#but you fucked with me so much that when a relationship reminds me of how things went with you

[thrashkink-coven]

I always find this conversation interesting as a demonolater who is mostly eclectic and not loyal to any traditional practice, especially as a devotee of Lucifer.

Lucifer has to be one of the most laid back deities ever. He is very okay (actually encourages) with me just chilling with him, not doing anything all that important or outright worshipping, just enjoying eachother’s company. If worship is a display of love, then connecting to him through my love language, quality time, is a display of worship, even if not literally.

But at the same time, Lucifer is still my Patron and authority. There is a line and he’s made me very aware of it. I might very very very jokingly call him an asshole or say fuck you, and in some contexts that might fly just fine. We tease each other, he calls me a gremblin and I call him a stalker. It doesn’t have to be so serious all the time.

But at other times, especially during serious settings like rituals or when we’re working with other spirits, oh absolutely not.

When I’m acting like a brat and tell him to fuck off, he is very quick to remind me who exactly I am talking to. I’m a human, I make mistakes, I express myself through my words, Lucifer knows that. And he isn’t super anal about me constantly treating him like royalty, but talking to him like he’s just another person and not my God is unacceptable. Lucifer is my friend, sure. But he’s also so much more than that.

I have a much more casual relationship with Lucifer than I do with Aphrodite, so I tend to use more formal language with her. But when I call Ishtar or Aphrodite “that bitch” she knows what I mean to say. She is that bitch. She slays the house down. She’s the all powerful Queen of Heaven, and she is that bitch.

It’s a term of endearment and reverence using language that is common in the queer community. She understands that, and she agrees, she is in fact, that bitch.

That is worlds different from me saying “ugh omg, you’re such a bitch”, even jokingly. To even imply that my Goddess is something negative or lesser than, even jokingly, is unacceptable. Remember that words themselves are energy, literally. The words you use when referring to your deity is in itself a type of offering. Don’t give shitty offerings.

There is no rule book on deity work or paganism in general. No one can definitely say “here’s a list of things you cannot call your deities” or “here’s a list of things you should call them”. Your deities will communicate that to you in whatever way they choose.

But for beginners who just might not know any better, consider how your teacher or employer would react if you randomly called them a bitch. A very stern conversation would probably be had. Even if you have a really friendly relationship with your favourite teacher, it’s still inappropriate to say “Ayo bitch, come over here and mark my paper”

If you just got hired at your new job, it would be very inappropriate to greet your new boss with “hey asshole!”

It really all boils down to basic common sense guys.

the gods are not your besties or your friends or your babygirls, they are GODS. their nature is transcendant and immaterial. they deserve love, reverence and worship. they are good, and pure, and just, but they are not your imaginary friends you can just chill or play games with.

[fear-is-truth]

YOU COULD BE MINE — patrick bateman

synopsis: a brief overview of how it’s like to be in love with “the boy next door” patrick bateman // warnings: mentions to sex & drugs. mdni !

a/n: for my parasocial anonymously mysterious gf

PATRICK BATEMAN was always a cold heartbreaker, fit to burn, and he knows it. but the worst part? so do you.

the two of you meet halfway—your innocence for his corruption, your softness for his sharp edges, your willingness to forgive for his inability to change.

dating him is stepping into a world of perpetual luxury. he spoils you rotten with reservations at dorsia, presents wrapped in tiffany blue, uncut cocaine. the kind of materialistic attention that made you feel like you were the centre of his perfect but bleak universe. you’re his trophy, the physically flawless partner who makes him look enviable. everything patrick does is a flex, a way of saying, look at me. look at us.

but there’s another side to patrick bateman, the one he conceals behind “the boy next door”. he’s awkward, painfully so—pathetic in the way he overcompensates, always trying too hard to be the man he thinks you want him to be. he tells you “i love you” often enough to sound convincing, but the words always feel oddly rehearsed, like lines from a script he doesn’t quite understand but knows he has to deliver. it’s the same way he taps his american express card on the counter, eager to buy anything that might fill the empty spaces between you—but unable to offer anything of real substance.

you’ve been together for years now—long enough for him to know your habits, your tells, the way your lips tremble before you bite down on them, or the way your hands fidget with your necklace—a nervous tick he’s cataloged along with every other detail about you. he notices everything. “why must you find another reason to cry?” he asks. it’s not really a question. it’s an accusation, laced with an irritation that cuts deeper than he probably intends. patrick doesn’t mean to hurt you, not exactly. but he doesn’t know how not to, either.

sex is the only thing he doesn’t hold over your head, the one currency in your relationship that flows freely. it’s not something you have to beg for or negotiate. in fact, it’s almost like an unspoken truce, a way for patrick to smooth over his shortcomings and remind you why you stay. he knows what you like, knows how to make you feel wanted even when his words fail him. and he uses it, of course he does. for patrick, fucking isn’t just about pleasure—it’s control, reassurance that you’re his, that no matter how much you fight, you’ll still end up tangled in his sheets by the end of the night.

but it’s the aftermath that stings the most. you see it in the way he leaves you in your bed, cologne and sex lingering in the air as the door clicks shut behind him. in the way he doesn’t answer your questions, just shrugs and says, “i need to return some videotapes.” he comes home late smelling of bourbon and sin, brushing off your concerns with a kiss and a designer bag to smooth things over.

eventually, you stopped asking where he’d been. you learned not to question him, to count your stars that he even came home. because that’s how patrick operates—on his terms, in his world.

it wasn’t new to you. you’d seen this movie before, the kind where the man you love doesn’t love you back—not the way you need, anyway.

and yet, you don’t leave. cannot leave.

sometimes he shares his favourite music with you, insisting you listen to a specific album from his beloved artists like whitney houston or huey lewis & the news. he talks about them in a way that’s almost obsessive, like he’s desperate for you to see something in them, some part of him he can’t articulate. and, somehow, you do. you listen, not because you love the music, but because you’ve learned to understand the way he talks about it, the way he tries so damn hard to make you get him.

and then there’s the patty winters show—he’ll insist, more often than not, that you watch it with him, even though it’s something he already watches religiously. it’s never really about the show itself—not about nazis juggling grapefruits or the absurdity of it all. it’s about you being there, sitting next to him on the couch, as he soaks in every detail. patrick wants you to be involved in his world, however messed up that might be. he doesn’t always know how to express his thoughts or feelings, but in his own way, it’s his clumsy attempt at connecting with you.

it’s pathetic, really, how much you’ve come to rely on him. and how much he needs you, even if he doesn’t know how to show it. you stay—not because it’s the easy choice, not because you’re a materialistic, shallow bitch who can’t say no to designer handbags and reservations at dorsia—but because somewhere deep down, you’ve convinced yourself that you can make this work. that despite everything, maybe you deserve this mess—this flawed love. a love that isn’t perfect, but it’s there. and that’s something.

because, despite everything, he’s still there. and that’s the part that fucks with your head. patrick bateman might not be the man you imagined, and he may never love you the way you thought he would, but in this mess, he’s still yours.

[minyards-pipedream]

Cunt or Cryptid?

Welcome to the post where I tell you which of the Foxes serve Cunt and which are just Cryptids.

(The term cryptid is being used because it sounds cute with the title. This post may also contain things that are considered to be on the side of folklore.)

Dan Wilds

Cunt, obviously. She is their fearless leader and not afraid to absolutely annihilate a man’s chances of fathering children with her heels.

Kevin Day

Cunty Cryptid. He’s giving Loch Ness Monster. Everyone knows him, everyone wants to see him, but he knows what he’s good at and stays in his lane. I also think Kevin would enjoy that Nessie has such a long history behind her - the first recorded sighting being written in a biography from the 7th Century.

Andrew Minyard

Now don’t lose me here but CUNT. This is wholly an Autistic Gay Man and he knows what he’s doing to get people wrapped around his fucking finger. He may be the fearless leader of the monsters, but the only monster he’s serving is-

Matt Boyd

Cunt, but Cryptid-adjacent. He obviously serves in both his attitude and choice of girlfriend. However, he is a certified cryptid wrangler as seen with his relationship with both Neil and Seth. He is very close to making the transition from Deer to Not Deer. (A cryptid we will very much be covering later.)

Aaron Minyard

Cryptid. I would make a point about how he’s a collegiate athlete and pre-med student that parties almost every weekend and still manages to hold down a secret girlfriend, buttttt - let’s talk Banshees. Banshees are seen as an omen of death, their wailing cries foretelling of death to come. Aaron Minyard’s actions and words directly lead to the deaths of both Tilda Minyard (he was the one desperate to connect with Andrew and the abuse he received was the reason Andrew killed their mother) and Drake (see above, so they all go to visit, we know Aaron kills Drake). BUT what we don’t talk about is that Andrew went to college FOR Aaron to become a doctor, which means Aaron’s wishes were why Andrew eventually came to pick up his two strays. Neil gets caught by his father’s people because he stays at Palmetto with Andrew’s promise. Stuart and his men kill Nathan and his people saving Neil. Butterfly effect - Aaron also got *all* of those people killed. Banshee. Rant over lol.

Seth Gordon

Serving a secret third option : Corpse

Allison Reynolds

Cunt. She invented Cunt.

Nicky Hemmick

Cryptid. Huan Cat. Chinese folklore states that they’d be kept around the house to ward off evil spirits - like how Nicky came home to protect the twins from his parents. To give them a home where they’d be safe and loved. Huan Cats are also known for their mimicry, which reminds me of how Nicky can slot in with either the monsters or the rest of the team depending on need.

Renee Walker

Cryptid, Renee is our lovely Not Deer. Not Deer are said to appear like normal deer until you get a little closer, and look a little harder. They move differently, limbs appearing to be double jointed, and their faces and antlers contorted - which I think is a great way to allude to Renee’s inner demons that she’s working to grow past. Not Deer are also said to be entirely unafraid of humans, often approaching them when they’re alone and in the dark. This harkens to her relationship she cultivated with Andrew. She may appear normal at first, but upon further inspection, she may have more in common with the monsters than most.

Neil Josten

Cryptid, obviously. I’d like to give him Fresno Nightcrawler. He gives off their strange little man vibes, and no one can quite decide who he is or what they are. (Aliens? A pair of pants blowing on a loose clothes line? A new species of armless primate? It’s giving Alex? Stefan? Chris?) They’ve also been sighted all over the world, often running away from people. (Fresno, Yosemite, Poland.) And for these reasons, Neil Josten is being assigned as a creepy lil’ dude.

[sillyandquiteawkward]

arghgh your latest comic... CONSTANTLY thinking about swansea's relationship to alcohol... relapsing after 15 years of sobriety without adjusting for his lost tolerance... drinking at a passively suicidal level and expecting daisuke to keep up with him... and the way he and his apprentice react in opposite ways to the mouthwash? when swansea's drunk he's energized, aggressive - he stops caring about his dignity or even if he'll make it through the night. he accepts his own death the minute they open the cargo. daisuke, meanwhile, is exhausted and miserable and deeply, deeply ashamed of himself.... he starts worrying what his parents would think. he thinks he's going to see them again.... this game hurts....

swanseas split second acceptance of his death once they find out its all mouthwash makes my fucking heart sink and ache sorely. it hurts so much because before that i think he was holding out hope theyd get saved, that they wouldnt need to use that single cryopod. he didnt want to open cargo because their pay would be on the line, the one last thing tethering the crew to stability. once that was severed so was swanseas hope and desire to be a model man, and to go back to chase his selfish indulgent self destructive desires as an alcoholic.

and how his last effort to show daisuke the same happiness that he enjoyed, he tries to bond with daisuke through his one true passion in life. and that only brings daisuke down, as hes not the happy drunk like swansea is like you said. when drunk, daisuke acknowledges his situation for the first time since boarding the tulpar, the first time he lets his brave face falter. drinking together would never bring swansea and daisuke closer, only serve as another way for daisuke to understand swansea the best out of all of the crew, something he was already doing.

it really does have such a tragic paternal bond between the two of them. not only do we just have the mentor/mentee, but it reminds me of a dad who would try to bond with his son in the only way he knows how, thru his own hobbies. in this case, drinking. and he tries to instill this habit onto daisuke, because he knows this is hopeless and that if it makes him happy, maybe itll make daisuke happy. but its not the right way to bond with him, its trying to build a relationship on shaky ground.

it reminds me of how swanseas harsh words are always underlined by swanseas frustration that daisuke is in this situation. he lashes out at daisuke when really hes mad at their situation and the company. luckily, daisuke seems to notice this and doesnt take a lot of what he says at face value, but you know it really does dig at him under the surface, as daisuke is only motivated by external pressures acting on him. swansea finally realizes that they fundamentally arent the same people right before daisuke dies, he mentions that daisuke could never become like him, miserable, old, jaded, a happy drunk. that he couldnt bond with daisuke like he would with someone like him, they are fundamentally too much of different people, that daisuke is a better man than him.

i have to agree: this game hurts.

[writinglittlepains]

You want a prompt? Sure thing!

What about parting words regret, where Whumpee and Caretaker got into a bad argument, Whumpee storms off, and they disappear, leaving Caretaker to feel guilty? Even better if Whumpee was kidnapped and they regret the fight as much as Caretaker!

Also, happy new year's! May 2025 be a good year for you!!! ❤️

-- @whumperofworlds

thank you!!

Past and Present

content: parting words regret, kidnapping

Whumpee loves Caretaker. Really, they do. But Caretaker's extreme secrecy about their life before meeting Whumpee has really, really started to bother them. Whumpee has told Caretaker everything about them but has received nothing in return except vague, off-putting hints. They've tried for Caretaker's sake to ignore how uncomfortable they feel, but eventually it's too much.

So they brought it up. And they really shouldn't have. Now, Whumpee and Caretaker are in the biggest argument they've ever had.

"Why are you so goddamn nosy-"

"Nosy?" Whumpee exclaims. "I'm not nosy, you're just ridiculously secretive. I barely know anything about you!"

"I told you when we started dating that I wasn't comfortable talking about my past," Caretaker seethes. "I thought you understood. I thought you actually listened to me. I guess I should have known better."

"What the hell is that supposed to mean?"

"It means I'm fucking pissed at you, Whumpee!"

All for just asking a simple question about their past. Great. This is just great.

"I think you're a coward," Whumpee says. "And you know what? Maybe I don't want to be with someone who's so unavailable. I put so much effort into this relationship and you put nothing." That isn't true – Whumpee regrets the words as soon as they say them, but it's too late. They double down. "I hate it here in this apartment with you. It's so bare. You don't have any life outside of me. Or if you do, you don't fucking tell me."

"Well if you hate it so much then why don't you just leave?" Caretaker snaps. There are tears in their eyes.

"I will."

Whumpee grabs their coat and storms out, slamming the door behind them.

In the hallway, they hesitate for a moment. What are they doing? They love Caretaker.

It's fine, Whumpee tells themself. It'll blow over in a few days. Maybe some distance from each other will just remind them of their love. It'll end up as a good thing.

They decide to go get a room at a hotel a few blocks away, so they leave the building and step out into the cold air, hugging their coat around themself. It's late, and the streets are empty.

Maybe if they had been a little less distracted, they would have noticed two figures getting out of a black car parked across the street.

As it is, Whumpee never sees it coming.

The hood of their coat is suddenly pulled over their head from behind them. Whumpee tries to scream, but a hand is clamped over their mouth as a strong arm pins their arms to their sides. Another pair of hands grabs Whumpee's ankles, hauling them off of the ground. Whumpee twists and squirms and desperately tries to cry out, but there's nothing they can do.

Suddenly, they're dropped, hard. They barely have time to gasp before the lid of the trunk is closed on them.

"Caretaker!" Whumpee shouts desperately. "Caretaker!"

They hear the squealing of tires, and they're thrown against the side of the trunk as the car speeds far, far away from the person Whumpee shouldn't have pushed away.

taglist: @scoundrelwithboba

[androdetective]

Jefferson is one of my favorite characters. Whenever I think about his fumbled potential, I experience agony. He gets set up with a simple backstory. At age ten, he saw his mom get killed by vampires, it's later revealed she was also assaulted by the same group. I'm assuming this is to reference the 80s horror trope of women being randomly assaulted for shock. Ironically enough, even the scene where that was revealed felt like it was there for shock humor. They didn't even try to subvert the trope like they do with other tropes, but that's asking too much for the show.

Because of that that's why he's dedicated his life to being a vampire hunter. Specifically, a "Blacula hunter." For whatever reason, but I guess they're doing that since Blacula was one of his character inspirations.

That's all pretty fucked up. We do see him direct that trauma to killing (all shown as aggressive) vampires. That seems like a good thing. And he does it because of his love for his mom. The closest we have to a black female character on the show. Black women are almost non-existent in the show, and the shows closest connection to one being through a man is. Rough. But it's the closest there is.

At the very least it's not a woman who's existence hinges on her romantic relationship to a man. Rather, a mother/son relationship. For vbros, that's progressive. We've barely seen that in the show, compared to father/child relationships. And it's shown in a positive way. Her impact has shown to have made him a better person compared to other characters. Especially compared to other characters who don't have positive relationships with women.

The show has a theme of mom/son relationships. Particularly, of course, with the boys looking for their bio mom through the course of the whole series. There's the moment of kid Rusty and Bobbi meeting and it being this important thing. It was a moment when Rusty had a caring adult, the closest he had to a good maternal figure. Those are just the main guys, though.

The few times a mom/son relationship is important to a side character is with Jefferson. We know a lot of his drive is because of her. He was permanently affected by her death. So much so that he mentions it a lot. However, that leads to the question. Why does he only mention her death and not any other memories with her?

I get the trauma memories being neverending, but how come we never hear about how she was? I find that really unbelievable. The fact we never hear about how she was or any stories from a loved one. The only thing we know is that she was a good mom who got killed. It feels like they barely gave thought to her. She's just a tragic figure who's barely relevant. She's the woman in the fridge trope, and that's all she was to the writers. We never got a design for her. We never even got a name for her. It feels like each time he mentions her dying its the writers trying to remind themselves what his character backstory was.

Other (white) characters get more character exploration, and it is so jarring when you see how underdeveloped Jefferson and his story actually are. We didn't even get more backstory to him until the movie. He used to live with this vigilante group in the 90s, and even then, he still hunted vampires. Which I guess shows his determination, but what else has he done? What else does he do even?

This specific scene always comes to mind when I try to analyze his character. I'm pretty sure it was the episode with the monarch wedding. Orpheus and Jefferson were talking and Jefferson says something like "there's a lot of things you don't know about me". He then says that he takes care of baby pigeons, then follows it up by saying he used to be in the military. This is the closest thing to more stuff for his character and they made him a former military guy. His whole thing is hating blood suckers why would he join a different group of them!! My only guess as to why they added that was to reference Jefferson's va, Charles Parnell. Who seems to have done military acting roles before. Even then, I'm still not a big fan of that character fact.

We don't know shit about his hobbies or anything else. Like, sure, you can add fun facts like he's diabetic and likes Nik-L-Nips, but they feel so hollow when his character doesn't get explored to his full potential. We know he loves his mom but it feels almost laughable when you realize the show unintentionally makes it seem like he doesn't give a fuck about his other family for no reason. He loves his mom, but what about the rest of his family?? Literally what about his dad?? Was he raised by him after his mom's death? Did his family console him with the trauma/grief? Has he gone to therapy? We don't know because the show never said shit. He's never even mentioned family other than his mom. And as sad as this is, a part of me is glad they didn't mention his dad because they would have easily done an absent father joke.

It's like, Jefferson is a fun character, but he would've been better if the show started caring about him before the movie. Many people like his character and want to see more of him. They want to know more about him. That really shows his potential for greater things. He's got the character setup and one of the show's coolest designs. I'm still glad he got his time to shine in the movie. I just can't help but crave more of that.

[kevinday-apologist]

Someone asked so here is my explanation of why I think this song is kevjean coded! It’s a little long and probably doesn’t make too much sense, but I’m at work rn and as much as I wish I could write a whole song fic for this (I might later still) here is my kevjean analysis of waiting room!

[Verse 1]

If you were a teacher, I would fail your class

Take it over and over 'til you notice me

If you were a waiting room, I would never see a doctor

I would sit there with my first aid kit and bleed

So this is Jean’s pov here. We know that Jean had a crush on Kevin in the nest, and since we know that Kev asked Jean to distract Riko so he could leave after his hand broke, I feel like these lyrics are very Jean coded.

I wanna be the power ballad that lifts you up and holds you down

I wanna be the broken love song that feeds your misery

Here Jean wants Kevin to feel the same way that he does, but no matter how much he wishes it, it would never work with all the evermore trauma they share :-(

And I can wish all that I want, but it won't bring us together

Plus I know whatever happens to me, I know it's for the better

Jean knows logically that he is better off at USC, and that it can only get better from there, but part of him still wishes that kev and him worked out.

[Verse 2]

And when broken bodies are washed ashore

Who am I to ask for more, more, more?

These lines reminded me of Kevin the most, both of them were abused by Riko pretty heavily, and when Riko broke Kevin’s hand, he asks Jean to distract him to leave. This is Kevin feeling guilty for asking so much of Jean but giving nothing in return. This could also reference Kevin asking Jean to teach him French, despite knowing they would both get in trouble for it, though Jean probably more.

But you're breathing in my open mouth

You're the gun in my lips that will blow my brains out

“In every other draft Jean kills himself on the phone with Kevin” yikes but also it this would fit with that. It also fits in a metaphorical sense. I fully believe Jean and Kevin at least kissed in the nest, and I can imagine it happening during the French lessons Jean gave Kevin. Jean is teaching this boy that he loves French because he asked soo kindly, but it’s also actively killing them both bc they can’t actually be together in the nest :-(

I wanna make you drive all night just because I said, "Maybe you should come over"

Wanna make you fall in love as hard as my poor parents' teenage daughter

She'll be the best you ever had if you let her

Jean reflecting more on how he wished that Kevin reciprocated his feelings (imo he did, but the nest was too fucked of a place for it to work out for them)

I know it’s for the better

This outro can be for both of them, they both know they are better off now than they were when they were together in the nest, but they have to convince themselves that it really is for the better. As I mentioned earlier, I think that even outside of the nest, if Jean and Kevin got together they would be very codependent in a very unhealthy way. They love each other, but the trauma of surviving Riko, and the nest, and Kevin leaving Jean there alone would be too much for them to truly comeback from. Apart from each other they are able to heal, but I don’t think that they would be able to heal or have a healthy relationship if Jean would have stayed at the Foxhole Court instead of going to USC.

Waiting room by phoebe bridgers is a kevjean song for sure and I will elaborate if anyone wants to hear abt it

[pleasedontcareaboutme]

It's missing my father hours rn so imma just dump a bunch of pictures here and cry

( sorry i don't know the source of anything I just had them on my phone)

(also dont read the tags i just need to let it out lol)

[crescentfool]

having the hc that minato is ace is incredibly funny sometimes when you think about how ryoji is oh so very bi because it's like. "ah. death stole my ability to be attracted to people," in the same way that ryoji stole minato's eye color and energy level. like wow, thanks ryoji, you just keep finding things to steal from minato!

[alexandraisyes]

God what if I wrote a short fic about Lunar and Eclipse and toxic codependency because I've been going insane all night and I feel an urgent need to explore just how fucking reliant they were on each other to the point that even after Eclipse killed Lunar in canon he still felt like he needed Eclipse like

God that's so tragic and fucked up what if I wrote about that

(They remind me so much of Sun and Moon)

[haedia]

Right there with you, especially the end bit. I like to think a similar kind of thing. Headcanon journey under the cut.

Like, it pleases me to consider Rook telling Spite that it's alright if he comes to them when Lucanis needs sleep, especially if he's bored. My Rook's sleep schedule is kind of fucked anyway so it's not like Spite is gonna make it worse.

It takes awhile for Lucanis to really get comfortable with Spite doing things while he's out but knowing that the people around him are keeping an eye on Spite helps. And, Spite gets more comfortable with them in return.

I can see him going to them with questions about the world outside of the Fade and having fun exploring those differences... once he gets over frustrations about how those differences affect Lucanis' body (like, say, gravity or how eating candles would hurt him, etc)

And I loooove the idea of the different members of the team taking Spite out on "walks" to different places when he gets particularly restless. Emmrich has some glasses made for him that hide his glowing eyes when they're out and about, so they don't have to worry (as much) about Spitecanis being noticed as an abomination.

Spite gets to experience food in it's full glory, though he finds it overwhelming at first. It's only later, when they learn to "share" Lucanis' body simultaneously that he begins to develop his own appreciation for flavors, separate (or, as separate as possible for them) from Lucanis. The fact that he can feel how Lucanis feels when experiencing taste allows him access to a framework for interpreting the sensations for himself.

It'd be like going from a fuzzy shot of flowers on a sunny day, a bright riot of color blobs, to an in-focus image of the same — suddenly crisp but you can take a moment to savor and choose how you move your focus around the scene.

But after he starts to figure it out? He wants to learn to make things like that, too. And thus begins his cooking arc. It's a disaster to start, of course, but it amuses Rook and that alone soothes Spite's frustration at his early floundering. Eventually, he starts to develop his skills though his annoyance about what ingredients he can and can't use never really goes away.

"Spite, you can't put that rock in the soup"

"It reminds me. Of our walk."

"The rock or the soup?"

"Yes. Both. They go together"

"They can go together on the table, then. But you can't put that rock in the soup"

Spite opens his mouth to say more and Rook interjects

"Even if you washed it. You can't"

Spite grumbles and puts the rock back on the counter.

"Spite." Rook says and draws his attention back to them "It *is* a pretty rock, though. I remember where you found it."

"It IS pretty. Like glass. Like a rainy day" Spite beams at them before returning to stirring the soup.

Anyway. I just have so many thoughts and feelings about Lucanis and Spite — at all points in their journey. Though, the warm fuzzies I get for their post-Inner Demons relationship are nearly unending.

Knowing what was actually going on between Spite and Lucanis, I felt really bad for Spite during my second play through. He is trying so hard to talk to Rook and explain, but he is new to this world and doesnt know how to explain it. He actually does attempt to explain what is wrong several times and if Rook had really listened to what the demon was saying, might have realized something was wrong. But, by virtue of being an abomination/demon, the group was poisoned against Spite, so everything Spite does is viewed with suspicion and no one gets it.

Like I see why Emmrich is so nonchalant around Spite from the beginning because he can actually hear what Spite was saying and while he doesn’t fully understand what Spite was getting at, he can see Spite isn’t malignant or malicious. Spite really is just a little shade trying his best in a world that he doesn’t get and who doesn’t get him. I really like the idea that once Inner Demons is over, Rook attempts to actually get to know Spite, because Spite deserves the chance.

[kavehater]

Chappel Roan saying she’s sad she’s demisexual and then there’s me being aroace as a whole like don’t you think I’m even more sad 😭

[ghost-proofbaby]

i’ve said it once, i’ve said it twice, i’ll say it a million times — writing willow and eddie will always feel like coming home to me. i know eddie x oc isn’t popular but- god, these idiots are so near and dear to my heart.

[spacedlexi]

i Need to draw more clemviminnie shit but how am i supposed to do that when minnie only exists alongside them for 2 episodes then dies

[lovinglin]

Soft mod amirite.

[therevengeoffrankenstein]

openly weeping at the idea of someone genuinely hating soul punk.