#but you can do that by. being better. and actually doing good things. not just saying 'i wouldn't do that bad thing'

[aliceinborderlandsquidgame]

The Salesman | SFW alphabet + being obsess with his wife

Can be read as part of this

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Warnings: Parts with Suggestive things - Obsess!Salesman - Wife!Reader - Possessive!Salesman - Grammar mistakes -

A = Affection (How affectionate are they? How do they show affection?)

The Salesman its not someone who usually shows affection or gets said feeling towards anyone. In fact for most years he thought he was unable to feel such a thing.

But then you came into his life and shattered that thought. He ended stalking you around Seoul, getting to know you before he did a first approach. He called it fascination at first, but when he finally got to know you for real he fell hard for you.

His ways of showing affection are quality time together, since he has some complicated hours at work he looks out for things you two can do together. Avoids the places where he usually goes.

Words, he loves calling you cute nicknames and telling you how well you did something. No matter what it was he makes a big deal out of it.

Contact, if he could take you everywhere with him, he would. He needs to have you by his side, being able to touch you its a must. He needs one kiss from you for his day to be good.

B = Best friend (What would they be like as a best friend? How would the friendship start?)

Most likely you two would be friends if you two used to work for the Organization and shared the same twisted dark mind set back then.

Like that he is a chaotic one, he does not like breaking the rules, in fact he lives by them. But would push your limits both inside the island and outside.

If you two worked as recruiters then you two would have friendly competitions on who can get more peopel into the games and bet on them once the games starts.

C = Cuddles (Do they like to cuddle? How would they cuddle?)

YES. He is a big softie for his wife. After a long day of seeing the kind of peopel he hates the most he comes home needing you. 

Will drag you to either the bed or the expensive couch the saw you seeing one time and got it for you, cause why not? The best for his wife.

Will hug you from behind, let his head fall on your shoulder and whisper how much he loves you and how happy he is with you.

If you two lay down then he would like to have you pressed against his chest, facing him so he can give you small kisses or being the small spoon so he can hug you against him and act as a shiled from the world.

D = Domestic (Do they want to settle down? How are they at cooking and cleaning?)

THIS MAN SAW YOU AND WAS ALTERADY PLANNING THE WEEDING.

He is actually good at both. He likes to keep his home clean and prefers food that he made himself. However he cant compare his coking skills with yours. After the first time he tried your food he was unable to make himself food again. Why ? Because yours its just better!! And dont ask him to eat fast food, he hates it.

E = Ending (If they had to break up with their partner, how would they do it?)

Oh sweet you, he would NEVER break up with you.

If for some reason you start to act strange and distant yourself from him he will gashlight you and blame you, manipulating the situation on his favor so you would feel bad for even think about it.

No. He needs you like his lungs needs air, he cant and wont ever let you go. He would destroy your personal life first so you would have no one to reach for.

You are his light and muse, he wont let you go.

F = Fiance(e) (How do they feel about commitment? How quick would they want to get married?)

FAST. As I said he saw you and he was planning the weeding.

Even if he wants to get married fast he would work himself to be seen as a proper future husband. If you have friends then he would act as a gentlemen and even make them jealous of you. Your family would love him to no end, and would joke about when the weeding will be.

Your mom/dad may beg you to marry him since he is a good man and wants the best for you.

G = Gentle (How gentle are they, both physically and emotionally?)

SFW: SOFTIE. Loves to hold you close, smell your perfume and have your hands around him. It helps him ground himself down when he is too stressed.

Emotionally he is complicated, for you he is a open book at least with his feelings of devotion towards you. He is very vocal by how much he cares for you and how happy you make it. When it comes to personal matters, mostly his work he prefers to keep you in the dark about it. He does not want you to see him any different.

NSFW: At first in order to not scare you away he would be gentle and vanilla with you in bed. Then he would slowly introduce you to his depraved and dark side of it.

Does he manipulate you into giving in? Yes, yes he does. But you wont ever notice it.

H = Hugs (Do they like hugs? How often do they do it? What are their hugs like?)

He likes them, his hugs are short but with full of meaning. He likes to give you one during the mornings and at night.

Its a routine he has, he needs to at least give you one during the day.

On special times his hugs will be longer, maybe in your anniversary, he will hold you in his arms against his chest letting you listen to his heart beat.

I = I love you (How fast do they say the L-word?)

In is mind, he tells you the L word just days after starting dating you, or even while he stalked you.

He knows he loves you, but wants you to say it to him first so he can respond pulling all his heart in these words.

J = Jealousy (How jealous do they get? What do they do when they’re jealous?)

He gets easily jealous, not because he does not trust you. But because he wants you all for himself.

Not only does he gets jealous over strange males, but over your friends too.

If he feels like you are passing too much time with them, then he will use his charm to keep you away from them.

If things gets more serious...then he will just make them dissapear, he may torture them or take two at times and makes them play a deadly game but the catch is..no one has a chance of winning.

K = Kisses (What are their kisses like? Where do they like to kiss you? Where do they like to be kissed?)

Oh! His kisses are full of love and passion, his favorite spot its defenetly your lips. He loves to kiss them till they end all red and puffy.

Your neck is another place, he likes to leave both, small kisses and long ones in order to leave marks behind.

He likes to be kissed by you on his lips, neck, cheeck and hands. The last one its his personal favorite since it makes him feel less of a monster...or does not care what he does as long as you like his hands.

L = Little ones (How are they around children?)

Actually no.

He can fake around kids that are not his but he does not want kids with you.

He wants to live a long life with you and only you. He wants your attention only on him.

M = Morning (How are mornings spent with them?)

Depends on how the night activities went.

Sometimes he lets you sleep while he gets ready but he finds you making him breakfast. Thats a thing that always happen.

If he feels like he wants to spend more time with him then he would ask you to shower with him, and help him dress for the day.

N = Night (How are nights spent with them?)

Depends on how he wants the night to go and and what time he gets back.

If he comes early and just wants to spend quiality time with you, you two would watch a movie or talk for a bit.

And if he wants to do another tnings...well you two are in for a long time.

If he comes home late then he would prefer you to be asleep, since he still has to shower and other things.

But you usually wait for him awake or wake up once he gets in, you like to see his tired face light up when he sees how much you worry over him.

O = Open (When would they start revealing things about themselves? Do they say everything all at once or wait a while to reveal things slowly?)

Its complicated. He likes how you see him and only know of his depraved side when it comes to sex.

He may twist the truth about his past and what he does for work, maybe with a few years he will reveal something more, but nothing that would scare you.

P = Patience (How easily angered are they?)

He has much patience, needs it for his work and it traslates to your relationship. Its not like you can do more to break his patience, he deals with worse things.

Q = Quizzes (How much would they remember about you? Do they remember every little detail you mention in passing, or do they kind of forget everything?)

He remembers every single detail.

Even since he stalked you and got all your personal information, its like his second life.

What you like and dislike, what type of music, food, colors and activities, he remembers all of it.

Its impossible for him to forget a single detail when it comes to you.

He remembers your the special dates, from the first time he saw you to the first date you to had.

Your anniversary date its printed on his mind, you will find the most romantic dinner waiting for you, the most relaxing day just for you.

R = Remember (What is their favorite moment in your relationship?)

His favorite moment its one centrain day, the day you told him you loved him.

It was a sunny day of spring, both of you were walking around a park, seeing the flowers and nature as well as other couples.

He had stopped to buy you some sweet and was enjoying seeing you munch over them.

"You know, we have been dating for some time now" You said to him, stopping to look up at him.

Taking a deep breath you added "And I cant keep this hide from you anymore, I love you, I have never feel loved like this before. And I have never loved someone so much before, it makes my heart feel heavy in a good way. And I want you to know it, I love you"

S = Security (How protective are they? How would they protect you? How would they like to be protected?)

He is very protective over you.

While he knows the organization wont do anything to you unless you do something to interfer with the games he feels at ease with that.

He does not trust the peopel.

He hacks your phone so he can know where you are at all hours. Has cameras at his home and a security system in case someone breaks in.

He even teachs you to use a gun and fight just in case.

(Having you around him its just a plus)

T = Try (How much effort would they put into dates, anniversaries, gifts, everyday tasks?)

LOTS. Each date, anniversary and gift suprasses the last one.

He will ask you what you biggest dream is and make it come true. Gets you the best gifts and take you to the most fancy and fun dates.

Even once you two are married he likes to still take you out like old times.

U = Ugly (What would be some bad habits of theirs?)

He is:

A stalker.

Manipulative

Gaslighter

Possessive

Control freak but hides it.

He is a red flag, a walking one. But even that he gets all softie for you, his dear wife.

V = Vanity (How concerned are they with their looks?)

Well, he knows he is good looking and likes to take care of how he looks. But only for you.

Wants to look handsome and well dress for you. Does not care if he catches the eyes of others, he just wants you to look at him and tell him how good looking he is.

W = Whole (Would they feel incomplete without you?)

Totally. He never felt complete before, always alone and going on with his days. He never cared if he felt lonely, not till he met you from afar and then for real.

To him, you are his soulmate, his other half, his human side and lover. The one who grounds himself and brights his life.

X = Xtra (A random headcanon for them.)

Y = Yuck (What are some things they wouldn’t like, either in general or in a partner?)

If you have a special plush to sleep with, he gets jealous of it. Even if he got you the plush himself.

Honestly if he ends being obsess with you he may ignore whatever thing he may dislike from you.

Does this mean he would not try and change you? Oh no, he would.

Something he dislikes is disobedience , if he tells you to not ask about his work he expects you to do as told. You cant follow, you cant enter his office...

Thats what he hates the most.

Z = Zzz (What is a sleep habits of theirs?)

Before meeting you, he would sleep six hours. And thats it. His nights are plagued with nightmares and lots of times he would wake up before his alarm and look outside the window, towards the dark till the sun comes out and the lights of other houses starts to get on.

But once he meets you, he becomes a heavy sleepier, he loves to cuddle you during the night, with you by his side his nightmares are gone. His six hours passed to be eight hours, more if he feels greedy and want to stay besides you some more.

[summertimesadnessirl]

Except it doesn't work.

This is actually a key concept in patriarchy!

Women are intended to serve as the civilizing force.

The morality police.

The moral compass.

Women allow, men test.

Men who are in the patriarchy will consistently value the opinions of their male friends and prioritize male friendship groups, their hierarchy, and their bonding rituals over the women in their lives while also consistently laying the responsibility for fixing the emotional wounds caused by those friendships.

The form that most abuse from patriarchal men takes is specifically either mobbing women by repeatedly exposing them to the same messaging over and over by groups of men or guilting women into thinking that they are being unreasonable or too demanding or that life is actually too hard for them.

It's not that men's lives aren't hard.

It's that when those men talk, all the complaints consistently circle back to the idea that the reason being a man is hard is that women will not take pity on them and consent to sex they don't want or relationships they're not interested in just to make them feel better.

The sense of aggrieved entitlement serves to shift the blame on women for speaking out about the things that they have experienced, or create the narrative that the job of society is to make ways to trick women into sex or relationships that they don't want in order to prevent depression, neuroticism, anti social behavior, etc. In men.

This isn't a secret. It's literally a verbatim narrative that men circulate in covert ways. The male loneliness epidemic is radicalizing young men. Not to volunteer at nursing homes or animal shelters. Not to call for more mental health support. Not to call for more paid time off so that the average person can spend more time with their loved ones. Specifically, the main thrust of the article is "if women don't fall back in line men will become violent predators." When I was younger, this was often presented with examples from ancient Greece and Rome? I forget the guy. There was a Roman historian who had this idea that young men were only interested in creating radical social change in ancient Rome because too many of the wealthy older men had too many wives and concubines. Jordan Peterson used to trot that guy out. It doesn't matter. The ancient Romans thought owls were vampires, bro.

But it's just the same thing. Last week I saw this thing on reddit where some guy was posting that the male suicide rate is higher for short men.

And I don't want that. I don't think that's a good idea. But is "Give me sex" or "give me a relationship you don't want or are not ready for" something I am going to be prepared to do with my entire life, potentially, because of the implication?

Part of rape culture is the idea that men can't control or regulate their own emotions and that women can. Women are supposed to be independent, mysterious, not ever seek attention, ashamed of wanting validation. Women are meant to find it easy to follow all social rules and to also covertly influence and help the people around them to follow social rules through hints that help them to save face. Women are supposed to avoid leading men on. They are supposed to avoid being too deceptive in their beauty regimen. They are supposed to avoid being too demanding of men and making it too hard for them to get whatever it is they want. They are supposed to completely repent and change their entire character if they change the type of relationship they want- the woman who has had casual sex is supposed to pretend to be ashamed and that all the sex she experienced was a sign of unhealed trauma and she's a good girl now and she knows that dating men who please her sexually or that she is physically attracted to or that is too nice to her or is too smart or too good to be true is a red flag, actually. She is supposed to buy into the idea that "a healthy relationship will be boring" because what makes relationships exciting is somehow abuse. She is supposed to settle down, not up.

There's this thing I notice a lot.

A thing where a lot of women who seek advice from other women for things like feeling exhausted and burnt out from doing too much of the household maintenance are asked if their spouse has adhd or autism, as if rather than getting those things treated or seeking self help advice for those things if they impact your ability to take care of yourself, the solution is just to ask your partner to do them. There is a form of this question that will be leveled when both partners are the same age and both partners are neurodivergent.

Yes, it is nice when you can be nice to people and help them get deradicalized. But the people who do that type of work professionally have support networks and professional training. And sometimes you can be nice to someone and it helps them. But the more you do that, the more likely it is that you will be targeted by people who want to hurt you or silence you or shut you up, or that this particular piece of the patriarchy where people use your desire to help people and be kind to them and give them the benefit of the doubt against you with the intent of making you believe their way of thinking.

It cannot be a social norm that women owe men sex, commitment, babies, etc no matter how they are treated in response to giving those things to prevent social collapse.

It cannot be a social norm that men get to abuse women by proxy by threatening to hurt other women or other marginalized people if women do not comply.

It also cannot be a social norm that people are expected to be kind to people who are exhibiting radicalized behaviors and also that people are constantly accusing one another in moral purity witch hunts as a way to isolate them from support networks so that if someone tried to help someone who attempted to befriend people in order to try to see if they could help them see another way results in creating a situation where they have no recourse if they are targeted by extremist groups in retaliation and agents provocateur who try to use their old support network against them.

There actually are a lot of male voices on the left including men who specialize in anti manosphere content, mentorship to men who feel like they need positive older men to talk to as role models, men who talk about why toxic masculinity hurt them in the past in ways that don't have to do with relationships, people who were amab and who aren't men talking about what that experience of growing up with people trying to force masculinity on them is like, and teams which include men and women as friends and colleagues and even some that are married or dating.

But this talking point survives because it helps to radicalize women into misogyny by trying to get them to take accountability for the behavior of misogynistic men and also encouraging them to doubt their own experiences or their own rights to their own story and to the community of other people with similar experiences by telling them that they are somehow poisoning men. They are responsible for taming them.

posts about the alt-right pipeline being compassionate towards young men while radical leftists shun and shame them are not fucking saying "the men are becoming violent because feminists are too mean!" and if that is your takeaway you need to get off tumblr until you've better honed your critical thinking skills.

those posts are talking about how effective the language and approach you take in your activism can be. this is literally cult deprogramming 101. if someone is being taken in by a violent or dangerous group, that violent or dangerous group is usually offering them compassion and solace while working hard to convince them everyone else in the world is their enemy. you are under no obligation to coddle or act compassionate toward these men and their violent ideologies, but if you have the means to try, it is something that you can do to make a tangible difference.

radicalized people are often only one loving friend or family member or external voice away from being de-radicalized. of course that is not always the case, but it very often is. a lot of y'all rightfully understand that you do not carry the burden of being that voice, but a lot of y'all also have a lot of internalized ideas about morals and punitive justice and have simply written off these people as deserving of only the worst and not worth saving.

ten years ago, my grandmother was a fox news watching republican who voted red in every election and very well could have fallen down the qanon rabbit hole if not for me and her daughter challenging her compassionately, walking her through hypotheticals that validated her feelings & proving why they were false, & being patient with her despite our extreme division in political ideology. it was frustrating fucking work! but i decided i wanted to do it, because i could see the horizon and i could see me making a difference!

"misogynists have been saying feminists are too mean for years, get new material" that is not the fucking POINT. the point is that you, feminist, can be the compassionate voice that guides your brother, your father, your cousin, your grandfather away from fucking becoming or staying a nazi. you can show them compassion and companionship. you can be the woman they think of when their alt-right bros try to convince them that women are the enemy. and you can choose to crystallize that image of yourself so wholly in their mind's eye as worth protecting that they may very well choose to reject those harmful ideas.

it's not saying you HAVE to do it! it's saying you CAN do it! don't you 'firebomb a walmart' people all love taking change into your own hands? where the fuck is that energy right now, huh?

[meglosthegreat]

I see a lot of posts on here talking about the Solas/Elgar'nan segment in Blood of Arlathan and how it's one of the best scenes in the game, and they'd be right, but I don't see enough people talking about how comically the whole thing is undercut by quite possibly the most poorly-conceived, terribly-implemented looney-tunes-ass sequence in gaming history that surrounds it.

Like you show up with your friends to this Venatori party, and you're like great, we're sneaking in! Time for disguises. How convenient that these Venatori guys all wear hoods, right? Should be a piece of cake if we're all, you know, wearing hoods that would helpfully hide our identities. But no. We all go waltzing in with our whole-ass faces exposed, you know, the group of guys that have been murdering Venatori left and right and who Elgar'nan and Ghilan'nain have definitely all seen in person before. Oh, and don't worry about walking into this notoriously racist elf-sacrificing cult if you happen to be an elf! You're only here in disguise so that you can rescue a GROUP OF ELVES THEY'RE GOING TO SACRIFICE but it's ok because you're dressed as a mercenary and not a dalish so it's all good don't worry about it :) :)

Then you get into this fucking party and oh my fucking god it's like they decided to take all of the most comically over-the-top stereotypes of villainy and put them on display. Because why not! The Venatori are all sickos anyway so of course they'd be out here doing sicko things! There's some guys pulling a halla apart with blood magic! There's other guys using slaves as benches! They're all laughing and joking about how EVIL they are, hahaha, how cool is that? The fucking guy from D'Meta's Crossing is here if you don't let him die, because he's a fucked up evil sicko too! You're supposed to be shocked at this hideous display; recoil in horror, even!

And who do you bring with you to help get through this crowd of absolute lunatics? NEVE FUCKING GALLUS. You know, the person so well-known in Minrathous that a Dalish elf living in Arlathan KNEW HER BY REPUTATION. Yup, Neve Gallus with her INTENSELY RECOGNIZABLE PROSTHETIC just waltzes up to some guy and he just lets her in. Because being EVIL also makes you incapable of coherent thought, apparently.

And then. AND THEN. You walk across the bridge where Elgar'nan makes his thought-sounds at you, and YOUR ENTIRE FUCKING PARTY is already there, just hanging out nbd. Also not wearing hoods or any kind of disguises that couldn't instantly be seen through by a five-year-old with amnesia but ok, cool. Why did we bother walking through all those sickos then when we could've just taken the secret back entrance like the rest of them, idk.

But just when you think you've reached peak stupidity, it keeps going. You're now standing there, at the front of a crowd of about twelve people, approximately five feet away from Elgar'nan himself, inexplicably blending in, when the big guy puts the mind control whammy on everyone. Oh no, you think. We've been found out! Here's the part in the plan where things begin to go wrong! NO. Your mage friends SECRETLY PERFORM MAGICAL GESTURES to block the mind control, and then you LITERALLY FUCKING SIDLE OFF STAGE LEFT without ANYONE NOTICING. I should reiterate that at this point, you are still about FIVE FEET AWAY FROM ELGAR'NAN and his fucking ARCHDEMON.

And to conclude this absolute comedy of idiocy, as soon as you enter back into combat mode, you immediately ditch all of your disguises. And of course then, ONLY THEN, Elgar'nan notices you've been there. Cut to the end of the actual good sequence, this dramatic conversation performed by excellent voice actors and written miles better than most other things in this game, and you reach your final prize: about six guys trapped in a little cube. Cool, you tell yourself. This was definitely worth it. You take your fade-to-black teleporter back to the Lighthouse and they're never heard from again.

This was the quest that broke me. This was the moment that all hope for Veilguard finally snapped. I consider myself to be a very resilient person in the face of camp and goofy writing, but this was too much disbelief for my brain to suspend. The mental gymnastics necessary to make this whole sequence make any kind of sense were simply beyond me. Even Solas's dulcet tones could not salvage it for me after that.

[heavysighing-dreamyeyes]

Devout

Guardian Angel alternative POV, or Jason Todd is the Arkham Knight, and he can't stop himself from watching you, from clawing his way into the cracks of your life in a twisted, mangled mirror of what he used to be ~3.5k words

CW: Jason commits a few murders, some gore, stalking, some religious imagery for fun

Jason Todd shouldn't be watching you. He knows it's wrong, knows he shouldn't be perched on the shadowy rooftop across from your apartment building, staring intently into your windows.

He knows. He knows. But he's doing it anyway– been doing it for weeks.

You haven't noticed once, so wrapped up in your own life, your peace of mind that no one would break the sanctity of your own home that you don't even consider closing your blinds.

He thinks you should know better. Gotham is tainted– he is tainted– yet you never spare a glance over your shoulder when he follows you down the street, never linger on that sixth sense that screams that you're being watched.

You pick up on his presence on the rare occasion, he thinks. The days you walk home quicker or the nights you actually slam your blinds shut makes him wonder if you do know you're being watched. But then you go back to normal, brush off every sign and every lingering feeling that something isn't right.

It almost makes him angry, sometimes, that you'd be so careless with your safety. But everything makes him angry now. It's a constant, tight grasp in his chest, the righteous fury he has against the world, against the city and its filth, against Batman.

The anger makes him reckless, or maybe he's just cocky. Maybe he wants you to know he's there. Jason doesn't let himself wonder why he does it. He might just be a masochist. He might just miss you. But he opens the faulty window to your living room that he knows squeaks and never quite locks right.

The first time he breaks into– visits your apartment while you're asleep, he doesn't touch a thing. He just takes in everything that's you, cleanses his fractured soul in the space he used to know like the back of his hand. The trinkets that sit on your counters. The paintings on the wall. The color of the blankets thrown over your couch.

He doesn't touch anything the second time, either. Or the third. The fourth time, though, he picks over the photos you keep on your shelves, the books you leave lying around. He moves them, just slightly. Just to see if you'll notice.

You don't. Not really. Not until the eighth time. He doesn't know why he does this either. He just does. He picks up your keys from where you usually keep them and moves them. It's something you can't deny. Something tangible and real and clear, an unyielding truth. He was here. He exists, and he can affect your life, change it with his hands.

(It's the first time he feels like he's truly alive since the asylum, the first time there's more than just revenge and watching you from afar, even if he feels like he's corrupting something that's only meant to be seen and not touched by impure, broken hands)

If your keys being displaced affects you, well, you don't show it for more than a few moments. And that bothers him. You might not know he's here– alive– and maybe he's not ready for you to, but he's still a part of your life, isn't he?

So he gets bolder. He doesn't want to scare you, not really. But he can't help but dig his nails into the parts of your life he can change. It starts simple, innocent. You were annoyed when you left your kitchen, out of sugar, just another thing on top of everything else you have to deal with.

And he wanted to help. Like he used to. It was easy to get a bag of sugar, even easier to sneak into your kitchen. He leaves just enough for a few days, just enough to get you through the week, enough that you'll think you misremembered how much was left.

And he should have left it at that. But he's never been good at doing things halfway, especially when it comes to you. So he fixes your apartment up while you're at work. Makes sure your window doesn't squeak, your shower doesn't rattle, your oven actually heats up. All things he's heard you try to get your landlord to fix.

He makes a note to give your landlord a visit as he's looping the footage in your cameras over, effectively erasing any evidence of who he is.

Honestly, he's proud of you for finally doing something about him, it's just a shame he has the skills to outmatch your attempts to figure out his identity. Not that any pictures of him would do any good. He's still nameless in Gotham as the Arkham Knight, and if he's not wearing a mask while he's easily picking the new lock on your apartment window, his hood and ballcap do the job of hiding his face just as well.

He thinks he could let it go on like this forever, just doing things for you in the shadows, never revealing himself. At least until he's routinely following you home from work one night, and he sees you get tugged into a dark, lonely alley. He recognizes the man that hauls you off the faux safety of the streets, the one that's lifting a shaky hand and a gun to wave it, demanding your possessions.

Murphy is a nobody in Gotham, just another gambling addicted alcoholic that takes work from whatever rouge is paying the most that week. Jason more or less only recognizes him because he lives on the third floor of your apartment building, but it's clear you don't know who the man snatching your things is.

The Arkham Knight resigns himself to stealing your wallet and phone back after you've gotten home, to keep himself out of your sights for as long as he can. That was the plan.

But there's a flicker in Murphy's eyes, a consideration– a passing thought that Jason can't ignore, one he's seen a million times. Maybe it's the idea that he could get more from you, or maybe he's realizing you've seen his face and wants to get rid of any witnesses, whatever it is, Jason isn't going to let it happen.

The Arkham Knight doesn't hesitate to drop himself between you and the gun. He breaks Murphy's arm without even thinking about it, effectively disarming him as he kicks the gun away from him. The sound of his bones breaking is loud, but Jason doesn't register it as something to be sickened by until he turns and sees the nausea and horror written plainly on your face.

Honestly, maybe he should be more disgusted with himself. He's just sent a man into shock, revealed himself to you in a way that's not at all comforting. But he doesn't care. No one was going to save you. No one but him. He protected you, and it's not like Bruce Batman– it's not like broken bones are uncommon in Gotham.

You take a step back. He steps towards you, drawn to you. He can't help it. He shouldn't. But his head is spinning, and he hasn't been this close to you since before the asylum. You look tired, older, but no less beautiful than he remembers.

"Who are you? What do you want," You snap at him.

Jason wants to praise you for your bravery, as fake as it is. It's a good tactic, to try and get him talking. He doesn't understand why you look so uneasy of him, though. He got you out of a bad situation, even if he's wearing military-grade armor and a mask that glows in the darkness of the alley, shouldn't you feel grateful? Safe? Happy?

He tilts his head, trying to read you. Would you feel better if he offered to walk you home? "I saved you," he tries, the modulator making his voice sound flatter than he intends to. The Arkham Knight silently curses himself. He should just leave. Should have shot your attacker from the roof without you ever seeing him. He's being emotional now, irrational under your gaze.

"You've been following me. You're the one who's been in my apartment," you accuse, eyes darting like you're trying to find an escape in the dead end alley.

He stiffens. Huh. Clever thing. You've always been too smart for your own good. A part of him wants to deny it, pretend he's just some passing good doer in a mask, pretend that he's some kind of knight, an angel here to shield you from harm.

The notion almost makes him laugh, "Have I," he prompts instead with all the air nonchalance. He wonders if you'll drop it then, actually thank him for stepping in and helping you. You don't.

"Yes," You say instead, voice low like it's a secret– a confession, "You have."

Jason finds himself impressed at your stubbornness, if not a little unnerved by your recklessness in confronting the supposed stranger you believe is breaking into your home alone. He has to give you credit for piecing it together, but who else, if not a freak in body armor, would be letting themselves into your apartment without a word just to fix what's broken?

He nods, unsure of what to do. You weren't supposed to figure it out, but you have. And now there's consequences.

The Arkham Knight turns his back to you, making a show of gathering your phone and wallet before standing and facing you again. He walks closer to you, each step measured and calculated. He holds your belongings out to you, a twisted, mirrored version of some kind of sacred offering.

He studies you as you grab at them, trying to tug them from his unyielding grip. There's bags under your eyes. He can practically see your pulse jumping under your skin.

You're less than a foot away, and Jason basks in that distance, how light he feels now that you're only an arm's reach away. He could brush his knuckles over your cheek, dip his head to take in the scent of your hair, kiss the hollow of your throat the same way he used to.

He does none of those things. Because you don't see Jason Todd. You only see a threat, a monster, some kind of demon that clawed their way out of the shadows and cracks that litter Gothams hallowed corners.

He cocks his head, letting go of your wallet and phone while greedily drinking down the color of your eyes in the dim light of the alley, "And if I have?"

"I'll go to the police," You tell him, defensive, and he wants to laugh as you shove your wallet and phone back into your pocket.

"They can't help you," he grits out, and it's the truth. No one knows who he is yet, what his plans are. Even if you told someone, whatever description you give won't be enough to find him.

"They can contact Batman," you bite out, and that does earn you a laugh. You really think Bruce can do anything? That Batman has any chance of standing between him and you? Batman couldn't even find– couldn't even save–

"He can't help you either," The Arkham Knight tells you. He gives into his desire to touch you then, partly in anger that you still believe in Batman and partly because he just misses you. He pats your cheek, but doesn't let himself linger. "Get home," is all he says before he grapples into the night.

He follows you back to your apartment from the rooftops and notes how you avoid getting too close to any more alleys. But, it's not until you're safe in your bed that he goes looking for Murphy– that he goes to finish the job.

The creep's nursing his broken arm in his dingy apartment when The Arkham Knight gets to him. He doesn't make it quick, but it is quiet. (It's difficult to scream when you're choking on your own severed tongue, after all) He brings down fire and fury and vengeance for daring to lay a hand on you and leaves nothing behind but a corpse.

Murphy's brutal death is swept under the rug by the GCPD, which Jason shouldn't be surprised by. Just another mob death, the tiny obituary in the paper reports. You don't even register the death in your apartment building. He doesn't blame you for that. Not when he knows he's scaring you.

He's getting careless, sloppy. He wants you to catch glimpses of him now, he wants you to know he's watching. It's sick. He knows that, knows it so well that it claws in the back of his throat when he breaks into your apartment to fix your fan.

He's guilty about it, sometimes. It's a pressing weight on his shoulder even when he's trying to help. So, he redoubles his efforts.

He sneaks into your room and stuffs six hundred dollars into the emergency fund you keep under your bed. He sends you flowers, fills your gas tank, finally visits your landlord, and pays off your rent for the next six months. (He's already bought you a better, newer apartment, he just hasn't figured out how to tell you that)

He knows it's all wrong, but sometimes, he doesn't feel guilty at all. He wants to do things for you, that's not a lie. He wants to do everything and anything you could ever want or ask for.

He starts letting you catch flashes of him outside your window, moves your things around just out of the sheer curiosity of what you'll do. He can't justify that, because it does nothing to protect you. But he does it anyway. The Arkham Knight needs you to know he holds a spot in your life, even if it's not as Jason Todd anymore.

He's getting bolder, much too comfortable. There's times you almost walk into your apartment as he's leaving gifts on your counter, times when you wake up and walk into your kitchen just seconds after he forces himself out your window.

He's going to get caught if it keeps going on like this. But he can't bring himself to worry or care. His plans are coming together, and while he doesn't exactly know where you fit into them yet, he knows he doesn't trust anything or anyone enough to leave you to your own devices once he unleashes his legions upon Gotham and her failure of a saviour.

He never seems to do the right thing when it comes to you, at least not since he came back. But saving you– guarding you against the vile filth of the world– that can't be wrong. He'd do anything to keep you as you are, untouched by all the cruelties Gotham has to offer. It's an unwavering, righteous mission he has commanded unto himself.

It's why he reacts the way he does when three men break into your apartment.

He was late. He always seems to be late when you're involved. He had just finished overseeing the arrival of tanks and men into Miagani Tunnel, just dragged himself halfway across the city for the slightest chance to catch a glimpse of you in your apartment, when he catches sight of it.

Your window– open. You never keep it open. Dread washes down his spine, and when he gets close enough to see the man pointing a gun towards the floor– towards you– he just reacts.

He shuts down, becomes nothing but instinct, and he brings hell on to Earth in your name.

He's clinical. He doesn't hesitate to shoot the man aiming a gun to your head through his temple. If the man were alone, he would have shot the gun out of his hand, but there's two other targets, and he needs to eliminate any threats to your life first.

He climbs through your window with the ease of a man who's done it hundreds– thousands of times. You haven't moved to get up. It concerns him, but he's angry right now, so, so angry he doesn't even consider ending this quickly.

Everyone tries to take something from him. He keeps losing. If he didn't come to watch– see you tonight, he would have lost you too. The very thought makes his vision blur red, his ears ring.

It's not a fight, what happens next. It's a death penalty. The Arkham Knight is a weapon, and he proves it with each hit. He's efficient, brutal, and purposeful with each movement. He doesn't flinch at the blood that splatters on his armor, doesn't stop even when fluids and flesh start to stick to the knuckles of his gloves.

He doesn't stop, doesn't slow, until the only hearts left beating in your desecrated apartment are his and yours.

Then, and only then, does the blood pounding through his veins start to cool. It's only then, does he turn to look at you. He expects to meet your terrified gaze, but you haven't moved, still laying on the floor. It makes his heart clench. What's wrong with him? He just– while you–

He shakes his head, slowly tugging his gloves off and stuffing them into his belt. He walks over to you, kneels carefully to your side, and watches you breathe. He matches the slow rhythm of your shoulders rising and falling, and then he helps you sit up.

You're responsive to that, at least. The Arkham Knight presses his hands to your face, waiting for something. He doesn't know what, just anything. Some kind of sign. A message of what he's supposed to do. How he can make this all better.

When you finally open your eyes, they're hazy, not quite reactive. It makes him angry all over again. You got hurt. He wasn't here.

"Saved me again," you murmur, and his throat tightens. He failed you. Yet here you are, spouting words that make it sound like he's done something good.

He runs his thumb over your cheek, savoring the feel of your skin, soothing himself and you as he reassures himself that you're still here– still alive. But you aren't safe.

It's all he can think about. He saved you, but how long until you're in danger again? What if he's not quick enough this time? What if he's not there? What if– what if– haunts him. It weighs heavier than the nightmares that plague him when he finally has to succumb to sleep.

He makes the decision then and there to take you away from here, away from the rot and the fester to some place where it can never touch you again.

He picks you up, cradles you to his chest like you're made of shattered, stained glass and tarnishing silver, but nonetheless precious. You're talking, and he's answering, but he hardly registers what either of you are saying. His mind is working over plans, where he's going to take you, the guards he'll need to recruit to watch over you when he can't, which ones he trusts the most.

Jason only tunes back in when you point out that he could hurt you. It's funny, in a way. After everything he used to be to you, after everything he's done for you, he could still hurt you. He tips his head down to really look at you, the cloudy, exhausted look on your face, the heaviness of your eyes as you struggle to keep watching him.

He can't find it in himself to lie, so, he tells you, maybe he could hurt you. He tells you that he wouldn't like it. (And it's the truth)

Maybe you recognize that, because you drop your head to his shoulder and let your eyes fall shut. The Arkham Knight never wavers in his steps, mapping the path to the apartment he'd purchased in your name in his head. It's not perfect, not filled with everything you deserve quite yet, but it'll do the job for now.

Something in him simultaneously softens and hardens when your breathing goes even and slow against him, and he curls his fingers tighter into your skin. You're weak. Weaker than him. Too naive and too soft for what's going to come.

There's no other fate for you than this now. He'll have to take care of you, protect you from it all, from all the evil that festers in Gotham, even if that includes him.

He lets the mission engrave itself into his heart– into the fabric of his very soul and right next to his revenge. You're going to be safe. He is going to keep you safe, and he'll throw himself into fire to see it done.

[metanarrates]

Hello. Sorry if this a stupid question u can ignore if u want.

How can someone get better at media analysis? Besides obviously reading a lot.

Im asking this bc im in a point where im aware of my own lack of tools to analyze stories, but i don't know where to get them or how to get better in general. How did you learn to analyze media? There's any specific book, essay, author, etc that you recommend? Somewhere to start?

I'm asking you because you are genuinely the person who has the best takes on this site. Thank you for you work!

it sounds like a cop-out answer but it's always felt like a skill I acquired mostly thru reading a ton, and by paying a lot of attention in high school literature classes. because of that I can't promise that I'm necessarily equipped to be a good teacher or that i know good resources. HOWEVER! let me run some potential advice to you based on the shit i get a lot of mileage out of

first off, a lot of literary analysis is about pattern recognition! not just pattern recognition in-text, but out-of-text as well. how does this work relate to its genre? real-world history? does it have parallels between real-life situations? that kind of thing.

which is a big concept to just describe off the bat, so let me break it down further!

in literature, there is the concept of something called literary devices - they are some of the basic building blocks in how a story is delivered mechanically and via subtext. have you ever heard of a motif? that is a literary device. it's a pattern established in the text in order to further the storytelling! and here is a list of a ton of common literary devices - I'd recommend reading the article. it breaks down a lot of commonly used ones in prose and poetry and explains their usage.

personally, I don't find all the literary devices I've learned about in school to be the most useful to my analytical hobbies online. motifs, themes, and metaphors are useful and dissecting them can bring a lot to the table, but a lot of other devices are mostly like fun bonus trivia for me to notice when reading. however, memorizing those terms and trying to notice them in the things you read does have a distinct benefit - it encourages you to start noticing patterns, and to start thinking of the mechanical way a story is built. sure, thinking about how the prose is constructed might not help you understand the story much more, but it does make you start thinking about how things like prose contribute to the greater feeling of a piece, or how the formatting of a piece contributes to its overall narrative. you'll start developing this habit of picking out little things about a text, which is useful.

other forms of in-text pattern recognition can be about things like characterization! how does a character react to a certain situation? is it consistent with how they usually behave? what might that tell you about how they think? do they have tells that show when they're not being trustworthy? does their viewpoint always match what is happening on screen? what ideas do they have about how the world works? how are they influenced by other people in their lives? by social contexts that might exist? by situations that have affected them? (on that note, how do situations affect other situations?)

another one is just straight-up noticing themes in a work. is there a certain idea that keeps getting brought up? what is the work trying to say about that idea? if it's being brought up often, it's probably worth paying attention to!

that goes for any pattern, actually. if you notice something, it's worth thinking about why it might be there. try considering things like potential subtext, or what a technique might be trying to convey to a reader. even if you can't explain why every element of a text is there, you'll often gain something by trying to think about why something exists in a story.

^ sometimes the answer to that question is not always "because it's intentional" or even "because it was a good choice for the storytelling." authors frequently make choices that suck shit (I am a known complainer about choices that suck shit.) that's also worth thinking about. english classes won't encourage this line of thinking, because they're trying to get you to approach texts with intentional thought instead of writing them off. I appreciate that goal, genuinely, but I do think it hampers people's enthusiasm for analysis if they're not also being encouraged to analyze why they think something doesn't work well in a story. sometimes something sucks and it makes new students mad if they're not allowed to talk about it sucking! I'll get into that later - knowing how and why something doesn't work is also a valuable skill. being an informed and analytical hater will get you far in life.

so that's in-work literary analysis. id also recommend annotating your pages/pdfs or keeping a notebook if you want to close-read a work. keeping track of your thoughts while reading even if they're not "clever" or whatever encourages you to pay attention to a text and to draw patterns. it's very useful!

now, for out-of-work literary analysis! it's worth synthesizing something within its context. what social settings did this work come from? was it commenting on something in real life? is it responding to some aspects of history or current events? how does it relate to its genre? does it deviate from genre trends, commentate on them, or overall conform to its genre? where did the literary techniques it's using come from - does it have any big stylistic influences? is it referencing any other texts?

and if you don't know the answer to a bunch of these questions and want to know, RESEARCH IS YOUR FRIEND! look up historical events and social movements if you're reading a work from a place or time you're not familiar with. if you don't know much about a genre, look into what are considered common genre elements! see if you can find anyone talking about artistic movements, or read the texts that a work might be referencing! all of these things will give you a far more holistic view of a work.

as for your own personal reaction to & understanding of a work... so I've given the advice before that it's good to think about your own personal reactions to a story, and what you enjoy or dislike about it. while this is true that a lot of this is a baseline jumping-off point on how I personally conduct analysis, it's incomplete advice. you should not just be thinking about what you enjoy or dislike - you should also be thinking about why it works or doesn't work for you. if you've gotten a better grasp on story mechanics by practicing the types of pattern recognition i recognized above, you can start digging into how those storytelling techniques have affected you. did you enjoy this part of a story? what made it work well? what techniques built tension, or delivered well on conflict? what about if you thought it sucked? what aspects of storytelling might have failed?

sometimes the answer to this is highly subjective and personal. I'm slightly romance-averse because I am aromantic, so a lot of romance plots will simply bore me or actively annoy me. I try not to let that personal taste factor too much into serious critiques, though of course I will talk about why I find something boring and lament it wasn't done better lol. we're only human. just be aware of those personal taste quirks and factor them into analysis because it will help you be a bit more objective lol

but if it's not fully influenced by personal taste, you should get in the habit of building little theses about why a story affected you in a certain way. for example, "I felt bored and tired at this point in a plot, which may be due to poor pacing & handling of conflict." or "I felt excited at this point in the plot, because established tensions continued to get more complex and captured my interest." or "I liked this plot point because it iterated on an established theme in a way that brought interesting angles to how the story handled the theme." again, it's just a good way to think about how and why storytelling functions.

uh let's see what else. analysis is a collaborative activity! you can learn a lot from seeing how other people analyze! if you enjoy something a lot, try looking into scholarly articles on it, or youtube videos, or essays online! develop opinions also about how THOSE articles and essays etc conduct analysis, and why you might think those analyses are correct or incorrect! sometimes analyses suck shit and developing a counterargument will help you think harder about the topic in question! think about audience reactions and how those are created by the text! talk to friends! send asks to meta blogs you really like maybe sometimes

find angles of analysis that interest and excite you! if you're interested in feminist lenses on a work, or racial lenses, or philosophical lenses, look into how people conduct those sort of analyses on other works. (eg. search feminist analysis of hamlet, or something similar so you can learn how that style of analysis generally functions) and then try applying those lenses to the story you're looking at. a lot of analysts have a toolkit of lenses they tend to cycle through when approaching a new text - it might not be a bad idea to acquire a few favored lenses of your own.

also, most of my advice is literary advice, since you can broadly apply many skills you learn in literary analysis to any other form of storytelling, but if you're looking at another medium, like a game or cartoon, maybe look up some stuff about things like ludonarrative storytelling or visual storytelling! familiarizing yourself with the specific techniques common to a certain medium will only help you get better at understanding what you're seeing.

above all else, approach everything with intellectual curiosity and sincerity. even if you're sincerely curious about why something sucks, letting yourself gain information and potentially learning something new or being humbled in the process will help you grow. it's okay to not have all the answers, or to just be flat-out wrong sometimes. continuing to practice is a valuable intellectual pursuit even if it can mean feeling a tad stupid sometimes. don't be scared to ask questions. get comfortable sometimes with the fact that the answer you'll arrive at after a lot of thought and effort will be "I don't fully know." sometimes you don't know and that can be valuable in its own right!

thank you for the ask, and I hope you find this helpful!

[osakanone]

Both providing and recieving constructive feedback are personal social skills independent of your ability to make art. You still need to develop both skills.

It is sadly like a muscle: you get stronger with time as your pride becomes second to your drive. You have to destroy that pride early on, so a new second kind of pride can happen which is based on the accomplishments of what you have already done instead of what you will do in future (which is the thing most harmed by feedback: your motivation).

There are likewise, people who think if they preface shitty things with "this is constructive feedback", what they are doing is constructive feedback even when it isn't.

Worse, constructive feedback is a skill and people can actually be bad at it -- as in, so ungood that they do harm rather than help, and this is something you have to understand:

Not everybody is qualified to provide constructive feedback effectively.

It doesn't take a skilled chef to know something is funny with a meal, but they can't tell you exactly what needs to be done, only the approximate area of what has their attention.

I find the more art training someone has, the better their specific art feedback is and the worse their unspecific art feedback is.

Their unspecific feedback is poisoned by obsessing over technical detail over what actually triggers an emotional response.

I find the less art training someone has, the worse their specific art feedback is, and the better their unspecific feedback is.

Their specific feedback is poisoned by their emotional response not being seperated from specific technical advice.

They just construct a justification for their emotional response, because the brain is wired to invent reasons for things when none exist, even when they are nonsensical to comfort the person.

That means their advice can be totally random, or even bad, because they didn't make a real specific observation, but justified a sensation they had and tried to sell the justification as an observation.

This isn't a malicious thing most of the time, its just an unavoidable component of how brains work.

Not everybody is qualified to be providing feedback.

Constructive feedback is its own seperate skill.

If you think about it that way, you can recognize parts which hurt or feel mean as someone being unskilled and therefor accept their failure but salvage the good parts of their feedback.

Once you know this and you internalize it, brutal feedback stops being brutal.

Hope this helps.

they should invent a constructive feedback that doesnt make me feel like the guy on the ten of swords tarot card

[nonotnolan]

Guess Who - College Edition

The week after the holidays was always a stressful time for Tyler. It had a lot going for it, of course— school hadn’t started yet, the parties would soon be picking up in full swing— but the Greek Life Traditions had the potential to be hell for a closeted gay man such as himself. Sigma Epsilon Chi had a tradition that when school wasn't in session, a handful of guys would swap bodies in pairs for the week. Everyone would try to guess who had swapped with who, and though it was only for bragging rights, some guys took it very seriously.

Once he knew that he would only be guessing, he had to admit it was actually kind of fun trying to tell who was themselves and who was pretending to be someone else. The anxiety happened when the participants were still being decided. Some of his fellow frat brothers were legacy members whose bodies were just as average as his own, but just as many of them were attractive, athletic men who rushed for the sake of the social status. The thought of having to spend time in a body far better than his own… sure, it was exciting, but how could he possibly abstain from the temptation for that long?

Well, he was about to find out. Ethan had tapped him out to be one of the swapped, and he was about to find out whose body he would be taking for the week. It wasn’t the first time that Tyler was walking down to the basement where the spell circle was carved into the concrete floor, but somehow it never got any easier. Last time he swapped with Devin, an engineering student whose body wasn’t too much of a change from his own, but he had a feeling that his luck was about to run out.

“I’m swapping with Tyler? Hell yeah, we’re gonna fool everybody!”

He was swapping with Blaine. Of course he was swapping with Blaine. The man was one of the hottest guys in the fraternity, and the unknowing recipient of Tyler’s biggest crush. He exuded confidence without even trying, and the way that the muscle definition of his arms bulged out of his sleeves never failed to get Tyler excited. Not that Blaine usually wore shirts around the house— it was rare to see him wearing anything that covered his chest unless he was having to go to class. His shoulders were impossibly wide, and his body was a temple of muscle. Worse still, he was so friendly and easygoing that he had no idea how embarrassed Tyler felt whenever he was near him. There was no way he would be able to spend time in that body without wanking himself senseless. “Fuck me, I’m going to have to swap bodies with Blaine.”

Blaine looked at him with a bit of a hurt expression on his face. “What, you don’t want to swap bodies with me? Come on, Tyler, this body is great!”

Shit, had he said that out loud? “No, I didn’t mean… of course it’s great! It’s just that, your body is so good it’s kind of intimidating. It makes me feel like if I eat junk food in your body, I’ll ruin it,” Tyler said, rushing to tell him a white lie. "It's good, it's just... it's a lot."

“Hey, don’t worry about it,” Blaine said, patting him on the shoulder. “We’re just two guys swapping bodies. I can go a few days without working out at the gym. And hey, it’s not like I’m new to this whole body swapping thing. If you wanna get laid while you’re in my body-- honestly, I take it as a compliment.” He gave Tyler a playful push on the shoulder. “You know I’m gonna try to do the same, right? You’re a good looking guy! I’m taking you out to the bars to get drunk, and I bet I’ll score while I’m there. It’s still a vacation week, everyone is looking to get laid.”

Tyler just stood there, blinking, as he tried to comprehend what Blaine had just said. Empty compliments aside, had he really granted him permission to do anything he wanted? He barely registered Ethan guiding him over to the spell circle and uttering the incantation. Blaine had just given him permission to get laid inside of his body.

Tyler rummaged through Blaine’s closet, playing dress-up with his new muscular frame. Most of the man’s wardrobe consisted of sweatpants, gym shorts, and free t-shirts. It wasn’t surprising, but it was disappointing. He was planning to dropbox some photos of Blaine’s body to his own personal account for later usage, and he was hoping for a few sophisticated outfits to contrast Blaine’s gym bro vibes. He was also planning to take Blaine up on his offer to get laid, just… perhaps in a way that he hadn’t intended when he gave Tyler blank permission. He pulled up the Google Play store on Blaine’s phone, and searched for Grindr only to discover it had already been downloaded. His heart started to race faster— he hadn’t seen the app on any of the main screens, did that mean Blaine had hidden it away in a folder somewhere? Surely it was more likely that someone else had downloaded it during a prior swap? Well, there was only one way to find out. He took a deep break and clicked ‘open’.

He couldn’t believe his luck— it was an active profile. Bi_greekguy_Est_02. No profile photo, and a description that just read “discreet, message for pics”. This changed everything. He absolutely had to fuck his own body. But how could he pull Blaine into a private discussion without being suspicious? The two of them never really crossed paths, so anything direct would be incredibly suspicious. He could pretend to ask for help, but it would have to be something Tyler could actually help with. He had fixed Jacob’s computer once, and Blaine didn’t have a reputation for being tech savvy… that could work? It was worth the risk. Tyler walked downstairs to his body’s room, enjoying the heft of his shoulders as he walked. “Is Tyler in there?” he said, casually knocking on the doorframe. “I’ve got an issue with my laptop, and Jacob said you might be able to fix it.”

Blaine emerged from the room, glaring at him in concern but otherwise playing along. “I… yeah, Blaine I can take a look at it,” he said. “Lead the way, I guess.” He followed Tyler back to his body’s room, and made sure that the door was shut before beginning to yell at him. “What in the hell are you thinking, dude! I never come down to the basement! What in the hell could be so important that you— ohh.” Tyler responded by showing him the Grindr profile he’d found. He crossed his arms, scowling defensively. “I… yeah, okay. So what, I’m bisexual. What’s the big deal?”

“The big deal is that I’m a gay man,” Tyler said. “If I had known I wasn’t the only non-straight guy here, I would have tried my luck ages ago. I know you want to win this weekend, but some things are more fun than trying to fool the rest of the guys. I don’t care if we get identified immediately, as long as we have fun. I thought you were out of my league. I still think you’re out of my league. But now that I’m inside of you? You can bet your ass I’ll be taking advantage of every minute.” He flexed for emphasis, watching the definition on Blaine’s arm.

Blaine laughed. “Well, if we’re being honest… I’ve always thought you looked like a cute bottom, but I didn’t know if you were gonna get offended if I asked. I didn’t want to risk my reputation as the macho gym bro to ask you if you were gay. You want to know why I was excited to swap with you? I was excited to end up in your body so that I could take it out to all the gay bars. I’m gonna get your ass railed so hard that it’ll still be sore after we swap back.”

Tyler couldn’t believe what he was hearing. “I… you thought I was cute?”

“Don’t sell yourself short,” Blaine said, as he started to blush. “You don’t have to be aggressively masculine to be desirable. We are absolutely becoming fuck buddies once this is over. You can be my tutor if you want to keep it discreet.”

Tyler pressed down on Blaine’s shoulders, taking advantage of his body’s light stature to lower him to his knees. “Who said anything about waiting until this is over?” Tyler started to slowly untie his sweatpants, letting the unspoken tension build as he adjusted the waistband of his boxers. “Do you really expect me to believe you haven’t fantasized about getting fucked by your own cock?”

Blaine looked at the eight inches of erect cock positioned a few inches in front of his face, and then looked up into the eyes of his body. He couldn’t help but laugh. “We’re not going to make it out to the bars this weekend, are we?”

[idciminlove]

Late Nights w Dae-Ho.

Warnings- none

You rested your chin on your knee, gazing out at the dimly lit dormitory. Your shift was in the dead of night, when it was practically silent besides the occasional snores and the hum of the prize screen. It was nice, you thought. Peaceful, in a way. Nothing had really happened all night, but Gi-hun insisted to split the group up into shifts just in case other players tried to attack. You didn't doubt him. He had done this before, after all. Still, most the players seemed harmless. None of them would be capable of murdering each other would they?

The sound of something rustling in the sheets got your attention, causing you to jump. Dae-ho crawled out from under one of the beds and made his way over to you.

"You almost gave me a heart attack!" You whisper shouted at him, giving his shoulder a small smack.

"Sorry." He grinned at you apologetically. "Couldn't sleep."

You sighed softly, returning your gaze to the dormitory. No movement. No change.

He sat beside you, looking out from your spot. "Anything interesting happen?"

"No."

"Bummer." He yawned. "You'd think with having to do these shifts we'd actually get some entertainment or something."

You smirked at him. "If only."

It went quiet. You fidgeted with the zipper of your jacket.

"Do you think Gi-hun is right? That the other players might try to...kill each other?"

"I don't know. I hope not, but he's been right about a lot of things so far. All I know is that I trust him, and the others, and you, of course."

You smiled at that. His words made you feel so seen. But feeling seen left you feeling self conscious, and all of a sudden you needed to fix yourself up, the urge to look nice and presentable strong. You ran your fingers through your hair. You wish you had your hair products in here or something.

"Come here."

"What?" You gazed at him, baffled.

His cheeks went pink as he realized how forward he was being. "Oh, uh, sorry. I meant..you can come here if you want and I can help you with your hair. I know how to braid because of my sisters and-"

Why not? It's not like you had anything better to do.

You crawled over to him, interrupting his nervous rambling and sitting between his legs. He was thankful you were facing away from him, because his face was going red. "Go ahead."

He ran his fingers through your hair, gently, before he started to tug a few braids. "Let me know if I'm being too rough or anything."

"No, it feels nice." You hummed, shutting your eyes.

The soothing feeling of his fingers working with your hair made you sleepy. He could feel your head going lax against his hands, smiling softly.

"You're all done." He murmured after a few minutes. You slowly opened your eyes, stretching your neck.

"Ah, I wish I had a mirror to see how it looked."

"I can be your mirror." He gazed at you with a grin. "You look nice. Really pretty."

"Shut up." You nudged his shoulder, smiling bashfully.

"What? It's true. You're pretty. One of the most beautiful people I've ever seen, actually." He let slip.

Before you could respond, there was more rustling, and Jung-Bae crawled out from his sleeping spot, rubbing the sleep from his eyes, Gi-Hun following. "What are you two whispering about?"

"Nothing." You both replied immediately. Gi-Hun and Jung-Bae traded skeptical glances.

"I'm going to bed now. Good luck with your shifts." You said.

"Uh, yeah, me too." Dae-Ho followed after.

The two of you went to your beds, and when no one was looking, you pressed a kiss to his cheek, before going to your mattress, leaving him flustered and smiling to himself like a fool.

[dustorangeheartssnow]

When It is said that Young Dick Grayson is seriously a consummate professional part of that means that as a kid, at least in the early years, c. age eight to, say, fourteen, he doesn’t hide his injuries from Bruce when Bruce directly drills him for an Accounting (“Robin.”) after each closecall or before every drive back to the cave. He def does start lying about it later so he can just continue stretching himself very thin and also because he becomes embarrassed that he gets hurt bc he should b better (I CHOOSE TO BELOEVE) and this is part of what sets Bruce off and sort of starts to corrupt their trust when DG is an older teenager but that’s all later bc they establish the trust first. And so The first time DG gets shot he handles it extremely calmly, quietly, undramatically, but upfrontly with exemplarité because that’s the way u must act to earn Bruces trust. And also he has pain management techniques so Bruce does the “Robin” thing that like means Report or Account and Dick is like “Through & through to the left shoulder” while not crying or writhing or whatever but also not being SO TENSE but holding it together calmly and not denying it BUT OBVIOUSLY INTERNALLY HURTING but not showing that and so this makes Bruce who is himself PANICKING calm down a little and Bruce is impressed by this because Dick is enacting the correct procedure and being very upfront. Like very professional. Like OK i trust u. And similarly although it is a good plot point for angst, in actuality Dick as Robin seeing his first like bloated corpse or dead bodies on the street or gruesome crime scene doesn’t really outwardly react and keeps it very exactly right and professional with the right mix of gravitas in the moment while going back to being playful and light as soon as it’s appropriate to do so and this also very much impresses Bruce too. he also does not exploit Bruce being truthserumed. He never asks questions of Bruce he jsut retrieves him and gets him the antidote ir back to the cave or whatever and the truth serum thing happens many times and then one day Bruce is truth serumed and Dick isn’t and Bruce can tell Dick is about to ask a question, and not just any question but dick is working his way up to the courage to ask a Serious Meaningful Question, and Bruce internally is maybe in that period where he’s beginning to realize how much Dick means to him and what role Dick is beginning to take for him and he is like so sick with agony about it but dick just asks like: “Do you think I’m funny?” or something and Bruce is so incredibly caught off guard like “of course” and dick has a very serious but inscrutable sage nodding with narrowed eyes reaction to this and that’s the only time dick asks Bruce something under the duress of truth serum but bruce like thinks about it and cannot figure that moment out

[literaryvein-reblogs]

Hey do you give advice for writing romantic relationships between characters? If so, any tips on how to write a organic transition from friendship to romance. Any help would be appreciated thank you in advance:)

Writing Notes: Friends-to-Lovers

Two characters have maintained a relationship long enough to grow it from acquaintances to friendship. They have things in common. They respect each other. Consider…

Why are they only getting together now? Are they settling? Is it a timing thing? These have to be the two least romantic options in the history of romance.

What could be better than having someone know you for exactly who you are and deciding you’re irresistible? There is actually an answer to this, and it’s this: being able to trust your heart to someone who has already proven they’re worthy of it.

With enemies-to-lovers, the characters start out not liking each other. In friends-to-lovers, it’s a given that the reverse is true.

However, in the latter, it may not be enough for the love interest to be just likeable.

If your story is going to document someone’s exit from the friend zone, they also need to be desirable.

Consider some sex appeal here. You don’t want your readers picturing little Johnny or Jenny from next door who they always knew they should like. You want them picturing the person they thought they couldn’t like.

Example: Hugh Jackman’s playboy character in Someone Like You. While Ashley Judd was viewing him as undateable, the audience had time to properly fall in love with him. We knew we could trust him long before she did, and we were thrilled when her eyes were finally opened to his good qualities.

Why couldn’t one friend like the other before, but they can like them now?

With enemies-to-lovers, there are two things that need to happen. There’s the event that causes them to be at odds, and then there’s something that brings them together.

With friends-to-lovers, the transition can begin with a single change.

All you need is a reason for one person to see the other through new eyes.

Is one of them suddenly single? Did one of them dive into a pond Colin-Firth-Darcy-style, emerging with their shirt see-through and clinging to their unexpectedly well-defined abs? Did one-too-many tequilas work their magic?

It may be much easier to turn friends into lovers you can believe in and root for than it is for two characters who have been treating each other poorly.

All of our friends have characteristics that initially attracted us to them. As writers, all we have to do is deepen that attraction.

The stakes must be set.

With enemies-to-lovers, this is usually built into the story. Whatever has put the characters at odds can generally be relied on to test the relationship. But what about friends?

How do we raise their stakes? It can, of course, be built into the story just like with an enemies-to-lovers storyline.

But the cool thing about friends-to-lovers is that we have their entire history to mine from as well.

We also have a shared social circle to work with.

The stakes for friends-to-lovers feel more realistic and pressing.

A sexy fling with an enemy can be laughed off the next day, but a failed romance with a close friend can change the landscape of your life.

D.A. Stinson et al. (2022) examined how romance develops, as well as how studies have covered the progression in a piece entitled “The Friends-to-Lovers Pathway to Romance.”

They begin by recognizing that although there are multiple pathways to romance, the science of relationship study does not reflect this variety; instead focusing primarily on romance that builds between strangers as opposed to friends. They note that this type of concentration might make sense if friends-first romances were atypical or unfavorable, but note that their research reveals the opposite.

Conducting a meta-analysis of seven samples of university students and crowdsourced adults, Stinson et al. found that two-thirds described being friends first, which was also the preferred method of initiation among university students. Taken together, their studies affirm that although overlooked by relationship science to some extent, being friends before the initiation of a romantic relationship is not only prevalent, but preferred.

Pathway From Platonic to Romantic

Stinson et al. note that relationship scientists recognize at least 2 kinds of intimacy.

One is friendship-based,defined as “a cognitive and emotional experience comprising psychological interdependence, warmth, and understanding, related to the companionate love that nurtures long-term intimate bonds.”

The other is passion-based intimacy, defined as “a primarily emotional experience comprising romance and positive arousal, related to the passionate love that typifies novel, and often sexual, relationships.”

Stinson et al. also note that the dominant dating script proposes men’s passion as the sensation that sparks initial interaction between potential paramours, after which time passion-based intimacy and friendship-based intimacy develop concurrently. But does this reflect reality? Apparently, the answer is a matter of perspective and perception—of the individuals involved, as well as interested observers.

Romantic Rumors

Many cross-friendships spark more than romance; they spark rumors. Researchers have found that celebrity websites often promote the idea that men and women cannot be “just friends.” Andrea McDonnell and Clare M. Mehta (2016) explored this issue in a piece entitled “We Could Never Be Friends: Representing Cross-Sex Friendship on Celebrity Gossip Web Sites.” They note that although psychological scholarship is mixed on the topic of cross-sex friendship, media representations often reflect the homosocial norm, which asserts a preference to spend time with members of one’s same sex, implying that cross-sex relationships are necessarily sexual in nature.

Regardless of individual views on the homosocial norm, many employees can relate to McDonnell and Mehta’s observation that cross-sex friendships can spark suspicion and scrutiny by others who assume such relationships are romantic or sexual. This is true even in a day and age where they are not only common in general, but commonplace in the workplace.

For coworkers, neighbors, or “just” friends who find themselves wondering if there might be the potential to move a relationship to the next level, slow and steady positive development of trust and common interests often evolve not just in the presence of friends and family, colleagues and coworkers, but with their full endorsement. As demonstrated by many couples who have successfully navigated this “dateless” path down the aisle to the altar, easy, comfortable, relationships often develop into healthy romantic, lifelong partnerships of love and respect.

Sources: 1 2 3 ⚜ More: Notes & References ⚜ Writing Resources PDFs

Hope this helps with your writing :)

[letteredlettered]

I'm disturbed by the number of de-aging fics I've read where the adult caretaker of the one who is de-aged feels the need to discipline the de-aged one, or "teach them manners," or "make them" do things like clean up their toys or eat their vegetables or go to bed on time, or help them understand that they should apologize if they are "naughty."

This never seems to be a commentary on the fact that the adult caretaker is in fact a bad caretaker who is unable to assess what a child needs in a given situation. The texts always seems to imply, heavily, that this is in fact a good caretaker because they are setting boundaries and providing the child with necessary lessons. It always comes across as though we the readers are meant to feel "look at this responsible adult!"

Instead it reads like the adult doesn't understand children and doesn't know what to do with them. It reads as though the writer thinks disciplining children and making them clean up and making them apologize is just something you do with children; it's just what children need; it's just what children are for.

No.

We do those things with children because it can help them be healthy, develop good habits, and get along with others in life. In a de-aging fic, the de-aged person is already an adult. They've either learned these lessons or they haven't, so there is no reason to teach them now. If the adult caretaker has a problem with the adult version of the de-aged character, they should be taking that up with the adult version and not the child. Taking it up with the child is pointless, since it's the adult version that's the problem; it also feels manipulative, since people consider children malleable while they think adults aren't. It sounds like you're trying to change the child because you couldn't change the adult, which I find kind of disgusting.

An adult de-aged to a child is a fantasy/sci fi concept that cannot happen in real life as far as we know it. They don't have the same needs as children. They wouldn't need life lessons or to learn how to function in an adult world.

When you think about what he only thing a de-aged child would need is the same comfort and safety anyone would need in an unfamiliar situation in which they might not be able to care for themselves. So in those situation there are physical needs--safety, food, shelter, etc--and emotional needs. As far as emotional needs, most kids would be feeling alone and scared at suddenly being thrust into a world with which their not familiar; they need someone who makes them feel safe, whom they feel they can trust. Building trust with a kid is hard, but you don't do it by making them go to bed on time; you do it by listening to what they say and taking them seriously; you do it by not acting like you know best because you actually don't, unless a kid wants to do something that will literally risk their physical safety.

So no. The adult caretaker in such a fic does not need to make a kid take a bath, even if they are filthy. If the kid wants to go to bed filthy they can, and the adult caretaker can wash the sheets. If the kid doesn't sleep well because the dirt irritates them, they'll get up and want to wash or they will be grumpy the next day. If they are grumpy ask them what would make them feel better and try to give it to them. If that doesn't make them less grumpy that is also fine; at least they don't have some random adult trying to put them in their place because that's where children belong.

tl;dr children do not exist to be controlled they should be loved. put it in your de-aging fics pass it on

[da2supremacy]

Essentially the ethos of a dragon age game has always been something you can roll around in your hands and interrogate. Dragon Age games have never been some great awesome piece of art that belongs in the MoMA or whatever. Honestly, I haven't really enjoyed the gameplay of a single one except Veilguard and the OG devs personal prejudices are glaringly obvious with even just a cursory read. But the World Building is magnificent and the game let's you disagree with it. Some people hate that. It's why they're constantly whinging about the "all sidesism" or whatever. I don't really think the rampant centrism and borderline fascism was present until Inquisition. CAN you be a fascist in 2? Terrible in origins? Sure. But there's a world around you that reacts to that and when you're a truly awful prick there actually are gameplay and story consequences.

The Inquisition is a righteous religious army taking over sovereign lands for the greater good and the only person who ever questions that gets treated like he's gone insane. Yet even Inquisition gives you more opportunity to interrogate the justness of the Inquisition's existence than Veilguard allows you to question the merits of Solas' goals.

Because some of his goals (as stated in Trespasser anyway) DO have merit. While I may not personally agree with the notion of tearing down the Veil it IS a wound that he carved onto the world and he probably is the only person who could get rid of it. Not to mention they've spent 3 games all but telling us that the Veil was falling apart already anyway. If Solas did nothing the reckoning with the fall of the Veil would have to be addressed eventually because it was happening whether he did anything about it or not. Maybe his method actually would have been better than him sitting back and letting the Blights and the blood magic and the all the other things that were weakening the Veil collapse it naturally. We've seen places where that happened and it's always been pretty bad actually.

But the game never lets you sit with that. I am willing to believe that the 10 years and the region shift could have allowed enough events to equalize most world states but in trying not to say anything about Worldstates they straight up didn't engage with ANYTHING that came beforehand at all. John Epler's insane misunderstanding that people sympathizing with Solas is a FEATURE and not a bug, this is the franchise that gave us Meredith and Loghain and Anders, decided that the pathos of the game's supposed main antagonist and final boss could not be mentioned at all???

The game proves that the Chantry is based off of a woman's misinterpretations of visions she could in no way have ever understood (if you squint you can kind of see the shades of both the Evanuris and the Titans in the the story of the Chantry. Add that to the theory that Andraste was an OGB and well...) and the game itself doesn't mention the Maker or the doctrine of the Chantry at all. All sides of the Western Schism were still Catholics. Being in Tevinter does not actually justify why apparently no one is devout to the Chantry.

This game is great but it's a standard hero's journey. Rook grapples with nothing and sacrifices nothing. Even the one mandatory Companion death really isn't Rook's fault. I don't know how Solas ever thought that prison would hold them. I never actually have to think or question anything. I never actually made a difficult decision. You could replace the place names and file Solas off of the narrative and this could be literally any other fantasy title. The things that made Thedas unique are not there.

I am not calling this game poorly written. It's fine for what it is. It's not a WRONG decision to not include things that weren't directly relevant to the game's narrative and all things considered this game only actually got 3 years of real development time. There's probably a lot that got cut. But I do think still centering Solas as the final boss and the preservation of the Veil as the final obstacle to overcome and then not actually engaging with WHY he is really doing what he's doing and WHY that's actually wrong is a bizarre choice. It really does seem like John Epler was scared they couldn't convince the player as to why they needed to not rip it down and so they sidestepped the question entirely.

The thing about Solas in DAtV is that because they were fundamentally unwilling to engage with the question of whether or not the Veil should actually come down (which is a symptom of them refusing to engage with anything remotely 'problematic' in the franchise to date: slavery, elven oppression, treatment of both city elves and Dalish etc.) he goes from a character who is supposed to be the embodiment of wisdom to a character who is kinda stupid. And further, it affects our questions surrounding his motives and relationships, his actions in inquisition and how compelling he is.

Like, there's a lot of people arguing ATM about whether or not a romanced Lavellans relationship with Solas was meaningful/if she knew him compared to how Rook knows him/if he loved her more than Mythal. And I think the answer is very tied up in this particular issue with the writing.

Because if Solas is a revolutionary who believes that the veil must come down, not just to fix a perceived wrong he did, but for the good of elvenkind...if we take a Solas who says 'people are always dying, it's what they do' and realise that he's saying that because PEOPLE DIDNT USED TO DIE and the way their lives are now so short is terrifying to him, if we take a Solas who says that the world today is full of those who seem tranquil to him and take that SERIOUSLY, if we get a Solas who is sickened by the way spirits are yearning for the world the way it was but are stuck in the fade without any contact and that's twisting them into demons and those willing to possess others to taste a glimpse of what was denied to them by HIS actions...

Then we get a Solas whose actions don't just make sense but we can see WHY they make sense. We get a Solas who is, yes, committing an act of horrendous violence by tearing down the veil but is doing so to literally save the world rather than just fix a regret or because he's bound up in Mythal somehow and what she would have wanted for the world.

THAT Solas who leaves Lavellan because of his revolution he must lead, who leaves Lavellan after seeing what this world does to those who are left of the people, that Solas...I think that we could then argue more than the relationships he formed in inquisition were real and he was tragically forced away from them by his own goals. That in some way he is doing this FOR Lavellan.

There should be a sort of semi-horror tint to this world for us through Solas's eyes because we can see a world of tranquil walking around like he does, a world where life is too short, a world of injustice and pain and reasons to go ahead with his plan

But Solas....kinda lacks agency in DAtV. I don't hate the Solas Mythal plot stuff I think it's quite interesting, but mix it with us never considering the merits of what Solas wants to do, of EVERYONE unilaterally deciding it's evil with no real debate or queries, with ZERO elves in the narrative siding with Solas or taking what he has to say seriously...THATS where adding the Solas and Mythal plot rubs me the wrong way. I don't want Solas to need to be released by Mythal before he can let go of his evil plan...I want a Solas who doesn't have an evil plan but instead a complex one. I want the conviction of Anders in Solas; that what he's doing is RIGHT and the ONLY WAY to fix a great injustice. I don't want to redeem Solas or even understand him I want him to CONVINCE me and me BELIEVE him. Otherwise the Solas we see in inquisition is more shallow and the Solas we see in Veilguard through Rook...maybe Rook does know him better than the inquisition did.

[cherrysurf]

winning you back pt.2

-where haikyu boys try to win back you their ex gf

-this is lwk depressing but maybe it’s bc of the music im listening to rn LMAO

contains; atsumu, tsukishima, kita, sakusa, oikawa, iwaizumi

pt.1 of winning you back here!

atsumu; He still very much has all your pictures on his feed that he never deleted and never will you had to go minimal contact with him because he kept texting you every other day to try to get back together, he still loves you and thinks your gonna be his wife and that this is just a rough patch, so when you post that you’re going to be volunteering at osamu’s restaurant for a charity that osamu is doing for young kids to get into volleyball he takes it upon himself to cancel his practice for that day and go and join you two and begged and forced osamu to make you too work together so he can talk to you, and those dam miya’s being so good and weaseling there way back into life’s, it worked. You two are now talking again. You told him that you wanted to take this slow, but atsumu later that week posted a soft launch of you two at dinner.

tsukishima; tsukishima acts like he’s so nonchalant but no one’s seen him cry over how bad it’s killing him that you can fully ignore him when he’s usually the one doing that. He hates how bad he fucked up so he decided to make a plan to win you back, what does that mean he had to do? work at the same cat cafe as you, at first you weren’t on the same shifts and maybe hanging out with cats was a plus but getting crushed on by other girls wasn’t. Anyways as soon and he saw you two were on the same shift he couldn’t be more happy, it was a slow shift so he used this time to catch up and be very soft and respectful he saw you weren’t fighting back so he was thinking that was a step forward, until later on when a girl came by to order a drink and was clearly flirting with him so tsukishima ignored her, as she said “can i get your number?” you turned to see what he would do all he said was “no i have a girlfriend she’s right there actually, i don’t what gave you the confidence to think you could ask me” he said laughing which left the girl embarrassed and you flustered.

kita; Kita is forever my yearning man. He writes letters for you and sends them, you kept them all because you still didn’t get over him. He thought it was the right choice to let you go but he couldn’t have been more wrong, and I fear kita is the type to have a romantic scene like the movies. So what? anyways he comes by your hour IN THE POURING RAIN. to apologize “i’m sorry im selfish for breaking up with you yn, i just clean up well i forget myself” OOOO YOU END UP SOBBING BC WHO WOULDN'T?! anyways safe to say you kissed in the rain and he won you back

sakusa; stubborn ass ho. He was shocked when you broke things off even more when you actually stood on business, sakusa was one to keep his composure and not crashout but he couldn’t understand why he was so affected by the breakup it’s like his whole life flipped upside down. He even stopped keeping up with himself for a bit which was totally out of the norm. So when you saw him at your apartment in the lates of the night messy hair, wrinkles in his clothes looking dead you knew something was wrong, he almost felt like he could breathe again once you embraced him, disgusting and all and he didn’t let go since and tried to change for the better

oikawa; He acted happy at first like it didn’t matter because he thought you needed him more than he needed you. Oh how wrong he was, the fan girls didn’t support him the way you did, didn’t cheer for him the way you did, no one could cook as good as you, no one could get him out his depression like you could, so one night around 4am he gave you a call wanting to quit volleyball because he felt like he couldn’t do anymore without you there, which broke your heart because you saw how bad he was struggling without you there and that’s when he finally admits “I needed you more than you needed me. Come back yn, i’m sorry” and you did because you needed him just as much as he needed you.

iwaizumi; it was mutual breakup but not really he just did whatever he could to make you happy he hated fighting with you, he never deleted your pictures, he still kept all your stuff that you didn’t take at his house, he was still loyal even if you weren’t together, He blamed himself for not fighting back. he became very very career oriented that’s when he saw you at a job interview, you had just finished interviewing for the place he works at as a sports medical assistant. you weren’t aware he was working there so he stopped you and asked to get lunch since you were leaving and he was on his lunch break. That's where he apologized for not doing more and still thought about you and asked for a redo and would do anything for a second chance, and you agreed because you felt the same.

tags; @solarvrse (for the atsumu one) @sahrii (for the iwaizumi one)

[affableramen]

hiii i love ur writing and i have a request. what do u think pantalone would do if reader got a vision? tysm!!!!!

Hi, thanks so much

Actually it is a very complicated situation both in terms of emotions and future interaction of the characters. I think there could be 2 possible scenarios of how this case could develop:

The reader is hiding existence of her Vision for a long time, wanting Pantalone to feel closer and more similar to her in terms of being a loser, unsuccessful and not chosen. Yet she ends up getting a Vision after all.

Potentially it would mean that she is lying to him and sooner or later he will find out about it, as we all know Pantalone is a pure character of wisdom, there is nothing to slip off his fingers. In this case he would call her privately to his office and plan the discussion with cold mindset. He would even make his own lines in his head to not appear agitated (he is very agitated and shaky, but because it is also Pantalone we may not even see it – he is a good example of artless subtlety).

The reason for you to hide your Vision from him is because you would like to make him feel safe and protected, knowing that you are just as desparate and lonely as him. Around you there is a bunch of ‘heroes’, Vision users which make Pantalone most definitely feel like a black sheep. Knowing that you obtained no Vision he found himself comfortable, given the feeling ‘Yes, she is just like me’. After a while this however vanishes, once he learns you actually possess one. He cannot be mad at you, because he realises it is your responsibility to wield one, but he cannot deny how infuriated he becomes because of your lies. In this case I think he needs time and the best you can do for him is just leave him alone for a while before he cools off. He will, for sure, have a long ass conversation with you about why you’d keep it secret from him. In this case you just calmly explain him the situation that you wanted for him to feel better and you to not be the one priveleged.

However if acquiring the Vision was a recent achievement for you and Pantalone discovers it in the real time, he will be extremely shaken as the situation happens right in front of his eyes, and he is the spectator. When it is something that happened before you knew him, it is more likely acceptable for him because he does not hold power over your achievement, however if you get one during a relationship (or simply encounter, let’s imagine the two of you are not necessarily lovers) it will be difficult for him because it is something he could not control.

***

Pantalone was sitting in his headquarters, his hand gripped the glass of whiskey when he called you in. The guards carefully led the way to his private office and shut the door tightly, making room for you and Regrator to have a private conversation.

His fingers gripping the glass were shaking slightly which was definitely ironic, considering how usually composed he was, in front of you included.

As the door was closed you slowly approached his desk but stopped at a reasonable distance as you sensed the cold atmosphere between you two. It felt like Pantalone was not ready at all to let you in closer.

“You got a Vision”, he didn't ask you, rather stated a fact. A fact that raised both panic and frustration in you as you understand how it might affect the relationship between you two.

In all his hundreds of years he never got one, but you received it just in your twenties. His blood must have been boiling.

“I got it just recently.”

His playing with the whiskey glass stopped and he looked at you. The lights reflected the metal of his silver glasses which would only add coolness to the already icy room.

“How did you get it?”

That was the question you feared the most. Yet he already asked you in, and you had no point in lying and keeping things to yourself. You were not currently on good terms exactly and suffered quite an argument however Pantalone still treated you as a valuable asset, with a possible development of you into his official lover. Or at least that’s what you wanted to believe in. You wanted to feel as someone important to him, and it wasn't entirely stupid. It’s just that it was above his icy-cold rationality.

“Actually, after I fought you”, you responded quietly, your voice suddenly breaking, no matter how anxious you were, you felt as if you had to. “I got my Vision after I fought you.”

Pantalone scoffed,

“Wonderful. Amazing. You got what you wanted, didn't you?”

“I do not understand you.”

Pantalone shifted in his seat and finally stood up, he approached you with solid steps.

“Wasn’t it your dream – defeating me? I thought you would feast upon my sufferings. But you seem reluctant to it. What, cat got your tongue?” he would continue mocking you, his face inches away from yours, but his eyes were glassy once he opened them, as if he were crying all night like a teenager after being bullied at school.

“You know it is not like this. I dreamt of Vision, but when I met you, I promised I wouldn’t be seduced by its power.”

“Yes, that’s what you promised. And look at yourself now”, circling over you languidly, Pantalone used an excruciatingly degrading tone. “Now you’re chosen. You’re a hero. And what heroes do? They defeat villains. And that’s exactly what you did.”

“I never wanted this”, you tried to convey some thoughts into his head, to soothe him, but Pantalone immediately became blind to all your opinions. “It is not my fault that the Vision appeared to me. I didn't force it to come.”

“You want me to believe in this bullshit? You used me like a piece of meat to only leave me in shambles and get your little artifact. And now I am nothing in your eyes except for a villainous Harbinger.”

His words hurt and you could not deny it. Your hand softly grazed his fingers, not inviting into a intimate contact but making it enought for him to have shivers down his spine.

“Your tongue is spilling poison, as always, but weren't you mad now, you would never say such things to me. You just need to cool down.” With those, you exited his office, leaving him completely alone with his dark thoughts. But the way you touched his hand was so warm and gentle, he felt as if he needed more of those, and his conflicting thoughts were messing around his mind. He was weaker than this, he wanted you back immediately.

“I did not allow you to leave my office yet”, he spat. “Come back.

You’d ignore him and decisively leave without looking bad knowing that it would be better for him.

“I said come back here you idiot!” He’d scream and run after you, but it was late and made no sense. He fell to his knees, both his traumatic experience and alcohol taking a toll on him. Weak in his legs, he silently started sobbing, his head hanging down as he found himself completely shattered and unable to hold back tears. How could a mere mortal obtain a Vision while he was the one waiting for it for almost 400 years? This is unfair! How is he worse than anyone? How is yourself better than him? Where did he make a mistake? Why is he such a failure? Is he a joke, a mistake of this world?

You thought that once he’d be tranquil again, you’d visit him and make amends, but currently all he could do was accuse you of something you weren't guilty of. However, once the quiet sobs reached out to your ears, you made your way back from the staircase to his office. Upon entering the lavish, elegant decorum of his headquarters you see a not so elegant man sitting on the floor like a pathetic mess. The sight was nothing you would ever expect from him and if such a rational and reserved man acted this way, it would only mean the pain was insufferable. It is stupid, you thought, but you got nothing to lose, as you kneeled down to him and took his hands in yours, the cold leather of his gloves rubbing against your hands as you embraced him, trying to share the heat with his shaking body. And he let you do this, surrendering himself to you as he realised all you ever did for him was caring, not taking. And he had no right to accuse you of obtaining a Vision, no matter how hard it was to his chest.

[read-write-thrive]

Charles Rowland Week Day One — Cricket Bat/The Brawn

There were a lot of unexpected downsides to being a ghost. Sure, he got a best mate and a “life” he loved out of dying, but it wasn’t all sunshine rainbows and ice cream. And not just the major things like being chased or attacked on cases, neither! Small things were just as bad, especially when they snuck up on you

Take the mirror thing, for example. It’s really not an issue, right? Charles wasn’t vain or anything, he didn’t need to see himself in the mirror constantly. But you don’t realise how much you look in the mirror until it’s gone, really. All of a sudden your only perceptions of yourself is what you can see looking down and what you can remember. Charles had done his best to not think about it at all, but was rather suddenly confronted with his image issues about a year into being dead.

Well, “suddenly” isn’t quite right. Truth is, they’d just found a place to call theirs and were set on fixing it up. They hadn’t settled on a name for their detective agency yet, but they were getting there. At the moment all they were doing was cleaning the space as best they could to try and make it feel more homey.

You see, the place was, looking back, their reward for their first case. They’d taken to wandering London, just seeing the sights really, when recently they noticed the building. In slight disrepair, sure, but the weirder part was the poltergeist wreaking havoc on anyone who came near it. The living (un?)consciously avoided the place, but the boys hadn’t heard the gossip and were the next victims to its destruction. They couldn’t be killed, of course, but they could still be thrown about (and injured, apparently! Blasted iron—).

Edwin had already picked up a magical tome on their travels (which he’d then casually carried in his overcoat—Charles, who was still struggling to reimagine his clothing, was only a little jealous, he swore) and was thankfully able to use it to banish the poltergeist. They both took a hit or two, but Charles had realised early on that he needed to take the attention off Edwin in order for him to actually use magic. Charles had quickly rallied against the poltergeist, distracting it and taking the rest of the blows that came with that. Well, he’d tried to tackle the poltergeist first, get on the offense and all that, but that hadn’t gone well. So then he just took the hits until Edwin did his job.

Edwin, for whatever reason, had been right pissed about it in the days since. He kept his sentences short, kept his nose in that bloody book, and was overall being a cranky bastard. Charles was still sore from the fight (how ridiculous that ghosts could even be sore) and was frankly fed up with it. Time to tackle it head-on.

Though he could’ve taken the empty chair on the other side of the desk, Charles decided that being up close and personal was better for this talk. He marched up to the desk and sat on the ledge of it, arms crossed and looking down at Edwin, feet nudging the base of his chair.

Edwin didn’t even look up from the book, “Yes, Charles?”

Charles carefully took the book (bookmarked it, naturally, he wasn’t a monster) and set it aside as he spoke, “We need to have a chat, mate. Now, if you’ve got the time.”

Edwin let the book be taken, though his (stupidly broad, how does a sixteen year old even get built like that?? too fit for his own good and he doesn’t even know it, the wanker) shoulders remained tense. He quirked an eyebrow as he looked up at Charles, “Since you’ve taken my reading, I suddenly have the time. What is it you wish to speak about?”

Charles used his hand to motion at Edwin’s face, “All this. I get that you’re angry with me, though I have no clue why, but I need you to come out and say it, yeah? I’m not a mind reader.”

Sighing, Edwin properly faced Charles, “Fine. If that would please you. I am unhappy with how you handled our encounter with the poltergeist, and I was hoping you would apologise for it. I see that will not be happening.”

“Apologise?” Charles questioned, bewildered, “What the bloody hell did I do? I distracted the thing while you used your fancy magic to get rid of it!”

Edwin remained unimpressed, “I can handle myself, Charles. Your display of… masochism, shall we say— was unwarranted and reckless. We had no way of knowing what the poltergeist could do.”

“And? What, I was just supposed to let the thing do equal damage to both of us? Or let you take all the hits? You’re the one with the bloody book, mate, least I could do was give you time to read it.” Charles huffed.

“And yet your soul is less tempered than mine, so it is extremely likely that you will succumb to injuries at a faster rate.” Edwin snapped back, hands steepled in front of him as if this were all just obvious facts.

Bewildered, Charles tried to clarify, “What are you saying? I can’t take the same damage as you? Seriously?”

Edwin’s eyes, usually steadfast in maintaining eye contact, flickered down Charles’s form, then back up to his face.

Charles knew what that meant. It wasn’t the first time he’d gotten looks like that, in conversations like these. Every time he tried out for a sport, every time he tried to stand up to his dad, every time he tried to keep up with his mates. Charles knew he was twiggy, alright? He didn’t put on muscle like the other lads did even doing the same sports and eating the same school-provided meals. Hell, even when he tried going above and beyond in eating meat and lifting weights all he did was get lean, not properly muscley. A fact which everybody noticed.

As a result, he’d get these looks. Right rude looks. As if it was funny to think of him being strong or holding his own in scraps. There were a few times his mates would egg him on to fight some other bloke twice his size to try and embarrass him. Maybe it wasn’t so harmless, looking back, but Charles usually scraped by by changing it into a race or just talking his way out of it. He knew they wanted to see him take a beating, even if they framed it as him “proving” that he was stronger than he looked. They’d give him that same look every single bloody time, as if he had to be bluffing and they were thrilled to call him out on it.

This was made all the worse by his dad of course—his dad who outright laughed in his face any time he tried to stand up or fight back. His dad who left just enough visible bruises and scars to make it seem like Charles was out fighting every break and losing every single one of ‘em. The teachers took it as another sign of Charles being no-good and brushed off any time he wanted to get treatment or lenience for the injuries. The other boys would laugh at the bruises and such, asking what Charles did to piss off his foe. Asking why he kept fighting if he was so obviously always going to lose. Just look at him—how would a scraggy thing like him ever win a fight?

So yeah, maybe Charles was a bit defensive about how he looked and how strong he was. It was all the worse by the mirror thing—was he skinnier dead? How would he ever know for sure? To top it all off, he’s dead. Not exactly like there’s a gym for ghosts, is there? Well, not that they knew of yet at least. And with his luck, a ghost gym wouldn’t do anything either.

Point is, Charles was practically stuck in this stupid thin appearance for the rest of his ghostly days. And he hated it. He hated it every time he went to check a mirror and saw nothing, forcing himself to rely on his memory. He hated it every time he struggled to manifest better clothes—Edwin kept telling him to just visualise, right, but how was he supposed to do that when he’d avoided visualising himself at all for years? What if he made it worse by visualising? Maybe he was a bit bigger since dying! Some unconscious thing helping him out or some shite. He didn’t want to risk making himself any skinnier!

It was ridiculous, all of it. But Charles was not about to take that same bullshit from someone he thought was better than all that.

“What, I’m too skin and bones for ya? Too weak? C’mon, tell me. I can take it.” He really couldn’t, truth be told, but he was ready to bluff his way through the hurt like always.

Edwin’s face scrunched up, “What the devils are you talking about? We’re ghosts, Charles, our appearances are entirely subjective. Not to mention they have little very bearing on this situation.”

Now it was again Charles’s turn to be confused, though he was still hunched up on the defensive, “Then what? What is it?”

“I do not want to see you hurt, alright?” Edwin snapped, “We do not know how to fix any injuries you might have sustained and you were completely defenceless! I was trying to focus on locating and performing the proper spell and there you were, ready to be obliterated in front of my very eyes!”

Charles gave a slightly relieved sigh. Edwin looked displeased at this, but Charles started speaking before Edwin had a chance to continue, “You’re mad at me because I scared you, is that it? Mate, I’m perfectly fine! We got that fucker out of here and I’m perfectly a-ok! Here I was thinking I’d properly mucked something up—“

“I am serious, Charles—“

“So am I!” Charles planted his hands on Edwin’s shoulders, forcing complete eye contact, “Look, as soon as we can, we’ll get our hands on some weapons for me to use alongside your fancy magic books. Hell, maybe you can make me one for all we know on magic!”

Edwin again went to reply, but Charles wasn’t finished.

“I’m flattered you care, and thank you for looking out for me, but I promise I’m stronger than I look. Get me a bat or something and, with you and your magic, I’m happy to take on any future baddies we come across, yeah?”

Edwin sighed again, but it was clear his icy demeanour was melting, “I suppose we can have that be our next move, now that we have a headquarters for ourselves.”

Charles all but cheered, ecstatic to have actually resolved their little spat, “That’s the spirit! I’ll be the brawns, you be the brains, and our Ghostbusters agency will be brills!”

“For the hundredth time, Charles, we are not naming our detective agency after some film!…”

—

Day one of @charles-rowland-week in the books! I make no promises to have something for every day/prompt bc my life is a mess (as per usual) but I wanted to at least do one :) hope y’all enjoyed it !!

[summertimesadnessirl]

You should try just no longer talking to them. Just tell them that using actual words and then bounce.

Self sabotage is not real. In relationships, you are sabotaging the other person. They don't know why you did this.

And "you're not good enough for meeeeeee!" Is actually a terrible excuse to piss someone off or make them miserable or mistreat them or cheat on them or whatever you are doing.

I don't think this is real though.

Every time someone accuses me of self sabotaging it's either a fancy way of saying

"I feel bad for you and that makes me feel bad and I have the ability to discern and manage emotions, including those absorbed through empathy of roughly a 6th grader and won't admit it so now I'm trying to tell you to shut up about your problems and not indicate distress in any way because you being sad near me is bumming me out but that would require me to have a higher level of maturity and self awareness than I have so I'm just going to accuse you of causing your own problems and hope you slink away in shame because I want to lash out at you even though you didn't do anything wrong and I don't know why."

Or

"Actually god is punishing you for negative vibes, because God is also a little bitch with the emotional range of a sixth grader, so... that's for you to fix. I am very mystical and used to people not questioning my philosophy as a result, and I don't realize people can tell I'm a dyed in the wool sadist who enjoys seeing people in emotional turmoil. My main interest in the mystical arts is keeping other people too intimidated with how esoteric I am or too intimidated by my resemblance to religious abuse of a similar nature in their childhood to call me out on pretending to offer advice so I can get off on making people feel like shit after talking to me for not understanding why my advice doesn't make them feel better when I supposedly say all the right things."

Or

"The same, but with the self help industry."

So I've never met anyone who actually self sabotages relationships because the other person is too good for them.

I have met people who don't understand why something isn't working but know it isn't working.

I have met people who claim they self sabotage relationships because they don't feel good enough. Most of those people were victims of abuse and gaslighting.

A few were lying to people about their own motives in order to justify some sadistic behavior they got called out on.

They knew it would make the other person go

Awwwww

And forgive them and let them go another round.

I self sabotage any relationship I have with people bc I know in the end they are better without me in their lives