#and as far as describing things I don't know how to say that other than...

[softerwider]

Response: I need help. I have to think deeply and I do not know anybody who will help me. It is uncomfortable to think, and especially so when one must make oneself vulnerable to do so. But here it is: I'm trying to be vulnerable and explain myself clearly; writing my thoughts. I'm reposting this here because it gave me hope. It gave me pause. It spoke to me deeply. It is kinky--but it really carried a level of introspection about the nexus of kink and shame and power and disgust and pain and pleasure and arousal. Paperfeedee laid a finger on how these all share in a close connection to one another. Her post describes perfectly the insane network of social signifying practices and intuitions that I have, and that I always imagine other people have. Not everybody as I am. I mean to say that this post of hers was, is, and shall continue to be enlightening. I have been a part of the feedist kink scene since some time in the early 2000's. Scary to think of myself wandering all over the internet like that. But anyway, even so, all this never once thought that I have internalized fat phobia. And, just like is described in Paperfeedee's post, there are elements of my kink that I am now realizing that I might have to disentangle from that fearful place. I caught a glimpse of what that might be like. There's a complex story about why my kink is closely tied to fat phobia, and maybe I'll get to speak it someday, but I have always wanted to gain weight. I've always considered myself a feeder switch, but I've had some v e r y intense sex dreams about being fed and fattened--none have been about feeding others. And yet, for as much as I enjoy overeating, indulging in fattening foods, and the idea becoming fatter and fatter, I've never been able to do so. I've blamed my bad (very efficient) metabolism; I've blamed my inability to buy enormous quantities of fast food on the regular; I've blamed my partner for being unwilling to be my feeder. I never looked to myself. Each of these things (enjoy overeating; love fattening food; want to be fat) is also tied in significant ways to formative, stressful, and traumatic times in my life. I won't get into them now. Suffice it to say that each thing, for as desirable as it is, is also overloaded with shame, discomfort, and is incredibly connected to my libido. Here is the nitty-gritty. I do not want to demonize anybody, least of all myself, for having the particular flavor of fetish that they do. I think that shame, discomfort, and arbitrary over-significance play crucial roles in the way that I experience sexual pleasure. Fear and helplessness is singed onto the texture of my jouissance. But what I think is most salient about Paperfeedee's post here is that it makes the case for the way that identification in phobia is sustained by the fascination it makes of the object of its fear. Identification is a process whereby a relationship between more than one thing and itself is defined, sustained, and elaborated. So, when I see someone in the store buying groceries and I notice how fat they are, that they have a lot of junk food, and my mind goes racing as it is wont to do about what an unrepentant glutton this person must be (etc.), I have participated in the process of identification. Phobia is a kind of identification that places the thing that is desirable at as far a distance from the self as possible. This distant relationship is a relationship nonetheless. The "Subconscious Hint" that Paperfeedee mentions here indicates precisely the way that this distance is a relationship, and one of the most intimate kind. My most intense sex dreams (or maybe just all my sex dreams) are about getting fat. Yet I'm afraid of what people will think if I get fat; frustrated that I can't do it; worried for the consequences; don't have the right body for it; etc. SO I think that I have been afraid of getting fat. I have neglected to examine the ways that my interest in feedism and fat fetishism have sustained these fears. I have never looked at the way that these fears could sustain the fetish.

I think that I have gleaned something about how the 'subconscious hint' leads to the inversion of the phobic dynamic in my personal case. I PROMISE that I will be thinking about this post for a very long time to come. I'm sorry if you are already tired of hearing me go on and on about this shit, because I am going to be on this for...ever? But to come back to the main point of this thread: I need help. I would like to use what I've learned here in order to examine the way that I sabotage my weight gain. I may try to gain weight, I may just allow myself to identify with the fear-object in a way that is emancipatory and also erases the fear from the relation. I can let someone else be afraid of my fat ass! I can hear that shitty fat-phobic comment that someone makes about how much I am eating and feel butterflies or go find a room and jerk off about it. I have become that which I rejected. I have embraced the part of myself that I shunned. I do not want to use my fetish as an excuse to sustain fat phobia. The point is that I will need help in thinking about this. (And also maybe tell me I'm looking fatter.) Thank you, and have a good night.

back when I was still thin and had yet to discover the whole "really into making myself unrecognizably fat" fetish, I still had like, a preoccupation with fat people that usually alternated between being super judgemental and being terrified that I'd get fat, which was like, definitely some kind of subconscious hint at like, man, I'm going to find out something crazy in a couple of years, but anyway

I distinctly remember grocery shopping with one of my friends in college, and seeing a woman who was pretty fat buying like, little debbie cakes and whatnot and just like, could not stop talking about it to my friend, could not let go of it, could not stop harping on "how does a person let themselves get that fat? how can you be that fat and not be trying to lose weight? how are you not embarrassed to be that fat and be seen buying those?" Even my friend had to ask like, what is your damage with this random woman?

anyway, obviously that wasn't cool of me and I've clearly gone on my own ✨️journey✨️ with confronting internalized fatphobia since then, but like knowing now that I have fully become that woman in the grocery store is like, part self actualization, probably part karmic retribution, and all like, getting to live a peak horny fantasy for me now, and I'm so here for it

(especially since my favorite grocery store is right next door to this really big, really nice gym, so it's just me and all the Lululemon wearin ass pilates baddies at the grocery store together)

[queer-ragnelle]

Understand is is a very weird question to get out the blue so no offence taken if this gets left in the inbox, but I was wondering how (if at all) to integrate transgender knights into arthurian retellings/adaptations ect while trying to keep it vaguely true to the medievalisms of the whole thing? I know its easy and liberating to just go 'fuck it everything queer' and its a totally valid way to go about it, but (as a trans person) I like having a narrative examine queerphobia and other structual issues with the setting - gives the whole thing a bit of meat (in my personal tastes). That being said, it feels like its a nightmare to try and have a transmasc knight stay stealth in this place! Everyone feels like theyre getting stipped and tended to after breaking a rib in a joust or merlin shows up and is a dick about pronouns and outs you to get you married to a Roman king. Stuff like that - things that feel a little easier to dodge when its a civillian character, not an ruling class.

Is this a 'kill the cop in your brain' kinda deal? As a queer storyteller yourself do you have any tips or strategies or tools you use to crowbar this kinda stuff a little easier together? Or do you know any stories/retellings/academic texts ect that cover these kinda things (even if its in a 'for the love of god, don't do that' way). Love the work you do for this fandom a lot, regardless of your answer! Hope you have a good day.

Hello anon! This is a great question.

Now let me preface this by saying I’m not transgender and I’m not a medievalist. There are plenty of trans medievalists on tumblr, but I’m not one of ‘em. So my answer is coming from a queer but cis author and enthusiast perspective. I'm going to provide lots of links to read things as well so everyone can draw their own conclusions from the material.

I think a large part of this does come down to “kill the cop in your head.” But at the same time, I’ve been exactly where you are wondering, “How can I make this story feel authentic to its era without torturing the trans characters?” Because you’re right, there’s a lot of nudity and close proximity interaction between knights in the medieval stories and Merlin is totally the type to be a dick about pronouns. I've also searched and struggled to find a medieval-set story that manages to incorporate queerness in a period-appropriate way (so far as we can guess) while balancing the narrative as to not tip into something deeply unpleasant for the target audience to read. (See: the series by Lavinia Collins, which has great queer rep, yay! But tons of horrors previously unseen and still unnecessary, boo!) So where does that leave us?

Well first I’m going to give you an example of how not to handle transness in an Arthurian story....

The book Once & Future and its sequel Sword in the Stars by Amy Rose Capetta and Cory McCarthy went with the phenomenon you already described as, “fuck it, everything queer.” It doesn't take place in the past, but does use the medieval stories as more than reference, it's not as divergent as something like Port Eternity by C. J. Cherryh, the reincarnated characters do interact with the past directly at times, so I'm using it as an example.

Anyway most characters are either gay (umbrella term) or trans. Except the way trans characters are treated sucks majorly (in my opinion). I completely lost faith in book 1 after the introduction of Lamorak, a gender fluid knight who uses they/them pronouns. Merlin misgenders them and gets corrected by Kay, to which Merlin does this whole self flagellation routine about. Lamorak is also disabled, missing their left hand. (Why isn't it Bedwyr? Anyway not the point...) Lamorak gets no dialogue here whatsoever, all agency is completely stripped from them regarding their disability and their gender identity. Double whammy.

This is worsened when Percival gets introduced, as Merlin then makes a point of asking for pronoun clarification in the most obnoxious way possible. To which Percival takes no offense at the weird slight against his sibling and tells Merlin his pronouns.

But what about the sequel? Surely these two queer authors improved with time.....

Is this a joke? Is this the best way they could indicate the inclusive realm of Avalon? Why not just describe the women as they are, all shapes and sizes, and let the reader figure it out? The authorial intent would be so obvious by this point. Instead they say it… like that. Gag.

It only gets worse when Mordred is born. Then they're weird about a literal infant.

What in the bio essentialism? If the characters have been living in a future that’s broken out of the gender binary, the baby’s genitals should be irrelevant. Gwen’s literally saying Mordred is going to fulfill the evil prophecy because he was born with a penis. Even if this is intended to be a teaching moment, I hate how it’s handled. These quotes are in order of appearance in the books, so after the subtextual implications of all that came before, this last part really doesn’t sit right with me. Sorry I find these books completely abhorrent. They've won awards, they’re beloved by many. Maybe it's me. But no thanks.

Honestly, so long as you're not blatantly offensive with your handling of such things, I think you'll be fine. It's important to remember that even if one is part of a demographic they're depicting, it's always a good idea to hire sensitivity readers and take that feedback seriously. Not everyone will love your work, there will be advice you don't utilize, with time you'll be able to weed out the bad faith feedback, (the "all depiction is glorification" crowd) and ignore it. But it's so important to open oneself up to constructive criticism so you can learn and your work can develop into the best possible version of itself.

Now let's get to some ways you can go about researching a way to do this that fits in your story. It’s important to remember that throughout human history, many people lived stealth their whole lives and we don’t know about them for that reason, not because no transgender folks ever lived authentically and happily in medieval times. So it’s never impossible to incorporate a trans character into a story who experiences no direct violence, even if the world they live in isn’t presented as a queer utopia. The other thing is that public opinion regarding queerness, cross dressing, etc have varied a lot over the centuries and were vastly different depending on location. Not every “woman” found in armor would have been treated as poorly as Joan of Arc. So there’s lots of wiggle room for interpretation when you go about writing these narratives. The majority of my examples deal with the ruling class so they address the concerns you mentioned with added scrutiny a noble would face if they were to experiment with gender presentation compared to a commoner. I’ll be spoiling the plots of everything on the list to make clear why I’m suggesting them.

My initial advice would be to read medieval literature with queer themes followed by essays on the subject. The best examples I know of are:

Yde et Olive

Transmasc knight (good ending). 12th century French romance. Yde’s mother Clarisse died giving birth to her & later when Yde reaches maturity, her father makes advances, so she disguises herself as a man & flees. Yde becomes a successful knight & is married to the king’s only daughter, Olive. When it comes time to consummate the marriage, Yde must confess the truth of his identity to Olive, who vows to keep it secret. This is overheard by the king who then attempts to uncover Yde’s identity but is stopped by an angel who chastises the king for harassing such a good vassal. Then Yde is transformed into a man, the king dies, & Yde is able to have a child with Olive. They name him Croissant as if it couldn’t get any more French than it already was. Anyway the story alternates pronouns for Yde given the situation which is pretty neat & in the end he gets to live his best life! Yay!

Le Roman de Silence

Transmasc knight (bad ending). A 13th century French romance about a baby girl named Silence. Silence is raised as a boy because King Eban won’t allow women to inherit property. Like many medieval romances, the hero's adventure is often punctuated with personified emotions (Dame Fortune, Lady Love, etc) but Silence is tormented by Nature & Nurture as he comes into adulthood. He becomes a knight & eventually takes on an "impossible" quest, to capture Merlin, which supposedly can only be done by a woman. Content warning for the ending, it does not go well for Silence. Merlin reveals his backstory, & he’s forced to take a feminized version of his name, live as a woman, & marry the king to keep his lands.

Wigalois by Wirnt von Grafenberg

A 13th century German romance that follows Gawain’s son, Wigalois [Gingalain], but this ain’t about him. There’s a character Marine who fights as a knight. She’s consistently referred to with she/her pronouns, but she’s renowned for her knightly virtues & fights alongside the men in the war. She’s treated very well narratively & dies in battle after apprehending a high-value hostage. Everyone mourns her & there’s a big funeral held in her honor. So even if Marine never presented herself as a man the way Yde or Silence do, she provides an example of a female thriving in a male role. Food for thought.

Parzival by Wolfram von Eschenbach

Another German banger from the 13th century. This one’s about a cis male knight but Parzival has transmasc vibes. Trust me. Here’s my favorite article about it called The Clothes Make The Man - Parzival Dressed & Undressed by Michael D. Amey that really illustrates what I mean.

After that, you can check out these retellings:

The Story of Silence by Alex Myers

I bought this but haven't read it yet. It’s a retelling about the aforementioned Le Roman de Silence. This book uses neutral they/them pronouns to refer to Silence, which I can say from experience sometimes causes confusion with readers, so it's good to study how this author did it & determine if that method feels right for you. (If you ever decide to do something like that with a character.)

Spear by Nicola Griffith + Spear's Author's Note

I enjoyed this one, beautiful prose. It didn’t feel like the most comprehensive Grail Quest retelling, but Peretur can be interpreted as a butch lesbian or transmasc, it’s ambiguous. She only uses masculine pronouns when stealth, otherwise using she/her, but it has a happy ending! It’s firmly set in the era & felt authentic on that front while letting the queer characters relax. Peretur isn’t alone. (A/G/L enjoyers keep winning + sapphic lady of the lake ftw + the other hotties Peretur pulled.) Definitely worth checking out.

The Bright Sword by Lev Grossman

This book just came out in 2024. Including it here is already a spoiler given the topic but I’m going to spoil fully from this point on so ignore this if that’s a problem. This is the best example I can give for your reading/writing tastes based on the ask; Dinadan is a trans man. His transness isn’t revealed in the main character Collum’s pov, but in Dinadan’s backstory pov, opening in his childhood. He & his twin brother were sent to different schools but young Dinadan would leave the girl’s school to practice knightly skills with the fay, which retroactively explains why he has a fairy sword that Collum was admiring. In exchange for this training, the fay ask that Dinadan slay Merlin. Which he agrees to while never believing he actually can, but the wrath of the fay in the afterlife is worth his ability to live as a knight. I love how it was all handled firstly because Dinadan has a fighting style that works for his smaller frame & because every knight has a different fighting style (Dagonet’s is “If it sucks hit da bricks.”) Dinadan doesn’t stick out like a sore thumb yet his physicality is accounted for. Secondly Dinadan explains the lengths he goes to in order to stay stealth from obvious ones like binding his breasts to pretending to shave his face every couple days & wearing a packer. Later on, Dinadan’s secrets are revealed when he goes swimming in the ocean with Palomides (who evidentially already knew) & Collum joins them. Collum had no idea, which I think brings up an interesting point about all of this which also reminds me of Gawain not recognizing that Beaumains was Gareth—the power of expectation. Just as Gawain expected to find a kitchen boy & would have no reason to assume his brother (who hit puberty since they last saw each other) would be stealth in the kitchens so therefore didn’t recognize him, Collum expects to find men as knights of the Round Table, so when Sir Dinadan is introduced, & Collum had heard of him before, Dinadan’s stature & high voice don’t register to Collum as anything but traits that this guy Dinadan happens to have. Learning Dinadan’s secret in the presence of another knight who already knows & is chill about it also encourages Collum to be accepting too. So giving Dinadan at least one ally in his corner throughout the story went a long way. In the end Merlin, who can only be killed by a man (which is why Nimue had to settle for sealing him away) is stabbed by Dinadan. So it’s like a reverse Silence/Éowyn situation that Dinadan’s gender is affirmed in his ability to kill Merlin. This book also includes the part from Le Morte d’Arthur where Dinadan’s forced to wear a dress, which in this context is very transphobic, but that’s the point. It’s made better when Dinadan gets to go insano style on Merlin so he gets payback. Just a heads up about that.

Some fantasy/scifi that’s not Arthurian but may help, as Arthuriana is largely fantasy to begin with, this may help you determine where on the spectrum your taste/writing falls regarding the bending of reality/history to fit your narrative.

Orlando: A Biography by Virginia Woolf

1928 novel about a character named Orlando living during the reign of Elizabeth I. Orlando is born male, then at some point in his early adulthood, falls into a deep sleep from which he awakens the exact same person, now metamorphosed to be female. Orlando, for her part, adopts this new role immediately & keeps on moving. She lives for 300 years as such & has many adventures, including an instance where she then presents as a man to elude marriage. Transitioned so she could cross dress in the other direction. She would’ve done numbers on tumblr. Ultimately, Orlando does marry… a gnc sea captain! The success of their marriage is attributed to their similarities in gender non-conformity. Even though this book only remains in the late medieval era for the opening, I think it’s a poignant example of a transgender individual living their life in their time & still getting to enjoy themselves without excessive suffering that may provide lots of inspiration.

The Left Hand of Darkness by Ursula K Le Guin

1970 Hugo & Nebula award winning novel. A fascinating examination of gender from the point of view of a cis man named Genly Ai having to reconcile his interpretation of the gender binary when confronted with a society who operates outside that. His travels with ambisexual Estravan challenges what Ai understands about the universe. His ignorance forms the backbone of the narrative as he grows close to a person from this other society. Even if it’s not a medieval setting, it may help you develop a narrative voice regarding this subject you’re able to bring to your work. Also it’s just really good.

The Privilege of the Sword by Ellen Kushner

2007 Locus award winner, Nebula & Gaylactic Spectrum nominee. High fantasy medieval setting. Katherine is a country girl brought to the big city Riverside by her uncle the Duke where she’s offered the opportunity to train as swordsman (ie cross dress) instead of political marriage. She’s unsure of the reasoning behind her uncle’s motivations for doing this, but goes along with it & kicks ass. A preview is available on Google books (linked).

The Realm of the Elderlings by Robin Hobb

This is my favorite series ever. It spans 16 books published between 1995-2017. The fandom on tumblr & ao3 is hugely active. (Avoid tags to dodge major spoilers or check it out for amazing art & many quotes!) The series has many gnc characters in a fantasy medieval setting. First & foremost, The Fool, who’s in all the books & whose gender ambiguity is mentioned book 1, to which he says, “None of your business.” The character ever. Without getting too specific, there are several trans characters including gender fluid characters who will alternate between masc/fem presentation & pronouns. This is my favorite example of gender fluid characters in any fantasy I’ve read, especially since there are several & each feels unique. In The Liveship Traders trilogy, Amber coaches another woman how to hide her period while pretending to be a ship’s boy by using a sock, so if anyone finds the blood on it, she can say she cut her foot. Little things like that really deepened the realism in an otherwise fantastical story for me, because addressing those details answers questions my overly analytical mind would ask & wonder about if unacknowledged.

Lastly I'd like to suggest the article Armour of an Alienating Identity by Jeffrey Jerome Cohen. While it doesn't mention Parzival (the text), it does mention Perceval (the character), as well as Gareth Beaumains, Lancelot, Gawain, Yvain, and even Arthur himself. It goes on to reference endless examples to support its thesis including Greek heroes such as Achilles and Odysseus with references to many different medieval stories from Old English Beowulf to the Irish Ulster cycle to the works of Geoffrey Chaucer. Most (if not all) of the texts mentioned in this essay can be found on my blog for cross reference if you desire, although the article already contains many quotes.

Okay I think that’s all I got. I’ve given you a ton to think about and read. Ultimately I don’t think there’s a clean cut answer for this. Nuance, you know? Having hired an editor and many sensitivity readers myself, it really is just a professional a vibe check sometimes. You write what you want to the best of your ability, then other people weigh in, and you keep tweaking it until it’s as good as you can possibly make it. During development, and even in its final form, there will be people who don’t enjoy your story and that’s fine. It isn’t for everyone, it’s for you and your audience. No single experience in this life is the same so each fictional depiction emulating life will also be unique, there’s no “right” answer on how to write this or anything else, only the way you want to.

Hopefully now you have some tools to help you learn how best to express your vision. I know they gave me a lot of insight and ideas I lacked before when writing trans characters in my books. Thank you for trusting me with this question and good luck with your project! Take care! :^)

[famouscyclenerd]

Mor's reactions to Az and Elain is explained in his BC

this is my opinion btw, nothing's been confirmed.

I've seen both sides use her reactions to "prove" that their ship is endgame in whatever way. We don't have her pov in any of the scenes however.

So as of right now, we don't know why Sarah chooses to highlight Mor's reactions whenever there is an interaction between Elain and Az in her presence, but I have my theories, and ya'll already know it's not going in e/riels favor, SO BUCKLE UP MY DUDES WE'RE GOING FOR A RIDE!👹

I think it's important to note that Azriel and Mor's relationship has been slightly... turbulent throughout all of the decades they've known each other. Don't get me wrong, it hasn't been absolutely unstable, but there is a huge lack of communication on both sides that's been in dire need of resolvement in order for them to have a good and healthy friendship.

Although Sarah hasn't confirmed it, moriel was supposed to be endgame. PERIOD! I still can't believe there are moriel deniers. Reading ACOMAF, moriel was the plan and that's a !fact! (TRUST, I was there when MAF realeased and the couples were feysand, elucien, nessian and moriel) and it became evident in ACOWAR that she changed her mind on them for unknown reasons.

So what do we know about them and their feelings for each other? In MAF Feyre noticed Azriel reactions towards Mor. I honestly find that so fucking funny when "Beautiful, but near-unreadable." and "His skin was as cold as his face." is how Feyre first describes his face, yet she clocks his feelings for Mor almost immediately.

"It was almost enough to distract me from noticing Azriel as those shadows lightened, and his gaze slid over Mor's body (...) A wisp of shadow curled around Azriel's ear, and his eyes snapped to mine. I schooled my face into bland innocence."

"Mor patted Azriel on the shoulder (...) The lurking shadow vanished entirely as Azriel's head dipped a bit (...)"

This was the very first scene where Feyre observed Mor and Az together.

"Yes - Azriel, who kept a step away, whose shadows trailed him and seemed to fade in her presence."

I find this interesting since some of you can say: "GOTCHA! His shadows vanishes around Mor like they do with Elain and moriel was supposed to be endgame in MAF" but I don't think this is good for the e/riels at all, as Sarah kept this going even after she decided that they weren't going to be together. This basically established e/riel to be moriel 2.0 and it didn't work out the first time, so why would it work a second time?

I find it interesting when Feyre, Rhys, Cassian and Azriel leaves to go see Elain and Nesta for the first time - Azriel decided to leave behind his shadows.

"(...) No shadows trailed us, as if he'd left them in Velaris."

Why? Because he didn't want to unsettle the sisters as they were there to convince them to work with them.

"Then I shifted to the right, grateful those shadows were nowhere to be found (...)"

"But Azriel's attention was on my sister, a polite, bland smile on his face. Her shoulders loosened a bit. I wondered if Rhys's spymaster often got his information through stone-cold manners as much as stealth and shadows."

How sweet! First meetings :D

To speed things up a bit, we have Mor finally telling Feyre more about their relationship. How she's aware he wants her, but doesn't see himself good enough to be with her.

“He might have defied and proved those Illyrian pricks wrong at every turn, but it won’t matter if Rhys makes him Prince of Velaris—he’ll see himself as a bastard-born nobody, and not good enough for anyone. Especially me.”

This is very crucial and something I'll circle back to later!

Then we have the cauldron scene that seemed to be what would finally make a change in their so far static relationship.

"Faster than any of us could see, Jurian fired a hidden ash bolt through Azriel's chest. Mor screamed."

"Mor was shaking - trying hard not to, but shaking as she stared at the protruding end of that arrow, visible between the gap in Azriel's wings."

"Jurian's sword was already out - and he was looking at Mor as if he was going to kill her first. Azriel's blood-drained face twisted with rage as he noticed that stare."

"Azriel cried out in pain. She froze."

"Mor looked at Azriel and there was real fear there. Fear - and something else. She didn't stop moving until she kneeled beside him and pressed a hand to his wound. Azriel hissed - but covered her bloody fingers with his own."

I've said this before and I'll say it again. If you know SJM terminology, you know what the "something else" means. This was the mating bond snapping into place for Mor. We were all waiting for it to be adressed in ACOWAR, but clearly that never happened.

As of WAR and FAS, Azriel's feelings for Mor doesn't waver. He continues to stare after her with longing, hunger, sadness whatever - even with Elain in the room fyi. But Mor's feelings for him has been changed irrevocably - as Sarah decides to sink the moriel ship once and for all by telling us Mor is not romantically interested in men, something Az is not aware of, as far as we know. And she continues to sleep with men, which makes him confused and hurt. Their relationship remains the same as it always has been.

So with this out of the way, let's take a look at Mor's reactions to e/riel!

"Azriel's hazel eyes churned as he studied my sister, her too-thin body. And without a word, he winnowed away. Mor watched the space where he'd been standing long after he was gone."

This is... an interesting reaction and something that Sarah obviously wants us to notice. So why is that?

"Az said nothing. No, he just moved toward her. Mor tensed beside me."

Ah, the lovely potato scene! As I was re-reading it, there really was nothing romantic about it whatsoever. Rhys explaining why, as this was more to highlight Azriel's ptsd than show any romantic indication between him and Elain.

However, Mor's reaction is certainly something to note on. She tenses as she watches them. And in here comes my reasoning as to why Az's POV is so important to her reactions. Because previously, we see Elain and Az together through other people's eyes, and it can come across as very sweet and innocent, ♫the start of something new♪ perhaps. But the BC really just threw any sliver of a chance for e/riel out the window, imho.

There was simply nothing sweet about Azriel's inner thoughts as he was interacting with her. His self worth is at an all time low around her, meaning it has most likely always been like that whenever they've been together.

He is so aware of his own flaws, his status, his looks etc and basically comparing himself to her. She is so flawless and good and he is this ugly monster.

"Az tried not to look at his scarred fingers as they took the gift."

"His shadows skittered back at the sound. They'd always been prone to vanish when she was around." ← as they do with Mor

"Letting his scarred fingers touch her immaculate skin."

"Wrong - it was so wrong."

"She looked up at him, her face so trusting and hopeful and open that he knew she had no idea that he had done unspeakable things that sullied his hands far beyond his scars."

"Such terrible things that it was a sacrilege for his fingers to touch her skin, tainting her with his presence."

"He hadn't gotten that far with his planning, certainly not beyond the fantasies he pleasured himself to." ← this is straight up diabolical💀

Although we have never gotten Az's POV when he's around Mor, I imagine it to be very similar in terms of how he views himself and them. And I think Mor understands this. When she looks at Elain and Az, she sees herself and him. And I think her heart breaks for him as she watched history repeat itself, likely knowing that there isn't much she can do but watch as he self destructs again and again.

As I mentioned, this makes me look at e/riels interactions differently when knowing how Az views himself around her. I believe this made every interaction between them, that could carry hints of potential romance, into something much darker than what it seemed like on the surface. And I think Mor sees this, as well as Rhys.

This kinda leads into a post I was planning on writing, but couldn't be bothered. But it was about Az and Rhys and how as of SF, the character that knows Az the best is Rhys. And we see Rhys shut down any e/riel interaction known to man. Feyre: "how handsome they could be together" and Rhys: "Azriel has been preoccupied with the same female for five hundred years" etc.

With the bonus chapter in mind, I have a headcanon that, like Feyre did to Lucien, Rhys used his daemati powers on Azriel and essentially read what we read, leading to him interrupting them as he (like many of us) did not view what was happening as something romantic. If you read on a surface-level, what Rhys did could appear mean, but to me, he did this because he cares for his brother and that particular kiss would not make Azriel feel better about himself. At all!

"What of Mor, Az?" Azriel ignored the question." ← He is not completely over her, even in SF.

If my headcanon is true (which we might never even find out) I just have to point out that Feyre found no ill will when it came to Lucien's regard for Elain, only concern, sorrow, longing etc. Compared with Rhys and Az, where good intentions was not on the table, but simply lust and self-hatred on Azriel's end at least.

I'm not sure why Sarah decided to toy around with e/riel except because Azriel was suddenly available after she decided to ditch moriel, but I do believe that they've turned into nothing but a red herring for gwynriel and elucien. And it worked, a little too well maybe.

See I could pull in my girl Gwyn and her scene with Azriel to compare and show the contrast of it, but I'm not going to..

"The young priestess smiled - and he thought it might have been directed at his curious shadows."

This is already... so different to what we've seen with the other two.

"He blocked out the bloody memory that flashed, so at odds with the Gwyn he saw before him now."

He thinks about her and how far she's come compared to when they first met.

"Her breath curled in front of her mouth, and one of his shadows darted out to dance with it before twirling back to him. Like it heard some silent music."

"He blinked. It wasn't every day that people took him by surprise, but..."

This is just cute c:

"Azriel couldn't help his soft chuckle."

"(...) rubbing his hands against the cold, grateful for its bracing bite and the distraction of this impromptu lesson."

He is aware of his hands and not thinking about how "ugly" they are when she is around him. He is also happy about this surprising lesson, not at all interested in being alone to mope anymore.

"Azriel laughed."

"(...) something restless settling in him. Even his shadows had calmed. As if content to lounge on his shoulders and watch."

You already know. But Az was in a shitty mood right before this, and it did not take much of Gwyn to calm him down, leading him to feel slightly better about himself and even feeling like he could get some sleep after all.

Compared to both Mor and Elain, his shadows are present and interacting with her and she's paying attention to them as well. Which is a first. And let's not forget the ✨spark✨

Which of these three ladies is better for Azriel? Mor and Elain are basically the same for him, himself and his shadows reacts more or less the same around them. Or Gwyn, which read in a lot more positive note than the previous two?

I think Sarah knows at least🤷‍♀️

[aidansplaguewind]

Hi @andreabaideas ! We don't know each other but I follow @mzannthropy and I just wanted to say I agree with everything you said about expressing one's opinions and not caring what others think of it. And yes, especially women. I'm a very opinionated woman and as a result I've been called so many awful things by men. I just don't understand why they can't handle us having a voice. I don't understand what's going on in the US right now and why men are so offended by women in power. I mean, don't get me wrong, I can explain it in ways like they're deeply insecure and their masculinity is incredibly fragile, and they're afraid women no longer need men for anything (including sex) and that, especially, terrifies them. But even knowing all of that, I still just don't understand it. So what if a woman doesn't need you, isn't it enough that one WANTS you? But I think the problem lies there. It means they actually have to TRY to get a woman to want them because the days of women having to get married to survive are mostly gone. And now they have to try to be better people, they have to try to hold an intelligent conversation, they have to try to have varied interests and hobbies etc. And frankly I think most men are lazy when you look at that way and they don't want to put forth the effort to earn our interest and desire.

Anywho...

@mzannthropy I think we discussed this before, about how when I first got into Sam earlier this year I noticed immediately that there was a lot of appreciation and attention on his roles on The Hunger Games, Daisy Jones, and ME Before You. I'm wondering though if these are, in fact, people that I would consider fairweather fans. Not used by exact definition but its the closest I can think of to describe it. It's people who only like a celebrity for like one or two roles and are more in love with the character than the actor. Usually those fans don't stick around once the fixation on said character wears off.

I admit, I'm not as huge a fan of Sam as you or @jesstasticvoyage are, because my heart will always belong to Aidan Gillen, but I do consider myself a genuine fan. I just enjoy watching Sam work. He's extremely talented, unbelievably so. I will also admit that he's a far better actor than Aidan. I can't really put into words what he brings to the screen. A passion for what he does, obviously, but more than that. He's simply fantastic. One of my favorite performances of his is Oswald Mosley in Peaky Blinders. He's despicable but Sam is such a pleasure to watch in that performance. As good looking as he is, he did so well, I still hated his guts as Oswald.

Billy Dunne is also a favorite, even though I know you have a lot of not great opinions on DJATS. I didn't read the book so I have nothing to compare it to, so I did enjoy it very much. I was just baffled at what all he did to achieve that performance. The weight loss, yes, and learning to play an instrument, learning to SING well, recording an entire album. That's dedication. And when he's on screen I 100% believe he is Billy Dunne.

I also really liked him in Their Finest. Devastated by the ending but I loved watching it. His performance in The Corrupted is notable as well because that character just seems so not like real life Sam but he pulled it off completely.

Anyway, I'm getting off my point, which was that I personally think if you only like an actor in one role, you can't really say you're a REAL fan of that actor. A fan of the character, sure, but how can one be a fan of the actor if they only like them in one thing? Or even just two things? Especially if you look at the characters in question. They're these McDreamy type characters written and cast to get the attention of young women and teenage girls. I don't want to sound like a gatekeeper but if you only like one role then you're a fan of the character.

Omg, I just made this post so long. Imma shut up now. I really do have too many opinions sometimes 😅

Sam Claflin and Holliday Grainger in ‘Any Human Heart’ (2010)  

[meownotgood]

what are the tips you can give out to the first time writers when it comes to description, proper wording or just writing in general?

I'm flattered you'd ask me for tips but... I'm not the best with giving advice like this.... so I think the best tip I can give you for writing is to just write what you like, and what you enjoy writing. don't force yourself to make anything you don't want to make, and don't worry about whether or not your writing is good or whether or not people will like it. write something that you will want to read. then, when you go back and read it, you'll be able to see how you can improve for next time!!!

[serial-unaliver]

there was a tiktok I made a while ago basically saying "your abusive ex boyfriend is more likely a misogynist than a narcissist" and while most people agreed some said I was victim blaming(?) and that I couldn't know what their ex is like, and while obviously I don't, every fucking person describing their narcissistic ex is describing a typical misogynist. ask yourself, is this behavior you associate with narcissism directed at women or does he treat his male friends the same way? is his general functioning in life impaired?

many people don't seem to know this, but a mental disorder is NOT based on symptoms alone, it's based on how much the symptoms actually impair you in daily life. most people could look at a list of mental disorder symptoms and identify either themselves or someone else with them. as far as a narcissistic personality, we all know people who appear more self absorbed than others, but this is typically subclinical narcissism (presence of narcissistic traits without significant impairment of functioning) which is not a disorder. there is also a misunderstanding of what npd is. a narcissist is not a supervillain invincible to emotion. npd is a defensive reaction to trauma that lead to deep insecurity and fear of being seen as weak or vulnerable. so narcissists aren't actually "in love with themselves" at all and often are diagnosed when seeking help for other issues such as substance abuse resulting from their struggles.

this focus a lot of abused women in online pop psychology have on narcissism is particularly concerning because it completely glosses over misogyny which is literally a huge factor in violence against women. people really only know misogyny as a surface level thing. they don't know it can lead to family annihilation, for example, and is one reason most family annihilations are committed by the husband. it's always "this man is a sociopath" "this man is a narcissist" when the man's behavior is driven by ideology. I am so fucking tired of everything being tied to mental illness and left at that. you know what this leads to? courts "fixing" abusive men by...giving them anger management therapy. guess what? it doesn't fucking do anything because the problem isn't mental instability leading to anger, it's targeted, purposeful abuse. we are getting nowhere

[babycharmander]

(BOOK OF BILL SPOILERS)

I just finished reading The Book of Bill and I am kindof losing my mind over some of this stuff.

I had wondered if Alex Hirsch might make Bill sympathetic in some way and oh boy I was not expecting him to do it so successfully (and without cheapening Bill's character).

So, we learn that Bill was born into a 2D world... as a mutant who can see into the third dimension. He claims he was absolutely loved by all, but when talking about his powers, he mentions under Pyrokinesis:

"Cipher, Cipher, he's insane / Starting fires with his brain." The kids in grade school could be so cruel. But where are they now, huh? WHERE ARE THEY NOW?

So probably not quite as liked as he was letting on. To add to that, there's the silly straw page, which looks like silly nonsense until you decipher some of the codes:

"EYE DOCTOR OF A DIFFERENT KIND / WHO WANTS TO MAKE HIS PATIENTS BLIND" "THE DOCTOR SAYS / THREE SIPS A DAY / WILL MAKE THE VISIONS / GO AWAY"

I wasn't sure what this meant until I saw someone point out... he was seeing a third dimension that no one else could see. His parents probably took him to the eye doctor to try to "fix" him. Which, speaking of his eye doctor, the coded message in the section about human eyeballs says something interesting:

"MY OPTOMETRIST NEVER SAW IT COMING"

It could be a joke given beforehand he's talking about dissecting a human eye, but given the previous hints of medical abuse, I wouldn't put it past him that he tried to get revenge on his eye doctor.

Oh yeah and the whole thing about him setting his entire dimension on fire? Yeah it turns out it was entirely a mistake (he just wanted everyone to understand the third dimension he was seeing so they could be free of only two dimensions), he was so traumatized by it he blacks out when trying to recall it. He deeply, deeply regrets it, and...

"What? Your ENTIRE home dimension? destroyed? How? By what?" Bill looked distant, more distant than I'd ever seen him. "By a monster."

He sees himself as a monster.

And yet, he's not some innocent, misunderstood being. He still revels in causing pain and chaos. He's terrible in general, but becomes incredibly abusive toward Ford.

"YOU'RE MY PROPERTY. DON'T FORGET IT. The hillbilly abandoned you, your father won't want you returning without millions, you have no friends, and if you died out here in the snow, who would even miss you?"

Which... speaking of him and Ford...

Yes, yes, I know people ship them. But like, whether you see their relationship as romantic or platonic (I see it as the latter), there's some interesting parallels to be made here.

Both Bill and Ford are mutants who were mocked for their being different. (Bill was not physically a mutant, as far as we know, but more in the sense of him having vision stronger than that of everyone else in his dimension, and also having special powers. And he does describe himself as a mutant.) Both became social outcasts, separated from their families but still haunted by them (Ford seeing commercials of Stan on TV and running across old photos of him and his brother, Bill being haunted by his family in some form). Neither could return home for one reason or another. Both more powerful than their peers (Ford intellectually, Bill in terms of actual powers). Both of them isolated and alone. (Yes, Bill does have the Henchmaniacs, but they seem like shallow friends, and only really seem to follow him out of a desire to have a place to party.)

Ford was not aware of most of this, aside from knowing that Bill could not go home because his dimension was destroyed. But Bill absolutely saw himself in Ford. There was no other person he tried to use whom he felt a stronger connection to.

And he actually seems to care about Ford--he actually gave him a birthday present, and when Ford didn't like it, he decided to get drunk and party with him instead to make up for it.

And then when Ford realizes what Bill's plan actually is and refuses to go along with it, and fights back no matter what Bill does, Bill completely breaks down.

After living for trillions of years, he met someone who was like him, and that person rejected him.

He goes berserk, wreaking havoc, being caught by the dimensional authority that he's been taunting for most of his life.

And then after dying and being cast out of hell for being too annoying, he winds up faced with the Axolotl, who sends him to therapy, where he continues to break down further, sending out the book in a desperate attempt to find someone, anyone who will help him break loose and wreak havoc once again.

"You have no friends, and if you died ... who would even miss you?"

I don't know, Bill. Who would even miss you?

In short,

[ID: The front and back of one of Bill's Valentines cards. On the front is a black void with Bill Cipher lying down without his hat, gazing blankly upwards, with the text "I DON'T WANT TO DIE ALONE" above him. On the back is a simple white "TO/FROM" in red, with a red outline illustration of Bill spontaneously growing a mouth and eating a realistic, bloody heart. /end ID]

[alexanderwales]

"I don't think I could have the relationship with you that you have with me," she said. She was very casual about it, and I was immediately on the defensive.

"What do you mean by that?" I asked.

She put the book she'd been reading down. "It's just, the way you've described it, and the vibe that I get, I don't think I could do it how you do it."

"I still don't know what that means," I said.

"You're always doing this like ... micro calculation thing," she said. "You weigh your words. You try to time things. You have never once called me up while I was at work, or asked me for something when it was inconvenient for me, and you check and double check that you're not being a nuisance."

"And ... that's bad?" I asked.

"No, I love that about you," she said. "It's very kind and considerate. I know that if I tell you I'm not in the mood to hang out, you'll apologize and not push it. If you suggest that we get pizza and I say I'd rather have Korean BBQ, you fold instantly and we get Korean BBQ. I like that. I get the things I want. But it seems like an exhausting way to deal with people."

"I want you to be happy," I said with a small voice.

"I am happy," she replied. "You're great. You remember when we first got together I was like 'hey, look, if you want pizza, we can get pizza, it's just not what I'm in the mood for', and you kept insisting that you didn't care, that you would rather have me follow my needs? And I just thought, 'you know, maybe I should just trust that's what they actually feel'. And it is, as far as I can tell. There's not some secret part of you that wants me to break your way."

"You think I'm ... a simpering coward?" I asked. Even as I said it, it felt too accusatory, the wrong thing to say in the situation.

"Whoa, no, not at all," she laughed. "I think you do all that stuff because ... I don't know, you want to? Because otherwise why would you do it? It's how you are with every aspect of your life, you're a tryhard. I mean you said to me that you wanted to reclaim the term. Your relationship with me is that you're a tryhard (affectionate)."

"And you're ... not?" I asked.

"I'm not that way with anyone," she replied. "You know why I hang out with you so much? It's 'cause I like you. Most days, I am very much in the mood for you, and if you ask for a meetup, I'll say yes, and if you don't ask for one, then I'll ask you first. And for you ..."

"What?" I asked.

"It's like ... you're keeping track," she said. "You want to make sure that you're not sending me more messages than I'm sending you. You're balancing social micro stuff that I don't pay attention to. You're consciously monitoring how much each of us has said and making sure it's the right number of words or whatever."

"It's really not about the number of words," I replied. "It's more ... making sure that social and emotional labor is equitable, that there's a good rhythm to the conversation. I don't think you'd get good results by tracking word count."

"But see, I don't do any of that," she said. "I talk because I feel like talking. I listen when you need to vent because I like you and it feels good to give you an outlet. I mean you are undoubtedly putting in a bunch of work, and for me, there's no work. That's all I meant, really."

"You've thought about it," I said.

"Oh, I'm just reading this book, and there are two characters like us in it, and I was like 'yes, exactly', and then 'that would not work for me'." She shrugged.

"And if I stopped 'putting in the work'?" I asked. "Would we still be ... friends?"

"See, I don't know," she said. "Because that's never who you've been. You're asking me if I would still be friends with you if you changed your personality and how we interact with each other. Maybe? Probably? Who knows? Maybe we'd be better friends somehow. Maybe we're just two basically compatible people, and every time you've ever worried about anything it would actually have been completely fine."

"Or maybe it's load-bearing," I said.

"Maybe!" she replied with a smile that slowly faded. "You okay?"

"I'm thinking," I said. I didn't know if I could verbalize what I was thinking in a way that would be palatable.

"Do you not like being this way with me?" she asked. "Because I have never asked you to. I've made my preferences known, but if you've been bending yourself into knots and feeling a burden, then ..."

"No," I said, because I knew it was what she wanted to hear. "No, I like the way things are between us."

"Good," she smiled. "I do too."

[alexiroflife]

Hello! May I request an angsty toji fic where reader finds out she's pregnant (post megumi) and she knows toji doesn't want anymore children so she just kinda leaves with little to no explanation? Maybe just a small note saying things aren't working out. It's up to you if it will be a hurt/comfort. Idk you don't have to do this request I don't want to overload you! I seriously love your writing. The way you right the character just warms my heart. I especially love ur hiding an Injury fic it was SO SO SO GOOD. 🩶🤍🖤

“promise”

toji fushiguro x reader

Synopsis: see above

to sum it up: you think it’s better to run away than to be the one to get hurt

WC: 5,668

Warning(s): angst, suggestive themes, yelling, pregnancy, mentions of abortion

You stare down at the plastic tube clutched in your trembling hands in awe, eyes blown with shocked grief as you peer closer to get a better look, as though those two bright pink lines could have been a trick of your vision.

Unfortunately, however, your vision remains just as crystal clear as it always has been. As you stand in your cramped apartment bathroom, illuminated by a flickering fluorescent gaze shining down from above, horror befalls you.

You’re pregnant.

You should have known sooner when you began feeling queasy every morning, taking trips to either your or Toji’s toilet to hurl out the contents of whatever swam inside your stomach. You always tried to be silent if Toji was around, for he slept like a dog that could not be woken even if a meteor struck earth, and you had been remarkably exhausted. You aren’t even sure if there is a word to describe how sluggish your entire mind and body had been feeling, but you wanted to rule out the very obvious answer to your problems before exploring it.

You begin to panic, your heart pounding in your ears and throat and every inch of your body you could feel the pulse, eyes blurry over the positive test. You’re conflicted. You don’t know how to feel. On the one hand, you would have been jumping for joy to learn that you are starting a new life with your boyfriend, to step into a new chapter of your lives and to provide his children with another sibling.

But hell, the celebration is far too naive and implausible to be had. The sage eyed man has told you time and time again that he does not wish to have anymore kids, that the ones he has are enough and he is not equipped financially or mentally to care for another brat. In honor of those wishes, you’re on the pill, and consequently, Toji has taken the opportunity to plow his load inside of you time after time after time.

And you really, truly should have known that with Toji’s uniquely abled body, what was meant to serve as a barrier and a means of contraception did not work.

You feel like throwing up. What would Toji say? What would he do? What are you supposed to do? Should you tell him, fill him in on what’s going on to risk rejection and abandonment, a nasty habit that Toji had to work to rid himself of when he met you? Would he even care? Would he listen?

You know Toji to be a very tough man, despite the softened interior he attempts to hide in others’ company that is only displayed for you and for his kids. If he has always been adamant about one thing, it’s been to never have kids again, to focus on where he fucked up before and to pour his attention into the little family he’s grown, the one that he has now.

His voice echoes through your head like the gong of a church bell striking upon the ear’s of a sinner.

“Hell, I already got my hands full tryna get Megumi through his teenage years. What the hell is another child gonna do for us?”

“That shit’s fuckin’ expensive. Not to mention, I’d have to baby proof the house again. That’s another expense.”

“If I was capable of givin’ you y’er own, I would, doll. But I ain’t cut out for it. You know that.”

You don’t even know why he would stress the matter so often. You suppose he’s caught the way your eyes linger on a mother tossing their giggling baby up and down into the air, innocent pools of joy beaming down at her each time it reaches the air and lands in her secure hold. Or maybe he’s seen the way you care so deeply for Toji’s kids as though they are your own, despite telling you when you first got involved with each other that he did not expect you to step into their lives in anyway - and yet, you have done that and more. You know how the kids must struggle each day with the trauma of losing their mother so early on, and you never wanted them to think that you were trying to step in as her replacement, but you love them so clearly, as much as you love the man who created them.

Which leads you to your next concern. How would the kids react?

It’s one thing for you, as their father’s girlfriend, to wander into their lives and help navigate them their teenage hood alongside the dark haired man, but to introduce an entire other child only leaves a sour taste in your mouth.

They may be crushed. They me turn to hate you, to despise how you have contaminated the life they have worked so hard to rebuild after numerous tragedies. And would Toji agree with them? Would he turn his nose up to you, that scowl of his melting over his harsh features as he shuns you just as he shunned every other woman who came after his wife and before you. Would he leave you? Would he kick you out of the world that has become your own because you failed to live up to your promise, though it technically isn’t your fault that you are pregnant now but it feels as though it is?

You can not stand the thought, of the man you love turning his once loving gaze stone upon the sight of you, of him pushing you further away, permanently, in the same manner that he tried to when he realized that he was falling in love with you, of watching Megumi and Tsumiki turn their backs to you as though the past four years of your lives had never happened, banning you from their acceptance forever more.

Tears well in your gaze, interfering with your vision. This can not be happening, you think to yourself, everything has been going so well, and now this? This is going to ruin your relationship with Toji for good. Even if you were not in a committed relationship with him, you assume that the idea of any woman getting impregnated by Toji would have been thrown away. You would be thrown away, just like all the others who gave Toji their bodies but not their hearts.

Not the way you have.

Your heart clenches thinking of just how much you love Toji and the kids, of how you would be willing to lay down your own life for the sake of them as Toji swears that he would for you all in return. Even so, despite the commitment to you that a man who swore never to be committed to accustomed, this would be going too far.

…You’re not even sure if he would love you anymore.

Now that you’re pregnant with his child, a child he never meant to have with you, you assume you will mean nothing to him any longer. In his eyes, you will simply become the slut that he took a chance on by a whim, carrying something he would never call his own. You believe the old Toji will resurface, the one who claimed not to care, the one who shoved women out of his bedroom before the sun rose in the sky, the one who often failed to remember to pick his kids up from school, the one who would no longer meet you at eye level but look down upon you, frown upon you for being so clumsy.

You know Toji is the one who did this, but this still feels like it is your doing. Like somehow, you trapped him and he now has no choice but to break free from the steel cage you have barred around him with your conception.

Your fingers clutch over the plastic, your eyes scrunching closed to release a fresh set of tears that cascade over your cheeks and onto the test. You can feel yourself mourning your relationship already, you can feel it slipping through your fingers, see it fading in the distance until it becomes nothing but a bittersweet memory that you can not determine as reality or a figment of your imagination any longer.

You tilt your head, bringing the test to your forehead as you think, grieve, cry. You mull over your options; you could hide this from Toji, get an abortion and never think of it again or you could tell Toji and lose him forever.

You open your bleary eyes, lashes decked with dewy tears, as another idea dawns upon you. You could leave, leave before Toji and the kids have a chance to leave you.

It’s a cruel thought, you think, especially abandoning those children without any proper explanation for them, but what else are you meant to do? You’d be doing them all a favor if anything by taking your leave without them having to be plagued by the knowledge of your unplanned pregnancy, of what they may view as a scheme to destroy their family in your new baby’s wake.

The thought kills you to even entertain. You had promised those kids that you weren’t going anywhere, that you’d stay with them for as long as they allowed you… but this is different. This is not what any of you had in your cards, how you believed your futures to go. Toji wants simplicity at home while he works through chaos through his occupation. He wants security, warmth, safety for you, Megumi, Tsumiki, and no one else. He would never welcome another child. You believe he’d be caught dead before approving of your pregnancy.

And therefore, you know what you have to do.

After taking a few more tests to ensure that the readings are accurate, which they are, you pledge to walk away. You pledge to leave the only man you’ve ever truly loved, the strongest family you’ve known, and the slim possibility that despite Toji’s wishes, he may accept you.

But you don’t want to take that chance and risk the humiliation and unplanned heartbreak. You’d much rather take matters into your own hands, and plan the shattering of your soul yourself.

You don’t sleep all night, for you’re too busy drafting about twenty different letters to Toji. Crumpled loosleaf paper litters the floor beside your bed as you try to think of how to best write down everything you want to say. You go through pages and pages until you are finally satisfied with the result, and the next morning, you slip the envelope into his mail slot and prepare to pack your life away.

It is late Sunday morning when Toji rises from his slumber. The first thing he does is lean over the sheets and drape his arm toward his nightstand to read your daily good morning text - only he finds there isn’t one. With pinched brows, he takes his phone to unlock it and visit your contact. Nothing.

The time reads 12:35 pm. Normally, you’re up and at it or even banging down his door by then to wake him. Maybe you’re just sleeping in?

He goes to give your cell a call, but nothing. Not only that, but your phone is also on do not disturb mode. His gut immediately swells with the suspicion that something is wrong. The dark haired assassin supposes he’s going to pay you a visit this afternoon as soon as he checks on the kids to ensure that they are alright.

His bedroom door opens with a creak, and he calls out to the teens gruffly through a yawn. When they don’t respond, he’s truly growing concerned.

He rounds the corner to prepare to head for their rooms when he finds Tsumiki and Megumi at the dining table. His brows furrow, his pace slowing as he takes in their faces. Tsumiki’s lips are pressed together tightly and the muscles in her face are scrunched as though she is about to cry, while Megumi stares ahead with empty eyes and a hardened exterior.

Toji frowns with quirked brows, approaching his kids. “What’s wrong with you two?”

His brunette daughter looks up at him with glassy eyes and wrinkled chin, lashes fluttering while Megumi does not bother to look at his father. Instead, he brings Toji’s attention to a torn envelope and a thick packet of papers pressed beneath the sixteen year old’s palm. Wordlessly, Megumi slides it toward him, brows slanting.

Toji, perplexed, looks between the papers and his children’s troubled faces. What is this letter? Overdue taxes? An eviction notice? That can’t be possible, because you had ensured that Toji and the kids’ place was secure long ago.

He crunches the papers in his hands and picks them up to read. The first thing that catches his eye is your scribbling handwriting, and the following words that send his heart plummeting to his ass:

This isn’t working out.

Toji whips his head up, baffled, and when he meets Megumi’s gaze again, his eyes are ablaze with resentment.

“What the hell did you do?” he growls.

The green eyed man is not even thinking before he’s dialing Shiu’s number, asking him to watch the kids for the next hour or so, and running out of the apartment after throwing rather unconvincing words of assurance over his shoulder to his kids, who are still with disbelief - Tsumiki with devastation and Megumi with rage, for surely his father pushed you away.

Toji does not bother finding a ride, electing to run to your place which is only a few blocks away. You two were just discussing moving in with one another, combining households, and this is what you spring onto him? Not even for him to stumble across first, but his kids who look up to you and love you like their own mother?

Oh, he’s fuming, a rush of emotions taking over his mind as it fuels his speed. The letter you wrote is still crunched in his fist, whipping through the air as he makes his way to you.

Dear Toji,

This is not working out.

But before you rampage and get angry with me, please let me explain. Let me explain how much I love you, how much those kids mean to me, and how every day I wake up I want to be greeted by all of your smiling faces. For the rest of time, forever. You are undoubtedly the only man for me, and I truly believe that. I know you may think I’m bullshitting because of how the beginning of this letter contradicts what im saying now, but it’s true. I have never loved another person the way I love you, and while it scared me at first when you were so stubborn and full of anger that you misdirected onto me, I stayed and I waited and I helped you and I’ve loved you through every single moment, ever week, every month, and every year. You brought purpose back into my life, and I can picture you scoffing because you’d say the same, but I mean it. You, Tsumiki, and Megumi are the best things that have ever happened to me. I love you all so much.

But in this case, that love is not enough.

I hate to be doing this to you, to the kids, but I have no other choice. Things aren’t going the way they used to, and it’s not your fault but mine. I’m the reason. And it is tearing me apart to know that and simultaneously know what I have to do in order to keep you and the kids happy. Stable. I wish I could explain to you more why I am doing this, but I can’t. Not just because I am dying to picture you reading this, but because I truly can not say. I do not want to ruin you guys’ image of me. While I think that’s a selfish thing to say because who knows how me leaving is going to hurt you all, you would not understand even if you knew the reason behind this.

By the time you are done reading this, I will be gone. I’m going away because as long as I am not with you all, I can’t stay here anymore. I am staying with my mother while I get my travel plans arranged, because I know how you worry when you do not know where I am or if im safe. I should be gone by Friday.

Please do not come see me. I have made my decision, and you will only be hurting us more by trying to stop me. I won’t be stopped.

Kiss and hug and apologize to Megumi and Tsumiki for me. I hope you find someone who fills the role of their mother, someone who knows how Megumi likes to do his homework in the silence of his room with no music or anything, completely isolated so he can focus. Someone who knows how to fix Tsumiki’s eggs properly - to add extra butter to the sides when you fry them so the edges get crispier. Someone who won’t try to feed Gumi’a demidogs because he hates when people assume they can coddle up to them upon first introduction. Someone who cares for the wholly the way I do and always will.

And you. I know how stubborn you are. I know how angry you probably are at me right now, and I will miss that about you, but please do not let that interfere with the possibility of falling in love again. Beneath the layers of grit, standoffishness, and indifference, you are a man with a big heart. For me. For your kids. For those you love and seek to protect.

You say you aren’t a good man, and while that may be true to you, you are an amazing partner and you’ve already become an amazing parent. I’ve seen you grow, and I am so in love with you and so proud of you. I know you’ll be okay without me. It maybe take some time, but you’ll adjust to what’s best. I promise.

With all the love that could possibly be harbored in this world, you are everything to me and that is why I have to go. I wish you every happiness this planet can offer you, and I know that without me, you can begin to find joy again.

Love,

Your doll

You had believed to time this perfectly, for you know that Toji usually does not wake until one, so soon as you are finishing up packing, you are trudging down the stairs to the leasing office to inform them that you will be moving.

You push open the door to the first floor, the breeze hitting you gently, and you round the corner only to be blocked by the last person you wanted to run into during this time.

Your eyes widen as you look up, the burly figure you have grown oh so familiar with over the years heaving as though enraged, ivy eyes crowding over slim pupils as Toji glares down at you, an image of indescribable fury.

Your heart drops and your words die in your throat. “T-Toji?” you whisper, horrified of an outburst. You are rattled by fear, having been so unprepared to walk into this. You did not put it past him to chase you down. But you figured that you’d be at your parents by the time he woke. Then, you could have at least told them to tell him off at the door.

But no. Instead, here he is, six feet and then some of bulking mass as he takes quick, deep breaths that expand the entirety of his chest.

You shift. “What are you doing here-“

“What the fuck is this?”

Toji swiftly, yet aggressively, lifts the papers in his hands, now damaged by his travels and his grip, shaking it firmly with the question. You gulp, lowering your eyes.

“Toji, I told you not to come…”

“Don’t you fucking dare,” he swears firmly, and you jump, looking to see if anyone is around to hear you, as the two of you are standing outside your complex.

“We shouldn’t be- let’s just go inside,” you go to grab his arm, but he tears it away. He stares at you as though you have burned him, singed the heart in his chest from the inside out, and he is so unforgiving. So unforgiving before he hears directly from your mouth what this is about.

“I’m not doin’ shit until you tell me what the fuck this is, (Y/n),” he demands, his hand moving the papers about passionately with his speech, and you feel your heart hammering again. This is not how things were supposed to go. You are not supposed to be seeing him right now. “Cause I refuse- I fuckin’ refuse to believe that you’re breaking up with me.”

Your eyes gloss over as you look down at your feet, unsure of what to do or how to handle this confrontation. You can’t do this. You can’t, it’s too much. It’s too hard.

“…I am,” you mumble.

Toji steps forward, leaning down to get a peek of your face, his expression so angry that it worries you. “What?”

“I said… I am.”

“Uh uh, you better say that shit with your chest if you can write a whole damn letter about it,” he growls, fucking further as you continue to turn away. “Look at me,” he barks, and you cringe.

“Toji, don’t yell at me!” you shout back.

“What else do’ya want me to do, huh?” he throws his hands up. “How else do you expect me to react to this bullshit?! You’re leavin’ me? After everythin’ we been through, after everythin’ you and the kids’ve been through, you’re leavin? Are you fuckin’ serious?”

He takes a swift glance at the papers, the very sight sending him into a spiral, before he’s heatedly looking back down at you.

“I don’t buy this shit for one second. No. You’re not leavin’. Not in this world, or the next.”

“I am, Toji, the quicker you accept that, the easier it’ll be for everyone!”

“Easy?” he winces as though the prospect pains him. “You call this shit easy? You call up and tryin’ to abandon me easy? You call the kids waking up to your letter and reading it at the table before I saw it easy?”

Your face falls. “…what?”

“Yeah. You fuckin’ heard me,” he sneers. “Megumi and Tsumiki read this shit first. First thing in the morning, they see a letter about how the woman they love is leavin’ ‘em, just like their mom did, and for what?”

You close your eyes, his words stinging you as they cut through. “Don’t say that.”

“Why not? It’s true, ain’t it? Y’er leavin’ us, (Y/n), and you didn’t even have the decency to say why!”

Guilt crowds you, like a blanket of darkness consuming you from overhead, and as Toji stands before you completely torn apart by your letter, you see the fear in his eyes, the sadness, the unspoken plea for you not to go.

You try your best to keep your composure as you turn away again. “I told you, I can’t tell you.”

“Fuck that,” he lifts the letter and tosses it to the ground with a thud. You gasp, watching it slam to the concrete pavement.

“Toji!” you exclaim.

“You think you can just leave without me comin’ to hunt you down and see your face so I can figure out what the hell is goin’ on? You must not know me at all.”

“Why do you always have to be so aggressive about everything?!”

“Of all fuckin’ things, (Y/n), I think I got a right to be aggressive about this. You were gonna leave without sayin’ goodbye!” he tosses his arm out to the side with the exclamation, brows twisting and teeth bearing. “Is that what our relationship means t’ya? You think you can just toss us aside?”

“That’s not what I’m doing,” you beg, a lump forming in your throat as the two of you stand face to face, arguing without a car about who will see you.

“Then tell me,” he shouts. “Cause you’re not givin’ me shit to go off of!”

“I told you already, I can’t,” your lips quiver.

“Then our relationship is nothing to you.”

“No, Toji.”

“Clearly it ain’t, cause I’d think it’d be worth an explanation if you’re runnin’ away!” you frown and shake your head, turning to walk back into the complex when Toji cuts you off, moving in your way. “You don’t think I know you? You don’t think I see it all over your face that somethin’s got you scared, and y’re takin’ off because of it? You think I don’t know what that looks like, (Y/n)? I did that shit. I did it all the damn time before I met you, and hell, I tried to run then but you wouldn’t let me, so what the hell makes you think I’m gonna let you now?”

“This is different,” you say shortly, afraid to reveal the tremble of your voice to the man before you. You keep your gaze down as you try to go around him again, but to no avail. He steps in your path. “Stop!”

“I ain’t stoppin’,” he says gravely, keeping his eyes to yours though you try to avoid contact with them. “Not until you spit it out. I’ll be damned if I got another broken home cause y’re fuckin’ scared.”

“I said stop!” you try to find some bass in your voice, but against your will, it falters when you yell. Toji eyes you carefully, reaching his hand out to grip your shoulder and steady you into place.

You scoff, attempting to pull away, but it’s no use. The dark haired man is everywhere, keeping you from walking away.

“You talk to me like the grown ass woman you are,” he tells you sternly, stepping in. “You use that voice I know you have, and don’t you ever let me catch you writin’ a letter to me about how you wanna break up instead of comin’ to talk to me. Y’understand?”

You exhale shakily, lips pressing together and brows curling. “I can’t.”

“Y’re still not tellin’ me why you think that.”

“Because I can’t, Toji. I can’t tell you. It’ll- it’ll fuck up everything!” you break, and Toji feels the pit in his stomach shift as he looks over your aggrieved expression, depicting the same exact things he feels.

“(Y/n),” he calls your name firmly, the sound of it on his tongue only inspiring the urge to cry more. You continue to shake your head though Toji isn’t exactly speaking, and his green eyes wander you with frustrated concern. “Y’scared of what I’ll do if you tell me?”

You freeze, slowly peeling your eyes to look at his, his face tense with grief. You stare at him for a moment, mouth gaping like a fish as all of your insecurities that talked you toward this ledge run through your mind once more.

“Don’t look surprised,” he says. “I know you like the back of my hand, and I know that you knew I’d be over here to stop ya.”

Your frown deepens, and this time as you look at him, you see every second of your future that you were quick to stomp dow. You see the unbridled, unfiltered love he holds for you as well as the blood curdling fear of letting you go.

“You have to understand,” you whimper. “I know how you’ll react, I- I can’t do this to you. You have to let me go.”

“What the hell could be so horrifyin’ in that head of yours to make you think that I won’t stick with ya through hell and high water?” he grits out, searching your swollen hues of (e/c) hesitation. “You’d do the same for me.”

“I know, but-“

“There’s nothin’ else to say. I ain’t leavin’ until you spill, and when you do, y’re comin’ with me.”

You look at him, pained. It’s a trap, you think. If Toji only knew, he’d be running for the hills instead of trying to track you down.

“Out with it, now.”

You can’t. You can’t tell him. He’ll leave you, he’ll reject you, he’ll turn you away, he’ll never let you see the kids again.

“(Y/n)!”

“I’m pregnant!”

The earth seems to freeze and time seems to slow. You scrunch your eyes, anticipating the worst to come as Toji takes in your words, his tensed expression melting slowly.

You don’t open your eyes to see his reaction. You keep your head ducked and your fists closed as the white noise of nature flutters into relevance. You’re trembling, terrified, and Toji can not move but instead proceeds to stare at you, stunned.

His words about not wanting any more kids run through your mind again as you await his response, and the suspense kills you as you do. You can feel his grip on your shoulder slacken before tightening again, and you are terrified.

He’s going to leave you.

You are quick to step away when the sentiment arises once more, Toji’s hand falling from you arm. “I’m sorry,” you whisper, still unable to look at him. “I’m sorry, I know that you don’t want any more kids. I know, an I thought we were being careful, but- I took five tests. They’re all positive.”

“You’re pregnant?” he echoes, and you still. You knew it. You knew this would happen.

“I told you, Toji,” you exhale. “I told you that I couldn’t tell you, and now everything’s a mess.”

He twitches. “Hold on-“

“Don’t tell me all of a sudden you want kids,” you snap. “I know how strongly you feel about it.”

“So instead of talkin’ to me, you were gonna leave? Knocked up? That doesn’t make any sense.”

“What other choice do I have?!” you cry. “You don’t want more kids, and if I kept it, it would only be a nuisance to you. And Megumi and Tsumiki?”

He scrunches his face. “What about ‘em?”

“How do you think they’d feel if the woman you’re dating after their mother died surprised them with a new baby? They’d be crushed!” you say shakily as salty tears well in your eyes again. “I can’t overstep your boundaries. I just can’t. It’s easier for me to go.”

“And do what, (Y/n)? Raise a kid on your own without any help?”

“I can’t bare you leaving me!” you suddenly confess, tear striking past your cheek.

Toji examines you and frowns. “What are y’talkin’ about? You’re tryin’ to leave me!”

“So I can prevent the inevitable from happening,” you huff. “I’m okay with it. I’ve made peace with everything. That’s why you need to just let me go-“

“After everythin’, you think I’d throw you away because you’re pregnant with my kid?” Toji says incredulously. You falter, for you had been so sure of his reaction before. “You think that low of me?”

“No, but I want you to have what you want.”

“What I want is you, you fuckin’ idiot,” he hisses. “All I ever wanted was you, and I can’t fuckin’ believe you’re tryin’ to take that away from me.”

You furrow your brows, confused. “…You’re not mad?”

“Girl, I’m livid,” he scowls. “Not about the damn kid, but because you assumed what I would say before comin’ to me.”

“Toji, you have to understand that I was trying to look out for you.”

“There’s not lookin’ out for me or those kids or makin’ them happy if you’re gone, (Y/n),” he bites. “Who th’fuck put that idea in your head?”

You stammer, tears proceeding to flow down your face as you reel in the reality of the situation. “I… I just thought-“

“I don’t wanna hear it.”

Before you can respond, his hand is gripping your wrist and he’s tugging you toward him into his chest. You shake when you fall into him, listening to the pace of his heart rapidly beating against your ear as he breaths quickly against you. Large palms smooth over your head and down to your waist as he holds you tightly, and you notice how desperate his grip is. He’s holding you like he’s afraid you’ll disappear, as though you’ll fly away if his hold is not tight enough.

He tucks his head into your neck, fingers grasping into your shirt, and suddenly the animosity of the moment prior is gone. You’re still trembling, leading Toji to hold you tighter to him.

“Can’t believe you tried to leave,” he murmurs into your hair. “Christ, (Y/n) you’re tryin’ to gimme a heart attack. The fuck is goin’ on with you.”

“I’m sorry,” you mumble into his chest, looking off sadly. “I thought you’d be upset about it. I didn’t want you to know.”

“I should know about any and every single thing that’s goin’ on with you, y’hear me? This ain’t no exception.”

A weight flutters from your shoulders as you sink into Toji’s head, silent tears streaming for the life you almost sacrificed. “What are we gonna do?”

“I dunno,” he mumbles. “But we’ll figure it out. As a team. Alright?”

You nod meekly. “Okay.”

He groans, pressing himself impossibly further to you. “That letter… fuck, don’t do that shit. Don’t fuckin’ scare me like that. Without you, I ain’t shit- pregnant or not. And those kids would adore another sibling if you were bringing it into this world. Don’t say that shit about them again either. They need ya. We need ya.”

“I’m sorry,” you whine again, Toji’s hand stroking over your back soothingly.

“It’s okay,” he grumbles. “We’ll figure it out.”

[darkbluekies]

Stupid people

Yandere!mafia!oc x reader

Summary: a number sends Silas a picture of darling that sends him into rage

Warnings: murder, mentions of NSFW, Silas lashes out towards darling, guilt, slight indication of a character asking if it was consensual (it was — the deed, not the pictures), pictures taken without permission, punching and kicking between legs

Word count: 2.7k

A/N: to clarify, the photos are taken AFTER the deed, not during!

There's only two people Silas likes enough to let them be in his office for more than asking a question — you and SIC.

“Stupid people are my favorite kind of people”, SIC says from the couch, eyes glued onto his phone. “Some idiot here tried to jump from a roof.”

“If only our enemies did that so that i didn't have to go kill them”, Silas smirks.

“Since when were we that lucky?”

A notification on his own phone caught his attention. Silas picks it up and unlocks it, seeing that the notification is from an unsaved number. He clenches his jaw. Photos. It takes a second for him to realize what — who — is in these two photos. He can recognise that back among millions. He sees that back every night, always holding it close to his chest.

“Motherfucker!” he shouts and rises from his chair in a swift.

“What?” SIC asks quickly, looking up from his screen.

Silas slams his phone down on the floor. It shatters and explodes in every direction. SIC jumps up from the couch.

“Woah, what’s going on?” he asks quickly. 

Silas can't reply. His heart is hammering in his throat. If he tries to speak, it'll jump out. His entire body is shaking. He's been mad before, but nothing compares to what he feels when you are involved.

“Silas?” SIC asks. “Sit down.”

He presses Silas down in the chair again.

“What happened?” he asks. “Give me a real fucking answer this time.”

“Some disgusting little bitch sent me photos of Y/N”,  he spits out, growing angrier by every word. “Naked, in a bed. I think you can figure out the rest yourself.”

SIC blinks. “Shit. Who?”

Silas gestures manically towards the broken phone. “I didn't write the number down before I fucking smashed it!”

“Alright. I'll take out the sim card and put it in my phone. I can find out.”

“Don't look at the photos, got that? I'm not joking. I will beat you up if I find out that you've looked at the photos.”

“Don't worry, boss, I won't.”

Silas sighs in frustration. He storms out of his office, up the stairs and throws up the door to your shared bedroom. You're nowhere to be found.

“Y/N!” he shouts angrily.

You come out of the bathroom, looking bewildered. A fear grows on your face when you realize how mad he is.

“What's wrong?” you ask quickly.

“Who the fuck have taken pics of you while having sex?!” he shouts. “Who is the low creature that has pictures of you?!”

Your eyes widen.

“What?” you ask. “Silas-”

He moves closer and you can't describe his demeanor in any other way than threatening. You stumble backwards, finally reaching the wall. Even when he's mad, he'd never do things to make you scared of him, never show you the side he shows his men and enemies. But this time, he doesn't seem to care about holding back. You get to see what everyone else sees.

“Whoever the little fucker is, I will shove that camera of his so far up his ass it'll puncture a lung, do you understand that?” Silas spits, face mere centimeters from your face. 

“Silas, I-”, you stutter.

Silas grabs the perfume standing on the shelf beside you and sends it flying across The room, breaking against the wall. You watch on in complete horror. Not even in the basement is he this violent, not around you.

Behind him, you see SIC run into the room, stopping in the doorway. He watches on with wide eyes.

“Who is it?” he spits before raising his voice. “Give me the name of the worthless little creature! I'll kill him!”

“Silas, I don't know!” you shout loudly in order to be heard over his own shouting. Tears blurry your vision as silence fills the room. “I d-don't know, I swear! I have no knowledge of a-any pictures taken of me. Please don’t be mad at me, I don’t know anything, I s-swear …”

You have wrapped your arms around yourself. You look so incredibly small. And helpless. He feels as if someone has punched him right in the stomach. He can't bring himself to shout at you. The fire in his eyes seems to blow out, leaving his eyes as dark as they should. He breathes heavily, feeling empty and painfully aware of everything around him — every little sound, movement. He finally realizes what's going on.

“Fuck”, he breathes out in a whisper and pulls you into his arms, into a tight embrace. “I'm so sorry.”

You sob into his shoulder, voice getting muffled in his white shirt. Silas hugs you as if his life depends on it.

“Baby, I didn't mean to shout at you”, he whispers. “I'm not mad at you, I'm mad at that disgusting filth. Not you, do you understand?”

He pulls you back and covers your face in apologetic kisses, caressing your cheeks and wiping your tears.

“Are you okay?” he asks, grabbing your face and forcing you to look him in the eyes.

You nod slightly and sniffle. Still shaking, but not mortified. 

“What pictures?” you ask with an unsteady voice.

Silas looks at SIC.

“Did you get the number?” he asks.

“No, I didn't have time to move over the sim card before I heard the glass shattering.”

Silas clears his throat. His ears turn red.

“Go retrieve the number and then come back”, he says.

SIC nods and walks out. Silas turns to you. He cups your cheeks and kisses your lips carefully.

“Sorry”, he says again.

“It’s … okay”, you mumble.

It doesn't seem to register for him. He has a guilty look in his black eyes.

“Silas … what pictures?” you ask again, dreading the answer yet needing to know.

“There’s nothing to worry about, I shouldn’t have told you. I will take care of it, okay?”

“You got so upset about it … something must be wrong. Have someone taken pics of me while I’ve … had sex?”

Silas can’t tell you. He knows how distraught you’ll be. 

“No, not while you had … after you were done … I don’t know”, he says. “I could have misunderstood the pictures. I broke my phone right after seeing them.” He notices how you give him an unsure gaze as he mentions his phone. “I get worked up quickly.”

You sniffle. Silas wipes your tears again and hugs you even tighter, resting his cheek on the top of your head. He feels like a complete fool, how could he slip up like that? He would never shout at you, never make you feel threatened. For fuck sake, you’re supposed to seek shelter and comfort in him!

“Are you sure that you’re okay?” Silas asks. 

“Mhm”, you mumble. “Just shaking.”

“I can tell.” His embrace tightens. “Let’s sit down, alright?”

He moves you to the bed and sits down with you beside him. 

“What have you done today?” he asks and wraps his arm around your shoulders. 

“I’ve been watching some shows”, you reply. 

“Which one?”

“Some cartoon … I don’t remember the name.”

“Do you think I’d like it?”

You give him a small smile and shake your head. “No, it’s too cheesy for you.”

Silas smiles. “What type of fucking stereotype is that? Show me and I’ll decide for myself.”

You reach for the tablet and show him a few minutes of the cartoon. He leans onto you, wrapping himself around you like a boa constrictor. 

The door opens and SIC returns with his phone in his hand. 

“Got it”, he says and walks over to the bed. “Y/N, take a look and-”

Silas slaps his hand away. 

“Are you fucking out of your mind?” he scolds him. “You’re not showing them those!”

SIC holds his phone out of Silas’s reach. 

“I am”, SIC replies.

Silas stands up. The animalistic, lredatory light is back in his eyes. You don’t doubt that he would punch him. 

“I am going to show these pictures to Y/N to confirm that they remember the sex happening”, SIC explains sharply. “Because if they don’t, we might have a worse crime on our hands.”

Silas doesn’t reply. He seems to think, and seems to consider whether he should punch the man or not. He nods in defeat. SIC gives you the phone and you take a mortified look at the two pictures. 

“Do you recognise where you are in these two pictures?” SIC asks. “Do you know when this was? Do you have memories of it?”

You look at the pictures, fearing that you’re not going to recognise the location or remember what happened … or who you were with.

“I know when and where this is”, you say. “It was five years ago. I remember it.”

“You're sure you remember it?” SIC asks.

“Yes … but I didn't know that he took pics …” 

“Okay, the fucker is dead”, Silas decides.

“What was his name?” SIC asks.

“‘Eric’ something”, you say. “I met him at a party. He was nice, or so i thought, and-”

Silas runs a hand through his black hair and sighs.

“I guess that he wasn't that nice”, you mumble.

“Pricks like that are never nice. They're just polite enough to lure people to get what they want. Who knows how many innocent people's photos he has on his hard drive?”

“Silas, can you do me a favor?”

“What?”

“If you manage to find him-”

“Not if; when.”

“When you manage to find him, give him an extra punch from me, will you?”

Silas smiles. “I'll give him tenfolds.”

Finding him is easier than the poor fellow had anticipated. Silas pities him. He's either too stupid to know who he is or has a death wish. He can't decide which one is worse.

“God, you're even uglier than i imagined”, Silas scoffs as he sees the man for the first time.

He's held up by two of his men, body pounded with punches beyond recognizable, but they've left his face untouched. That's for Silas to ruin.

“You're even uglier than your mess of a body”, he says, grabbing the man's face, tuning it carelessly. “We haven't even touched this yet. What did you gain from this? Not a lot, I see. I mean, you're here, in my basement, about to be killed. Can't say that I understand your intentions.”

“Did you like the pictures?” Eric asks, voice drowning in painful moans.

“‘Did i like the pictures?’” Silas repeats, appalled by the man's lack of remorse. “I don't need your pitiful pictures. I get the full act from whatever angle I want.”

It shouldn't make him cocky, but bragging about it always fills him with pride.

“Give me his phone”, he orders.

One of his men digs up the phone from Eric's pocket. He forces him to unlock it.

“Do you take these types of pictures often?” Silas asks, eyes narrowing as he scrolls past hundreds of women sleeping in beds. “What even are these?”

“I take a picture of the woman after our session, after she's fallen asleep”, Eric replies, “as a trophy.”

“As a-”, he cuts himself off. “What the fuck is wrong with you?”

Silas hits him with all his might. Eric's head shoots backwards, his neck acting like a jojo to get it back. Blood runs down from his nose.

“Delete all the pictures”, he tells SIC and gives him the phone. “From the phone, any cloud, any other hard-drive. These pictures will never be seen by anyone ever again.”

“Yes, boss”, SIC replies and takes the phone.

He disappears up the stairs. Silas turns to Eric.

“How did you get my number?” he asks. “And, when you got it, didn't you check to see who it belonged to? You're pretty stupid.”

“I just know that the number belonged to Y/N’s new boyfriend”, Eric replies.

“Husband.”

It shouldn't fill him with such pride at a moment like this, yet it does. 

“You're going to die now anyway, so it doesn't matter if I tell you my name”, Silas says. 

One of his men gives him a knife with a long shiny blade.

“Boss”, SIC says from the top of the stairs. “Y/N’s here.”

Silas hurries to give the knife back and gestures for him to hide it. 

“I’ll come upstairs”, he says. 

Before he has time to move, you've bursted past SIC. He tries to grab at you, but you're already half down the stairs.

“You absolute worthless piece of shit”, you spit.

Silas raises his eyebrows. 

Oh?

You run right over to Eric and slap him. Silas stands stunned. It takes him a few moments to gather himself and stop looking like a fool. He turns to the stairs where SIC stands, holding his hand over his face, laughing silently. He folds and has to hold onto the wall.

“How could you take such pictures?” you ask him. “What gave you the right?”

Silas grabs your shoulder to pull you away from him, but you shake him off.

“It's not like I took pics while we had sex”, Eric says, voice sounding even more painful.

Silas smirks. He can already tell that'll happen by the way your eyes widen. And he won't stop it. Won't even try to. You hit the man again and kick him between the legs. He tries to curl up, but is being held up by Silas’s men. 

“Okay, okay”, Silas says and grabs your shoulders, pulling you backwards. “Enough of that. SIC, take Y/N to the bedroom and make sure they stay there.”

SIC grabs you out of his arms. Silas grabs the knife once more. 

“What should we start with?” he asks, spinning the knife. “Your hands? Arms? Legs? Decide, coward.”

SIC forces you upstairs before he has the time to cut off any body parts.

“Let me go!” you mutter. 

“Just stay quiet until we get up to the bedroom”, SIC says. “Nice shot you got, by the way. I know it caught Silas by surprise. That’s hard to do, you know.”

“He deserves more.”

“And Silas will give him that, don’t you worry. That is not your job. You got two punches and one kick in, that’s enough.”

WHen you try to run back downstairs, he picks you up over his shoulder and continues upstairs. 

“Don’t give me more trouble”, he sighs. 

SIC walks into the bedroom and places you down on the floor before barricading the door with his body to make sure you’re not making a run for it. 

“The pictures are gone”, SIC says. “All of them — of you and of other people.”

“How many were there?”

“Hundreds. All taken when they had fallen asleep afterwards. He kept them like trophies.”

The door opens before he’s done with his sentence. Silas walks in, finally looking pleased. 

“Dona already?” SIC asks. 

“I got impatient”, he mutters and closes the door. “Little thing, are you okay?”

You nod. Silas hugs you, kissing the top of your head. He still feels awful about shouting at you. He squeezes you even tighter. 

“Thank you”, you say quietly. “You helped not only me but also a lot of other people. That’s a good thing.”

His heart clenches. He has apologized a million times and you have forgiven him … but he can’t seem to forgive himself. It all happened so quickly, yet it lingers in him. 

“Of course”, he says. “Scumbags need to be taken care of the right way. I kind of pitied the man. He must have been extremely stupid to let me know about him. Good that he was stupid though.”

Thinking about him makes him furious once more, but he reminds himself that it’s over. He has gotten his punishment … and Silas has saved people. Innocent people should never be punished for crimes they didn’t commit.

No one will ever see any those pictures again. No one will have to deal with that man ever again. 

[acid-ixx]

Sigh.. We all should've have chosen both wally and conner...i can't imagine the faces of batfam

how to be a heartbreaker! (again &. again concept)

ft. yandere! wally west, starfire, roy harper, artemis, conner kent, bart allen x gn! neglected! reader w/ platonic yandere! batfam.

— masterlist !

reblogs and interactions are encouraged and appreciated.

tw: age gaps but there isn't nsfw (except for conner) and the reader is described to be older than 20 in this concept and was far ignored longer than in the og story.

a/n: happy (late) halloween! 🎃 i'm praying to the gods, please don't let this post flop, i'm in my flop era fr! because i am not writing allat for it to get ignored 💔 (just kidding i love u guys, especially to all those who comment! i read all your comments even if i'm unable to reply at times). if you guys are wondering why i didn't include all the characters, it's because this is just a drabble and if anyone likes more concepts about this, please send in asks! anyways, enjoy this sweet harem au hehe.

anon, you are so right. but let me raise you this: getting together with all your siblings' teammates. i'm not just saying wally and conner, no! i'm saying the young justice, the teen titans, all their friends and old pals— the moment you come of age, hide under the radar for a few years and eventually meet them at random. you'd be giving dick, hell, even bruce, your father, mind you, a run for his money when it comes to a player reputation amongst the siblings, and the best part (or worst part for you once it's too late...) of it all is the fact that you don't even have to keep all your little relationships with them a secret when they never once bat an eye on you until recently.

the funny thing is: you didn't even have to try to attract them. it was all them approaching you at random days and getting to know you better, with you, at your lowest point, accepting any medium of attention. at first it was them feeling pity, perceptive to how your siblings chose to focus on them rather than you, but now it's them chasing after you because you're so interesting in every aspect; even if you find yourself average at best compared to your talented siblings.

maybe it's because you bring the normal out in them, or because you display such raw emotions and are an entirely separate being from vigilantism. either way, they find themselves thinking about you more often than their missions and that's harrowing.

and because you're such a pathetic, wet cat, so desperate for love; all the people you hit on develop a savior complex because of you. i don't just mean them finding you cute, or interesting, absolutely not. i mean you're constantly being thrown around like a prince or princess who needs a knight in shining armor to catch them when they fall, except you're constantly being carried in some other's arms even when you can stand on your own two feet.

you just have that special quality in you that makes everyone fall head over heels. it makes them fantasize scenarios of a home life with you; they could provide better than your current ones do, for sure. you'd be spoiled to death with kisses to your face, hands wrapped around your body, and a guarantee that you'll never feel alone or unsafe in a world full of danger that lurks around the corner.

that same quality may have also been your downfall.

wally west doesn't mind training all day to become stronger and faster to save you from every danger that lingers near your presence. hell, he doesn't complain anymore whenever dick assigns him some missions if that means he can pass by your room by the manor as an after-mission reward, loving it when you smile at him with the gentlest quip of your mouth as he hastily wraps you in his arms with the same amount of speed it took to run to your house. wally cherishes watching you in slow-time because he could worship every little part of his darling's expression, quelling the boredom he had for the entire day. he wants to be fast enough for his babe, not only just to impress them but because he wants them to see him as the only reliable individual capable enough of protecting and flirting with you. not everyone can measure up to his speed, no? nobody could keep up with this man's speed and he's known for taking you away whenever you're with someone else just to get a sliver of your time.

starfire's emotions become ablaze and so does her powers every time she notices one of your other sweethearts becoming too touchy with you, unable to comprehend why you're not even in a relationship with her yet. but you're too sweet and you bury yourself in her curly tresses to calm her down. at first that's enough! she doesn't understand the concept of physical affection and the boundaries that come with it as much as others but boy does she crave it when it comes to you. it doesn't help the fact that you're incapable of sometimes denying her affections and letting yourself be constantly kissed by the girl in every part of your face. she's very warm, though, and her curiosity about things foreign to her, paired with you teaching her more about your world, makes starfire adore her sweetheart's willingness and patience; it simply warrants another passionate kiss in the mouth from the pink-haired alien.

roy harper brings out a more rebellious side of you that you never imagine yourself sporting. his experiences in life and his rebellious relationship towards oliver queen, his adoptive father shapes him to who he is now; and he'd be damned if you drown yourself in endless misery like he did. yeah, it doesn't help that lian loves you as much as he does and he thinks you're the perfect match for him, watching you play with his little girl and care for him whenever he's injured does wonders for the fantasies that plays itself in his head, all scenarios of coming home to you after a hard day of work, just to see you and lian greet him the moment he enters your shared house with him, kissing him in the lips, telling him about the wonderfully prepared dinner you and lian whipped up for him, and watching your eyes widen at another bouquet of your favorite flowers he bought home for you. you're not in a relationship with him at all but can't a man just dream?

why dick wonders every damn time one of his friends ditch another one of their hangouts is a question never to be answered. but it's been noticeable these days that he's starting to suspect something wrong at play, especially since he's noticed tension within his comrades, and as a leader he couldn't just simply ignore the tense glares, insults to their being, and the hushed whispers; all pet names, a mantra they're used to calling you.

but dick doesn't take it seriously until it's too late.

that his baby bird long fell off the nest years ago, taken into the arms of whom he thought to be his most trusted comrades, thoroughly loved more than he could've given you. and it's not just one person smitten with you; it's an entire harem of people unwilling to share you just as much as dick who'd soon realize that he shares far more similarities with you; a heartbreaker, yet a caretaker at heart.

it's no wonder why everybody wants you for themselves. it's not only your family who loves to hear your precious laughs and gentle hands; that sets the jealousy ablaze in his heart.

jason never thought that artemis carried a softer version of her. but he's been picking up telltale signs of her donning dangling keychains, all cute doodles of her no doubt, and necklaces he's sure he's seen around the manor at times. it's not her typical style, and she never really found the appeal with cute things like crochet plushies of her; yet the designs are oddly reminiscent to someone he always called his angel. but whenever he tries to bring the topic up, he only receives a snarky reply, a protective hold on her things, and a familiar phrase telling him to mind his business. he isn't aware of how she met you one time after you've nearly been crushed to death by a car accelerating at you, if not for her taking the blunt end of the hit. ever since that day you've been seeing her regularly by alleyways watching over you as your guardian and giving her tokens of appreciation, albeit small, that she keeps as her prized properties; ones nobody has special access to touch. she's not much of a heckler for physical touch, but she occasionally gives you a head scratches and the rare peck to your lips.

jason doesn't like how jealous he is towards her, because of how the would-be stranger treats her and why he can't seem to pinpoint the primal urge to rip those little trinkets from her. sometimes he feels like a man possessed, eyeing the keychains and the random pastel bracelets longer, all warranting the same angered glare artemis reciprocates.

he swore he's seen them before, splayed across the random rooms in the manor, some even being in the library; things he loved to fiddle with whenever he was bored out of his mind. so seeing them being proudly displayed by artemis triggers visceral reactions within him.

but could jason do anything about it when he's part of the reason why your roster consists of your family's comrades? no.

if you couldn't get attention from your family, you'll just have to get it through their affiliations. yeah, some are older than you, but god are you treated like divinity with just how willing they are to kneel upon your feet just to gain a crumb of your attention. even the strongest lay weak whenever you look at them with disappointment or sadness with your wide, captivating eyes.

all the times tim drake would be with teammates, he'd notice how their eyes look at him expectantly, as if waiting for another one to accompany them. at first he ignores it, but the longer their strange behavior persists, he begins opening a case about his close friends.

he soon realizes that conner has a record of mentioning "his cute little darling," and how he'd brag to his other friends about how left his jacket and all his favorite t-shirts in your room and how you're always drowning in his scent— always quiping about just how much it smells like you and how he enjoys wearing all his clothes right after you wear them just to get a whiff of your presence in his life; you being his motivation to fight against crime just so he could see your pretty face and tell him you're proud of him. undeniably, he's the one who spends the longest time with you and he's prideful about it, being the only man with the privilege to touch every part of your skin, wishing to melt against you just so he'd be branded in your body like how your name is the only sweet thing he can taste in his mouth.

it's not only conner, but bart allen would bounce around more often demanding that it's unfair how conner gets everything and how he gets little time with you, with just how often you get thrown around by all your love interests! he'd admit just how cute he finds you whenever you coo about him and play with his messy locks of hair whenever it's his time of the week to visit you right after missions. spending time with him is arguably the most casual part of your life, because he loves to help you with your daily errands despite him complaining about the same tasks to his other teammates... he says it's because you stimulate every part of his brain to find satisfaction in every small action that you do, but it's not only that, rather, he wishes to gain all your praises that you sing for him, never finding boredom in your presence at all.

tim's the first one who pieces the jigsaw puzzle together, but he's thoroughly astounded either way at just how smitten they are with you. it makes him open an entirely different case that's just about you; where he discovers how you're connected with nearly everyone close to him and his siblings.

it makes him wonder what makes you all the more interesting. it's how exactly he spirals into a periodic cluster of events investigating your entire life and drowning himself in work, terabytes of files each analyzed carefully— all about you, your past, and present situation. tim drake never saw a person this admired that much, so much so that online stalking lead to physical stalking.

all your dm's are spammed by countless people, and you don't even take the initiative to reply because you'd be too busy being tossed around by the time the vigilante tracks your location. it's honestly amusing at first but the longer tim become a third perspective to your life, the more he craves your physical presence, just to get a taste of dissecting all the thoughts in your brain. but with just how often their friends fight over you, it'd be hard to rip you away from the clawing hands of all your admirers.

that's why he sets a plan into motion. if he couldn't have you to himself, then he could at least share you with the closest people he had in his life— not with all the strangers who think they know his younger sibling better than he does.

a simple document, many actually, so documents, were all he needed, with printed stacks of a4 paper compiling each and every known fact about you.

all in the name of love, he'd give it out to every member of the family in quick succession.

a hefty reminder to take back what once was theirs.

[handweavers]

something that comes up for me over and over is a deep frustration with academics who write about and study craft but have little hands-on experience with working with that craft, because it leads to them making mistakes in their analysis and even labelling of objects and techniques incorrectly. i see this from something as simple as textiles on display in museums being labelled with techniques that are very obviously wrong (claiming something is knit when it's clearly crochet, woven when that technique could only be done as embroidery applied to cloth off-loom) to articles and books written about the history of various aspects of textiles making considerable errors when trying to describe basic aspects of textile craft-knowledge (ex. a book i read recently that tried to say that dyeing cotton is far easier than dyeing wool because cotton takes colour more easily than wool, and used that as part of an argument as to why cotton became so prominent in the industrial revolution, which is so blatantly incorrect to any dyer that it seriously harms the argument being made even if the overall point is ultimately correct)

the thing is that craft is a language, an embodied knowledge that crosses the boundaries of spoken communication into a physical understanding. craft has theory, but it is not theoretical: there is a necessary physicality to our work, to our knowledge, that cannot be substituted. two artisans who share a craft share a language, even if that language is not verbal. when you understand how a material functions and behaves without deliberate thought, when the material knowledge becomes instinct, when your hands know these things just as well if not better than your conscious mind does, new avenues of communication are opened. an embodied knowledge of a craft is its own language that is able to be communicated across time, and one easily misunderstood by those without that fluency. an academic whose knowledge is entirely theoretical may look at a piece of metalwork from the 3rd century and struggle to understand the function or intent of it, but if you were to show the same piece to a living blacksmith they would likely be able to tell you with startling accuracy what their ancient colleague was trying to do.

a more elaborate example: when i was in residence at a dye studio on bali, the dyer who mentored me showed me a bowl of shimmering grey mud, and explained in bahasa that they harvest the mud several feet under the roots of certain species of mangroves. once the mud is cleaned and strained, it's mixed with bran water and left to ferment for weeks to months.  he noted that the mud cannot be used until the fermentation process has left a glittering sheen to its surface. when layered over a fermented dye containing the flowers from a tree, the cloth turns grey, and repeated dippings in the flower-liquid and mud vats deepen this colour until it's a warm black. 

he didn't explain why this works, and he did not have to. his methods are different from mine, but the same chemical processes are occurring. tannins always turn grey when they interact with iron and they don't react to other additives the same way, so tannins (polyphenols) and iron must be fundamental parts of this process. many types of earthen clay contain a type of bacteria that creates biogenic iron as a byproduct, and mixing bran water with this mud would give the bacteria sugars to feast upon, multiplying, and producing more of this biogenic iron. when the iron content is high enough that the mud shimmers, applying this fermented mixture to cloth soaked in tannins would cause the iron to react with the tannin and finally, miraculously: a deep, living grey-black cloth.

in my dye studio i have dissolved iron sulphide ii in boiling water and submerged cloth soaked in tannin extract in this iron water, and watched it emerge, chemically altered, now deep and living grey-black just like the cloth my mentor on bali dyed. when i watched him dip cloth in this brown bath of fermented flower-water, and then into the shimmering mud and witness the cloth emerge this same shade of grey, i understand exactly what he was doing and why. embodied craft knowledge is its own language, and if you're going to dedicate your life to writing about a craft it would be of great benefit to actually "speak" that language, or you're likely to make serious errors.

the arrogance is not that different from a historian or anthropologist who tries to study a culture or people without understanding their written or spoken tongue, and then makes mistakes in their analysis because they are fundamentally disconnected from the way the people they are talking about communicate. the voyeuristic academic desire to observe and analyse the world at a distance, without participating in it. how often academics will write about social movements, political theory and philosophy and never actually get involved in any of these movements while they're happening. my issue with the way they interact with craft is less serious than the others i mentioned, but one that constantly bothers me when coming into contact with the divide between "those who make a living writing about a subject" and "those who make a living doing that subject"

[jessica-problems]

Seeing @thydungeongal constantly wrestling with people interpreting her posts about D&D in ways that seem completely alien to me has convinced me that there are actually multiple completely distinct activities both being referred to as "playing D&D" Before we begin, I want to stress that I'm not saying one of these groups is Playing The Game Wrong or anything, but there seems to be a lot of confusion and conflict caused by people not being aware of the distinction. In fact, either one works just fine if everyone's on the same page. So far, I think I've identified at least two main groups. And nobody seems to realize the distinction between these groups even exists. The first group of people think of "Playing D&D" as, well, more or less like any other board game. Players read the whole rulebook all the way through, all the players follow the instructions, and the gameplay experience is determined by what the rules tell each player to do. This group thinks of the mechanics as, not exactly the *whole* game, but certainly the fundamental skeleton that everything else is built on top of. People in the second group think of "Playing D&D" as referring to, hanging out with their friends, collaboratively telling a story inspired by some of the elements in the rulebooks, maybe rolling some dice to see what happens when they can't decide. This group thinks of the mechanics of the game as, like... a spice to sprinkle on top of the story to mix things up. (if you belong to this second group, and think I'm explaining it poorly, please let me know, because I'm kind of piecing things together from other people saying things I don't understand and trying to reverse engineer how they seem to be approaching things.) I think this confusion is exacerbated by the fact that Wizards of the Coast markets D&D as if these are the same thing. They emphatically are not. the specific rules laid out of the D&D rulebooks actually direct players to tell a very specific kind of story. You can tell other stories if you ignore those rules (which still counts as "playing D&D" under the second definition, but doesn't under the first)And I think people in both groups are getting mad because they assume that everyone is also using their definition. For example, there's a common argument that I've seen play out many times that goes something like this:

A: "How do I mod D&D to do [insert theme here]?" B: "D&D is really not built for that, you should play [other TTRPG] that's designed for it instead" A: "But I don't want to learn a whole new game system!" B: "It will be easier to just learn a whole new system than mod D&D to do that." A: "whatever, I'll just mod D&D on my own" And I think where this argument comes from is the two groups described above completely talking past each other. No one understands what the other person is trying to say. From A's perspective, as a person in the second group, it sounds like A: "Anyone have some fun inspirations for telling stories about [insert theme here]?" B: "You can't sit around a table with your friends and tell a story about that theme! That's illegal." A: "But we want to tell a story about this theme!" B: "It's literally impossible to do that and you're a dumb idiot baby for even thinking about it." A: "whatever, jerk, I'll figure it out on my own."

--- Whereas, from B's perspective, the conversation sounds like A: "How do I change the rules of poker to be chess, and not be poker?" B: "uhhh, just play chess?" A: "But I already know how to player poker! I want to play poker, but also have it be chess!" B: "what the hell are you talking about? What does that even mean. They're completely different games." A: "I'm going to frankenstein these rules together into some kind of unplayably complex monster and you can't stop me!" ---

So both people end up coming away from the conversation thinking the other person is an idiot. And really, depending on how you concieve of what it means to "play D&D" what is being asked changes considerably. If you're only planning to look through the books for cool story inspiration, maybe borrow a cool little self contained sub-system here or there, then yeah, it's very possible to steal inspiration for your collaborative story from basically anywhere. Maybe some genres are kind of an awkward fit together, but you can make anything work with a little creativity.

If, however, you are thinking of the question in terms of frankensteining two entire board games together, then it becomes a massively difficult or even outright nonsensical idea. For example, for skill checks, the game Shadowrun has players roll a pool of several d6 at once, then count up how many rolled above a target value to see how well a character succeeded at a task. The whole game is full of specific rules about adding or removing dice from the pool, effects happening if you roll doubles, rerolling only some of the dice, and all sorts of other things that simply do not translate to rolling a single d20 for skill checks. On a basic level, the rules of the games work very differently. Trying to make them compatible would be much harder than just learning a new game from scratch. Now, neither of these approaches is exactly *wrong*, I guess, but personally, I find the rules of TTRPGs to be fascinating and worth taking the time to engage with all the weird little nuances and seeing what shakes out. Also, the first group, "TTRPG as fancy board game" is definitely the older and more widespread one. I kind of get the impression that the second group largely got into D&D through actual play podcasts, but I don't have any actual data to back that up. So, if you're in the second group, who thinks of D&D as basically a context for collaborative storytelling first and a game second, please let me know if I'm wildly misunderstanding how you approach D&D. Because I'm pretty sure it would save us a whole lot of stupid misunderstandings.

[lostalioth]

𝐛𝐥𝐨𝐨𝐝𝐢𝐞𝐝 𝐤𝐢𝐬𝐬𝐞𝐬

→ premise: there existed no such cricumstances in which dean doesnt want your lips against his. bloodied, bruised, even with broken bones, a kiss from his girl makes it all better.

→ pairing: dean winchester x fem!reader

→ warnings: tw: blood, fluff, but some sort of instense making out, established relationship, descriptions of blood and injuries, blood in mouth, nicknames [baby, sweetheart, my girl], reader is described a bit to have anxiety

→ a/n: as always i hope dean isn’t too out of character as i have never written for him! enjoy my loves :) and sorry its short.

A hunt had gone south they got the monster and it was done but Dean was injured, they were headed back to the bunker. That was all Sam spit out over the phone, normally you appreciated his ability to get straight to the point. Currently you were cursing it as he hung up shortly after cause he was the one driving back. You had a million and one questions running through your head and more than half of them weren’t good.

This was the part of the boys going off hunting and you staying back that you hated the most. When one of them got hurt or something went wrong and all you could do was sit there, a chill running down your spine as your blood boiled in your veins, anxiously pacing the living room, trying to not let yourself jump to the worst conclusions which you regularly failed to do.

You used to go on hunts with them and instead of you currently being the one riddled with anxiety, it was Dean. Once the two of you pulled your heads out of your asses (as Sam would say) and realized you’ve had feelings for each other for years, you got together. Being officially together seemed to make Dean's protective nature increase tenfold. He was even more terrified to lose you now than before. He began fussing over you whenever you'd get even the slightest scarpe or bump on a hunt. He would glue himself to your side the whole duration. Forcing you to normally stay back in the motel room when the hunt turned into a more dangerous situation than dean cared to put you in.

You loved Dean but it began to get a bit too tedious to deal with and even Sam made a comment on how overprotective he was being. In an attempt to make hunts go easier and ease your boyfriend's anxiety, once you all situated yourselfs in the bunker you suggested to him that you go out on hunts less, especially when they could now take Cas. Dean jumped at the suggestion but you couldn't blame him.

“I think that's a great idea baby” he said with a kiss to your forehead.

You still helped out, researching things when Sam needed the help, going through old books and files in the library, patching them up when they’d come back with cuts and bruises. You hadn't realized just how jittery you'd be however stuck in the bunker when he was out and especially when they went on far away hunts.

They'd go to the hospital when things were really bad, so you knew if the boys were on their way back then it couldn’t be too bad. The reminder did nothing to sooth your racing thoughts, your heart thumping so hard you could practically hear it pounding in your ears. You didn't know just how long you've been pacing back and forth, too afraid to look up at the clock and realize it's only been a few minutes since Sam called.

You don't hear the sound of baby pulling into the garage, your head is too clouded as you were damn near about to wear a grove down into the old floors. The sound of a door shutting loudly and two sets of heavy footsteps are heard down the hallway. Spinning so quickly on your feet you nearly lose your balance you turn to face the noise. Watching as the brothers emerge from the dark hall, Dean's arm rests on Sam's shoulder almost using him like a human crutch. You let out a small gasp making them stop and both of their eyes snap up to yours, weather you gasped in surprise at the state of your boyfriend or in relief you can’t tell.

“Hi sweetheart, We’re home” Dean tilts his head, his voice laced with his usual sarcasm and deep tone. He pushes off of Sam, clearly able to at least stand on his own, slowly making his way over to you a small limp in his step.

In the blink of an eye you’re rushing into his arms, your soft hands grabbing ahold of his beaten up face and crashing your lips against his. He grunts out a “fuck” in surprise or pain the word dying in his throat turning into a noise as his eyes fall shut and he grabs ahold of your hips. With a sharp tug he pulls your body as close as he can to his, his hands sliding up your sides. His bloodied lips against your plush ones, kissing you like a man starved, a kiss you’ve come accustomed to when he comes home from longer hunts. “Missed you” he hums in a hushed tone into the kiss for only you to hear, making your racing heart only speed up. His blood flows into your opened mouth as the kiss goes on, the metallic taste on your tongue foreign but you were far too relieved he was back in one piece to care about the blood coating your tongue.

Any pain Dean felt after the whole ordeal and from the bumpy ride back to the bunker seemed to fade from his body. He could care less about his brother's presence still in the room or the blood still dripping from his face and that covered his clothes or his split lip. It felt as if all the bruises that were forming on his body were already being kissed away as your soft lips slid against his. The taste of your mouth overcoming the taste of the blood in his, your scent calming his body, reminding him he's finally home again. Your body grounding him.

A rough deep cough stops the moment making the two of you reluctantly pull away, lips swollen and parted as you catch your breath.

“Before this gets any more R-rated maybe we should patch him up and you know clean him up” Sam suggested with a small light hearted chuckle as he walks off to the bathroom to get the first aid kit. You were grateful you remembered just yesterday that it had needed to be restocked. “Sorry Sammy” Dean calls after him, you turn your head away and follow up with a “Sorry not sorry” down the hall after him making a small smirk grow on your boyfriend's face.

Once he's out of eye sight, Dean grabs ahold of your face by lightly squeezing your cheeks and turns your head back to face him. Leaning down to begin softly kissing you again, groaning against your lips when the pain in his body begins to return.

“Who needs a first aid kit, all i need is my girl's kisses” He mumbled softly against your mouth, making you break out into a smile. A small tear slips down your cheek, your breath returning to your lungs and the chill in your spine fading as relief finally settled over your body knowing he's okay.

→ a/n: if you enjoyed please reblog or send me some dean requests id love to write more for him!

[youryanderedaddy]

tw: female reader, obsessive behavior, captivity, fantasy lore, abuse, murder mention, suggestive (?)

"You seem to be upset."

He's leaning against the window not too far away from you. Not too close as well - just far enough for you to feel at ease.

"Aren't you a mind - reader." You respond under your breath, trying to focus on the book you're currently reading - but the letters are escaping you, and you find yourself re-reading the same paragraph for the third time. He sighs, much like a disappointed father, before stepping towards you. And if you flinch just slightly, he doesn't pretend to notice or care.

"What is wrong, my flower?" The man gestures theatrically, soft velvet voice unbecoming of the monster he is flowing easily into the open air. You don't know what to say, really. It's been two years - or so you think, there is no way to keep track of time in this kingdom, not that time goes the same way in the elfen world as it does in the human, yet the part of you still capable of logical thought seems to think so. Two years, and there is very little you haven't already said. Very little left to be said, so your conversations are mostly rehearsed repetitions of what you already know. What you already fear - that you're going to die here. Or even worse. That you've become incapable of aging, so very consumed by this foreign land you detest that you've given up death for a life of boring, purposeless immortality.

"Don't I shower you with lavish gifts?" The noble moves closer, stalking towards you - observing you as if you're a butterfly pinned to a wooden frame under a microscope. "Don't I buy you the shiniest jewels? Not even the queen herself owns such sparkling emeralds." He scoffs, painfully used to your lack of response. You clear your throat, turning a new page - having little to recall about the last. It's completely meaningless just like all the other pages in all the other books you read. How funny, you think. In that distant, dreamy past of yours you were too busy to read - busy with work, busy with family, busy with friends. Busy with life. Now nothing gets in the way of your reading, you have all the time in the world - but there's no one to share the knowledge with. No one to spoil the ending. No time limits. No goal to it all, no final destination. So you read, and you soak the pages with salty tears not remembering a word.

"I am grateful for all the treasures you give me, my Lord." You answer nonchalantly, keeping your pointer at the end of the paper in a desperate attempt to find the sentence exactly where you left it off. You can feel him move closer to you - and the only indication of your growing fear are the shivers that travel down your spine with the beat of your violently full, thumping heart.

"Don't I provide you with all the entertainment your little human heart could possibly bear?" The duke clicks his long sharp nails together once against the other - an ugly metallic sound echoes deep into the ceiling reminiscent of a dying forest clow. "There has never been a lack of wine or music or dance in my court. I've gifted you more golden dresses than you can wear in this life. I've written you more poems than you can read." He keeps going, describing every little thing he's done for you, despite the fact that you've never asked for any of it.

"I admire your taste for indulgence, my Lord." You repeat almost automatically, the praises sitting on your tongue just waiting to be spilt from parted honey lips. Your eyes are glued to the book, but you've given up on reading long ago. Now you're simply trying not to cry - focusing your eyes at one word at a time and blinking repeatedly, manically, feeling as if the world with end the moment you let him see your weakness. You can't believe you still have so much pain in you - enough to feel loss and anger and, what's even worse, hope. Hope that one day you'll be free again.

"And tell me, flower—" His fist wraps around your low ponytail, forcing you to look up at him and meet his eyes for the first time tonight. What's staring back at you might as well be the bottom of the ocean itself, misty and dark, cold and unknown. Human eyes convey so much affection - so much care that you can never mistake it for anything else. With elves it's different - you can spend centuries looking for a hint of kindness, and you'll only get lost in those beatiful bottomless pits. Shiny and sparkling and completely empty. "Don't I give you love? Don't I embrace you tightly every night?" His voice lowers dangerously, barely above a whisper.

"I don't understand what more you could possibly want. Should I prove myself to you? Should I slay a dragon for you? Perhaps I could tie the heads of your enemies with a pretty bow and give them to you as a wedding gift, hmm?" He's babbling incoherently, nails digging into your scalp with unyealding grip. "Would that finally, finally make you happy, beloved?"

"No, no, please let go." You cry out in agony, wriggling out of his hold - but he's too strong, too massive to move. "I'm happy, I'm—" You sob pitifully, weakly pushing at his chest. "I'm happy with you. Please, you make me so happy, just please let go. And please don't hurt anyone."

He slowly pulls away, chest heaving in and out wildly. The scariest part is always his face. It remains unbothered - cold and defined like a statue of a god, his true feelings hidden by a mask of barely contained rage.

"You're happy with me?" He raises an eyebrow, foot stomping on the ground impatiently. You nod hesitantly, too shaken up to comprehend what you're even agreeing to. "Then prove it. Show me just how happy I make you." He grabs your wrist, pulling you face-first into his hard chest. "Do it, and I might reconsider my other more... inhumane methods of courtship." His lips twist into a cruel smirk. "And may the Gods help you."

As you sink to your knees you try to think of what book to read next - but no title comes to mind.

[yanderenightmare]

your vocab is really rich, what's ur secret

oh! uhm... excellent question!

Read! And every time you stumble upon a word you've never noticed before or know but don't often use, put it in a list, write down its meanings, and try using it the next time you write! (I'll put my list after the cut)

Read different things! Different authors and different styles, especially poetry! I mean, if you're looking to fatten your vocab, reading poetry is one of the best ways to do it. Poetic writers must search far and wide for the perfect words to create rhymes and rhythms and audibly pleasing sentences---they practically do all the work for you! Honestly, I am so serious about this. One of the best things you can do is buy a fat compendium of poetry with all different authors and eras. Get you some Edgar Allen Poe, Sylvia Plath, Emily Dickinson, and Shakespeare if you want to hurt your head. Also! The same goes for music! Try listening to the lyrics---you'll probably hear some words you've never thought of using in your writing.

Here's a cheap trick for bilinguals---write something in your own language and put it through Google Translate. Honestly, I've found so many words just by doing this.

Every time you feel you've used a word too much, or anytime a word bores you to read, search up its synonyms and try using something you've never used before---don't stop the search until you're satisfied. Sometimes, it takes me more time to find just one word than it takes to write an entire post. Not only does this enrich your vocab, but you've probably just written a whole other sentence with newer meanings and more nuance!

Make your own synonym lists! Seriously! Because you can only find that many creative synonyms by searching up "word+synonyms."

Additionally! Think outside the box! Often, the best synonyms are those words that aren't actual synonyms at all. If you read poetry, you'll see poets use unorthodox words in place of something all the time---it's called a metaphor. Take flesh, for example---you can use fat, meat, muscle, brawn, beef---but you can also use cake, down, plume, pillow, softness, etc... I find this one especially useful for writing erotica, as you have to describe a lot of the same actions and body parts over and over and still make it interesting. (I'll add my synonyms list after the cut)

Also! This one is trickier, but instead of using words and synonyms, try making sentences that can replace the word instead---such as longer metaphors and fuller descriptions! This aligns with the literary device of "showing vs. telling." Of course, outright telling has its uses too and should not be disbarred entirely from writing, but often, it's showing that persuades the reader more. For example, instead of saying nervous, make sentences that describe how the character in question showcases nervousness---does their throat close up, do they sweat, do their eyes go wide, do they stutter, do they fiddle with their fingers, pick their nails, bite their lip, kick the ground, hunch their shoulders, look away, blush, flush, cry, run away or do they feel stuck? Describing these things helps the reader better understand the type of nervousness the character is experiencing. Hence, it makes for not only more interesting writing but also clearer writing!

A similar literary device is "focus and expanding," which slows down the reading or puts focus on certain aspects of the text by describing something to a great extent. If, say, this nervousness the example character is experiencing is of great significance, then that's what the readers' takeaway should be. But the reader won't think too much of it if the text simply states that they're nervous without underlining it. Luckily, there are plenty of ways of doing that, firstly through showing vs. telling, such as in the examples above, then metaphorically, such as "the ground seemed to swallow him up, down the guzzle of a monster with an appetite for disaster---darkness ensued like a storm cloud, cold and clawing with a weight heavy enough to nail him to the spot---all eyes were on him, unblinking and all-seeing, no matter what, he couldn't escape, he was stuck, glued to the ground by the soles of his shoes." I mean, the options are truly endless. These metaphors piled together are also a form of focusing and expanding, but you can take it even further than that by focusing on a small detail and giving it significance. For example, say the character is sweating because he's so nervous---you might focus on a single droplet of sweat instead of everything else, "A chill ran down his back. No, not a chill--sweat. Cold and creepily tracing the rigid bones of his spine. He can't move--if he moves, then they'll see. The sweat will seep into his shirt, and everyone will know what a sweaty and pathetic wreck he is. So, he can't move. No, yes, leave it alone. The droplet continues, running down the cold skin of his clammy back, sliding undeterred until meeting the band of his boxers and disappearing in the fibers. He swallows thickly and sighs with relief--only for another to pill at his nape, tracking the same course as the former. A vicious cycle is forming. He needs to get out of there!" And that's focus and expanding, folks! Focusing on something minuscule and expanding it by using it to describe what the character is feeling. It's a way to have a fresh take on something that's been written a thousand times before, such as "he was nervous."

Anyway, I might have gone a little above and beyond, but really, all these literary devices are ways of "expanding vocabulary" or at least giving an impression of it.

NEW WORDS

Manically---like a maniac

Despotic---like a dictator, having unlimited power over someone, often using it unfairly and cruelly

Chasm---a deep fissure, like a ravine, wound, or metaphorical rupture

Shunts---track-change basically, scoots to the side

Dearth---a scarcity or lack of something, a shortage

Raucous---making a harsh or loud noise

Innocuous---not harmful or offensive---harmless and safe, but also bland and unremarkable, maybe even a little boring

Lanyard---the woven necklace of a festival pass

Gossamer---fine spiderwebs, almost mesh

Cossetted---care for and protect in an overindulgent way

Beribboned---decorated with many ribbons

pupil-fat---cool way of saying enlarged pupils

Chitters---snickers, like a bird

Decadent---corrupt, depraved

Blotting---either soak up and absorb, or stain, or obscure

Barbell---a bar “pole” with attachments on each side

Bunting---of animals, when they butt or rub their head against you

Garnet---red

Cherubic---angelic, plump cuteness, quality of a child

Haunches---hips

Sodden---soaking

Waxing poetic---speaking in a flowery or poetical fashion

Inkwell---a container for ink---a dark well

Rend---tear in two, or more pieces

Ebb---recede, go back, like a tide wave

Webbed---like a duck's feet

Cloying---sickly sweet

Saccharine---oversweet

Apple of your cheek

Swathes---wrap, swaddle

Shroud---obscure something

Moonstone---to describe something grey and dusty, but pretty

Kinked---tangled, messy

Leaden---heavy, dull, slow or the colour of lead, grey

Stygian---devoid of light and brightness, hellish

Flaxen---of hair, champagne colored---ashy blonde

Tepid---lukewarm

SYNONYMS

Related to sucking cock:

Swallow

Glug

Drink

Eat

Guzzle

Receive

Take

Suck

Suckle

Slobber

Gargle

Gurgle

Drool

Gulp

Gobble

Stuff

Glut

Choke

Gag

Lap

Lick

Kitten-lick

Slurp 

Allow entry

Related to kissing:

Kiss

Lock/brush lips

Tongue-feed

Suck faces

Smooch

Peck

Snog

Canoodle

Related to biting:

Bite

Graze

Nip

Nibble

Sink teeth into

Chomp

Related to crying:

Whimpering

Mewling

Bleating

Whining

Snivel

Sniffle

Cry

Sob

Bawl

Hiccup

Spluttering

Blubbering

Coughing

Croaking

Related to pre-cum:

Ooze

Leak

Weep

Well

Drip

Dribble

Flow

Drain

Bleed

Sweat

Seep

Pill

Pearl

Cry

Related to fear and panic:

Hysterical

Wild

Manic

Uncontrolled

Unrestrained

Frantic

Frenzied

Restless

Hectic

Sporadic

Swivel-eyed

Related to screaming:

Scream

Yell

Wail

Yelp

Yip

Yammer

Squawk

Howl

Squeal

Shriek

Related to moaning:

Moan

Whine

Yelp

Purr

Hum

Croon

Related to overstimulated moaning:

Mumble

Croon

Warble

Quaver

Burble

Bumble

Hum

Slur

Ramble

Mutter

Whisper

Stammer

Stutter

Scramble

Jumble

Muddled

Babble

Blubbered

Splutter

Blurt

Related to groaning:

Groan

Grunt

Growl

Grumble

Grouch

Hiss

Guttural

Feral

Rusty 

Throaty

Wet

Sloppy

Related to angry noises:

Howl

Roar

Bark

Grizzle

Grump

Related to surprise or fear:

Gasp

Gulp

Choke

Suck in a sharp breath

Flinch

Jump

Jostle

Wince

Hiss

Pull back

Related to comforting:

Coo

Fuss

Comfort

Hush

Shush

Tsk

Mollycoddle

Nurse

Cuddle

Babying

Consoling

Soothe

Loving

Smothering

Hug

Hug tight

Cocoon

Snuggling

Swaddling

Rock back and forth with

Cosseting

Petting

Overwhelm

Related to begging:

Beg

Pleading

Pray

Bargain

Related to soreness and pain:

Ache

Sore

Throb

Swollen

Fattened

Welted

Related to taking cock inside entrance:

Swallow

Receive

Take

Suck inside

Stuff

Fill

Allow entry

Submit to

Ease inside

Bully inside

Squeeze inside

Force inside

Push

Pry

Related to how the hole squeezes:

Kissing

Fluttering

Hugging

Pressing

Squishing

Squeezing

Tightening

Pulsing

Related to a wet hole:

Slush

Squelch

Squishy

Creamy

Sloppy

Wet

Soaked

Slosh

Sop

Cry

Slick

Weep

Drool

Gush

Swollen

Velvety

Gummy

Cotton

Silken

Satiny

Related to thrusting:

Squeeze into

Pound

Jam

Ram

Rut

Loll

Rock

Thrust

Stuff

Bottom out

Fill

Fit

Nestle

Cram

Prodding

Poking

Kissing

Hammering

Jack-hammer

Smack

Slap

Ream

Related to pleasure:

Ecstatic

Opium-eyed

Euphoric

Elated

Thrilled

Blissed-out

Rapturous

High

Cloudy

Numb

Related to overstimulation:

Overstimulated

Outdone

Aching

Burning

Sweating

Feverish

Delirious

Febrile

Numb

Immobile

Dazed

Dull

Related to being dumb, high, or overstimulated:

Ditzy

Dumb

Clumsy

Silly

Foolish

Giddy

Brainless

Dizzy

Fuzzy

Dopey

Whimsical

Fickle

Featherbrained

Daft

Hare-brained

Awkward

Graceless

Blundering

Bumbling

Klutzy

Clueless

Cloddish

Dense

Related to the body and the flesh:

Tender

Supple

Soft

Creamy

Plush

Doughy

Cakey

Downy

Pillowy

Malleable

Squeezable

Biteable

Pliable

Touchable

Putty

Plume

Related to cuteness:

Cute

Cherubic

Adorable

Sweet

Soft

Precious

Darling

Lovable

Endearing

Baby

Related to weak or smallness:

Breakable

Brittle

Weak

Fragile

Dainty

Delicate

Frail

Flimsy

Vulnerable

Petite

Small

Little

Tiny

Feeble

Defenseless

Powerless

Helpless

Worthless

Hopeless

Related to struggling:

Struggle

Winding

Striving

Straining

Toiling

Playing

Wriggle

Wiggle

Twist

Shake

Tremor

Shiver

Quake

Related to men:

Vulgar

Loud

Oafish

Rough

Rude

Rustic

Gruff

Gross

Doltish

Barbaric

Bearish

Beastly

Churlish

Coarse

Swinish