that can't ever actually be pinned down, no matter how much I try.

idk. Words. Things. Stuff. I'm going to try and finish this and then see what I want to do with it.

[nkjemisin]

Hello NK Jemisin! I'm a huge fan of yours, and I wanted to thank you for writing all of the books you've written, and doing all that you do. You're really awesome and you are doing important work! :) I had a long question, if you have time to answer! What's your commentary on creating fantasy cultures, using real ones as inspiration? You've done this before in your stories, and I wanted to know if you had any guidance on doing it well. I'm writing my first novel right now (fantasy!) and am dealing with a surprising amount of guilt regarding using real cultures as a basis for my fake ones. On one hand, I want to create a really unique fantasy world, not the bog-standard European stuff. It's not only more interesting to me, but I also admittedly want to use my story to help introduce people to concepts that might be helpful in the real world, help readers understand what these real people go through and perhaps inspire change. On the OTHER hand, I don't know if it's 'my place' to do so (I'm Black btw, but I'm not just writing about Black-coded fantasy characters). And I'm worried about representing people in a harmful way, even if it's by accident. I'm even hung up about names! Should I use names from real languages related to the cultures I'm inspired by, or should I just make them up to emphasize that, while yes these people are clearly inspired by real cultures, they are ultimately *their own* thing. I'm really conflicted on this and am hoping you can offer some feedback and/or commentary. Sorry for the long ask. Either way, have a great day and I look forward to whatever work you do next!

If I can rephrase what you're saying here, it sounds like you're concerned about cultural appropriation -- specifically, which cultures you get to "borrow from" and "remix," how much remixing you can do before you've done damage, how to depict people from cultural backgrounds other than your own, etc.

If that's what you're asking, then there are whole schools of thought on how to "appropriate appropriately." A lot of thinking on this has evolved in the past few years, for good and for ill; Own Voices, for example. (The short version: the Own Voices hashtag movement started as a grassroots attempt to get marginalized voices telling the stories of their own cultures, because there's been a nasty trend of only white/Western/Anglophone/etc. authors publishing books about those cultures. The problem? Some publishers and readers started acting as if marginalized writers weren't allowed to do anything but stories in their own cultures -- a restriction, instead of an inclusion/correction. Worse, publishers, etc started using it as a marketing shorthand, in ways that were just... not good. They made it weird, basically.) But I'm still fond of the approach that's in Writing the Other, by Nisi Shawl and Cynthia Ward. It's centered on ethnicity/race, but a lot of its approach can be extrapolated to culture. There's too much good stuff in this book to summarize it easily, but you should read it instead of a summary anyway -- it's short.

I don't see the point of guilt, when it comes to something like this. Guilt is what you feel when you've done something wrong, and admiring another culture enough to want to tell a story featuring it isn't wrong. However, there are things you need to do -- research, conversations, considerations of power dynamics -- to reduce the harm you might end up doing by telling that story as an outsider. And note that no matter what you do, though, you might still end up doing harm. (Even people writing about their own culture can end up doing that.) If you fuck up, apologize, figure out what went wrong, and try to do better next time. That's really all you can do.

And then write whatever the hell you want. There's a persistent pressure on Black writers to only cover certain subjects, certain settings; nah. We get to have range, too. You've just got to put in the work to do it well.

Good luck.

[86espresso]

can i get character B yelling character A’s name while they’re hurt for quinn hughes or nico hischier? i just found your blog and i am LOVING your writing. thanks for sharing your gift!!

I love you sososo much thank YOU 🥹 ty for requesting! so sorry it took that long 🩷

☯︎ character B yelling character A’s name while they’re hurt

idk if this means character A is hurt or character B is hurt so I just made something up

warning wounds, blood, almost drowning, pls take swimming lessons guys :)

You’d lost count of how many times Jack had whined for you to get into the water with the other guys, and how many times Quinn had told him to leave you alone.

Your relationship with Quinn was a relatively new development, but everything was going right and his family loved you enough to persuade Quinn into bringing you over during the summer.

You finally give in to Jack’s pushing and sit up, taking your cover up off. You catch Quinn eyeing you shamelessly the way you were doing with him earlier and half-smirk as Jack bounced happily towards you and yanked you in the direction of the steps of the boat.

Now, you weren’t exactly the best swimmer in the world. You could float and tread in shallow waters, but by no means were you trained enough to save your life. You were about make Jack aware of that fact before he gathered you in his arms and sent you flying into the water.

A scream ripped through your throat right before you hit the water. “What the fu-”

You land horizontally and painfully in the water but your body was bending in on itself and you didn’t have the strength to upright yourself.

Above the surface, Quinn hadn’t yet noticed that you’d taken a little too long underwater and was still shoving Jack for intimidating his new girlfriend.

It was a good 15 seconds since you jumped before Trevor spoke up from a few feet away.

“Yo, where’d your girl go?”

Quinn froze, feeling his blood run cold when he sees nothing in the water at first glance but then sees the top of your head bob to the surface, your body terrifyingly still. What makes him yell out your name, though, is the small pool of blood around you.

The last thing he registers is the blood draining from Jack’s face as he dove into the water, opening his eyes and trying to locate you. Quinn sees you a short distance from him, and grabs a hold of your body, pushing both of you to the surface.

You’ve properly passed out with the almost-drowning and large scratch on your back from one of the spiky plants underwater. The next few minutes, Quinn worked as if on autopilot. His movements robotic but frantic as he first brought you to consciousness, instructed Trevor to drive back to the docks, and tried to console Jack as he apologized his ear off.

He felt like he was in a haze when the ER discharged you after making sure you didn’t have an infection and had enough blood, your lungs weren’t full of water, all the important stuff.

You laughed watching Jack scrunch his nose in disgust when Quinn offers to teach you swimming with a suggestive smirk on his face, rolling your eyes as he leans in to peck you again, his lips lingering as if he still isn’t over the way he nearly saw you drown.

Quinn watched as you comforted Jack even though it was you who almost lost your life. He didn’t know he could feel so strongly; fear of losing you, comfort and contented by watching how you were with his brothers. He’s falling for you hard and fast and he isn’t scared because you looked at him the same way; with a gaze full of love and affection.

[aloesarchives]

JJK Drabble #2

Tw/Warnings: Fem!Reader, Fluff, Fluff Brainrot, Domesticity, Family Man Toji, Usage of Wife and Mom, JJK Oc added

Pairing: Toji Fushiguro x Fem!Reader

Reader: Female, Usage of Wife and Mom

AU: Modern/"Toji Lives" Au

(A/N): I'm back! Well, kinda of. Long story short, dealt w/college stuff and had a health scare that kept me away from writing. Also had a mini burnout too. More is explained here!

Thinking about Toji taking up crocheting and knitting because he saw how expensive yet cheaply made certain items like blankets are made. So he buys a simple set to try it out, following Youtube tutorials and watching videos for ideas. Once he masters the basics, Toji is LOCKED IN once again. Making full on hand-made blankets, scarves, hats, mittens/gloves, stuffed animals, covers/cases, bags, scrunchies, even damn rugs. Anything you ask him for, he’ll make it. This ends up being very practical to Toji because he saves so much money by just making them at home himself. It has to be the premium, natural, good quality type. Organic cotton, wool, cashmere, alpaca/llamas, silk, linen, mohair, bamboo, hemp, all of that. Tell him about polyester or something and he tells you to put that shit back. He buys the premium yarn nearby, locally, or gets them imported internationally. Gets every and any colors because he never wants to be limited when making his projects.

There was a throw blanket you wanted for the couch but it was expensive and the size was a lot smaller than you hoped. The next day, you come home to see Toji making it for you. The same color but better quality and inexpensive, and it was the size you wanted too. You were happy and amazed that he made it within a day. Living off your praise and approval, Toji just makes everything. Since he can’t get carpal tunnel or arthritis, his hands and wrists never get tired from working. Though, his posture does get bad and his back aches from being hunched over. The blanket in your bedroom with Toji? He made that shit with fucking love and care. He actually made multiple ones depending on the weather and season. 

Man has even made throw pillows, regular pillows, water bottle cases, table cloths, coasters, bags, cushions, and made your own curtains. I mentioned before that everything in your home was either made, customized, or renovated by Toji. This stays TRUE because almost all the pillows and blankets in the house are his creation. The blankets and pillows that cover Megumi and Tsumiki’s beds? All Toji. Both pillows and blankets match each other and are in respective colors for the two. Megumi has one at his dorm because it gets cold over there and he hates sleeping in the cold. 

If you are a stuffed animal fiend, like me, you ask Toji to make you any stuffed animal you want. Definitely make squishmallow dupes for you if you asked him. In your personal room/office, there’s a pile of stuffed animals in the corner from Toji that you pluck one from the pile and hold it while relaxing or walking around the house. The ones he loves to make are bees, dragons, whales, dolphins and dogs. And they’re so soft and huggable, you squeeze them all the time. Toji just grins to himself knowing the things he makes brings you and the kids happiness.

Toji “Anything my wife wants, my wife gets. No questions asked” Fushiguro

It’s normal for you to come home to see Toji crocheting/knitting away at something. You either find him in three places at home: the engawa in front of the courtyard and garden, the family room with the shoji doors open, or in his personal room/office. Mostly, he sits outside sitting on the engawa working away at something. It makes him work better, or so he says. Makes his own needles and hooks because of his big hands. Megumi still has his crocheted stuffed puppy when he was younger, still going strong even though it’s been worn down from love. Tsumiki has all the Sanrio characters knitted/crocheted as gifts from Toji.

Tsumiki always wears her hair up in a ponytail, Toji makes her scrunchies in her favorite designs and colors. Her favorite cardigans and pullover sweaters that keep her warm during fall and winter were made by Toji because he wanted to try making outerwear. Luckily it worked in his favor. Tsumiki asked Toji if he could make her a tote bag because she needed a bag for outings. She comes home from school one day to see three of them in different sizes. She has those cute little flower keychains on her school bag and outing bags too because she asked Papa Toji for them. The massive white and blue circle rug in her room is from Toji.

Megumi’s winter scarf, earmuffs, and hat are made by Toji too. Megumi will never admit it out loud but he appreciates that Toji made it for him. They keep him and he doesn’t feel the wind chills nipping at his face. Megumi also appreciates his dad for making his stuffed animals. I’m projecting here but Toji made a set of plush stuffed animals after his shadows. His divine dogs, all of them. Megumi keeps them on his stuffed animal net in the top corner above his bed. Megumi wears a jacket and hoodie made by Toji all year round because of how versatile they are. In general, they’re Megumi’s favorite clothes to wear too.

Thinking about asking Toji to make a present for Nobara and Yuuji on their birthdays. You asked Nobara what her favorite color and style was while Yuuji said he wanted a new hoodie. Toji makes them pretty fast and the two are in love with their gifts. Nobara is wearing her bag EVERYWHERE, and I mean, EVERYWHERE she goes. Yuuji, like Megumi, ends up loving his hoodie that you always see him wear when he’s in casual clothes. Since Nanako and Mimiko grew up with Megumi and Tsumiki, one of Nanako’s cardigans and a pair of her socks are made by Toji while Mimiko only has a random plushie Toji made for her when she was younger because Suguru had to clean the other one.

Not me thinking about how Tsumiki, Megumi, and Mayumi(JJK OC) baby blankets are handmade by Toji himself with their own individual design and patterns. Megumi and Tsumiki’s are still in good condition even though they were lovingly used by the two throughout their whole life. Their baby hats, socks, and certain outfits were all made by him. He keeps them all in individual boxes to not lose them. Gets sentimental and nostalgic that you catch him staring as he holds the small clothes in his big hands. Reminiscing about Megumi and Tsumiki being babies and small children, now realizing that they are growing up before his eyes.

God, all of it is thoroughly well knitted and crocheted that people thought you bought it from a store. “No, actually my husband made it for me. Isn’t he skillful and amazing?” Your friends and co-workers lowkey ask you if Toji is willing to take commissions for them. They’ll pay for it obviously but they want good quality home-made items Toji makes which gives you an idea. You asked Toji if he considered making orders for other people besides his family. He did think about it but he said he would get overwhelmed when receiving orders and packing them up. You asked him if dealing with the orders and packaging them would help him change his mind. So you unintentionally set up a small business with Toji. His shop consists of blankets, bags and baskets of any kind, pot holders, rugs, coverings, and pillows. It runs where one week is for receiving orders, one month is for making them, and another month to send them out. Making a spreadsheet/list for Toji to show what he needs to make. Probably gets finished with all the orders in two weeks or something.

For some reason, Toji wears eye-glasses when he knits and crochets. You don’t know why but it makes him more handsome that your brain rots/short circuits every time you see him working away. He got you all flustered and down bad it’s insane(but absolutely valid). But you don’t understand why he would need them since he already has better vision and eye-sight than 99% of the population.

“Honey, since when do you need glasses?”

“I need it so I don’t strain my eyes when working on them?”

“Can you, like, squint? You already have 20/10 vision. You don’t need glasses when you have superhuman vision, Baby.”

“Doll, just because I have good eye-sight doesn’t mean my eyes aren’t as sensitive. My eyes are still bugged by light, shit hurts and gives me headaches. Anyway, can you pass me the blue yarn in front of ya?”

Megumi and Tsumiki always see you with their Toji. You’re chilling and minding your own business with their baby sister napping away while Toji is working away at a rug because he is bored. Even though he’s been doing this since they were young, the two still can’t get over how their dad can make a king-sized blanket(start to finish) in four hours. Or when they come home from school and see Toji finishing up on a big and long green dragon, turning to Megumi and Tsumiki asking them, “Do you two think your mom would like this?” Or they could be chilling then Toji asks them to try on the projects he finished to see how they look. Tsumiki and Megumi are his main critics, you are too but you aren’t bothered by certain details to criticize Toji’s projects so he leaves it to the kids.

Mayumi(JJK OC) is chilling by Toji as he’s working away, either sleeping away or playing with her stuffed animals close within sight. Being the three year old she is, she sometimes hides underneath the unfinished blankets and pops up from under to surprise Toji. Papa Toji gives his iconic DILF chuckle that has you  GEEKING and GIGGLING like a damn school girl when you get the chance to hear it every time. He just pats her head, calling her a little rascal or princess, then resumes.

I’m projecting once again but you know those cute crochet dolls? Like the ones with the big black eyes, big head, small body, and no mouth? Toji made those of the entire family. There’s one of himself in his iconic black compression shirt, white sweatpants, and kung fu slippers. He added a little scar too where his mouth would be. Then there is your’s, all pretty and pristine with your iconic outfit. Toji getting your colors and features down to the bone. Next is Megumi and Tsumiki, literal carbon copies of their real versions. Toji said Megumi’s hair was the hardest part to make lol. Then Mayumi’s doll is later added once she’s born. The mini Fushiguro Doll set sits on the top shelf of a pristine black display case, next to the tv, in the family room. 

He’s the type of guy you wouldn’t expect to be good at a skill like this then later found out he’s an absolute master and god among men. Toji doesn’t parade around craftsmanship because he knows how some guys have fragile egos. But he won’t shy away when people ask him about his work. Pulls out his phone to show people the things he made with two needles, one crochet hook, and a shit load of yarn.

Satoru, being the shitter he is, tries to tease and bully Toji about it. To which you reprimand and scold him for it. But Toji doesn’t care about dealing with his antics because it’s a practical skill and keeps him out of trouble. Then you remind Satoru that his winter scarf he always wears was made, the one you gifted him for his 18th birthday, was made by Toji at your request. Satoru never wore any scarf because he thought you made it for him. But for you to tell him Toji actually made it for him, Satoru shuts himself up and doesn’t shit on Toji anymore.

Toji loves it when his family uses/wears the things that he made. Usually wears a goofy smile or grin on his face to conceal his prideful yet satisfied self, knowing his creations are appreciated and loved by his family.

Tag List:

@luqueam @ploylulla @tqd4455 @wolywolymoley @captainbabybear @ravenswife

Tag List(@ w/ no links):

@szillx @g0th1xac1d @SleppyAnn @kneelarhmstrung

[nanowrimo]

How to Use Meal Scenes to Develop Characters, Relationships, and Your World

Worldbuilding can sound complicated, but why not make it a little more simple by focusing on food? It may be the domestic touch you need! NaNo Participant Lacey Pfalz talks about using meal scenes to develop your world and your characters.

There’s one thing that remains a universal human truth: we love food! While our perspectives on food might differ, people all across the globe gather together during mealtimes — and thus, mealtimes are made memorable.

Meal scenes can also help your story in a few key ways, especially if it’s fantasy, science fiction or historical fiction.

Meal Scenes for Worldbuilding

If we’re using food for worldbuilding purposes, does that mean we can say we’re worldcooking?

Just kidding! Worldbuilding, especially in historical fiction, science fiction, and fantasy, is an integral part of what you must do as a writer (In truth, it’s also important for writers from other genres, but we’re specializing in these three today).

Meal scenes can be an important part of the worldbuilding process. Food is intrinsically tied to a culture or a country, or even a small region. That’s why it’s important, when building your own world, to take time to figure out the bare minimum of what your characters will be eating.

Let’s do an example. Your world is fantasy, your kingdom set beside a wide river. Perhaps your capital city, where much of the action is located, is surrounded by wetland.

If this is the case, what types of food would likely grow there? Seafood, fished from the large river, might be your characters’ staple proteins, while rice might grow better than another grain because of your kingdom’s wetlands. Fruit, perhaps even coconuts, might be the sweet stuff your main character loves to devour.

Remember that your world directly affects what types of food your characters will be having: is there coffee in space? What about in Byzantine Turkey or your new riverside kingdom?

Shannon Chakraborty does a phenomenal job with this in her fantasy series The Daevabad Trilogy, which is set in the eighteenth century across the Middle East. Her first book, The City of Brass, is especially good at showcasing the often-fragrant dishes of the various cultures across this region of the world (some copies of the book even have a short list of recipes from the book that foodies can try whipping up for themselves).

While her book is set within the fantastical world of the Djinn, her food is based upon recipes that have been preserved for centuries.

There’s one small reminder with all of this: it’s important not to get too caught up in describing each dish so much that you end up taking the focus away from the characters in a meal scene. Meal scenes can be breaks from fast action, but they should also continue the plot.

Meal Scenes for Developing Characters & Relationships

Character development can be hard, especially if you have a handful of characters that you love! But in order to make your readers love them too, you have to show them interacting with the world around them.

That guy we love to hate? Maybe he’s a loner who has grown up eating by himself. Having him forced to sit and eat with a group of people who have known each other for years might be an awkward moment for him, but it helps readers to learn more about his own worldview — and it might just help get him out of his shell, or at least off the love-to-hate list.

Besides helping you develop a single character, writing meal scenes with some of your characters can also help readers learn more about the relationship between your characters.

Let’s say you have your main character, MC. MC leans over and steals a French fry from her best friend. There’s no issue, right? That’s because they like each other, and the best friend has likely eaten with MC before, and knows she enjoys stealing food from other people’s plates.

But when MC tries it again, this time with the guy sitting next to her, he whacks her hand to stop her from stealing. This sparks an argument that seems, at least to everyone else watching it, pointless, but readers will know from the rest of the story that they’re the enemies-to-lovers trope. This argument is just one of many before they finally acknowledge their feelings towards one another.

See how that worked? A meal scene wasn’t useless; it pulled the story along by giving readers another taste of the enemies-to-lovers trope that so many enjoy reading.

If you need a more visible example of how this can play out, try watching a movie like Pride & Prejudice, (the book is amazing, but I’m suggesting the movie as a visual aid). The movie does a great job showcasing just how different the members of the Bennet family are individually, how they act around each other, and how they act around company.

There’s often little action in meal scenes, so they’re not meant to be overused. The plot should also still be there — take the cringey proposal scene between Mr. Collins and Elizabeth in Pride & Prejudice, for example, which follows directly after a meal when the rest of her family abandons her. In this case, the plot (and Mr. Collins’ advances) ruin her meal.

Perhaps your meal scene is the much-needed respite in between battling fierce aliens for planet Earth, or the first time your main character’s enemy-to-lover has entered her home. Either way, meal scenes are an important way to immerse your readers in what kind of world they’re imagining as well as showcasing how your characters act and — more importantly — how they act around each other.

Lacey Pfalz is a travel journalist by day, hopeful author by night. She belongs to the class of graduates she dubs the Class of COVID-19, having graduated with a double major in history and writing at Wisconsin Lutheran College in 2020. Her writing passions include fantasy, science fiction and historical fiction (with a little bit of romance, of course!). As someone with a physical disability, it’s her dream to write a fantasy series featuring a main character like her. Header Image by Jack Sparrow

[dragonnarrative-writes]

Slasher Handler Part 11 - Slip Lead

Slasher Handler Masterlist

Read on AO3

NSFW under the cut.

CW: Implied stalking/surveillance, implied kidnapping, physical injury, deception/emotional manipulation, physical violence, injury with knife, genuinely not enough information, hidden weapons

Something about stabbing him, about meeting Price, has resulted in you being able to stray a bit farther from Simon’s orbit. You’re still on a rather short lead, there is a list of unspoken rules between the two of you as long as your arm. But you’re going out alone more. You don’t feel Simon’s eyes on you every moment he’s out of your sight. It’s weird.

But when it comes to Simon, it’s best not to look a gift horse in the mouth. So you start a routine of going to the cafe down the street twice a week or so to work and see other human beings. It’s surprisingly difficult, some days. More than once, you’ve felt too exposed and retreated back home. These days, you have more good days than bad. As long as people don’t talk to you too much, you’re fine.

So it’s a bit jarring when someone clears his throat while you’re wrangling spreadsheets.

The man is in a light jacket, tee shirt and jeans. Looks like he works out. Kind of a stupid haircut, but he’s at least committed to it. Very distinct looking, Simon’s voice says in your head, easy to track. Unlikely to cause problems.

Something about him makes the hair on your arms stand on end.

“D’ya mind?” he gestures to the chair across from you. At your skeptical look, he rushes to assure you, “ Jus’ fer mah coffee, ‘n t’read,” holding up a thick paperback. He gestures to the rest of the cafe. “Wouldnae bother you, but this’s the only open chair.”

The shop is unusually crowded. You frown up at him. “I’m really busy.”

“Willnae hear a peep from me,” he promises, setting down his coffee and pulling out the chair across from you. He turns the chair so he’s facing more of the room instead of the corner you’re in. And he opens his book.

You watch him for a minute, but he doesn’t look up. It’s hard to shake the feeling that something is wrong, but you do need to work. With a last wary glance at him, you settle your headphones over your ears - transparency on - and get back to organizing a data set that reminds you of a ball of duct tape.

It’s time for a break before you know it. Your companion, true to his word, hasn’t said a peep since he sat down, more than an hour ago. He barely looks up as you close your laptop before turning back to his book. He does look up when you flag down one of the servers.

“Lunch,” you say, inanely. To the server, you say, “Can I get the chicken sandwich today?”

“Chips ‘n a lemonade, yeah?”

“Yeah, thanks.”

They turn to your table mate. “And for you?”

“The same, ah guess?” He raises his eyebrows at you, like he expects you to give him permission or something. He looks back at the server. “Yeah, a chicken piece for me, as well. ‘Nd a juice?”

“Separate checks?”

“Aye, ta,” the guy says. When the server leaves, he blanches. “Hope you dinnae mind.”

You do mind, but it’s not like he can sit anywhere else right now. “It’s fine.”

He sets his book on the table, and your eyebrows shoot up. Whatever you thought he’d be reading, Jurassic Park wasn’t it. He grins. “Ah ken. It’s old, yeah? But it’s a damn sight better’n the movie.”

“Isn’t that how it goes,” you say, vaguely. 

But you’ve already fallen into his trap. He turns his chair to face you, crossing his arms and leaning into the table. His eyes are unnervingly blue - somehow even bluer than Simon’s - and bright with interest. “’M serious. It’s not just that a character yells in the movie and speaks softly in the book, aye? In fact, the movie made Dr. Sattler older, aye? Great choice, emphasize ‘er expertise.” 

Aging up a woman character? You’re reluctantly intrigued. “She was a less important character in the book?”

“Nae,” the man scoffs. “She’s probably the first o’em to realize how shite the whole thing is. Notices things. Stuff the other’s aren’t payin’ attention to because she’s the plant expert, an’ naebody pays attention to plants.”

You find yourself drawn in, in spite of yourself. Johnny, as he introduces himself, has obviously been waiting for a chance to talk about it, but he’s not pushy. He excitedly pulls a pen from his pocket to doodle along with his explanations. By the time your food has arrived, he’s convinced you to at least try the audiobook.

“I cannae pay attention stuff in mah ears,” he says with a grin as he starts to dig in. “But I hear good things, if you don’t ‘ave time to sit an’ read the text.”

As you nod along, you look up and almost choke on your next swallow. Simon is outside, looking at you through the window with raised eyebrows above his usual black surgical mask. His eyes flick to give the man at your table an obvious once over. And then he turns away and walks out of sight.

“Ye alrigh’?” Johnnys’ eyebrows are up near his hairline when you look back at him. “Ye look like ye’ve seen a ghost.”

“Y-yeah,” you say, torn between staying seated and the urge to run after Simon. You can’t help but look at the window again, but he’s gone, there’s nothing for it. “Sorry, I thought… Sorry. Yeah, I’ll get the audiobook.”

When you get home, Simon is on the couch, the TV on with the volume low. He watches you, like he always does, as you take off your shoes and shuffle around to put away your things. When you finally join him on the couch, you find that he’s watching a nature documentary. A crocodile slides under the water with barely a ripple.

“He was only sitting with me because there wasn’t anywhere else,” you rush to say.

Simon turns to cock his head at you. “You get ‘is name?”

“John. Johnny,” you answer. “He told me about his book, but I left as soon as we were done eating.”

“Good,” he says with a nod. He lifts the arm closest to you, pulling you close as you settle into his side. “’S good to have friends, Precious.”

“He’s not a friend. Just some guy out to lunch like everyone else.” 

“You let him stay,” Simon points out. He squeezes you in a rough approximation of a one armed hug. “Been nervous around people, but you’re gettin’ better.”

This isn’t what you expected. You can’t help but side-eye him. “You’re… proud of me?”

Simon’s lips press gently against your forehead. “’S long as you pick better this time, I don’t mind you ‘aving friends. Can’t keep you all to myself forever. ‘Sides, you’ve marked me proper, ‘aven’t you? Got me as your little pet. Johnny’s not gonna be a problem.”

The little pink scar around his ribs is little more than a raised line. You slide your fingers under his shirt to pet at it. Among all of his scars, it’s one of the smallest. You’d cried the first time he’d let you see under the bandages.

“You’re not a pet,” you grumble, leaning your head on his shoulder. “You’re an alligator who won’t leave my house.”

“Your alligator, now,” Simon agrees. He focuses back on the television, seemingly done with the conversation.

You could leave it at that. But you turn to face him, instead. “You’re not mad?”

“Not unless ‘e ‘urts ya.” Simon presses his lips against your hair. “An’ I wouldn’t let that ‘appen.”

The following week, though, he stands over you with an exaggerated grimace at how crowded the place is. “Och, d’ya mind?”

Johnny is there the next time you go to the cafe. He waves from his table, but ducks back into his notebook without waving you over. So you work from your own table in peace. When you take a break for lunch, he’s gone. Two days later, it’s the same. It’s easier to concentrate, now that you’re less worried that he’ll take the conversation from the other day as an invitation. 

With a sigh, you clear some space for him. But just like last time, he keeps to himself, reading and occasionally jotting things down in his notebook. It’s not until just before lunch that he breaks the silence.

“D’y’ve a boyfriend then?” You can’t keep yourself from cringing fast enough, apparently, because he laughs. “Sorry, sorry, shouldnae asked.”

“I don’t want to talk about it,” you grumble.

“Aw,” he coos. “Don’ worry hen. You’re right bonnie. Ah’m sure they’ll come around, whoever they are.”

That would be sweet, if it wasn’t so painfully off base. “Yeah. Sure.”

“Oh, you’re right done wit’ me,” he laughs. “Ah ken’t I shoulda kept mah mouth shut. Ma always said runnin’ mah mouth would get me into trouble. I won’t bother ye again.” 

You roll your eyes. “It’s fine. I just don’t want to talk about it.”

He doesn’t push, and you’re grateful. But when it comes time to pay for lunch, he insists on paying. It grates on your nerves. A gift from a guy is never just generosity, you learned that long before Brandon. But you clench your jaw and pack your bag up a bit more roughly than usual and say your goodbyes.

“They didn’t have the brownies you wanted,” you announce as you return home from the grocer, two days later. “I think it was a limited edi…tion…”

You notice Simon watching through the window, but he’s there and gone before you can get a read on his expression.

There’s a smattering of blood on the entryway carpet.

You don’t drop the bag with the eggs, but only because your muscles are locked up. Did someone break into the apartment? Was Simon here when they did, or next door? Did they leave? Did he take them?

A sound makes you gasp before you bite your tongue hard enough to taste blood. And then again, a muffled groan, close, from the direction of your couch. 

It’s not Simon’s voice.

You gently set your bags down and reach behind the coats for the blackjack Simon insisted on leaving there for security. There’s a rustling. Another groan. You stoop low, trying to make yourself a smaller target, and creep around the edge of the couch.

When you see Johnny, bound and gagged, shirt covered in blood where he lies on the floor, your stomach drops so fast you feel dizzy.

“No, no, no, no, no,” you whisper, dropping the jack with a thump. You crawl over to him, looking around frantically. Simon is nowhere to be seen. But he did this. He had to have done this. Right?

Johnny twitches, groans again, eyelids fluttering open. When he sees you, his eyes go wide, and he frantically tries to sit up.

“No, don’t! I don’t know where you’re hurt,” you hiss. You reach around his head to untie the cloth that’s gagging him. “Oh my god-”

“We gotta get out’f here, bonnie,” he grunts, leaning into your hands as you help him upright. He spits blood on the floor. “No tellin’ when that mental bastard gets back.”

“Oh god,” you whisper again, touching the front of his shirt. It’s dark and sticky in a bloom across his chest. “Where are you hurt? Did he stab you?”

“Ah’m okay,” he grunts. “A bit banged up, but ah’ll live.”

You swallow down the urge to vomit. “There’s a lot of blood, Johnny.”

“S’nae all mine,” he answers. “C’mon, untie me, before Simon gets back.”

You’re shifting to reach behind him before your mind catches up. You can feel the blood drain from your face. “W-what? What did you say?”

“We need to get out of here!”

“No, you said his name, you called him - ”

“Simon? That’s what ye called him when you came home,” he hisses. 

“No, I didn’t,” you whisper, body stuttering between frozen and electrified. You never call Simon’s name where others can hear. “And - and I - you - you were unconscious.”

Shining blue eyes stare into yours from two inches away. Johnny’s bloody mouth curls into a smile. “Oh, he’s trained you up good, he has.”

You scream when he lunges forward, huge arms grabbing at you. 

His weight crushes the air out of your lungs when your back hits the ground. You twist under him, using the arm he hasn’t trapped to grab his hair and yank. He swears, and loosens his hold just enough that you’re able to free your other hand and jab him in the throat.

You expect the way that he chokes, but the hand he’s twisted in the back of your shirt stays locked tight. He coughs out a frenzied laugh as you twist. Your heart races as he prevents you from getting your knees up between your belly and his. But he doesn’t expect you to hammer the heel of your boot against the back of his knee, or how you use the leverage against his leg to roll away onto your belly. 

He doesn’t let go of you, but that’s fine, that’s okay, as long as you can reach under the edge of the couch. Johnny pounces, body curling around you without quite pinning you down. His fingers twist into your hair in an echo of how you wrenched at him. But he doesn’t stop your hand, grabbing the leg of the couch and then reaching under and up and-

“Try again, Bonnie,” Johnny chuckles into your ear when your hand meets nothing but cotton and wood.

Your heart doesn’t have time to stop. The grinding pain between your hip bone and the floor makes you pop up your pelvis and reach down. The tiny knife, Little K, jumps to your hand. It’s so easy to flick it open, you think you almost cut your own belly as you heave. Johnny rides you for a moment, then pops up onto his knees to let you roll freely.

You don’t have time to decide, gut or femoral, you just swing. Denim parts, pressure - 

Johnny yelps.

His weight is suddenly gone, and the arc of your arm slams the back of your hand and your elbow onto the carpet. It’s a shock, almost hard enough to make you drop the knife. You flick your eyes around, nearly blind with tunnel vision, and see Johnny standing over you. His jeans are slashed, outer thigh almost to crotch, but you can’t see blood, fuck.

He sways, oddly. Is your vision swimming? He doesn’t descend on you again, though, just laughs and wiggles. One of his feet isn’t on the ground, his injured leg is dangling, did you get him?

You imagine you can see Simon’s face, a little angry and a little amused. If you die here, Johnny will live to see his own intestines, you know it. Even if you survive, he won’t. Simon might gift you another skull. The thought almost has a laugh bubbling out of you. 

“You stupid motherfucker,” you hiss. 

“Oh, now you’ve done it.”

Simon’s voice startles you into action. You’re off your back and scrabbling backward in and instant as he manifests behind Johnny. Except, you realize, that Simon is holding Johnny up, one arm snaked under Johnny’s and hand around the back of his neck. That’s why Johnny looks off balance, it’s because he is, because Simon is here, he’s going to save you-

“Did real good, Precious,” Simon says with a grin. “Knew you’d get along.”

What? “What?”

Simon says something else, but you can barely hear him over your heart pounding in your ears. But you hear it when Johnny laughs. You see when Simon releases him with a ruffle to his mohawk and a shove toward the armchair. Before you know it, Simon’s scooped you into his arms and taken his usual seat on the couch. He pries the knife from your hand and snaps it closed. 

“Told you I was thinkin’ of gettin you a dog,” Simon rumbles, sitting you in his lap so your back is against his chest. Before you can protest that no, he never once mentioned a fucking dog, he continues, “This’n’s mostly ‘ousebroken, already. Soap needs a firm ‘and, but you c’n ‘andle him. 

Soap? What the fuck does soap have to do with anything? What kind of a name is…

"Oi!” Simon barks. “Off the furniture.”

Your stomach drops as you remember John Price, two months ago now. “Soap’s supposed to be my troublemaker, not you.” Soap.

When your wide eyes swing to him,  Johnny’s face is split into a toothy grin. He tips his head back against the seat of the arm chair. One of his hands touches the blood blooming through his jeans and brings it up to his lips. He laves his tongue over his fingers. “Ah’m lookin’ forward to gettin’ to know you, Bonnie.”

A part of you wants to get up and slit his throat. The rest of you slumps back into Simon’s chest and bursts into tears.

[temporal-discounting]

There's one line in S1 that I think is so important to understanding what Ed's life must have been like before boarding the Revenge and meeting Stede, and it's this one:

Ed is sitting around telling ghost stories with the Revenge crew, and Ivan says "This is the most open and available I've ever seen him."

This one brief line paints a picture of a life of such profound loneliness for Ed back on the Queen Anne's Revenge, in which Ed's interactions with his own crew were extremely limited. It seems that most of these interactions occurred with Izzy as conduit.

Now, of course, Izzy used that position to reinforce that separation between Ed and crew. He used it to project the image of Blackbeard (not Ed; never Ed) that he wanted to project - an insane, unstable, and reclusive genius.

But I also wonder how much of Ed's isolation was self-imposed. The show makes clear very early, that in the world of OFMD, pirates' lives are short and violent. They die in great numbers - and this exchange between Ed and Stede in 1x04 tells us that Ed feels responsible for the pirates who die under his command.

"You're gonna lose all your men. It's all gonna be your fault."

At some point, did he choose to withdraw because losing friends / chums / pals all the time is too damn hard - especially when you are directly responsible for their safety?

I can definitely see a dynamic in which Ed had largely withdrawn from his crew before Izzy entered the picture. But then Izzy's influence over the crew served to reinforce that isolation, such that Ed would have had no real way of connecting with the crew, even if he had wanted to.

This is one of the things I love about OFMD - how so much can be inferred from a handful of small moments.

(If you got this far through my rambling, you might also be interested in a fic I wrote where I really tried to pick some of this stuff apart. It's essentially an Ed character study, but told via a conversation between Ed and Fang as they mourn Ivan together)

[dr-spectre]

So.... This game is 2 years old now huh?

Honestly... I don't think i have a TON to say about this game. It's just a great ass fucking video game that has given me a lot of fun and great memories!

This game came out during my final year of school, which is kinda funny considering that Splatoon 3 acts like a "finale" to a trilogy. It's interesting how those kinds of things work out eh? Splatoon 2 came out at the start of my secondary education, and Splatoon 3 came out at the tail end of my final year.

I remember thinking before the game came out, "why do we need a Splatoon 3? This is pointless, it's just more Splatoon 2." And then my mind was quickly changed once i got to play the Splatfest test fire and the actual game itself.....

I completed ROTM in such a short amount of time and i documented my reactions to my friends. Although i was spoiled in that Deep Cut had boss fights and Mr. Grizz was the final boss, ROTM still gave me a giant smile to my face all the way through. It was so fun, so charming and just a really good single player experience.

One of the things that i LOVE about Splatoon 3 is the vibe. I just love the location of Splatsville, i love the aesthetics, the lighting, the model improvements from Splatoon 2, the music, it's my favourite art style/aesthetic out of any of the Splatoon games by far. It just feels so polished, i don't know how to exactly describe it.

Also the fact that this game won best multiplayer game of 2022 over CALL OF DUTY! OVERWATCH 2 AND MULTIVERSUS MAKES ME SO GIDDY AND HAPPY!

PEOPLE GOT MAD ABOUT THIS AND THAT MAKES ME WANNA EVIL LAUGH! All of those fucking depressed and sad Call of Duty players who whine and complain about how "wahh modern gaming sucks!! There's no good games anymore wahhh!! It's all microtransactions wahhh!!" BITCH! SPLATOON 3 IS LITERALLY THE GAME YOU'VE BEEN ASKING FOR!! Yet you won't play it because it's on Nintendo huh? Yeah... You're a fucking PUSSY!! YOU'RE WEAK!! You're SCARED to be seen as less of a manly man!! You only wanna play games with oily dirty buff men.... Yet you call others who play games like Splatoon gay? Hmm..... Sounds like you're a wittle insecureeeeee!!!!

Have fun rotting in microtransaction hell you LOSERS!! GAHAHAHAHA!!!!!!!!!!!!!!

Anyways.... uh.... sorry....

I also fucking love Deep Cut too. I thought i wasn't gonna like these guys and i remember thinking when i first saw them "oh... okayyyy..."

But now? I love these bastards.

I love their dynamic and how they are bandits but they actually wanna help the people back in Splatsville. That is such a cool and unique take to have for Idol characters. The Squid Sisters are very cutesy and so are Off the Hook, but Deep Cut aren't. They are loud, messy, chaotic, in your face, rude, etc. They are about contrast and the character designers did a phenomenal job at conveying that theme via their backgrounds and looks.

Another thing that i love about Splatoon 3 is that it also acts as a celebration of things that have come before, Inkopolis Plaza and Square return as hubs, old colour combos from previous games act as loading screens, most of the music returns in the jukebox, it rewards long time fans for sticking around and for a long running franchise IT'S SUPER IMPORTANT to have that stuff!!!

Seeing the improvements in the model quality from Splatoon 1 to 3 genuinely makes me kinda emotional, it shows how far we've come in just a little under 10 years...

It really homes in on the point that... These characters, have grown up with us.... The Squid Sisters are about to reach their mid 20s, Pearl is nearly 30 fucking years old!!!

And the last thing i wanna bring up before i talk about the Grand Fest...

...Is Side Order.

This fucking DLC... My god... Being able to experience it by myself and just enjoy the stuff i was seeing, being able to SCREAM AND CRY AS MUCH I WANT WAS SO IMPORTANT TO ME DUDE!

When i got to the 10th floor in the tutorial and i saw Marina Agitando staring me down.... I did the loudest gasp a human could possibly do and my jaw was hung to the floor for a solid MINUTE!

Marina's first fucking dev diary made me cry and scream, THAT IS NOT A JOKE!!!! THESE CHARACTERS ARE THAT IMPORTANT TO ME!

And the final boss.... Made me cry, it broke me down, i was singing along to Ebb and Flow as best as i could, it felt like i was brought back to 2018, being in my room, listening to that song on repeat... I feel like a kid again....

I love this song... i love it so much... Like it's not the most hype finale song ever, but, the emotion behind it, the build up from Splatoon 2... The power this song has in it's meaning... It's some good shit man...

So yeah! I love Splatoon 3!!! It's my favourite game out of the series and anyone who is gonna jump into this game now is gonna have a LOT to chew on.

And... It's both sweet and sad that we're at the end. This is it... The moment we've been waiting for. The final Splatfest to end them all. The event 9 years in the making.

The Grand Festival...

I am extremely excited and so FUCKING NERVOUS for this Splatfest!!!! I know i am going to cry and be so overwhelmed with joy. Seeing the Squid Sisters and Off the Hook perform their old songs again after all of these years is gonna make me sob so loudly it's not even funny.

These characters genuinely mean the world to me and it's gonna be so fucking hard for me to watch their final major appearance and say goodbye. Cause after this, we don't know what's gonna happen. I know they will come back, they have to but... In what capacity? That's what I'm scared about...

So yeah, let's savior this moment when it eventually arrives, take all the time you need to be engulfed in the Grand Fest.

Thank you Splatoon 3, you have given me so much.... It's not time to say goodbye just yet but, i wanna watch you as you walk into the sunset with your head held high....

[the-s1lly-corner]

AAAAA

TDAC X PUPPET!READER

Hear me out

Reader is like puppet from fnaf, their character being very similar to puppet, them having the same voice and powers? Yknow Puppet flies fast as HELL and etc, Reader most of the time stays in the music box, and just gets out when really wanted or needed, for example: when theres an IHA or when someone needs them for something.

TADC x puppet!reader !

ashamed to admit this but i have not touched fnaf outside of security breach, recently at least. the last time i was fully invested in the fnaf lore was when fnaf 4 had just dropped, so im quite literally relying off of your description like its a life line because i know how insane fnaf lore has gotten think imma answer this request then take another short break since my lower back is starting to get sore from sitting all day; gotta go stretch my legs too

CAINE:

you do have your own room, of course, but you tend to usually stay in your music box; of which you came with when you first entered the digital world... which was a little odd, but hey its not the strangest thing that anyone here has seen! i like to think that sometimes caine comes to your box at night and tries to will you out so he can get to know you more. leave it to the ai to fall for the mysterious circus member who rarely leaves their box... i think sometimes he would hum and sing along to the music your box makes

POMNI:

the first time you rush out of your music box it takes her off guard, almost making her fall off her feet when you dash right by her to do... whatever was required of you at that moment in time. if she were being honest, she didnt think you were a real person, she had always assumed that you were an npc; it wasnt unheard of that caine would have npcs stationed about for in house adventures, or to man the carnival..! though i dont think she would interact much with you, considering you rarely interact with the others; what use would it be to pester you?

JAX:

honestly before realizing you literally live and sleep and mostly exist in the music box, he probably puts stuff on top of your box... accidentally trapping you inside it. well, actually trapping wouldnt be accurate because you ended up brute forcing your way out, literally sending everything that was on top of the box flying; scaring just about everyone in the room. imagine trying to find out whos faster; you or jax.. i mean, have you seen how fast jax bolted when they found out koufmo abstracted?

RAGATHA:

always tries to ask you if you want to join in on the in house adventure, she doesnt want you to feel left out or unwelcome; even though most times you willingly back out of the activity. though, she feels relieved and even smiles when you spring out of your box to join in on the action... at least she knows you havent abstracted... brain stimulation is important, you know!

KINGER:

he finds some comfort in the music, slowly but surely as the days pass he moves his pillow fort closer and closer to your box before eventually hes right next to you. sometimes even naps, leaning against it. though he does immediately scamper off when you suddenly lunge out to race towards whoever is calling for you. at least he can count on you to have his back in moments of danger or fear!

ZOOBLE:

usually stays in their own lane, but for one reason or another they need help during an IHA, and their yelps and incoherent speech was enough to catch your attention. be it gloink or otherwise, you obliterate the problem; effectively haunting zooble for the rest of their life by your actions... but hey, it feels... nice, having someone you can rely on

GANGLE:

character who is soft spoken and shy meets character that rarely leaves their box when its not needed or necessary; how could a relationship, romantic or otherwise, be fostered in conditions such as this? oddly enough, the silence between you two brings you together, the music keeping the silence from becoming overwhelming. i like to think that sometimes gangle leaves you little notes, choosing to write rather than verbally speak... best not to ruin that special quiet the two of you have learned to share

[signanothername]

hhhhhhh i love your art so much man it's just so rrrrrrrrg words can even describe it 💥💥💥

butt like like genuinely how do you figure out poses and shit that fit who you draw so well likeee

idk me personally i just struggle with that stuff, yk always stuck with the -looking front on with hands in pockets- or the dreaded -peace sign with hand in pocket- fjdjdj

sorry for the yap sesh butttt any advice would be like so cool

also the way you portray killer and nm is like godly just 💥💥💥💥💥💥💥

HDHDHHDHD THANK YOU <333333

And oooh that’s a very valid struggle, cause the thing is, I used to struggle a lot with posing characters in a way that actually satisfied me, going for the stiff front look a lot dhdhhdhdh

But the thing is with art, is that it isn’t just lines on a page y’know? At least, I stopped treating my art as such, every time i draw an artwork i want the artwork to tell who sees it something, I treat every artwork as a story in of itself

Ok imma generally give you what I learned from my art journey so far, i’m gonna start with a more general advice and then get to how I choose poses for certain characters, and imma try to explain the best I can but I can be really bad with wording things so bear with me

Art can be difficult cause different art concepts are interconnected with each other, so sometimes you need to think of so many things just to be able to do something as simple as posing a character

Before we start tho, here are 2 tips:

-everything you know about anatomy? Throw it out the window, no i’m not joking I’m being completely serious

The reason many artists suffer with making dynamic poses is cause they think too much about anatomy, they think the anatomy should look correct and perfect, and no, anatomy is the biggest reason the pose you draw is going to be stiff, you need to forget “correct” anatomy if you want your poses to feel alive and dynamic

- practice gesture/figure art, IM ON MY KNEES I BEG YOU, cause it teaches you to let go of perfect anatomy and actually learn how to draw figures in motion (which is extremely important for fluid and dynamic poses!)

———

With that in mind, here are a few things i keep in mind when posing a character:

1- line of action

You hear these three damn words a lot yet no matter how much you research them you can never find a good explanation for what they mean (me after i researched this bullshit so much shbdhdhhs)

But simply put, think of the action line as the spine in a human, the more you bend it outta shape the more dynamic the pose is going to be

And it’s genuinely so important cause it can make a very simple pose such as a character standing doing nothing much more dynamic when you put line of action in mind

Even a very slight bend in the line can make the pose more natural/dynamic, because an action line dictates the movement of a character

So if you want to avoid a stiff pose? Avoid a straight action line (you gotta make that action line Queer af💅✨✨✨✨)

But here’s a mind fuckery, the tricky thing with action lines is that it’s better if you keep them in mind but not consciously think of them if that makes sense

You gotta understand them and implement them and practice them, but when you draw a character posing a certain way, thinking too much of the action line can actually make it difficult to maintain and in turn, makes your art stiff af too

Like you got to internalize this concept and to keep it in your subconscious rather than actually consciously think about it when you draw your artworks

Ok Anó, how the fuck do i do that? Start with practicing them consciously by actually drawing the action line and then the pose in art studies, and then level yourself up by practicing them by drawing characters posing a certain way WITHOUT putting an action line first, i’m sorry to say there’s no way around it, there are no short cuts

Here’s a helpful visual guide/summary of what i mean by the paragraph above cause words suck

(but sooner or later, what you learned gets burned into your muscle memory, and your hand would start doing all the work without you consciously thinking about it, then congrats!! Action lines are now part of your subconscious)

Ok but does that mean straight lines are bad/should never be used?? NO

I can never emphasize how important straight lines can be

One thing that’s beautiful in art is that there’s no such thing as “bad” or “wrong”, art is subjective, and something that’s perceived as “wrong” by one artist, can be right/ something implemented in another artist’s artstyle that makes it unique

In fact, straight action lines can be great to use depending on what you wish people to take/understand from your art (a simple example: a turn around reference sheet for a character tends to use straight lines, cause in a reference sheet you focus on clarity, and drawing with queer lines can cause that clarity to be thrown out the window)

But I especially love to use straight Action lines with Killer, I sometimes make him stiff as a fucking rock and it’s completely intentional on my part, cause i love to use stiff poses to enhance the uncomfortable/unnatural atmosphere Killer gives, or to further emphasize an already uncomfortable situation

So to summarize, if you wish your poses be more natural/dynamic and to avoid stiff poses, use queer Action lines, but straight lines are also great to use depending on what you want people to understand from your art

———

2- perspective (camera angle)

Variety is key!

What is the perspective you want to focus on? I know this seems like it doesn’t have anything to do with posing a character, but it does, (remember, art concepts are interconnected!) cause the perspective you decide to draw from can also influence the pose you decide to draw or vice versa, and help you make the pose more dynamic

Hell sometimes, perspective can do the poses justice even if they’re literally the most boring stiff poses you’ve ever drawn chchchhcch

Like are you going to draw the character from an upper perspective? Lower? Fish-eye? Third person? First person?

Is the perspective tilted? Is it normal?

What is the perspective you want and why did you choose it? What are you trying to tell the people who see your art?

Here are a few tips when it comes to perspective:

-More dynamic perspectives (upper/lower) are good for artworks that have tension in them, or have some sort of stakes going on (fights, horror, uncomfortable situations)

That of course doesn’t mean they can’t be used to simply make your artwork look cool :D

-choosing how many vanishing points there are (one,two or three points perspective) can also make your art tell a different story depending on the situation you’ve chosen them for

-and most importantly, when you draw a pose, foreshortening is going to happen to the body depending on the perspective!!

But my point is, I make sure i draw in variety, sometimes I draw the character from upper, lower, tilted or even a mix of all of them, all to enhance my poses to look more dynamic/natural

Ok Anó, got it, but what if I don’t care to include a crazy perspective and i want to draw in a normal perspective? Then how do i make my poses more dynamic?

That brings me to my next 2 points

———

3- camera shots

Same as perspective, there has to be variety!

Your art doesn’t always have to be full body, try to draw different shots, draw a headshot, draw closeup shots draw half bodies

If you go for different shots then you’ll be forced to think of different poses to fit such shots :D

———

4-bodies are like little toys, break them

One thing you can do to bring more variety to your poses is to have different body parts facing different directions, not all limbs have to face the same direction >:)

Generally the characters don’t have to face front! Try to mix it up and draw from the side or back

———

5-emotional weight and a story to tell

And this is where i’ll bring my point about treating my art as a story back

A really good way to actually put variety in your poses is to treat any sort of artwork/sketch you make as a story you’re trying to tell

Before you draw a character posing a certain way ask yourself, why is this character posing this way? What are/were they doing before that pose? Are they alone or are they reacting to something/someone?

Is there a point to them posing this way? (It’s ok if there’s no actual point to it! But the poses still would need to tell a story regardless)

Cause if you’re posing them reacting to another character (off screen for example), you pose them in a way that makes sense for their emotions of the other character right? (So if the character has negative feelings towards the other one then it makes more sense to draw them in a defensive stance or a fight or flight pose)

If you’re drawing them all alone then what are they doing alone, are they doing something important or is it their off time? If it’s their off time what are they doing for their off time? Do they like to spend it reading a book for example? What are they reading? Is it a horror novel that makes them scared? If yes then how do they deal with fear? Do they throw the book across the room or do they hide under a blanket?

Cause a pose also holds emotional weight, it shows you what emotions the character is exhibiting, it’s not just the expression of the character that tells you about their emotions, it’s their body language, and body language can be translated through poses

Let’s say they’re doing a peace sign pose for example, why are they doing it? Are they taking a picture with someone they love or are they doing it to annoy someone? Hell maybe they’re being forced to do it, and so they do it half heartedly maybe?

Get what I’m trying to say?

———

And now with all of the above in mind, time to get to the most important thing and the main point of this post

How do I choose poses for certain characters?

6- personality

who am I sketching? Cause each character is unique and each character is gonna act a certain way other characters won’t, and depending on the situation, the poses change too

Understand the character and how they act, try to analyze them and take in their quirks and behaviors, and before you draw a pose for them actually ask yourself, would this character EVER do this pose?

Like you say you fall in the peace sign trap right? Now think about a peace sign pose, but with Nightmare… it doesn’t make sense right? Cause the pose is an absolute striking contrast to Nightmare’s personality, like Nightmare would never do a peace sign till the day he dies, hell i’m sure if he’s forced to choose between death and doing a peace sign he’d choose death (it’s a lot more mercifull than the humiliation he’d feel making a peace sign hcchchch)

See what I’m getting at?

For example, I draw Nightmare with his hands behind his back a lot, but you won’t see me do the same with other characters often, not cause other characters would never put their hands behind their backs, but because it’s a quirk in Nightmare’s character, Nightmare TENDS to do that a lot, he acts so formal and royal like, and so i draw him do it a lot

But here’s the thing, if i draw other characters having their hands behind their backs like i do with Nightmare, i do it in a way that makes sense for them! An example is how i draw Nightmare and Dream with their hands behind their backs :D

But I also keep in mind Nightmare’s character, so whenever I pose him a certain way, I ask myself “would Nightmare actually stand/sit/lie down like that?” If the answer is yes, then I continue, if not then i change it to fit Nightmare

To further explain, I tend to think Nightmare is defensive in nature, so you’d see that I also pose him in a way that reflects that, with his hands crossed in front of his chest for example or generally his hands close to his body, sometimes hunched in on himself, I also think Nightmare is egotistical and self centric, but most importantly, he sees himself as an elegant King, and so I draw him crossing his legs or generally have him sit in such a formal manner or a hand on hip kinda pose etc

So when you draw a pose ask yourself if it fits the personality, mindset, and pattern of behavior for said character!

———

With all that being said, while it’s amazing to be able to do a variety of poses, I think it’s also important to keep in mind that art is supposed to be fun, take your time trying to learn, don’t overwork or frustrate yourself with learning new things, and it’s completely fine to not do poses that have meaning sometimes (do that peace sign to your heart’s content <333) it took me 10 whole years to get where i am today, and compared to many other artists my own progress is extremely slow, and it used to bother me cause I treated art like there was some sort of deadline above my head and that I should learn things in a timely manner (which is absolute bullshit), my point is, take your time with learning poses, even if it takes you years, the important thing is that you will get there eventually <33333

———

Finally, here is one art resource for poses that i think is really good/useful

Keep on creating and hope my endless ramble helps a lil chchchchchch <33333