#but i think what a lot of people were drawn to was what started with friendship for them

[thebibliosphere]

I’ve had an increase in rainbow aura with my migraines lately (I used to get them once a year, if that. Now, I’ve had it twice in one month) so I’ve become somewhat paranoid whenever something flashes over my vision.

Sometimes, it's just light reflecting off my phone, but it still makes me freeze up in a fear response when it happens because it usually means I’ve got about 20 minutes before I’m in agony.

Apparently, this new paranoia extends into my dreams now, too, because I was running down a long corridor, aware that there was something behind me that I needed to escape, but all of a sudden, in my dream, rainbow zigzags consumed my vision, and I stopped, dead and went, “fuck, migraine.”

That's when I became aware of James Bond/Daniel Craig standing beside me, gun drawn.

“Oh, shit. Do you need to lie down?” he asked while I stared at him.

I said, “What about the thing chasing us?”

“Oh, don’t worry about that, darling. If you need to lie down you can lie down. I’ll just kill them.”

I blinked at him for a bit, still winded from running then said, “Sure,” starting to get to my knees, ready to lie down on the cold stone floor beneath us.

“Sure?”

“Yeah. Kill ‘em. I’m just gonna...” I gestured vaguely at the floor. “Be right here, I guess.”

“You can go upstairs, you know,” he said, loading a fresh clip into his gun. “This museum has a hotel on top of it.”

“Oh good,” I said, starting to suspect this was a dream and not Daniel Craig about to murder the people chasing me because I had a migraine. “I’ll do that then.”

So I got back up and started climbing the stairs that looked an awful lot like the stairs in the Kelvin Grove Art Gallery, only to abruptly walk into Deathstroke and Nightwing doing their best to kill each other in the corridor of what was clearly a hotel based on the room service tray Nightwing was using to deflect projectiles.

They froze. I looked at them. They looked at me. “I’ve got a migraine,” I said,

“Shit, sorry,” Nightwing said, putting down his tray as both men stepped back to let me walk down the decimated corridor. “We’ll be more quiet.”

“Room 13 is open,” Deathstroke helpfully informed me.

“Is there a body in it?” I asked, now leaning against the wall, less walking along, more sliding.

“Not anymore.”

“Do you need anything?” Nightwing asked, “pain killers? Ice pack?”

I waved them off and made my way into room 13 where David Jason dressed as Detective Jack Frost looked up at me from the book he was reading on the bed.

“This is a dream,” he informed me.

“No it isn’t,” I said, despite knowing it was as I hobbled over to the bed and flopped down beside him. “And this room was supposed to be empty.”

“Open, not empty,” corrected Jack Banon who had taken David Frost’s place, dressed like young Alfie from Pennyworth as he sat beside me on the bed, leaning back against the headboard. “There’s a very distinct difference between the two. Oh, don’t look at me like that. Who do you think moved the body?”

“I need to sleep,” I said, “if I can fall asleep, the migraine might go away.”

“That's all right,” he said. “You do that. I’ll make sure no one else comes in. Oh, just one thing before you do.”

He reached into his pocket and pulled out something I couldn't quite see and held it out to me. “You’ll need this.”

“What is it?” I said, my brain doing the dream thing where it refuses to read books or interpret numbers correctly. “I can’t see, what is it?”

“Oft, sorry. Can’t tell you that. More than my job’s worth.”

“You’re job...”

“Yeah.” and thats when he leaned over, stuck me with a needle and said, “Night night.”

And I woke up to the sound of @mothman-etd getting into the shower and Holly Mop wiggling under thre covers with me.

First words out of my mouth were, “What the fuck?”

And then I immediately pulled up Tumblr to write this down before I forget it because what the fuck.

Didn't wake up with a migraine though so... *knock on wood*

[rosenotactuallyquartz]

i can’t be the only one who thinks rose’s flings with humans were partially self destructive

rebecca sugar often describes rose as self destructive. people self destruct in many ways.

i say this as a girl who’s been in relationships where i knew i was treated poorly but subconsciously believed it was what i deserved. if a good person who knew me well showed interest, i’d feel confused. i think you’re so good and i’m nothing like you type of thing.

(if you couldn’t already tell, i also deal with self hatred, though i’m a lot more self aware than i used to be)

rose saw the good in everyone but herself. she was naive, impulsive, & had a tendency to “worship” those around her, believing they were better than her. she was fascinated by humans but didn’t know the norms or labels of human relationships. she didn’t know or understand much about humans, period. i.e., letting a human baby climb a ferris wheel in greg the babysitter.

rose was initially drawn to humans out of fascination. she saw so much beauty in the most simple parts of humanity.

but people don’t always have the best intentions

i can’t help but wonder if some people took advantage, knowing that rose didn’t understand everything about human relationships. for some humans, i’m in no doubt that they found her intriguing & her powers were obviously beneficial for them, but they didn’t respect her or care to try & get to know her. i’m sure some humans weren’t horrible, but clearly her connections with all of them until the 90s were unremarkable. they’d be attracted to her for surface level reasons.

rose thought this was just how human connections worked. even though it would feel…bad sometimes, rose believed she deserved to feel that way. after all, she said herself that it was “a good thing” if people didn’t know her well.

she didn’t think she deserved genuine love from someone who truly knew her, someone who knew her past self. when a relationship felt good, she’d feel guilty, despite deeply & genuinely loving that person who cared for her.

that’s why she’s so surprised when a human treats her with decency in we need to talk. why she laughs when he says the word respect. why she says, “is this not how this works?”

she’s never had a relationship with a human that was caring & respectful. having conversations about respect & wanting to get to know a person are very simple things. this doesn’t make him “better” than any of the crystal gems—he’s just better than the other humans she knew.

as the next three years go by, rose continues to be self destructive. they don’t know about each other’s pasts & they have a shared coping mechanism: escapism. this is why sugar has said that they enable each other, which is unfortunate yet unsurprising because they cope in similar ways. she never opens up to him about her feelings surrounding past trauma, and he doesn’t either—even when some serious decisions are made. rose couldn’t stand herself & she didn’t feel deserving of love. the more people know about her, the less deserving she feels, which makes her avoidant & confusing in relationships.

nevertheless, she genuinely loves those around her, which is partly why she passes her life on to someone she believes deserves to live & be loved more than she does

as she said in nora’s tape in lion 4, i’m so excited for everyone who’s going to know you. from the very start, she believed that the best thing she could do for the people she loved was leave behind someone who deserved to be around them. someone who was worth loving.

with all of that said i hate the way the fandom talks about her character sometimes

[erendur]

About the swords : ok, there might be swords on just one side, although the matter of weapons pre-Aman is yet another thing Jirt seems to have changed his mind a lot about. In Morgoth's Ring he goes from "they had only hunting weapons" to, "they had no weapons because the armouries of the gods had been shut since the chaining of Melkor" to a note that literally goes " No ! they must have had weapons to survive the great journey !".

Also, again I think the wording leaves that open to interpretation. The Teleri are armed "for the most part with bows". "Swords are drawn".

Teleri have bows though, and while, again in Morgoth's Ring, Pengoloth says that the Noldor are "the Sword-Elves", the Teleri are "the Arrow-Elves". They are meant to be skilled with them.

I also think that it is important for the way the sequence works that the Teleri are at first able to push back the Noldor, and that, again "many are slain on both sides".

Like @theoppositeofprofound. says, what we see here is the Noldor going from being the victims to being the victimisers. They go from being stolen from to stealing, they go from being the victims of a murder (Finwë) to murdering themselves, and they go from being paranoid about others attacking them to being the aggressors. The swords that they had forged were originally meant to defend themselves ; they were worried and paranoid about other Noldor attacking them ; Fingon (and others) join the fight in Alqualondë because they think that the Teleri are attacking the Noldor on order of the Valar. They just didn't set out to murder people.

And it is a "progress" : first the Noldor want to convince the Teleri to go with them to Middle-Earth. Next, they want to borrow the ships.

Next, and that's where the escalation starts, they want to steal the ships.

The Teleri resist. They push the Noldor away from the boats. "Swords are drawn".

But if at that point, if the Teleri had been unarmed and unable to resist, and push back the we-know-for-sure-armed Noldor, there would have been no fighting. The Noldor would have taken the ships by force, and left. That is what they eventually do, when they prevail in the fight.

The reason the violence escalates again is precisely because the Teleri are able to resist at first. Again, the Noldor just don't go "hey friends, come with us to Middle-Earth fight a common ennemy" to massacring everyone in sight.

The escalation of violence is progressive, because it makes more sense, and because that is how the end result is a high number of casualties on the Telerin side. This is the first ever instance of Elf-on-Elf violence ; no matter how much ready for war and sword-forging the Noldor were prior to Alqualondë, they just didn't set out as villains to kill other Elves

As far as the Noldor as a whole are concerned, Alaqualondë is also the last instance of Elf-on-Elf violence. The 2nd and 3rd kinslaying are a Fëanorian affair only, and they are pushed by the Oath. The Nargothrond Elves make questionable decisions in B&L, but we never actually see them attacking other Elves.

Eventually, the reason why there are so many killed on the Teleri side - and I agree that the final number of victims would be higher on the Teleri side, is precisely because there are able to resist at first. Again the escalation of violence is progressive.

I'd just like to add to finish with that while I agree that Alaqualondë is anything but minor - it's "the fall of the Noldor", the reason for their Doom and the reason why the Teleri refuse to take part in the War of Wrath, it's murder in paradise and yes, "a cultural wound", I just don't get the instinct to make it as unbalanced as possible, or the idea that in order to be significant it has to have a huge number of casualties. The very act of killing other Elves, people that are considered friends, of attacking them and stealing from them would be enough of a trauma.

Yes, the Noldor are stronger, better armed, more ready to kill ; yes, the eventual number of Teleri victims is probably much higher than the eventual number of Noldorin victims. But the Teleri are also not unarmed, and at least at first able to stand their own. It does not make Alqualondë less of a tragedy or the Noldor look better, or less responsible. It does explain the high number of eventual casualties though.

Sorry, but I've got to contest the concept that either of the first two Kinslayings were Totally Fine And Chill or that there were totally few civilian deaths or that the people getting killed gave as good as they got (which even if they did! the responsibility for starting a murder party remains with the aggressor!) Alqualondë is especially egregious because do you know what only one side of that fight had? Swords. Since, you know, murder only got invented last week but Fëanor was canonically brainstorming about it for years beforehand. The Noldor and specifically the Sons of Fëanor were the only people with arms made for slaughtering other people and a whit of experience using them. And while yes, you can do some damage with a fishing spear or a a harpoon, there's a reason why fishing spears are not regularly brought onto battlefields. I cannot see Alqualondë as anything but a slaughter; if it has fewer casualties than later Kinslayings it is only because of the shortness of its duration and the confusion that defined it.

[poorly-drawn-mdzs]

Thank you all for voting in the poll to decide who was going to be the leader of the band! It turned out to be such a close race!

[elytrafemme]

also like. life update. since coming to college i think i've decided i want to be less online in general, because i don't think it benefits my mental health to be on any online website too much. i know i still have strong ties to fandom and whatnot but i'm trying to reconcile my relationship with the things i've created knowing the headspace i was in when that happened; cs is more of a diary to me than anything, at least where i'm at currently. i DO want to be on discord more this break because there's people i want to VC and catch up with-- but ultimately i think i'm like exactly the worst kind of person to operate with any kind of stability on the internet so we're going to mess around with what that looks like for me for a while. love u guys and once finals are officially up in two days i'll be back to say hi :]

[hella1975]

hella idk what to send to you for aftg im either bored or annoyed and I don't wanna just say bad things about it 😭 like that's just rude and yall obviously like it I DONT WANNA BE SOME DEBBY DOWNER MDMWKEM

I looked at the anti aftg tag too to see if I could intermingle there and last I checked it was a mix of fans obsessed with the series and haters being just a tad harsh imo, so i couldn't even do that RIP. I'm so lonesome in what is maybe a whole group of people gaslighting me 😔👊

honestly ive said this before and i always have to tread a very fine line with it because this isn't me saying it's OKAY or like. promotable. but i do think to an extent that aftg's problematicness is actually an aspect of what draws people in a lot. like the characters and their reactions to things feel real for who they are, what they've been through and the environments they were raised in if that makes sense? and then you go in the anti-aftg tag and it's just again and again 'they said THIS thing and acted THIS way in response to THIS scenario and it was PROBLEMATIC' and like. yeah. outside of the internet bubble you're in people do actually do that. like that behaviour exists. it IS problematic, well done. you pointed at a wall and called it a wall. but like? in real life people - PARTICULARLY deprived, traumatised people that typically don't ever get therapy or community or someone telling them why something is bad - DO act this way. ive said half of my love for andrew is literally just because he took an awful backstory and let it make him a complete cunt and ive NEVER seen a character do it as shamelessly as him before. and yeah there's the argument for how it's never resolved in the book where nora ties it with a bow and points at the bad behaviour so the readers can go 'see, this is wrong' and we all clap, but idk it just for me feels that when people point at the aftg characters and go problematic! problematic! problematic! it's like they're missing the point a bit.

the point being? that we need to be putting WAY more heat on the author. i really dislike her and a lot of her writing choices and her insistance of using slurs that aren't hers to reclaim and just because it happened to make the characters feel just that bit more authentic i can still acknowledge that she CLEARLY wrote it without characterisation in mind and just added all that problematic shit anyway. like i never get why there's so little focus on nora's writing decisions and thousands of posts just fucking CRUCIFYING the characters themselves and 'let's explain in detail why this behaviour is Morally Reprehensible and they should be Locked Up Forever'. like if u want to focus on the characters so bad and pretend they're the sole reason why aftg is Problematic and Bad then why is it so hard to acknowledge that someone raised the way they were might have some misinformed, ignorant beliefs. idk lol

[vexingvorta]

Im not a fan of every argument made here on either side, so first I'll get a few things out of the way;

1, that abuse victims often go on to be abusers themselves if they don't put in the work necessary to heal from their own abuse, that's what people are talking about when they refer to the CYCLE of abuse. To deny that is... Also uncomfortable. Being a victim of abuse does not make you exempt from abusing other people. 2, I wish we'd stop equating toxic with abusive because there is a difference. 3, i don't think autistic coding is really a fair defense of said toxic traits I'm gonna be real. There's nothing wrong with headcanons and projection but just to focus on what actually happened in the series without using headcanon to excuse harmful behavior. I don't know what traits are being referred to as "autistic coded" here so honestly I'm not gonna touch that with a ten foot pole and just focus on what we see;

Its hard for people to accept, but abuse does not happen on accident. Abuse is an intentional choice one makes. And over all, no, Ford isn't abusive. He, throughout the series and due to a combination of his self-centeredness and being a victim of abuse (hell, his self-centeredness was weaponized against him as part of the abuse) was absolutely toxic for most of the time we've seen him.

The argument that he abused Fiddleford is so stupid I'm not even going to acknowledge it. The thing with Stan is, he frankly wasn't around him enough to actually abuse him. A one time event is not abuse. A single fight is not abuse. Abuse is long and drawn out and, as I said earlier, intentional. And, like what was already pointed out, Ford was in a bad state. He'd reached the point of Bill going fully mask off, so to speak, and the abuse now being at it's worst. He was fully isolated and sleep deprived and it made him crazy. Yes, his unwillingness to destroy the journals was deeply selfish and another mark of how self-centered he is. It's the definition of irrational. But, once again, he wasn't in a spot where he could think rationally. (Granted, even if he was, I still don't think he would've been willing to destroy the journals because his self importance and self centeredness is one of his biggest flaws and an important part of his character)

The closest Ford ever comes to being abusive is, yes, with dipper. He starts telling him a lot of the same things we know Bill told him at the start of their partnership; you're special, we need each other, these other people are only holding you back. Nobody understands you like I do. When Dipper expresses concern for Mabel, Ford is immediately dismissive. He looks at Dipper and all he sees is himself, and all he sees in Mabel is Stan. He is the one who pushed that dichotomy, because he really couldn't think outside of himself.

His greatest flaw is that he's self centered and self obsessed. But the thing is, is that he learns his lesson. It takes literal apocalypse to get there, but he does learn and he does reflect and he does apologize and try to do better. He course corrects. Gravity falls, ultimately, is about family bonds and breaking the cycle of abuse. Ford almost continued that cycle with Dipper, but he stopped before any permanent damage could be done, both to their relationship, and to Dipper and Mabels. He fixed his relationship with Stan.

He did in fact have abusive tendencies and toxic traits but ultimately he put in the work to fix them and be better. Ford is a well written and well balanced character. He displays how someone even with good intentions can unintentionally fall back into cruel and toxic habits, and can start repeating the abuse they were put through. He also shows that you can come back from that. That starting down that path doesn't mean you have to stay there. That it's possible to heal and get better.

None of what I'm saying is an indictment of Ford's character. The opposite: he is complex and well written and imperfect, and I love him and his character arc. He could've been so easily made into an irredeemable villain, a no good bastard who's just horrible and abusive. He had all those pieces laid out. But the choice and skill to actually have him go through the motions of falling into abusive tendencies and then getting better is amazing on Alex Hirsch's part, and a testament to his ability to write deep and complex characters.

(also this is just kind of my own aside but the use of "autistic-coded" as like an excuse for how a character acts is really annoying to me for a number of reasons? For one, just off the bat, it's an attempt to make your headcanon sound more canon than it is, but by nature of being a headcanon, it's not really a fair or valid argument here. Second, there are ways to make a legitimate argument and analysis of a characters actions in canon and debate criticisms of their actions without saying "they're autism coded so actually you must hate autistic people", like it's okay, you're allowed to make a legitimate argument. Also, "character did shitty thing because they're autistic" isn't the win you think it is, because let's be real, you're either implying that they have no autonomy over their actions because of their autism, or that you think autism makes people shitty or toxic, neither of which is the win you think it is. Ironically lack of media literacy applies in both cases here, just for different reasons. Okay side rant over, just wanted to throw that out there because holy hell it's something that is used so much in fandom and it gets grating after a while.)

The tldr here is that Ford isn't an abuser. He was abused, he had toxic and abusive traits, but he put in the work to heal and better himself. He's by no means perfect and that's okay, he's a good character, and he's actually trying to be better.

Today in "I hate autistic-coded abuse victims", this shitty take.

Ford did not abuse Stan. He did not abuse Fiddleford. He did not try to drive a wedge in Dipper and Mabel's relationship (he was doing what he thought was best for Dipper and thought Mabel would be fine).

Just admit you hate autistic people and have no compassion for abuse victims. And admit you have no media literacy.

Also, calling a canonical abuse victim an abuser is...uncomfortable, to say the least. Especially with how you're just making him out to be abusive for...not handling personal interactions perfectly. You're demonizing autistic traits. And you need to research how abuse can effect people.

(Also, I know Ford's not perfect. But you don't seem to know that he's flawed but ultimately a good person. You just want a "perfect victim" when it comes to abuse victims, and it's obvious)

[sasakisniko]

Romantic love and friendship love are not mutually exclusive and feeling one does not inherently cheapen or negate the other. There's a reason friends-to-lovers is such a popular ship type.

[slushycoookie]

What's That Smell? ~ Logan Howlett x Fem! Reader

✩ Word Count: 3.1k

✩ Content: Worst!Logan and Hairdresser! Reader. Wade acts like he's innocent in this, but he's not. Pheromone perfume. Logan doesn't go feral, but he gets there. P in V. Vaginal Fingering. Squirting. MINORS DNI!!

✩ A/N: I had to write about my man reacting to pheromone perfume. Enjoy!

Masterlist | Commissions

“Happy birthday!”

Wade hands you a pink gift bag stuffed with sparkly tissue paper. “It's not my birthday.”

“You're so silly.” He waves you away with a sensible chuckle. “It's someone's birthday somewhere. Anyway, I saw this and thought of you.”

You pull out a small bottle of perfume decorated in a crystal clear color. The design looked oddly familiar, but you couldn't pinpoint where you saw it. “Oh, thanks. I've been meaning to get some more perfume.”

“Well, the gods answered, and as your friend, I am known for reading my friend’s minds.”

You're pretty sure Logan brought it up to him one day, but you didn’t question it. You thanked him with a hug, and he mentioned something about doing a fashion show for Mary Puppins when he left your apartment.

It was nice of Wade to give you a gift. He's always been generous towards you since you were with Logan, but you didn’t expect something like this.

You even mentioned Wade's generosity to Logan later on, who gave a questionable raise of an eyebrow.

“Really? He bought you perfume?”

“Yeah.” You pull out the bag and show him the bottle. “Wasn't that sweet of him?”

Logan squints at the bottle, still not convinced. “I guess so.”

“You guess so.” You rolled your eyes. “Can’t you believe that he wanted to be nice? He doesn't seem like the type to play a cruel joke.”

“Cruel isn't the word I'd use.” He grumbles.

You place the pink gift bag back on your dresser, reminding yourself to use it the next time you go out.

That next time was for running errands. You had to restock the kitchen, enough to last you and your superhero boyfriend, who loves to eat and drink, for a couple of weeks. Plus, you needed to get more supplies for the salon. Logan would meet up with you at the store since he spent the night back at Wade's to prep for Mary Puppin's first day at doggy school. You could tell from the brief phone call last night that he was worn out.

You throw on an oversized t-shirt, leggings, and sneakers. Not the most attractive outfit. Before you left, your eyes landed on the gift bag. Harmlessly, you sprayed Wade's perfume behind your ears and the space between your bicep and forearm.

Running errands was serious for you. You weren't the biggest fan of spending hours at the store, wasting time grabbing groceries. Logan agreed with you on that front, as he didn’t want to waste time either.

Once you stepped foot inside the store, you were ready. With a list in hand, you were filled with total concentration. A few minutes later, there was a shift.

You received a lot more attention.

Many people coming up to you to tell you smell good. You just started in the produce aisle, and four people approached you. It surprised you the multitude of compliments you were getting despite having the appearance of a bum. Others were making conversation while you were trying to shop, asking you simple questions about good salad dressing brands. Or how many spices you have in your home. Trying to get closer to you.

One man didn't seem to get the hint that you were busy. He offered to help you with your groceries while you were in the cereal aisle. Logan's favorite brand of raisin bran was on a high shelf, causing said man to grab it for you. You were polite, but maybe you shouldn't have been, as he constantly hovered around you. Drawn to you for reasons you can't explain. Talking your ear off about whatever he could think of.

“You probably have your own shopping to do. I don't want to distract you.” You say, hoping politely declining him would make him take the hint.

“No, no, it's alright. I don't want to leave a defenseless person like you.”

You hold back at getting annoyed, “…it's a grocery store.”

“Still, I just think-”

“You got cotton in your fucking ears?” In a blink, Logan grabs the intruding guy by his shoulder, effortlessly pushing him away. “She didn't need any fucking help, bub.”

The guy scoffs, rolling his hips to make himself look more arduous, “And who are you?”

“Her boyfriend, who isn't afraid to make you a pathetic stain on the ground.”

You knew he meant it, but you also didn’t want to get banned as you really liked this store. The guy took the hint, leaving the cereal aisle like a defeated puppy.

“My hero.” You kiss Logan's cheek and see him sniff the air. He turns towards you, pupils almost blown. Before you can ask if he's alright, he grabs your wrist, smelling the space between your bicep and forearm. The action makes you laugh a little.

“What's that smell?” Logan takes a few more sniffs, and you feel blood rush to your cheeks. “It's sweet. Really fucking sweet.”

“O-Oh, I put on perfume today.” You didn't need to ask if he liked it as he was glued to your form, sniffing behind your ears, his breath fanning your neck.

“Is this new? I've never smelled this before.”

“Yeah, it's the one from Wade.”

Logan lets out a groan that sends straight to your core. Goosebumps coat your flesh, and you shudder when his hands creep under your shirt to feel your bare skin. His touch was hot, almost making your back arch. You had to remember you were in a grocery store. There were eyes on you two, and you had to regain some control, or else there'd be two new names on the sex offender list.

“Baby, we got things to do.”

You pull away from him, trying to ignore Logan's dejected face at the fact they had errands to run. He hardly said anything else after that. He delegated his role to being the silent shopper, pushing the cart and responding briefly whenever you talked to him. To anyone else, he gave off the appearance of a man not wanting to go grocery shopping. You knew it was something else when you noticed his knuckles turning white from gripping the cart. Everything in your body warned you not to get close to him until the errands were done.

An unsettled feeling arose inside your stomach when the two of you were outside, a cart filled with groceries. Logan mentioned he brought Althea's car, which is one of the few words he's said since then.

He told you to wait in the car while he put the groceries in the trunk. You wanted to help, but he pushed you to go inside, almost gritting his teeth. There, you sat on the passenger side while waiting for him to finish. Logan was taking his time and acting completely different from your usual outings. At one point, you saw him with his head towards the sky, taking heavy breaths, hands on his hips.

You had a feeling this was your fault somehow.

When Logan got inside, you ask, “You okay?”

“No.” He doesn't start the car yet. You could see the veins across his hands when he gripped the steering wheel. “You don't know how fucking good you smell right now. It's everywhere. My nose, my head, my thoughts. You don't know bad I'm trying not to rip your clothes off and fuck you in the backseat. ”

You didn't know what to say, but you liked it. Your thighs squeezed together at how a couple of spritzes of perfume were affecting him.

“Is it that bad? Do you wanna go home instead?”

Logan shakes his head, “You still have to go to the beauty store.”

“I can get those things another day-”

“No, sugar. I'm not ruining your plans because of a damn perfume.”

Butterflies tangle in your stomach. This man still had ways to make you shiver. You just needed to be a responsible adult for a bit longer.

The beauty store was five minutes away, but being in the car with Logan felt like an eternity. His large hand rested on your thigh, creating heat through his palm. Your thoughts wanted him to go higher, near your sex, to feel how horny you were getting. The car started getting warmer too, sweat forming on your brow. If Logan hadn't smelled you earlier, he would probably have smelled you now.

“I'll go in with ya.” He offers when pulling into a parking spot.

“No need! I'll probably be a bit anyway.”

You rush out of the car before he can say anything else. Practically running inside the store so you can get your mind straight. Your boyfriend's words were hovering in your mind, and you resisted the urge to turn back around and have him go by his word.

You needed to calm your mind. Hopefully shopping for more supplies would help and Logan staying in the car.

“Now, what kind of man would I be if I let my lady go in alone?” Logan's gruff tone sent chills across your spine and his arm around your waist to press against your back. No words escaped you as he sniffed behind your head. “Say something.”

“Logan…” You let out a shaky breath, trying not to falter at the proximity. He couldn’t resist copping a feel on your breast, which made you bite your lip. “There are cameras.”

He grunts, burying his face in your neck as you two stand awkwardly in the shampoo aisle. Thank goodness there was no one nearby to witness it.

“I'm behaving.”

“Barely.”

When you were usually out to restock, you were quick, decisive, a separate list on hand to make sure you had everything you needed for the salon. This time, you were slower and more distracted as Logan was glued to your hip. Giving you extra hugs after picking up an item you need on your list. A gentle kiss to your neck. His arm possessively around your waist. The man wasn't even a massive fan of pda either. Whatever this perfume was had him forgo his usual self.

When people were nearby, he didn't leave your side. His large pupils were on them as if they were a threat as if they were going to take you away from him.

If you had any more errands to run, that would have to wait another day. Once you two checked out from the store, your man was about to snap.

Logan was dead silent when he started the car, his knuckles almost turning white again. The apartment was only fifteen minutes away, and you weren't sure if he would be able to hold on that long. You only noticed deep, heavy breaths that overshadowed the radio you turned on to distract yourself. You weren't sure if you wanted to ask if he was okay again. You had a feeling he was going to go true to his word to fuck you in the backseat.

Once pulling up to your apartment, you were ready to get out, but his hand held yours to stop you.

“I'll get the bags.”

“There's a lot of them, I can help-”

“No.” He cuts you off, bringing your wrist up to his face and taking a long sniff. You squeezed your thighs together at the sight. A whimper almost escaped your lips. “Go wait in our room.”

You had nothing else to say after that.

You did as you were told, sitting on the edge of the bed while holding your hands. Your heart pounding in your chest as you heard Logan bring the bags inside. You weren't sure why you were nervous. You were doing what you were told.

Maybe he told you to wait because the scent was becoming unbearable. That he couldn’t focus, or your scent was dampening his enhanced abilities. Did you mess up? All you did was put on perfume. Or did Wade mess up? Did he accidentally bring you something that affected mutants? You should’ve thought twice before accepting a gift from him.

Slow and heavy footsteps made it's way into the room. You watched Logan close the door and lock it as if there was anyone around to disturb you.

“Take off your clothes.” He starts pulling off his own shirt.

You did so, albeit a bit slower than him. Your thighs clenched as you knew your cunt was wet from all of the waiting, the touches, and kisses from the stores, his filthy words. Logan's eyes scanned your naked body when he got closer. You tried not to focus on his hard cock, red around the tip, cum leaking from it. You wondered how long he was holding that in.

“You got some type of power I don't know about?” He doesn't give you a chance to answer when he presses against your naked body. Heat coming from his chest that was making you flustered. “You secretly a mutant, and you decided not to tell me?”

“No! No, I'm not a mutant. I swear all I did was just put on some perfume-”

Logan silences you with a kiss. Hands on your sides while groaning between your lips. You thought he was mad at you, yet he was sticking his tongue down your throat. His rough hands on your sides. You hold on to him for dear life when he parts, sniffing the air, and you feel yourself getting wetter.

“Motherfucking perfume should not make you smell this good, Jesus fucking Christ.” Logan swears while he's buried against your neck again, licking and sucking along your skin. You whine at how rough he's getting, as if he needs more of you. “I won't get mad if you tell me you are a mutant right now because fuck…”

Logan picks you up and tosses you on the bed. You barely have time to recover when he flips you over on your stomach. A hand presses on your back, keeping you firmly against the mattress. His lips kiss behind your earlobe before giving it a gentle nibble. That makes you shift underneath him, causing him to shush in your ear.

“Hold still.”

You do as you're told, whimpering at the touch of his lips against your nape. A light kiss, one that makes you want to put your head back, which is followed up by a nibble. Logan does the same while trailing down your back. You feel his hands palm the globes of your ass while he does so, creating tiny circles with his thumbs.

You moan into your pillow, and you know you're embarrassingly wet now. Your cunt is pulsing with the need to have him inside you already. His fingers dip inside you, and you gasp in surprise. Logan's able to pump his thick digits into your aching hole while leaning over you again, taking another whiff of your perfume.

“Lift your hips up for me, baby.”

You struggle to move your hips as he’s still two fingers inside you, but he helps you, a firm hand on your hip. When he does so, he moves down to your clit. The two fingers coated with your wetness parted your folds, rubbing that sensitive bud. It was getting harder to do as you were told. Keeping still as he played with your pussy. Taking in how delicious you smelled with the perfume.

“Logan.” You murmured against your pillow, “Please…”

“Please? My lady's begging for me?” Logan lets out a short laugh, not stopping his fingers. “You want me to fuck that pretty pussy of yours, huh?”

“Please…” You were on the brink of tears, that familiar feeling in your stomach about to tip over. Logan didn't show you any mercy, making you sob against your sheets. His fingers rubbed your sensitive clit until you couldn’t take it anymore.

You ached for him to be inside, cunt pulsing for him to slip his cock in. Once again, the tip of his nose brushed against your ear lobe as well as his cock in your sex. Your body quivered as his chest was on your back, hovering over you for complete control.

“Think you can give me another?”

You didn't have time to answer as he started pounding into you. Sticky, wet sounds in your ears as you were pinned. Not having a single thought every time Logan's hips met with yours, mouth wide open as you were being fucked dumb. A hint of your drool staining the sheets.

The headboard banging against the wall, mattress squeaking as Logan kept going. Grunting in your ear, saying that your scent was even better after your orgasm. That he wasn't going to come until you squeezed around his thick cock. And he meant it when he rubbed against your pulsing clit. You shook, moaning at his touch and how his cock pistoned into you.

Logan was angled perfectly to where he started hitting your G-spot, causing your vision to get blurry. Still not stopping on the assault on your clit.

“Lo…Logan…” Your body was getting hotter, another climax on the horizon.

“You almost there, princess?” Your answer was only a whine, and that was good enough for him. “That’s it, that's it. Do it for me, baby.”

This orgasm was different. As you came undone, wetness coated Logan's cock, some dripping down your thighs and his own.

“Oh fuck-” Without warning, he shot up inside you. Grunting in your ear while his seed filled your cunt, mixing with your own arousal and trailing down your thighs as well. Logan lazily pumped into you to make sure you got it all while groping your ass.

You could hardly move with Logan on top of you. Thank goodness he didn't rest his total weight on you, or you'd be crushed. He waited a few moments before pulling out, leaving you to lie on your side, completely docile.

No words were said when he cleaned you up, towel between your legs as he kissed your forehead. You started getting coherent enough to realize the groceries were still out, but Logan said he already put them away for you.

With a sigh of relief, you glanced over at the perfume before reaching for your phone to look up the label. That's when your eyes went wide at the reveal.

Wade gifted you pheromone perfume.

No wonder Logan was acting unhinged all day. With his heightened sense of smell, of course something like this would affect him. That is definitely the last time you take a gift from Wade.

As you showed Logan what the perfume was, his brows furrowed in slight annoyance, calling him an asshole.

“But,” Logan folded his arms, glancing away from you. “I wouldn't mind if you wear this more often…”

[room-surprise]

New Ryoko Kui interview dropped!!!

(This is a quick and dirty translation made using machine translation, and which I've lightly edited to add clarity. I'm not fluent in Japanese so I may have gotten things wrong. I'm sure others will do a better job later.

ADDITIONAL CONTEXT: This article is from a Japanese gaming magazine, like the previous interview in Famitsu, so they focus on video games and don't discuss other influences, even though they do get mentioned and are clearly pretty major.)

Kui was able to write "Dungeon Meshi" because she was not good at eating food and participating in human relationships. In this interview, we dig deeper into the influence of games, and how Ryoko Kui focuses on things she likes and dislikes while writing. [Writers of the Gaming Generation]

Dungeon Meshi.

This manga is attractive for its unique theme of "dungeons, defeating monsters in the labyrinth, and cooking them," as well as the unique characters, detailed human relationships, and deep worldview depicted in the labyrinth. It is currently being made into an anime, and adventurers from all over the world are fascinated by the world of "Dungeon Meshi."

So I thought , "I wonder if this work was drawn by someone who loves food and people." The depiction of such delicious-looking food and the construction of delicate human relationships and characters. Surely, it must have been drawn by someone who absolutely loves it.

However, in reality, the author, Kui Ryoko, says that she "is not good at either food or relationships."

So why was he able to continue drawing things she was not good at?

During the roughly 10 years of serialization, Kui has continued to confront "things she dislikes." This interview delves into Kui's unique creative techniques... and at the same time, it also delves into her "favorite things."

That's the "game"!

Those who are familiar with the subject may already know this, but Kui is also a big gamer. And it seems that "Dungeon Meshi" is heavily influenced by RPGs such as "Wizardry."

As a result, this interview turned out to be "I asked Kui a lot about her likes and dislikes." Likes and dislikes. They are the source of all interests and curiosity.

So how do we use this knowledge in our creative endeavors? How does this knowledge manifest itself in Dungeon Meshi?

How were those charming characters and the deep world created? We spoke to the original author, Kui Ryoko, and the editor, Masaru Hiroi, about things they could only talk about after the series was completed.

This is a game with the volume of a great labyrinth. I hope you will explore it all the way to the final floor!

Dungeon food. It's eat or be eaten. There is no superior or inferior, to eat food is simply a privilege of the living. Dungeon food. Ah, dungeon food.

First, I want to ask about how Kui first encountered video games.

--What are some influences from games in Dungeon Meshi? What was your first game, Ms. Kui?

Ryoko Kui (hereinafter referred to as Kui): I played traditional RPGs such as [blank?] and "Final Fantasy."

I think the first game console I ever played was a Famicom, which my parents won in a lottery . So before I knew it, we had a Famicom at home. I think my parents bought me the Super Famicom and PS1 after that...

After that, I took a break from games for a bit around the time of the PS2, but around the time of the PS4, I was finally able to buy games with the money I had earned myself .

--Why were you able to stay away from games around the time of the PS2?

Kui: I was too busy with exams, so I thought, "Well, I shouldn't be playing games," and left. When I started living alone after that, I couldn't play games because I didn't have a TV. My computer was also a Mac. [Macs aren't compatible with many games.]

--What was the trigger that made you think, "I want to play games" again?

Kui: I think the biggest thing was starting the serialization of "Dungeon Meshi."

Fantasy stories all have different settings, but at the same time, there are also things they share in common. For example, if you want to create a fantasy work, but you only know "Dragon Quest," it will end up resembling "Dragon Quest." It's scary to copy the setting of only one work.

So I just wanted to play a ton of different fantasy games and get an idea of ​​what the most common general understanding of fantasy is.

--Did you start playing it while you were still developing the concept for Dungeon Meal?

Kui: That's right. If I'm going to talk about "eating food," I have to play a game that has a system for eating food .

So I was interested in "Dungeon Master." However, at the time there was no easy way to play "Dungeon Master" on a real machine, so I played "Legend of Grimrock", which can also be played on a Mac.

["Dungeon Master," is a computer RPG released in 1987. Time passes each time you take an action in the dungeon, such as moving, fighting, or resting, so its biggest feature is that the game progresses in real time according to the player's actions. "Legend of Grimrock," is an action RPG released in 2012. It has a game design similar to "Dungeon Master."]

Until then, I had felt that overseas games and games played on PC were too difficult, but I felt like I had overcome one obstacle there. I thought, "Oh, this is pretty easy," and started playing a lot of different games.

-- Those two games are quite heavy even among RPGs, I think, so did you actually have that much difficulty with them?

Kui: No...I would say that my impression is more that best-selling games are easy to play (laughs).

I'm not that good at games myself, so I usually play games that allow you to adjust the difficulty on a super easy setting. So, games that allow you to lower the difficulty are always a lifesaver.

-- I've heard that apart from RPGs , you also like games such as "13 Sentinels: Aegis Rim" and "Paranomasite FILE23: The Seven Mysteries of Honjo ." Do you have a favorite genre, Mr. Kui?

Kui: I guess I'm just not very good at games that require you to use your brain through trial and error.

But in RPGs, if you just level up and keep tapping, you can win and progress in the game. Also, in novel-type games, if you read the text, you can progress. By this process of elimination, I quite like RPGs and text-based games .

Personally, I like games like Disco Elysium the most, which are text-heavy, top-down, and have maps to explore.

...Even I think that's a pretty negative reason (laughs).

Everyone: (laughs).

Hiroi Masaru (hereinafter referred to as Hiroi): But, Ms. Kui, you have really played quite a lot of games, haven't you?

Kui: No, the reason I'm able to play so much is because I play in a pretty callous way ...

I often buy a game, play it, and then just don't play it. So there aren't that many games I complete... I only complete a few a year. I play around 40 games, and if I complete 5 or 6, that's good.

When I asked if I could draw at Comitia, I got scolded.

-- Have you had any exposure to fantasy outside of digital RPGs?

Kui: I think it's not just games, but also the fact that I've always loved foreign fantasy novels . I was given books like "The Neverending Story," "The Lord of the Rings," and "The Chronicles of Narnia."

-- Dungeon Meshi gives off an atmosphere of Western fantasy like gamebooks or tabletop RPGs, rather than the typical Japanese fantasy games like Dragon Quest.

Hiroi: I think I went to Kui's house before the series started. At that time, we were discussing the name of a sci-fi manga called "Drawing Inside the Brain," which I had rejected many times.

Ms. Kui said she wanted to serialize this sci-fi manga... and when he was on the fourth draft, he said, "No, this isn't going to work," and when I looked at the scribbled notes next to her desk, she had already drawn the original version of "Dungeon Meshi" ! (laughs)

Kui: ……………No, I don't remember much (laughs).

Everyone: (laughs).

Kui: But I had wanted to draw a manga about exploring a dark dungeon, like Wizardry .

Since I was in elementary school, the manga I drew in pencil in my notebooks were all fantasy stories about swords and magic, so I had always wanted to draw a proper fantasy manga. However, there weren't as many fantasy manga in bookstores at the time as there are now, so I wondered, "Maybe fantasy doesn't sell."

Hiroi: At the time, there were a lot of people in their teens and twenties posting fantasy illustrations on online communities for artists, such as pixiv, and Kui was one of them.

I thought, there are so many people who want to write fantasy, so if she writes a fantasy aimed at this generation, it might sell.

And when I saw Kui's notes, I thought to myself, "Let's make a straight-forward fantasy manga, without making it weirdly twisted."

Kui: I originally thought of making this "dungeon exploration manga" as just a hobby... When I asked Hiroi if I could draw it at Comitia first, he got angry.

[Comitia is a comics convention in Japan for original self-published comics.]

Everyone: (laughs).

Hiroi: I said, "If you're going to draw at Comitia, then make sure you draw it as a proper serialization!" (laughs)

However, at that time, Kui had already published two collections of short stories, and they were being reprinted. In other words, she had a certain number of fans even before the serialization began.

So I decided, if Kui creates a pure fantasy for those fans, we can't fail badly. If it doesn't work, we'll just learn that fantasy is difficult to sell after all.

--By the way, were there any discussions between you and Ms. Kui about the fact that fantasy doesn't sell?

Kui: I remember vaguely talking about how fantasy manga doesn't sell well and how difficult it seems. I don't know much about light novels, so that might have been there for a while.

However, since a lot of fantasy manga were coming out around the same time, it was probably a "transitional period ." Maybe it was just when people started to feel more and more like they wanted to draw and read fantasy.

Not everyone is that interested in the things I like

-- I feel that "Dungeon Meshi" is a title that has breathed new life into the fantasy genre. How did you go about creating the setting and world when dealing with fantasy?

Kui: I try to think, "Not everyone is that interested in the things I like."

I like to think about pointless settings endlessly, but there are times when I think , "When this setting is actually made into a manga, people probably won't be interested in this story." So I try to include things that will make people interested, and cut out things that will distract people as much as possible.

For example, in "Dungeon Meshi" I initially wanted everyone to speak various languages. On top of that, I wanted to make the characters "only able to communicate with each other in one language"... but Mr. Hiroi said "Don't do that" (laughs).

Everyone: (laughs).

Kui: Even when I'm drawing it myself, I think, "It takes more than six panels to explain this setting...", and if I explain the setting more than necessary, it slows down the pace of the story.

Moreover, since "Dungeon Meshi" was a monthly serialization, unlike a weekly series, there wasn't much time for extraneous stories. Specifically, I had to draw one episode of about 30 pages per month.

In that case, there was no time to add in settings like "Actually, he was thinking about this behind the scenes" or "Actually, he can speak two languages." So, rather than there being any clear choices, there were quite a few times when "there was no time to do things normally." If it had been a weekly serialization, I might have included more.

--Does the scene where Chilchuck yells insults in his own language feel rather "forced"?

Kui: That's right (laughs).I thought, this only takes one frame...it's my chance [to include information about language]!

--So you haven't thought through all of these "fictional languages" yet?

Kui: If Dungeon Meshi were to be my life's work and I were to spend my whole life creating this world, I think it would be more fun to think about it...but initially, I thought that Dungeon Meshi would end in a few years.

Hiroi: Initially, I said, "It'd be nice if it continued for about five volumes" (laughs).

However, Kui's first draft really had a lot of material... so the editors cut out a lot of it. I understand that it's the parts the readers want to read, but I cut out the parts that deviate from the main story. So it's a battle between the "author who doesn't want to be cut" and the "editor who wants to cut."

--By the way, what kind of discussion took place between the "parts you want to cut" and the "parts you don't want to cut"?

Kui: There were a lot of them every time, but I can't remember them specifically now...it was just small, unimportant details that got cut.

In the scene where the hams made by the Red Dragon go back into the pool of blood, I remember saying, "You don't need these," and they were about to cut them off, but I remember desperately stopping them by saying, "We'll need them later!" I'm glad they weren't cut off.

But once I think of the setting, I want to include things, and then they get cut out, so at first I didn't want to expand the world too much.

I also wanted to complete the story within the dungeon. I didn't want to reveal the name of the country, and I didn't want to give the characters surnames. But in the second half, Hiroi-san told me, "The world is too small, so you should make it bigger," and I was like, "Are you sure?"

--Mr. Hiroi, why did you say that?

Hiroi: As the story progressed, it became clear that "Dungeon Meshi" was no longer just about saving a sister in a dungeon. So I decided that it would be unconvincing if the story had no involvement with the outside world, since what was happening in the dungeon was something that would affect the fate of the whole world.

For example, in real life companies, the more important a decision you make, the higher your superior's rank becomes, right? When I thought about it that way, I felt something was off about the idea of ​​Laios and his friends deciding the fate of the world on their own. "How can they make that decision without anyone knowing about it?"

The fact that the Canary Team was there meant that there must have been a system of reporting, contacting, and consulting here, because that's how "society" and "organizations" work.

In short, I think we were thinking about the situation and asking, "If an organization were to get involved in saving the world, how persuasive could they make it given the society that exists in the story?"

Kui: Well, the plot hasn't changed at all.

From the beginning, I had intended to write a story about saving the world, but I also thought it was possible for the world to be saved by only a select few people in the dungeon who knew the circumstances. Changing it was what Hiroi-san thought would make it more persuasive.

When I was drawing the first half, Hiroi told me, "You don't have to decide anything yet." I was in a hurry to move the story forward and explain the world and story setting, but he told me, "It's better to limit it to introducing the four main characters until about the fourth volume." But in the second half, he said, "Introduce more people and expand the world."

Everyone: (laughs).

Hiroi: Kui-san was like , "That's not what you said originally!" (laughs) But both had meaning...

Kui: I was the one saying, "If we expand the world there, the story will never end, right...?"

After drawing it through to the end, I realized that the balance between holding back and expanding didn't work the way I had expected. I think this is one of the reasons why the serialization of "Dungeon Meshi" took so long.

-- But there are a lot of characters in "Dungeon Meshi," and the relationships between them are complicated. I heard that you also created the relationship diagram for "Taikaishu" [※3] ...

Kui: No, I haven't made one [I didn't do that?]!

[Taikaishu is a full-color web comic by Funako Tsukasa that began serialization on a website in 2005 and is still ongoing. Its unique worldview has earned it a loyal fanbase, especially on the Internet.]

-- Eh? Is that not the case?

Kui: To be precise, I just created an account on the fan wiki.

When I started reading "Taikaishu," I struggled with the complex setting and the large number of characters...and I thought "it would be easier to read if there was an explanation or a list of characters."

So I searched for a bulletin board where readers were sharing their thoughts and asked if there was a summary, but they said there wasn't. So I thought, "Maybe if there was a place where someone with more knowledge could summarize it," and I just made a wiki account.

So I didn't actually edit it. It seems like I've been given credit for someone else's work, and I'm sorry about that...

Dungeon Meshi was created from a sense of guilt about food?

-- "Dungeon Meshi" started off with the catchy theme of "cooking monsters," but little by little the darker aspects and deeper world were revealed. Was the structure of "little by little revealing the darker side" something you had in mind from the beginning?

Kui: I thought I needed a theme to serialize it so I thought I'd try "food education." There were a lot of gourmet manga at the time, but I felt like there weren't many that focused on food education.

-- Considering that the theme is "food education," it makes sense that the nutritional value of the dishes in the story is clearly written down.

Kui: With the theme of "food education," I also thought up a rough outline of the story. Rescue the kidnapped princess, defeat the evil wizard, defeat the final boss, and become king... the framework is pretty simple.

But when I actually tried to proceed with the plan, I realized, "No, this story can't be done so lightly..." At first, I thought I could draw it in a more light-hearted manner.

Hiroi: At first, you were trying to finish the fight against the Red Dragon in one episode, right? I was like, "is that possible?" (laughs).

Everyone: (laughs).

Kui: When I tried to actually tell it in one episode, it ended up feeling like a very brief summary... In order to tell the story I wanted to tell, I had to tell it more thoroughly than I originally thought.

-- Did you have any special thoughts about the theme of "food"?

Kui: No... well... if I had to choose, I'd say I have a strong grudge against food.

Since I was a child, I was a very picky eater, and mealtimes were a pain for me. I hated eating in front of other people, and there was a time when I hated seeing other people eating, so I would look for toilets that were rarely used and eat my meals in the toilet.

When I was doing it, the word "toilet meal" didn't exist, so when the term actually appeared in society I was so happy, thinking "everyone was doing it!"

[Toilet Meals are a social phenomenon in Japan.]

Everyone: (laughs).

Kui: I was thinking, "This is so terrible, right...?" but it was a relief to realize that other people were doing the same thing.

--So what made you choose the theme of "food education"?

Kui: My parents, who were struggling with my picky eating, taught me many things, including the "triple eating" method, but it was no use and I continued to be a picky eater into adulthood. My parents had instilled knowledge about food education in me, but I was not able to put it into practice.

[Kui might be talking about Triangular Eating but I'm not sure.]

So the only thing that remains is that I feel an enormous amount of guilt when it comes to food and eating...

Hiroi: If you think about it objectively, the series starts off on a very negative note.

Kui: But now I've gotten over the habit of eating with other people... or rather, I've come to like it. My editor takes me to lots of delicious places.

--When I was a student, I was trying to leave my udon bowl at school, but my teacher found out and made me eat the packet of udon by myself. There was no soup, and it was really hard to eat the udon by itself.

Kui: It must be tough. I tried to hide it, but my teacher found out and I got really angry.

Hiroi: I've tried to hide it in a drawer before. Then, something dried up came out of the drawer... (laughs bitterly).

How can I draw things I hate?

-- Or rather, is it the fact that you're not good at it that gives you a higher level of insight into the food?

Kui: I think it's because you're interested in it that you either like it or dislike it. Inevitably, you spend a lot of time thinking about it.

Since "Dungeon Meshi" depicts a lot of food, one might think "Do I like eating?", but in fact there are many times when I draw it because I dislike something .

--Aside from food, do you also draw things that you dislike?

Kui: Maybe. For example, human relationships, modern times, fashion...?

-- Perhaps the relationships between the characters in "Dungeon Food" are portrayed so delicately because the author is not good at dealing with human relationships?

Kui: I've always been very curious about things like, "(This person is usually so cold, but has such a charming smile in front of other people)" ...

I feel the same way, but I think people are different in the way they show their true colors. I think it's strange that it stands out to me...

-- I have a simple question. When you draw something you hate, how do you feel? No matter how much you hate something, do you find it fun to draw it?

Kui: The events in the manga don't directly involve me, so I don't dislike the things I'm drawing as much. Also, when I draw while looking for the good parts, it can lead to new discoveries.

Also, I think it's scary to draw only what I like.

In my work, the important thing is "what to capture with the camera," and there's no need to go out of your way to capture filthy things, but at the same time, I think the world will look bigger if you keep in mind that "there are a lot of inconvenient, dirty, and unpleasant things outside the camera." That's the feeling I have when I paint/create manga.

When playing a game, if I have to choose between a game where I only feel like I'm in the world inside the game screen, and a game where I feel like there are lots of people living on the other side of the screen, and that the people in that world could travel anywhere they wanted, I think the latter is more fun to play.

I'm always thinking about how to express that "sense of the vastness of the world" ...and I personally like games that have "a world" to them.

-- Do you ever incorporate elements from the game into your manga?

Kui: On the contrary, I think that is a part that cannot be adopted .

The best thing about games is that each person has a different experience. Games that have lots of endings are also a result screen for what you've done up until that point. When I see something like that, I think, "That's so cool."

Personally, I think that's the game's greatest appeal, and something that could never be replicated in a manga that doesn't have players.

If you're so busy, when do you play games?

-- I'm personally curious, how do you find the time to play games? Even though you're busy with your work as a manga artist, you play quite a lot of games.

Kui: I often use the Steam Deck before going to bed or during breaks between writing manuscripts. In fact, I almost only use the Steam Deck now. I keep it by my pillow, so I can take it and play before going to sleep, or during breaks...

--Is Steam Deck really that convenient?

Kui: I recommend it. The screen is small, but it can run Cyberpunk 2077 .

Also, personally, I've gotten tired of having to turn on my PC to start up a game...with Steam Deck, I can just turn it on and it starts up instantly, even when I'm lying down. How do you writers usually play games? There are times when you have to play games for work, aren't there?

--When it comes to work, I calculate backwards how long I'll be playing before I start playing...If it's a game that can be completed in about 60 hours, I usually estimate that I'll play for 3 hours a day and complete it for 20 days in a row.

Hiroi: It's a lot of work!

Kui: That's amazing... You really are a gamer.

I've always thought that I have a talent for playing games ... but I'm not really good at that. If I'm given a game that's a little difficult, I get tired of it right away, and I'm not very good at trial and error. The range of things I can enjoy is very narrow.

I wonder if game developers around the world are also struggling with the question of "Should I make my games accessible to a wide range of people, even those who aren't particularly gamers?" or "Should I make games that are challenging and can be played deeply?" The same problem exists with manga, too.

When there's a game that I can't play well, I feel happy because it means the creator decided that there's no need to pander to people who can't keep up.

-- By the way, when you play games, do you do it as a normal "hobby"? Or do you play more often to find material for your manga?

Kui: Of course, a big part of it is that I play games as a hobby, but it is alleviated by the fact that playing games might be useful for my work (laughs).

Even if I'm not that interested in a game, if I think "it might be useful for work," I'll find the courage to buy it, and no matter how expensive a gaming PC is, I can still buy it if I think of it as a work tool. So the hurdles for many things related to games are lowered for the reason that it's "for work."

--So, when you read manga, do you feel like you're reading it for work?

Kui: In my case, manga has become my job, so when I read it I can't help but think of work.

However, I still enjoy gaming as a hobby . That's why I don't want to lose this hobby... and I don't think I'll be able to enjoy it as much if I get involved in games as a job, so I don't take on any games-related jobs.

Does the depth of the world come from the fact that it is "not decided"?

-- I heard in advance that "Dungeon Meshi" was written with a clear awareness of "what should be explained" and "what shouldn't be explained," so could you tell me more about that?

Kui: Having read a variety of fantasy novels and games, I thought that the "moment of discouragement" was the "repeated use of foreign words." When you write something like "XX of XX of XX," if there are three or more katakana characters, there is a high chance that it will be skipped over by Japanese readers.

That's why I try to refer to town names as "the neighboring town" whenever possible, and refer to characters who appear in flashbacks as "uncle" rather than by their full names, so that readers can understand without having needing exposition.

The magic used during battles in "Dungeon Meshi" is depicted in such a way that you can "understand what kind of magic it is just by looking at the picture."

-- What other aspects of Dungeon Meshi are there that you deliberately left out of its concrete settings?

Kui: Numbers and language are the settings I avoided touching. For example, just by deciding the month of birth, it is first determined that there is a moon in this world. From there, it is also determined that there is gravity.

What's more, just the concept of a "birthday" means that there is a division into a "year" and that the world is determined to have a 365-day cycle. It quickly becomes complicated.

But on the other hand, if I were to set the details and make it something like "This country's currency is 1 gold, which is worth 5 yen," it would be a burden on the reader. When reading the work, the reader would be forced to convert it into "1 gold = 5 yen" in their minds every time. That's why I try to write it with "readability as a priority" as much as possible.

However, if you're creating a "fantasy" in the truest sense of the word, it would be better to create something that corresponds to that world's calendar or metric system in order to really immerse yourself in that world, so it's difficult to get the balance right...

-- I think that style of "deliberately not giving explanations" is quite amazing.

Hiroi: I think that 's definitely partly because "Dungeon Meshi" is a silly title.

The "mindset" of the reader is a little different...I think that from the very beginning, the reader is made to recognize that "this work isn't going to say anything too difficult."

Kui: Also, we had to give a bit of thought to coming up with the character names.

For example, the main characters in Wizardry are given names that correspond to their professions, such as "Warrior" or "Wizard." The "Senshi" in Dungeon Meshi was taken from that ... I named him after thinking, "I want that person to play an active role."

That's why I wanted the overseas version of Senshi's name to be "Fighter", but I was worried that overseas readers would be like, "What does that mean...!?" so I kept it in my head.

--The character names in "Dungeon Meshi" tend to be around 3 or 4 letters long and fit nicely.

Kui: If the name gets too long, it won't fit in the speech bubble...It's generally said that a line in a speech bubble should be about 7 to 8 characters long to be easy to read.

So "Chillchuck" is really long... I actually thought that the abbreviation "Chill" could be used more, so I named it that way, but it didn't work out so well, so in the end I just kept calling it "Chillchuck". Even I was thinking "that's long" while drawing it (laughs).

Everyone: (laughs).

Kui: Anyway, there are quite a few manga-like circumstances where "maybe four characters would be enough."

--By the way, are there any rules for naming the characters in "Dungeon Meshi"?

Kui: It's not detailed, but there are "settings within the story" and "meta-settings that are just for my own enjoyment."

For example, [if Dungeon Meshi was a game] the Shuro party has names that would be given by a certain type of player. When playing a games, some people give their characters themed names that follow self-imposed rules. In that sense, meta-wise, the Shuro party is played by a player who names their characters with a plant-based restriction.

Also, since the player likes girls, the party members are all girls, and so on... (laughs).

Hiroi: Oh, I didn't know that!

Kuon: ...While it's fun for myself, I also create characters by asking questions like, "Why is the party mainly made up of women?" or "Why do they all have similar names?"

However, even if I revealed these settings in the story, it wouldn't have made the story any more interesting, so they are merely "settings that only exist in my own mind."

-- What are some specific examples of "settings that you deliberately didn't reveal"?

Hiroi: I still remember when I said, "I want you to depict the elven kingdom in more detail," Kui replied, "That's going too far."

The dwarven country was depicted quite a bit, so I personally thought it could have been shown a little more...

Kui: I felt that if I depicted that, it would limit the reader's imagination.

There are definitely "lines that suggest something might happen," and when it comes to parts that are better left to the reader's imagination, I often choose not to draw them.

Also, even when we present settings that readers think they can just skim through, they often try hard to remember them...

It all started with the manga "Eating soba through your nose."

--Let's go back to the topic a little. How did Ms. Kui and Mr. Hiroi meet?

Hiroi: I think we scouted her.

I saw a short story that Kui had posted on Pixiv and sent him an email asking if I would like to draw a manga. I remember that he had a really funny four-frame manga called "Eating soba noodles through your nose ." It was about a character eating soba noodles through his nose and crying out in pain... I think I was drawn to his drawing ability, which made me feel like "Wow, that looks painful" when I saw it (laughs).

And from that point on, we have come to this point.

[This may not be the exact comic that Hiroi is talking about, but it's a comic Kui posted on her blog about someone eating soba through their nose.]

Kui: Oh, is that so? Isn't it something like "Shugaku Tenshi" [※4] ?

Hiroi: No, that's not true! The manga about eating soba noodles through the nose was made before "Shingaku Tenshi". By the way, that manga was planned to be published in "Rakugakihon" , but when I asked Kui-san "Can I publish this?", she was very against it...

Kui: No, that's fine, but... I didn't think other people would find it that interesting.

Everyone: (laughs).

Hiroi: But that was more than 10 years ago...

--By the way, was Mr. Hiroi the first publisher to contact you?

Kui: Before that, an editor at East Press had contacted me. I was originally publishing fantasy manga that I had drawn as a hobby on my personal website. I compiled them into a self-published original comic and exhibited it at Comitia, and they asked me, "Would you like to publish this long manga as a book?"

However, after the editor asked around to various people, it seems he was told that "this will be hard to sell"... so the plan was dropped. Instead, it was decided to release a "short story collection" of short manga that had been published at the same time . This is "The Dragon's School is on the Mountain: A Collection of Works by Ryoko Kui" published by East Press.

I was contacted by a few other people as well, but the two people I still keep in contact with are Mr. Hiroi and the editor at East Press.

-- When you went from drawing short stories and web comics to starting a commercial serialization, did you study anything like "how to draw a serialized work"?

Kui: I learned almost everything about how to draw manga from Mr. Hiroi and the editors and writers at Harta .

I had absolutely no understanding of whether panel layout was good or bad, so up until the middle of the serialization, I would rearrange the storyboards one panel at a time, and I would get lectured like "Don't put a panel like this here."

I was also impressed when I was shown original manuscripts by other artists. They look beautiful in print, but the real thing is even more impressive. This is what it means to be good at drawing manga.

It didn't finish as I expected

-- Speaking of "serialization," you mentioned earlier that you initially intended to end it at about volume 5. Did "Dungeon Meshi" continue longer than you had anticipated, Ms. Kui?

Kui: First of all, I didn't really understand what a "serialized" comic meant, so I didn't even know how much of a story I could get done in how many pages. So, I thought I could wrap up the story nicely in about five years, in five volumes.

But I never quite got around to finishing it. It was so hard... (laughs).

Hiroi: To be honest, when I first heard "Volume 5,"I thought to myself, "(Are you kidding me...?)" I didn't say it out loud though (laughs).

--Honestly, even as a reader, around the time of the fight with the Red Dragon in volumes 4 and 5 I was starting to feel like, "Huh? It seems like it's coming to an end soon..."

Kui: From the beginning, my goal was to "defeat the Red Dragon at the halfway point." However, I was supposed to fight the Red Dragon in Volume 4, even though it was supposed to be 5 volumes. So I thought, "Huh? It's not over yet," and I gradually lost interest.

By the time I got to around volume 10, I felt like no matter how much I drew, it would never end. I didn't want to drag it out, but no matter how much I drew, it just never seemed to finish.

Hiroi: Even from an editor's perspective, it seemed like Kui was getting very anxious from around volume 10 onwards.

-- Having finished the long-running serialization of "Dungeon Meshi," did you experience any changes in your mindset?

Kui: I think it was great to have the experience of learning that it would take 10 years to draw a story of this scale. And when I think about my lifespan and how many more works I can draw... it makes me dizzy.

Hiroi: I feel like I'm constantly fainting...

-- Ms. Kui, are there still any works you want to draw in your mind?

Kui: Not that much. But I love drawing manga, so I want to draw a lot. I don't know if I'll have the stamina to continue for another 10 volumes, but I want to continue working as a manga artist somehow.

But maybe... I don't think it will sell that well next time...

Hiroi: Stop! Don't say that!

Everyone: (laughs).

Kui: In that respect, "Dungeon Meshi" sold well, so I was able to draw what I had imagined to the end. Next time, I think it would be better to consider the opposite scenario of "if it doesn't sell" and make it shorter.

That's the next new challenge.

-- In addition to the expectations for your next work, do you feel any pressure?

Kui: In my case, the first collection of short stories I published was fairly well received. For a manga I drew for the first time, that's about it.

That was a relief, but at the same time, I felt that "Ideally, the reputation of my next work will also steadily increase, but there will definitely be ups and downs." If the reputation of the next work is bad, will I be able to continue drawing without getting discouraged? I realized that the "battle with myself" had just begun , and I was terrified when I read the first volume.

What game has cute illustrations, in your opinion?

Kui: This is a completely different topic, but you 've played SaGa Frontier 2 , haven't you? Aren't the pixel art in SaGa Frontier 2 really cute?

--The pixel art in SaGa Frontier 2 is...the best!

Kui: The illustrations in "SaGa Frontier 2" have such exquisite balance... if you try to express that in a picture, you can't reproduce that cuteness. It's like "exquisite head-to-body ratio."

-- In your opinion, Ms. Kui, are there any games that have cute illustrations?

Kui: The first one that comes to mind is definitely SaGa Frontier 2. Also, I still remember how cute the character designs were in Final Fantasy Tactics.

But back in the day, I used to trace characters from FF7 . I thought, "There are so many cool designs in the world..." (laughs).

Hiroi: Nomura (Tetsuya)'s drawings are amazing, aren't they?

Kui: I traced Cloud and Aerith on tracing paper and quietly said to myself, "So cool..." and got really excited. I noticed something while I was working on the "Dungeon Meshi" anime...basically, games and anime are made by many people, aren't they? So I always thought, "Many people must be giving various opinions to make them."

But when I got involved, I realized that one person's power is quite large. This was quite surprising. I thought that there were multiple people who wrote the script and storyboards, and that each person had their own responsibility, but... the power of one person is quite large.

──No matter how much the work is divided up, it's important to have a director or supervisor who brings it all together.

Kui: Yes, in the end, it depends on the power of the person who takes the lead ...

However, at the same time, I think that the division of labor between scriptwriting and storyboarding is something that would never be possible with manga. In the end, you have to create everything in one person's mind, so "bias" inevitably arises. So personally, I don't like the idea of ​​it becoming a "world created in one person's mind."

Hiroi: However, not only in manga but also in novels, the individual author's personality is strongly expressed. I wouldn't go so far as to say "ideology"... but the person's way of thinking is strongly expressed.

Kui: Speaking of which, people who create games alone, such as indie games, are amazing.

It's often said that manga artists "come up with everything, from the art to the story, all by themselves," but I don't think they can compete with independent game creators who create the music, programming, and art all by themselves.

Moreover, even more than manga, no one can give their opinion until the game is completed. If you think about it that way, making a game by yourself is really a "one-man battle." At the same time, what I like about games is that there are quite a few "works that are not made with much consideration for cost" ... I enjoy it a little bit.

-- Do you ever think, "I want to make a game?"

Kui: I once bought RPG Maker , but it ended up being a complete failure... (laughs).

Everyone: (laughs).

Love for "classic RPGs" was a major influence on "Dungeon Meshi"

-- I'd like to ask you, Ms. Kui, since you play a lot of titles on Steam and other platforms, have you ever had any problems playing a game?

Kui: Simply put, a "game that doesn't work" is a problem (laughs).

This sometimes happens with games made by individuals on Steam... they don't have any reviews, so there's no way to deal with it other than contacting them directly. There have been a few times when I've been stuck and wondered, "What should I do?"

Other times, I'll buy a title that just happens to pop up at the top of Steam's rankings. Sometimes I'll play it thinking, "The graphics are kind of cute, so I'll give it a try," only to find that it's incomplete beyond the framework.

--So now people are playing titles that aren't that major.

Kui: Also, when I played Planescape: Torment, which is said to have influenced Disco Elysium.

While playing, I came across a character who was suffering from a terrible curse that made his whole body smell and become sticky. A quest was triggered to ask the NPC who had cast the curse to lift it, but when I asked them to lift the curse, I ended up being cursed with a curse that made me have constant hiccups ...

So when I was walking around the town, the "hiccup" dialogue started popping up all the time. What's more, every time it happened, I would freeze up for about 0.1 seconds. All the dialogue was filled with "hiccups." Anyway, it was a troubling curse.

I had no idea how to deal with this either, so I decided to just kill the NPC who had put the curse on me. The NPC also challenged me by saying, "Maybe if you kill me, the curse will be lifted?", so I tried killing him, but... it didn't lift the curse at all (laughs).

Everyone: (laughs).

Kui: I thought maybe the quest would progress in other places, so I walked around here and there, but the curse was not lifted after all. I was really curious, so I looked back at overseas information exchange thread online, and I found someone had written a lecture that said "You know what happens if you kill an important NPC without thinking about it, right?"

So I realized that this curse can never be lifted again. Even if I wanted to rewind, it was an auto-save, so I had to go back almost to the beginning... I was really... in trouble!

-- But "Planescape: Torment" hits a pretty impressive spot. Was it something that just happened to catch your eye while you were browsing Steam?

Kui: I originally liked games in the same genre as Baldur's Gate, so I think that's how I got into Planescape.

Also, I saw information that a huge amount of text in Planescape was translated by one person... I'm not very good at English, and games like Planescape have a lot of text to begin with, so I'm at a loss if it's not translated into Japanese .

However, when extraordinary people like those who make Planescape use their precious time from their lives to accomplish great things, I feel very grateful.

-- So, Ms. Kui, do you prefer games that are closer to the classics?

Kui: That's right. The first game I played was The Elder Scrolls V: Skyrim, and it was so much fun that I searched for "games similar to Skyrim" and played a lot of the games that came up.

All of them were completely different games from Skyrim, but they were fun. However, I don't like "old games". I think that newer games are generally more polished and well-made.

-- Wizardry, which influenced Dungeon Meshi, is also a classic work.

Kui: When I was a child, I saw my father playing Wizardry V : The Heart of the Maelstrom. As time passed, I remembered that there was a game called Wizardry. The game I played at that time was Wizardry VI: Forbidden Pencil.

I also played Wizardry V , but it was hard to see the map unless I chanted a spell. I was directionally challenged, so even though I had a guidebook at hand, I couldn't progress.

--By the way, were you more interested in making a manga out of "Wizardry" than the tabletop RPG "D&D" ?

Kui: When I was researching fantasy, "D&D" was often mentioned... but I had never even heard of "TRPG" before. First of all, you can't play it without friends, and I was shocked to find out that lots of people have friends they can play with like this...!?

Everyone: (laughs).

Kui: So when I looked up TRPGs on Wikipedia, I couldn't imagine that people actually played this kind of game. I was more confused and thought, "How can people really role-play in front of other people?"

After that, I watched replay videos on YouTube and it was only then that I understood how games like D&D worked.

Games, manga, novels. What is the purpose of all creative works?

-- What was the last game you played?

Kui: Recently I played a school management game called "Let's School." It's made by a Chinese company that also made "My Time at Sandrock."

Hiroi: You really like that kind of game, don't you? (laughs) Oh? Haven't you played "FF7 Rebirth" ?

Kui: I'm thinking about playing the remake of FF7 once it's completed.

Hiroi: No, no, if we don't do it now, we'll never finish it! It'll be a long time before we do it!

--Honestly, I also thought it would take about 10 years for FF7 Rebirth to be released.

Hiroi: I thought it would take about that long too... I really wanted it to be completed while I could still see. So, please do it!

Kui: Once it's finished...I want to play it all at once (laughs).

--Do you and Ms. Kui often talk about games?

Hiroi: Ms. Kui sometimes says, "I want to talk about this game, so I want you to play it." I played "Red Dead Redemption" because of that. Also, a long time ago, Ms. Kui recommended "13 Sentinels: Aegis Rim."

Kui: Whenever there's a game I want to discuss with someone, I always recommend it to Hiroi.

But maybe I haven't been playing games as much lately. Until now, I've been playing games because I thought of it as "for work," but now that the serialization of Dungeon Meshi has ended, I've been playing less games.

Moreover, I'm not the type of person who gets that into one game...I don't generally play through a game in repeated playthroughs, and I'm usually satisfied once I've finished the story.

Hiroi: Then we have to start [a new ] serialization soon.

Everyone: (laughs).

-- I'd like to ask you personally, do you have any "recommended indie games"?

Kui: I highly recommend "Papers, Please" and "Return of the Obra Dinn."

First of all, "Papers, Please" is a simple "spot the difference" game, so I didn't have high expectations at first. But when I played it, I felt like there was a proper "world" to it . Also, I was curious to see how the story continued.

And "Return of the Obra Dinn" had a great atmosphere. There were hints to solving the puzzles if you looked closely, but there was also a good balance of being able to force your way through, and the music and production were cool.

Hiroi: Come to think of it, you read quite a bit of the novel after the serialization ended, didn't you?

Kui: Ah, you mean "1984" by George Orwell? That was good...

I've always thought that creativity isn't necessary for life... It's entertainment, so it's not essential to life. But after reading "1984," I thought, "I guess creativity is necessary after all."

Humans need stories to experience things that should never come true, to prepare for bad things, and to prepare for understanding other people... You might think, "You should have already learned that when you were younger," but I was deeply moved by this realization.

Anyway, I feel that it would be great if people could learn things they didn't know before through this work.

Hiroi: ...Overall, it just felt like we had a fun time talking about games (laughs).

Kui: We just used the interview as an excuse to talk about the game (laughs).

-- No no, thank you very much for sharing your valuable story! (End)

I think I can understand a little bit about being interested in things you hate.

It's easy to analyze "why do you like something?" when you like it, but it's surprisingly difficult to analyze "why do you dislike something?" When you understand the reason, it seems that "why do you dislike it" is often more meaningful.

Perhaps creative works exist in part to help us understand the things we dislike.

I was able to hear a lot of deep "creation stories" that made me think about such things. Also, Ms. Kui is a huge gamer. Mr. Hiroi also likes games quite a bit. Since serious talk and game discussions alternated, the content may have been emotionally confusing. But I feel like "Dungeon Meshi" has a similar atmosphere.

If you haven't read "Dungeon Meshi," please take this opportunity to read it. It depicts a fun adventure. On top of that, it may help you prepare for difficult things that might happen in your life someday. Of course, it's also extremely interesting as a manga. I think it's definitely one of the best "entertainment" of our time.

Why does the body want to live? What does the mind want?

This is because we have a "desire" to pursue what we like and dislike. In fact, "things we dislike" are just as important as "things we like." By understanding our own "likes and dislikes" through creative works and entertainment, humans can prepare for things that happen in their future lives. Food and creative works are equally important for human growth.

...That said, I'm not sure if it has a nice punchline, or maybe not.

To eat. To experience creative works. These are truly the privileges of life. In order to live, we must continue to eat.

Now it's time to eat. What shall we eat today?

[fanficgirl429]

Mike has a feelings for you (fluff)

Prompt: While babysitting Abby she tells you that Mike has a crush on you

Pairing: Reader x Mike Schmidt

----

“I can’t believe I have to fucking work today,” Mike says, pulling his gray security shirt on. “I told them I can only work during the week!”

Your best friend scrambles around the living room, looking for his phone, keys, and wallet- all of which are in various places. You are currently sitting on the couch, watching all of this unfold. He was always leaving his items in various places. How many times had you told him to leave them in the same spot?

He finds his keys and phone and shoves them into the back pocket of his jeans.

“Where is my wallet?” he says, running his fingers through his already messy brown hair.

“Did you check your room?” you ask.

He quickly leaves the room and returns moments later with his wallet in his hand.

Mike let’s out a sigh and looks over at you. “Are you sure you’re ok watching her? I can always call Max.”

“I don’t mind watching her at all,” you tell him.

You stand up and walk over to your best friend. Wrapping your arms around his waist you pull him into a tight hug. He instantly relaxes and wraps his arms around you.

“You have no idea how amazing you are,” Mike tells you, smiling.

You laugh as Mike takes a step back and towards the front door.

“Thank you so much for watching her,” Mike calls. “I owe you!”

“Hey Abs,” you say, sitting down on the edge of her bed. “What are you drawing?”

Abby smiles and passes you the sheet of paper. There is a white house with a large tree and three people standing out front. A man, a woman, and a child.

“You have to tell me who everyone is,” you say, pointing to the three people.

Abby stands up and comes to sit besides you on the bed. Her small hand points to the man on the page, “That’s Mike,” she moves her hand to the woman, “you,” and points to the child, “and that’s me.”

You weren’t shocked that you were drawn- Abby tended to draw the three of you alot. Mike and you had been best friends since middle school and you loved Abby like she was your little sister. Most of her drawings were things the three of you had done together or what she wanted to do with the two of you.

“And who’s house is this?” you question.

“We all live there together,” Abby states.

“Oh, that sounds fun,” you reply.

“Yea! Because you and Mike are going to get married!”

Abby’s comment throws you off. Not once has she ever asked about your and her brother's relationship.

“What makes you think we’re getting married?”

“Because Mike has a crush on you,” Abby says, shrugging.

You laugh. “No he doesn’t.”

Abby nods her head. “Yes he does. He says your name a lot in his sleep.”

“But that doesn’t mean he has a crush on me,” you tell her.

Abby’s silent for a moment then answers quietly. “You make him smile and laugh and he’s always happy when you’re around. He’s not like that around anyone else.”

Her answer surprises you but kids are very perceptive. Instead of pressing any further, you tell Abby to start to get ready for bed.

“Do you have a crush on Mike?” Abby askes as you tuck her in to her bed.

“Oh…um…yea, I do,” you tell her.

Little does Abby know but you are in love with her brother.

Abby smiles and nods and you turn the light off, closing the door behind you as you walk back to the living room.

—-

Abby falls asleep quickly and you sit in the living room watching tv. Your mind keeps going back to conversation with Abby. Does Mike really have a crush on you?

Abby doesn't know it (well maybe she figured it out) but you’ve had feelings for Mike for a long time. You loved your relationship with Mike and didn’t want to jeopardize it so you never made any indication or moves towards him. You had hoped that maybe he would be the first one to make a move but he never did.

All of the sudden it hits you, how tired you are. You stand up from the couch and stretch and slowly walk back towards Mikes room. This isn’t the first time you had slept over. Many times after Abby had gone to sleep, you and Mike would stay up together, hanging out. At first Mike insisted that you sleep at his house but now he didn’t even have to say anything- you would just crash on his bed, next to him.

It doesn’t take long for you to fall asleep and a few hours later, the bed dips slightly as Mike lays down next to you- waking you but only for a brief moment.

—-

The sun peeks through the curtains in Mikes room and the smell of bacon and pancakes wake you up from your sleep.

The spot on the bed next to you is disheveled -the only evidence that Mike has slept there.

As you lay in bed for another minute, you hear voices drifting down the hallway. You can’t make out what they are saying but you can tell it’s Mike and Abby.

Standing up, you walk into the hallway but hang back for a moment- waiting to see what they are talking about.

“Did you know that Y/N had a crush on you?” Abby tells Mike.

“How do you know?” you hear him ask.

“She told me,” Abby states matter of factly.

It’s then that you decide to walk into the small kitchen. Abby and Mike are both sitting at the small kitchen table, eating bacon and pancakes.

“Morning,” you say, walking over to the coffee maker.

“Morning,” Abby and Mike say at the same time.

Mike's hair is sticking up in various directions and he looks like he just woke up. His dark t-shirt hugs his frame and you know he’s wearing his favorite pair of flannel pajama pants.

“I’m going to go draw,” Abby says, leaving you and Mike alone in the kitchen.

Mike watches as you pour yourself a glass of coffee but don’t turn around to face him.

“So,” he begins. “Abby told me something interesting…”

“And what was that?” you question, although you already know the answer.

“She said that you have a crush on me.”

“Oh. Why would she say that?”

“She said that you told her you did.”

You turn around to face your best friend, your eyes locking with his. His cheeks are slightly pink and it makes you feel better that this conversation might be slightly embarrassing for him as well.

“I-uh-,” you stammer.

Mike stands up and walks over to you and your back presses against the counter. He slowly moves his hands to your waist, waiting to see how you’ll react. When you don’t move away, he grips your waist, his brown eyes locking with yours.

“What if I told you that I had a crush on you?” he says.

A soft smile crosses your lips and Mike reaches up and places his hand against your cheek, his thumb moving in small circles.

You move your arms up and snake them around his neck, waiting for him to make the next move. His body is pressed against yours and you can feel his heart pounding against his chest.

Within moments, he leans down and brushes his lips against yours before pulling away.

“Why did you stop?” you tease him.

He smiles as his presses his lips against yours and they move together, almost as if the two of you had done this before.

[cy-cyborg]

I'm begging dragonage fans to do a tiny bit of research about arm amputees before loudly shouting their opinions on the inquisitor returning in the next game Please lol.

Apparently, it was confirmed that the inquisitor, your chatacter from the last game (who looses their arm in the final cutscene of the DLC), will return in Veilguard as a customisable character, similar to Hawke, and they will play an active roll in the story. This has caused a lot of people to start speculating on how they'll handle the inquisitor's missing hand, with most people agreeing they'll have to have a prosthetic to be an active part of the story. Which, while I do think this is the rought bioware will take, isn't true, and a part of me really hopes they leave the inquisitor without a prosthetic arm like in the end of Tresspasser

Partially because we already have a companion with a prosthetic (neve) and it would be nice to see some diversity in how amputation is depicted in such a mainstream game, but also because you dont need a prosthetic to fight as any of the main 3 classes from inquisition.

Mage:

mages just need a staff, the game shows them as 2 handed weapons but it's totally beleiveable that it would be usable 1-handed (Neve also uses a dagger-like weapon in the trailer, you can make a "staff" in inquisition that functions more like an energy sword, and the Mage in the chargers uses a staff resembling a bow, so I think it's more that they just need a focus, the shape doesn't matter as much). A knight enchanter may struggle more 1 handed, but I wouldn't write it off as an option with some modifications made to their main staff.

Warrior:

the easiest to justify, because there are several cases of arm amputees fighting with a sword and sheild in history, and while many did have prosthetics, most weren't functional (meaning they were mainly for aesthetic purposes and didn't actually aid the fighter in any way. There were exceptions, like Götz of the iron hand, who's prosthetic was functional, but most were not). The inquisitor looses their arm just above the wrist*, so they still have most of their forearm. Most sheilds strap to the forearm, so it wouldn't take much adjustment to make that work, and you can use the other hand for the weapon. Obviously, two-handed weapons will probably be off the table, though, lol.

*edit to say, as several people pointed out, i got that wrong, my bad 😅. The inquisitors arm is actually amputated through the elbow, the screenshots i was looking at just weren't very clear and it has been a while since i got to trespasser lol. It would still entirely possible to strap a shield to the upper arm though, with some pretty minor adjustments to the existing straps on standard (as in, those used by non-disabled warriors) tall shields, so the point still stands.

Rogue

this is the one people tend to be the loudest about and the one I understand the most. Obviously duel-weilding daggers won't work (unless you give them something like the hidden blades in assassin's creed on their stump side, I guess) but using a single dagger still would, and is a perfectly reasonable approach, given that's how most irl people used daggers. Archery, though, absolutely can work without a prosthetic, despite what people think. Dragonage has crossbows, not something like Bianca (rip) but a small, single-handed crossbow is an option. Even ignoring that though, amputee archery is a thing irl, and not every arm amputee uses prosthetics for it. The bows are modified to be held in one hand and drawn with the mouth using a kind of pully-system built into the bow that I could very easily see being modified into some dwarven-style contraption in game (some double arm amputees use their feet to draw regular bows, but I don't think that would be pheasable in combat).

Like I said, I think bioware will probably go with a prosthetic, but i hope that they don't. Or at the very least, show them with it sometimes and without it other times (the same goes for Neve, no one wears their prosthetic 24/7, I'd love to see them both take them off around the home base, even just occasionally). A lot of arm amputees in particular prefer to go without one, and arm prosthetics in media are some of the worst offenders of the "perfect prosthetic"/"miracle cure prosthetic" tropes. It doesn't count as "diversity" or disability representation if it doesn't actually change anything other than the look of the chatacter, and im really, really desperate for some actually decent amputee representation in games.

[maxellminidisc]

Not to mention as someone pointed out on the replies, even within the context to Jazz during that period, that haircut was absolutely influenced by Sonny Rollins. He started sporting it around '59 from what I can find, and he himself stated was done in homage to its Native roots.

🤔 says alot abt ppl assuming there was a punk movement in the 60s in France because some guy had a mohawk do people not know the mohawk hair style existed before the punk movement?????

[lilacsandlillies]

I was going through the anti Jason Todd tag because I hate myself and want to understand where people who dislike him are coming from and one thing I kept seeing was annoyance at Jason fans who claim that Jason is female coded and realized that the term “female coded” might not be the best term to describe what we mean.

A female coded character in literature and media typically means a character that has no specified gender or otherwise does not have a gender but is obviously meant to be a stand in for a woman or female. Kind of like how Starfire has no specified race (due to being an alien) but is still obviously black coded based on the way she’s drawn and treated by the narrative.

This is slightly different than what we mean when saying that Jason is female coded. It’s not that Jason is literally supposed to be a stand in for a female character, it’s that the way a lot of characters treat him and a lot of the tropes used on him are things that usually saved for female characters, not big buff men like Jason.

To start with, being Robin is narratively (or at least was) very similar to being a woman in a story. Robin is a role made to complement Batman (who we all know is basically the ultimate male power fantasy). Robin’s role is to be an accessory to Batman. Robin can be smart, but not smarter than Batman. Robin can be strong, but not stronger than Batman. Hell, Robin is often kidnapped and used as a literal damsel in distress, a role often regulated for women as a whole.

What sets Jason apart from the other robins (except for Steph) in this regard is that they were allowed to be characters outside of Batman. Dick might not have been the “man” of the story when he’s with Bruce, but when he’s with the teen titans suddenly he’s the smart one who has all the answers. Jason’s Robin was never really allowed this.

Then we get to the most, controversial, part of Jason’s female coding. The fact the he was effectively fridged. Fridging is usually only referred to as frigding if it’s a female character, but Jason’s death checks pretty much all the other boxes needed. An incredibly brutal death that was more about Bruce’s feelings on it than Jason himself.

This is especially apparent when compared to the other Bat characters. For all the female coding, the only other Robin to actually be fridged was Steph (and we all know about the misogyny surrounding her death). Barbara was also kind of fridged during the killing Joke. The only female character to escape this is Cass (to my knowledge). When you look at it through this lens, the fact that the only other characters to be permanently damaged like this for Bruce’s story are female, it’s not hard to see where the idea that Jason is female coded comes from.

You can even find this in Jason’s origin story. Poor little orphan is saved by benevolent billionaire is a role usually saved for little girls, like in Annie.

Despite what you might think, this even continues after Jason’s revival. Jason is still used less as a character and more as a motivation for Bruce. He’s regularly called emotional and hysterical (terms usually used to refer to women).

Jason is first and foremost a victim. A role performed by women in most media. Men are expected to be stoic and “rise above” the things done to them as to not be victims, as continuously shown by the way characters like Nightwing are not allowed to be effected by the horrific things they go through. The fact that Jason is shown the be angry, and sad, and emotional, constantly, and the fact that he’s punished and vilified for it puts him in a place much more similar to a female character.

There’s a reason that so many Jason fans (that like him for a reason past “antihero with guns”) are female. For most characters, when you swap their genders there would be a pretty clear and big difference in the way their story takes place. If you swap Jason’s gender, the story takes place identically.

A lot of this is best shown in men’s reactions to Arkham Knight’s version of Jason. In that game, Jason is similarly angry and emotional, albeit for slightly different reasons. He is also still unmistakably a victim. You’d think the men playing would like him. After all he’s a big cool angsty guy with a lot of guns and muscles. Instead, a lot of men’s thought that he was whiny. That his feelings were annoying.

There’s also something to be said about how his autonomy is regularly undermined by Bruce (specifically in Gotham war) and how his decisions and feeling are constantly treated as if they’re worth less than Bruce’s, but that’s a discussion for another day.

[ghelgheli]

i would actually like to hear more of your thoughts on whipping girl, whenever you feel ready enough to talk about it. i've only ever heard positive recommendations for it. i was thinking of reading it. i've read one or two introductory 101 texts on transmisogyny as well as some medium/substack posts, and always looking to read more as a tme person. ty!

thanks for asking! I'm gonna try to be concise because I'm stuck on my phone for the month, but here are my thoughts on whipping girl:

serano is at her strongest in the book in three areas: manifestations of transmisogyny in media (e.g. how trans caricatures pervade movies), the history of medical institutions developing a pathology of transsexuality (like the diagnostics of blanchard et al. or how trans people seeking healthcare were and continue to be forced into acting out prescribed expressions and manufacturing memories), and the construction of her own transition narrative (telling the reader what it was like for her to grow up desiring femininity in a way that confused her, the experience of crossdressing, the effects of hrt for her)

whenever she's just sticking to this, I think she effectively communicates a lot that the unaware reader could benefit from—even many trans women/transfems/tma people who are otherwise in tune with the history of medicalized transsexualism and our popular depictions could probably benefit from her own personal narrative, by nature of how variegated our experiences can be.

unfortunately I think the book fails at its primary—stated—goal, which is to theorize about transmisogyny. in the big picture this is a bifurcated failure:

on one branch of her argument, she remains committed to there being something biologically essential/innate about gender. this manifests thru multiple claims: that we have "innate inclinations" toward masculinity/femininity and "subconscious sex" rather than what I believe, which is that the latter are constructed categories imposed on different matrices of behaviour/expression/desire in different cultural contexts; that there is "definitely a biological component to gender" (close paraphrase) after a discussion of how she believes E and T tend to affect people (thus equivocating gender with dominant hormones!); that we have such a thing as "physical sex" which is the composition of our culturally decided "sex characteristics" (don't ask me how the dividing line is drawn) even as she says we should stop using "biological sex" as a term; that there is "no harm" in agreeing that "sex" is largely bimodal with some exceptions; that social constructionism is necessarily erasure of transsexual experiences in early childhood... altogether she is unwilling to relinquish arguments about the partial "innateness" of femininity/masculinity and gender. this is at tension with her admission on several occasions that these are neither culturally/geographically nor temporally stable concepts! but that doesn't seem to be a line she can follow thru on.

on another, intertwining branch, she engages in what I think is a deep and widespread mistake in the theorizing of transmisogyny: reducing it (mechanistically) to what she calls effemimania* or essentially anti-femininity. it is her stated thesis at the start that masculinity is universally preferred to femininity. she doesn't offer a definition of either term until one of the final chapters, where she defines them as the behaviours and expressions associated with a particular gender. but I think this reduction just misunderstands transmisogyny. it is even in tension with an observation she makes early on, that trans women are often punished for their perceived masculinity! but again, this is a thought she seems unable or unwilling to follow thru with.

my problem with the thesis is that masculinity and femininity do not float free of gender—it is not possible to speak of their valuation in the abstract. anyone who grew up as a masculine cis girl and never "grew out" of that "phase" can attest to the violence wrought upon expressions of masculinity from women. and this applies doubly so to the subjects of transmisogyny! not only are we punished for any perceived bleed-through of masculinity from our supposed "underlying male selves", those of us who are willingly masculine and thriving as mascs are punished for our failure to conform to the rules of the normative womanhood that is imposed on us (just as we are punished for any willing femininity as "false" and predatory upon cis womanhood—observe that transmisogyny is reactive degendering in every case!).

on both branches serano makes only perfunctory remarks about the intersections with race, class, and colonialism. "sex" as such was made to only be accessible to the "civilized", most of all the white european! for a racialized person and particularly a Black person navigating gender the waters are just not the same; the signifiers of sex neither available in the same way, nor granted the same medical legitimacy. what is the "physical sex" of someone who is de-sexed altogether? how can gender have a "biologically innate" component when its expressions between the bourgeoisie and the working class are at total odds with one another? this all goes for the masculine/feminine distinctions as well. what sense is there in the claim that we have innately masculine/feminine inclinations when globally (and transmisogyny has been made global!) what is feminine and masculine can be very nearly mirrored? nor is "masculinity is always considered superior to femininity" innocent of obviating race. transmisogynoir adds yet further degendering thru the coercive masculinization of someone as a Black woman—masculinization as punishment, again!

and as a final point, the account fails to be materialist. there is no attempt to place transmisogyny in its role as an instrument of political economy or, as jules gill-peterson might say, as a tool of statecraft. it is just a psychological response to the way the world is, as far as serano has anything to say about it. but how did the world become that way, and why?? serano's solution, the abolition of what she calls gender entitlement, is naive to the fact that gender entitlement is necessary to the maintenance of the capitalist state, which is structured thru patriarchy and built on colonialism. it is not possible to reskin this into something innocuous!

this is why I cannot recommend whipping girl as a work about transmisogyny except at the most shallow level. it could be a helpful critical read, but imo, it is just wrong about transmisogyny.

[tmpestuous]

someone to stay

summary: bucky offers you solace as your mental fatigue rears its head.

pairing: boyfriend!bucky x reader

warnings: angst, reader anxiety/depression, fluff, non-sexual nudity, a comforting buck <3

word count: 2.5k

a/n: this was inspired by my own issues right now because i definitely need it at the moment :’) 

Getting out of bed was always the most difficult part of your day. Even when you were feeling okay, even when nothing was immediately wrong. You would wake up and stare into the void, blankets smothering your body and eyelids still heavy from the bit of sleep you’d managed to get.

There wasn’t anything pressing your anxiety, but having been out of your routine for a few weeks always left you feeling unmotivated. After having been sidelined from missions for a multitude of reasons—injuries, mental stability, and a dwindling success rate—you had nothing to do. None of your side hobbies entertained you long enough to keep you busy, so you fell into the same cycle. You sometimes wished you could sleep all day or even just stay stagnant in bed, but you knew it’d only make the fatigue worse.

Today, however, was not one of those days where you pushed yourself out of bed. Not bothered to check the time, you closed your eyes again. It was raining outside anyways, the perfect weather to stay cuddled in bed for. Soon enough, you found some sleep again, even if you’d regret it later.

Bucky, who was not sidelined from missions, had just come back from one, more than eager to see you. He was back earlier than expected, so he only figured you wouldn’t be in your usual spot waiting for him in the hangar of the compound. It was a bit past noon, so he assumed you were keeping busy elsewhere.

After a quick debrief, he made it to your shared room, only to be led to confusion at the curtains still drawn and all of the lights off. He knew how much you hated sleeping in too late, only ever sleeping past 9 if you were really exhausted and/or hadn’t gotten much sleep at all. Even then, you never let it get past 11 before you were up and out of bed.

Bucky knew you were taking your suspension a bit rougher than expected. He hated seeing you upset and he was even willing to skip out on a few missions to stay with you, but you’d insisted otherwise, saying “the bad guys don’t take breaks.” 

He never liked leaving you. Most of your missions had the two of you together, SHIELD thinking you worked well together even outside of your relationship. Going on missions without you meant he was always stuck with some reckless, inexperienced agent who wasn’t half as skilled as you a lot of the time. It was why he only liked the ones where he was with Sam or Steve, at least not having to stress about saving anyone.

He missed you on every single one. Your quips, how satisfying it was to see you kick people’s asses, and how swiftly you did just about everything. But Bucky also knew you needed a break. Your anxiety was more rampant lately, and it was affecting all of your skills on the field. The decision to bench you didn’t come easy to anyone, but especially not you.

You honestly had little to no idea what had you so anxious to start with, but anything else that triggered your anxiety only amplified it. Bucky was so reluctant to let Steve suspend you, but after you got seriously injured on a mission for lack of attention, he couldn’t argue against it anymore.

“You can’t be serious,” you said to Steve, tears in your eyes. “I’ve been injured so many times, why does that even matter?”

“It’s not just the injury,” Steve countered. “You’ve been off your game. I can’t risk losing one of our best members because you’re distracted.”

“I’m not dis—”

“You being distracted is how you ended up with a broken arm and a head injury,” he cut you off, making you look away from him. “You’re gonna end up dead if you keep on like this. I can’t deal with that loss, and neither can Bucky.”

Snapping your gaze back at Steve, you scoffed.

“So this is about Bucky?”

“This is about you, Y/n,” Steve said, his tone slightly more irritated. “He begged me not to bench you, said you just needed some time but even he knows putting you on the field again is risking your life.”

Wiping your tears away, you said nothing in response. You knew he was right, but the last thing you needed was to give in. It’d make you crumble, it’d make this whole situation real and you knew where you’d end up. 

Your conversation ended when Bucky walked in the room.

It was the right decision after all. However, Bucky’s chest ached knowing how low you were feeling. Knowing that you were doing everything just to get by, yet nothing at all. He hadn’t seen you in a melancholy state for years, but it always scared him. He barely made it out of his own episodes sometimes, panic manifesting through his bones. His worry only worsened at the thought of not being able to pull you from the darkness, the way you’d done so for him many times. 

Seeing you under the sheets, sound asleep past noon didn’t settle Bucky’s own anxiety. He was out on this mission for eight days, but you’d sounded okay when you spoke to him over the phone every night. 

Were you not getting any sleep? Were you falling asleep really late? Or was your current funk really getting to you?

Bucky set his duffel bag on the floor, shutting the door behind him. He decided against opening the curtains until you were awake, sitting on the edge of the bed next to your sleeping body, placing his flesh hand on your cheek gently.

“Sweetheart,” he said, leaning down and kissing your forehead a few times. “Let me see those pretty eyes, doll.”

Furrowing your eyebrows before peeling your eyes open, you were greeted with your favorite super soldier, a smile creeping on your face.

“Hi,” you said groggily, Bucky kissing your forehead again. “You’re back early.”

“Got the job done quickly,” he fed your curiosity. “What are you still doing asleep, doll? Are you okay?”

“What time is it?” You said, still unmotivated to get up from your lying position. 

“Almost 1,” Bucky answered before your eyes widened and you sat up, frantic about how the morning got away from you. “Hey, hey,” Bucky placed his hands on your shoulder, easing the tension a bit. “It’s okay, there’s nothing wrong with oversleeping once in a while.”

You shook your head, avoiding Bucky’s gaze as you rubbed your eyes. “I shouldn’t have slept that long.”

Bucky pressed a kiss to your shoulder, then your cheek, then pulled your hands away from your eyes. The bags under them didn’t go without notice, Bucky getting more worried than earlier. He knew you weren’t sleeping well, and him not being here to soothe you must have made it worse.

“Is everything okay?” He asked again, never getting an answer from you.

You sighed. “I don’t really know, I’m just- I’m always tired and don’t wanna do anything even though I know I shouldn’t just stay in bed. I was gonna wake up early today to see if I could get moving but then I barely slept and thought a few more hours could be useful but now—”

“Shh,” Bucky said, pulling you into his embrace, rubbing your back softly. “There is still a lot of time left in the day, but I don’t mind sleeping this Sunday away with you after the mission I just had.” He kissed the top of your head a few times. “We can shower then eat and then rest. Sounds good?”

You nodded, with a muffled ‘okay’ into his chest before pulling away, Bucky standing and grasping your hand in his to head to the bathroom. 

Bucky turned the shower on, letting it run to get warm before turning back to you. After you helped Bucky take his tac suit off, he helped you shed your pajamas. The both of you took your underwear off, Bucky checking the water before you stepped in. 

You always enjoyed showering with Bucky, most after a mission when you were both tired. Though this was different since you weren’t the one coming home, the sentiment of being tired remained the same.

Bucky could tell you were tense, that something was still bothering you. He never wanted to pry, so he massaged the tension out of your shoulders, getting you to relax your posture a bit. You both worked your way around lathering each other with soap, your eyes doing their usual routine of scanning Bucky’s body for any cuts and bruises. Bucky decided to wash your hair, finding any means of making you feel relaxed. You sighed under his touch, leaning your head forward to rest against his chest as he rinsed your hair.

“Steve mentioned you going back on the field again,” Bucky eased into the conversation. “You feeling up for it?” Much to Bucky’s surprise, you shook your head, prompting him to lift your face in his hands. “What’s wrong, sweetheart? You know you can talk to me.”

Sighing again, you leaned into his touch. “I’m not ready.”

“I thought you wanted to get back,” Bucky furrowed his eyebrows.

“I do,” you nodded. “But I just feel so… out of it. Like my mind is out of fuel and it’s putting my body on pause. I have no energy lately, I don’t really know what’s wrong with me.”

Bucky looked at you, a hint of sorrow in his eyes. He’d been there, where his body was craving one thing but his mind just never allowed him to satisfy any of his desires. Depression didn’t always look the same, but he could tell when it was starting to consume you.

The restless nights, the fatigue, the lack of energy and motivation. It was a stark contrast to your usual, productive self. Sometimes Bucky would have to slow you down for doing too many things at once, so it pained him to see you not want to do anything at all. 

He decided right then and there he’d take a pause from any missions until you were okay. Until he could see the spark in your eye again, the pep in your step. The energy being revitalized.

“It happens, baby,” he reassured. “You’ve helped me through some of my funks, so let me help you out of yours, hm?”

“You don’t have to, Bucky,” you shook your head, but he shushed you, a chaste kiss placed on your lips. “I’m serious, you don’t have to pause your life for me. People still need help and I’ll get out of my fatigue stint eventually, so—”

“You know you’re not gonna convince me otherwise, right?” He shut you up again, offering you a smirk and another peck to the lips. “I would drop everything for you. At any time, on any day, at any given moment. You are my world, doll. If you’re not okay, then my world isn’t okay.”

“But what if they really need you—”

“They won’t,” Bucky grabbed the comb to detangle your hair. “Now come on, let me help you ease your mind, hm?”

Knowing you couldn’t say no to him, you turned so your back was facing him, Bucky smoothly getting any knots out of your hair. 

He knew how much you loved it when he did your hair, knowing the process was super long and you didn’t want to do it half of the time. When he first heard you complain about having to do it, he made you teach him your whole routine for whenever you were feeling unmotivated to. It was one of many things he eagerly learned for you, always wanting to pamper you. 

Feeling a bit overwhelmed over the fact that you had him back, here with you as he did everything in his power to clear your head from the anxious thoughts, you couldn’t help but tear up. 

When he finished detangling your hair, holding it up with a clip, he saw you crying, quickly pulling you in his arms, kissing you everywhere he could. 

“I’m here, sweetheart,” he said, leaning down to kiss your shoulder. “I’m not going anywhere.”

Once he let you return the favor of washing his hair, you made him sit on the built-in bench in the shower so you wouldn’t have to reach up the whole time.��

Bucky loved touching you, but he swore to everything that he loved your touch even more. Your hands were so soft and gentle, with each lather and rinse of his head.

“Your hair’s getting long again,” you said, running your fingers through Bucky’s brown locks, the length now passing his ear. “Are you gonna cut it?”

Bucky shrugged, his hands finding comfort in your waist as you stood in front of him. He placed a kiss on each of your hips then your stomach before looking up at you.

“Maybe, maybe not,” he answered before standing, kissing your lips again. He knew how much you liked his short hair when he first cut it, but deep down you loved his long hair too. You just never forced him to keep one or the other, knowing how many memories his hair held.

Bucky loved how well you knew him, how well you understood him. It was the main reason why he took his time to do the same for you.

Once you were both out of the shower and dressed, Bucky picked up his phone to order some food. You’d told him you were craving Chinese the night before on your phone call while he was away, so he ordered all of your favorites as you finished drying your hair in the bathroom.

After eating dinner, Bucky slid under the covers of your shared bed, extending his metal arm for you to grab as you slid in next to him. Your head found its usual spot on his chest, both of his arms encasing you in the pressure you sought so many times, your left leg over his right one. 

“Thank you,” you said softly as Bucky rubbed your back just the way you liked it. “For never judging me.”

“I would never plan to,” he said, using his right hand to lift your chin up. “We’re human. We have our moments where we need a break, a reset. You taught me that when I needed to hear it. Don’t think that it excludes you, my love.”

Leaning up, you pressed your lips against his in a soft kiss that said more than enough. 

Pulling away, you looked into those blue eyes that meant the world to you.

“What would I do without you?”

“Force yourself to do your hair routine every week,” Bucky joked, making you roll your eyes playfully with a smirk.

You pressed a kiss on his chest before laying your head on it again. “I love you.”

“I love you more, doll,” he said, massaging your scalp to soothe you until you fell asleep.

Bucky could watch you be this peaceful forever, vowing to spend the rest of his days making sure you were okay. He always knew you’d return the favor, enjoying every moment spent with you like this, comforted best in his arms.