#especially in a story set in Hell

[n3felibata]

On the topic of Hazbin character designs being too red, I'd like to add that having red in most or even every character's design isn't even a problem. The Team Fortress 2 cast is designed the same way to make it clear that they're all on the red team

But no one criticizes the TF2 designs because Valve was still careful about the shades and placement. It's so subtle that it's not overwhelming but still apparent enough for you to be able to tell who is and isn't on your team. Even Spy's suit is almost entirely red, but it's still a desaturated red (almost brown) so it's easier on the eyes.

[arolesbianism]

Thinking abt Sif Odile duo looping au again and I wanna be able to plot everything out more coherently but act 5 eternally looms overhead and boy I do not wanna look up

[kayforpay]

honestly irt the post about fandom """"normalizing"""" incest I think it actually says the more important thing than "nothing normalizes it, you're overreacting" which is "it keeps being written into shows and in fandom and talked about and considered because it is compelling"

because, you know, fiction is meant to be compelling, and most people are not inherently compelled by "cozy soft gentle" reads. variety is good. reading something that disgusts you won't kill you.

[hollowwhisperings]

that thing wherein you're reading something and just KNOW

"this person has completely forgotten that the characters here live in Japan/Korea/China/Russia"

and is, instead, writing like an American.

[fifteensjukebox]

i haaate writing texts to people i barely talk to who also happen to not be Online people like. what version of myself am i allowed to be here

[catcatb0y]

*Filler was often specifically contained stories that did not advance the plot. It's when the characters go on a completed, hardly tangential story that does not affect the plot or the characters.

[valiant-portabella-pirkko]

fun fact: I actually have not 1, not 2, but 3 dedicated playlists of OST-style music for my various Guild Wars 2 AUs, and... that, of all ways, is the closest I get to "outlining" my stories. every sequence has a dedicated track that I picked out according to what I'd imagine playing in-game if it was an actual playable story arc in Guild Wars 2.

Regrowth's playlist has 59 songs and Flourish has 28.

then the Tideturners have one too, with a grand total of 22.

......... I don't have a problem,

[fictionstudent]

How to pull off descriptions

New authors always describe the scene and place every object on the stage before they press the play button of their novels. And I feel that it happens because we live in a world filled with visual media like comics and films, which heavily influence our prose.

In visual media, it’s really easy to set the scene—you just show where every object is, doesn’t matter if they’re a part of the action about to come or not. But prose is quite different from comics and films. You can’t just set the scene and expect the reader to wait for you to start action of the novel. You just begin the scene with action, making sure your reader is glued to the page.

And now that begs the question—if not at the beginning, where do you describe the scene? Am I saying you should not use descriptions and details at all? Hell naw! I’m just saying the way you’re doing it is wrong—there’s a smarter way to pull off descriptions. And I’m here to teach that to you.

***

#01 - What are descriptions?

Let’s start with the basics—what are descriptions? How do you define descriptions? Or details, for that matter? And what do the words include?

Descriptions refer to… descriptions. It’s that part of your prose where you’re not describing something—the appearance of an object, perhaps. Mostly, we mean scene-descriptions when we use the term, but descriptions are more than just scene-descriptions.

Descriptions include appearances of characters too. Let’s call that character-descriptions.

Both scene-descriptions and character-descriptions are forms of descriptions that we regularly use in our prose. We mostly use them at the beginning of the scene—just out of habit.

Authors, especially the newer ones, feel that they need to describe each and every nook and cranny of the place or character so they can be visualized clearly by their readers, right as the authors themselves visualized them. And they do that at the start of the scene because how can you visualize a scene when you don’t know how the scene looks first.

And that’s why your prose is filled with how the clouds look or what lights are on the room before you even start with the dialogues and action. But the first paragraph doesn’t need to be a simple scene-description—it makes your prose formulaic and predictable. And boring. Let me help you with this.

***

#02 - Get in your narrator’s head

The prose may have many MCs, but a piece of prose only has a single narrator. And these days, that’s mostly one of the characters of your story. Who uses third-person omniscient narrator these days anyway? If that’s you, change your habits.

Anyway, know your narrator. Flesh out their character. And then internalize them—their speech and stuff like that. Internalize your narrator to such an extent that you can write prose from their point-of-view.

Now, I don’t mean to say that only your narrator should be at the center of the scene—far from it. What I mean is you should get into your narrator’s head.

You do not describe a scene from the eyes of the author—you—but from the eyes of the narrator. You see from their eyes, and understand what they’re noticing. And then you write that.

Start your scene with what the narrator is looking at.

For example,

The dark clouds had covered the sky that day. The whole classroom was in shades of gray—quite unusual for someone like Sara who was used to the sun. She felt the gloom the day had brought with it—the gloom that no one else in her class knew of.

She never had happy times under the clouds like that. Rain made her sad. Rain made her yearn for something she couldn’t put into words. What was it that she was living for? Money? Happiness?

As she stared at the sky through the window, she was lost in her own quiet little corner. Both money and happiness—and even everything else—were temporary. All of it would leave her one day, then come back, then leave, then come back, like the waves of an ocean far away from any human civilization in sight.

All of it would come and go—like rain, it’d fall on her, like rain, it’d evaporate without proof.

And suddenly, drops of water began hitting the window.

You know it was a cloudy day, where it could rain anytime soon. You know that for other students, it didn’t really matter, but Sara felt really depressed because of the weather that day. You know Sara was at the corner, dealing with her emotions alone.

It’s far better than this,

The dark clouds covered the sky that day. It could rain anytime soon.

From her seat at the corner of the room, Sara stared at the sky that made everything gray that day. She…

The main reason it doesn’t work is that you describe the scene in the first paragraph, but it’s devoid of any emotions. Of any flavor. It’s like a factual weather report of the day. That’s what you don’t want to do—write descriptions in a factual tone.

If you want to pull off the prior one, get to your narrator’s head. See from their eyes, think from their brain. Understand what they’re experiencing, and then write that experience from their POV.

Sara didn’t care what everyone was wearing—they were all probably in their school uniforms, obviously, so I didn’t describe that. Sara didn’t focus on how big the classroom was, or how filled, or what everybody was doing. Sara was just looking at the clouds and the clouds alone, hearing everybody just living their normal days, so I mentioned just those things.

As the author, you need to understand that only you, the author are the know-it-all about the scene, not your narrator. And that you’re different from your narrator.

Write as a narrator, not as an author.

***

#03 - Filler Words

This brings me to filler words. Now, hearing my advice, you might start writing something like this,

Sarah noticed the dark clouds through the window. She saw that they’d saturated the place gray.

Fillers words like “see”, “notice”, “stare”, “hear” should be ignored. But many authors who begin writing from the POV of the characters start using these verbs to describe what the character is experiencing.

But remember, the character is not cognizant of the fact that they’re seeing a dark cloud, just that it’s a dark cloud. You don’t need these filler words—straight up describe what the character is seeing, instead of describing that the character is seeing.

Just write,

There were dark clouds on the other end of the window, which saturated the place gray.

Sarah is still seeing the clouds, yeah. But we’re looking from her eyes, and her eyes ain’t noticing that she’s noticing the clouds.

It’s kinda confusing, but it’s an important mistake to avoid. Filler words can really make your writing sound more amateurish than before and take away the experience of the reader, because the reader wants to see through the narrator’s eyes, not that the narrator is seeing.

***

#04 - Characters

Character-descriptions are a lot harder to pull off than scene-descriptions. Because it’s really confusing to know when to describe them, their clothing, their appearances, and what to tell and what not to.

For characters, you can give a full description of their looks. Keep it concise and clear, so that your readers can get a pretty good idea of the character with so few words that they don’t notice you’ve stopped action for a while.

Or can show your narrator scanning the character, and what they noticed about them.

Both these two tricks only work when a character is shown first time to the readers. After that, you don’t really talk about their clothing or face anymore.

Until there’s something out of the ordinary about your character.

What do I mean by that? See, you’ve described the face and clothes of the character, and the next time they appear, the reader is gonna imagine the character in a similar set of clothes, with the same face and appearance that they had the first time. Therefore, any time other than the first, you don’t go into detail about the character again. But, if something about your character is out of ordinary—there are bruises on their face, scars, or a change in the way they dress—describe it to the reader. That’s because your narrator may notice these little changes.

***

#05 - Clothing

Clothing is a special case. Some new authors describe the clothes of the characters when they’re describing the character every time the reader sees them. So, I wanna help you with this.

Clothing can be a way to show something about your character—a character with a well-ironed business suit is gonna be different from a character with tight jeans and baggy t-shirt. Therefore, only use clothing to tell something unique about the character.

Refrain from describing the clothing of characters that dress like most others. Like, in a school, it’s obvious that all characters are wearing school uniforms. Also, a normal teenage boy may wear t-shirts and denim jeans. If your character is this, no need to describe their clothing—anything the reader would be imagining is fine.

Refrain from describing the clothing of one-dimensional side-characters—there’s a high chance you’ve not really created them well enough that they have clothing that differs from the expectations of the readers. We all know what waiters wear, or what a college guy who was just passing by in the scene would be wearing.

You may describe the clothing of the important character in the story, but only in the first appearance. After that, describe their clothes only if the clothes seem really, really different from the first time. And stop describing their clothes if you’ve set your character well enough in the story that your readers know what to expect from them in normal circumstances—then, describe clothes only when they’re really, really different from their usual forms of clothing.

***

#06 - Conclusion

I think there was so much I had to say in this article, but I didn’t do a good job. However, I said all that I wanted to say. I hope you guys liked the article and it helps you in one way or the other.

And please subscribe if you want more articles like this straight in your inbox!

[nebulaafterdark]

The Rats

Aegon ii Targaryen x Velaryon(Strong)!Reader

Summary: Aegon attempts to make peace with Rhaenyra after being forced to usurp her throne. Lucerys’ death complicates things.

18+ ONLY, MDNI. Targcest, smut, angst, violence. S2 SPOILERS

“I can’t be ‘Aegon the Magnanimous.’ No one knows what Magnanimous means.” Aegon drawls, slumped over in his throne. The hour is late and there are many places he’d rather be. Namely with his beloved wife, who he’s scarcely seen, since taking on his duties. Their children will already be asleep, but if they wrap things up here soon, he may have a few moments with Y/N before bed.

“Aegon the dragon cock.” One of the piss drunk men raises his cup to the king.

“That’s more like it,” Aegon claps his hands together.

The men hoot and holler at the name. Dissolving into laughter.

“Speaking of,” Aegon rises to his feet, “I must get back to my wife. I did not wed her to admire from afar.” Aegon tosses back the remainder of his wine, throwing his gauntlet down beside the throne. “Good evening, gentlemen.”

He wastes no time, taking the stairs two at a time up to his chambers. His queen is already abed, waiting up for him with a bit of light reading. “What story is that now, my dearest love?” Aegon asks, pulling off his boots.

“It’s a book about the plague.” Y/N bends it open at the spine, setting the bound pages on the bedside table.

“Seems a bit morbid.” Aegon frowns, “especially in these times, wouldn’t you say?”

“Do you have something better in mind, your grace?”

Aegon doesn’t miss the bitterness in her voice. “You are my equal, here of all places. Don’t do this to me, please. Do not ice me out, I cannot bear it.”

Y/N sighs, crossing both arms over her chest. “Helaena is frightened of the rats. I’ve been looking into their behaviors and customs.”

Aegon flops onto the mattress, unceremoniously. “The rats?”

Y/N nods, “to be honest, I’m not particularly fond of them either. Although, they are interesting.”

“No vermin shall touch you so long as I live, darling girl. The only thing nibbling your toes will be me.” He wiggles his foot against hers for emphasis.

Y/N huffs a laugh. Allowing the silence between them to hang heavy.

“I am sorry about your brother.” Aegon says, despite ordering his own brother, Aemond, away at the news and holding her through sobs, he’s yet to say the words. “I cannot stand your suffering. It’s made it nearly impossible to be away from you to perform my duties.”

Y/N brings his hand to her lips, kissing the knuckles.

“I want you to attend the petitions,” he decides. “At my side, in my lap, seated directly on my cock; whatever suits you.”

“Directly on your cock?” Y/N chortles, “your mother would have my head.”

“She will do no such thing, you are queen. You may do as you wish.”

“You spoil me,” that’s what everyone says anyway.

“You’re mine to spoil. They’re jealous is all.”

“Shall we practice then? For the hearings?”

“If you wish.” Aegon rolls onto his back, sliding both arms behind his head.

Y/N grins, devilishly as she slides off his clothes, allowing his cock to spring free. Her own nightgown and small clothes follow before she swings a leg over his hips and slides down his length.

“Seven hells,” Aegon groans.

His wife leans forward, pressing a gentle kiss to his lips.

“A tenth of my flock has been taken, your grace.” Aegon tells her, repeating one of the smallfolk’s concerns.

“Your what?” Y/N blinks at him.

“Sheep,” he continues, “a tenth of them gone, taken by your guard, just before winter. What say you, my queen?”

“Give them back.” Y/N sighs as his hands finally land on her hips, guiding her movements.

“That’s what I said,” Aegon hums, thrusting up to meet her.

“Did they listen?”

“No.” Aegon purses his lips, “they might need them to feed the dragons.”

“It’s much harder to concentrate this way, my king.”

“I know,” he coos, “but you’re doing so well.”

“The dragons,” Y/N pants, “have never required sheep from the smallfolk before.”

“We have never been to war.” Aegon says, through gritted teeth as she clenches around him.

“My mother will want revenge for Lucerys.”

“And I want this matter resolved peacefully.” Aegon assures her, “still I cannot give my brother up for the slaughter.”

“I don’t see how this can end peacefully now,” Y/N laments, feeling the coil in her belly tighten. “It will end in fire and blood.”

“What would you have me do?”

Y/N shakes her head, “We must stop Aemond from claiming Harrenhal at the least.”

“Consider it done.” Aegon beckons her down for a kiss.

The clatter of metal against the floor breaks them apart, “what was that?” Y/N’s eyes search the room.

“Twas only the wind, my dearest love.” Aegon smiles up at his wife.

The hairs on the back of her neck stand at attention. “No. Something is wrong.”

“I agree,” Aegon takes her nipple between his thumb and forefinger, rolling it to a taut peak. “You stopped moving.”

“Aegon,” she warns, “please.”

“Shhh,” he gentles her back to a steady grind. “I’m here. You are safe.”

Y/N offers a shaky smile. Still something seems amiss, though she can’t think much more about it with Aegon’s free hand toying with her pearl.

“Cum on my cock, then we will look into it, if you feel so inclined.”

Y/N nods, bouncing faster, harder. Trying to ignore the worry twisting at her gut.

Aegon’s bottom lip is caught between his teeth. “Fuck, I love you.”

“I love you.”

“More than anyone or anything, save for our children. I want you to remember that…always.”

Y/N nods, feeling herself teetering on the precipice. “I-” she wants to say it back, only her brain doesn’t seem to be working.

“Hush, sweetheart.” Aegon groans, because he knows. Rubbing his fingers harshly against her pearl to push her over the edge. Shaking and crying her release as she milks his cock. “Good girl.” Aegon fills her pulsing cunt with his spend.

She leans toward her husband, capturing his lips as they ride out their high. Once she has caught her breath Y/N rolls away, off of the bed, shuffling back into her nightgown.

Aegon follows her lead, redressing in his tunic and trousers. “Head to the children’s room, wait for me there. I’ll have the guards help me search the floor for any sign of…rats.”

Y/N wrings her hands, knowing how silly it sounds. “Thank you, Aegon.”

He closes the distance between them, pressing his lips to her forehead and cheek. “You’re more than welcome.” He watches her leave the room before heading in the opposite direction. Where is everyone? The keep is never so quiet, even at night.

Y/N scampers down the hallway to the nursery, it takes a moment for her mind to make sense of the scene before her. Helaena with a knife held to her throat by a strange man. His counterpart hovering over the children’s beds with a blade at the ready.

“What are you doing?” Y/N breathes, clutching a hand to her chest.

The man holding Helaena shoves her aside.

Y/N catches the woman in her arms, smoothing down her white tresses. Helaena clings to her. “It’s ok.”

The children sleep better together, they always have. Besides the maids prefer Aegon and Y/N’s children close to Aemond and Helaena’s for practical reasons, until they are older.

“Which of them are yours?” The first man demands.

“All of them,” Y/N lies. “All of them are mine.”

“You have but four children,” Cheese insists. “Here lie six, tell me which are yours and I will spare them.”

“If I don’t tell you and you’re wrong, my mother will have your head.” Y/N clenches her jaw. “For all I know of our true queen, this was not her request. So who’s was it?”

“A son for a son, that’s what’s fair.” Blood insists.

“What did they offer you? Gold?” Y/N wonders, “I’ll double it if you leave now.”

The men look to each other, undecided.

“Or you could take me instead. I’m worth more to my mother than any bounty.” Rhaenyra’s eldest child offers.

————————————————————————-

Aegon completes his sweep of their chambers, along with the rest of the royal floor. Nothing is amiss. He moves to the children’s quarters and finds Helaena, curled up on the floor. “What’s happened?”

Helaena takes her brother’s outstretched hand. “They wanted to kill the boy.”

The boy? “My boy?”

Helaena shakes her head, “mine.”

Aegon looks to his nephew, still sleeping soundly. “Where is Y/N?”

“They took her instead.”

“Where the hell is Cole?” Aegon demands. “Where in the seven hells is anyone?”

“I don’t know,” Helaena sobs.

Part 2

[mathewryf]

Excellent analysis, I'm going to be thinking about this a lot for a while.

I want to write an actual reply to this analysis but I'm having problems with the app and both versions of the website right now so I can't take snippets or double check if my memory is faulty. UGH

"Why Would You Bother With Me?" - An Analysis of Kitsunami, 09/07/2024

tw: major discussions of abuse, the cycle of abuse, re-traumatizing situations, toxic and abusive relationships (non-romantic)

so like when I first read this panel my reaction was just to joke with Cori that this is a "get out of my school" moment (iykyk) but I've been thinking about it a lot recently because I... couldn't remember any specific beef Kit had with Tails?

Last we saw of them interacting one-on-one, Tails was talking Kit down from fighting, and Kit's beef with the squad later was more with Sonic than him. Tails didn't take down Surge in #56 or even affect the fight in any way, and Sonic was the one who told Kit that Surge was dead beforehand. At least that I could remember, so I went back to those comics. Indeed, in #56 he shows no animosity towards Tails specifically, nor when he talks to Surge in #55.

Then I went back to #54.

See, he does seem to blame Sonic entirely for the Surge death fakeout, and he thinks that Sonic is literally trying to kill her when he walks in. But he does have one (1) reaction to Tails, right at the end of the interaction.

In the previous issue, after Sonic and Tails saved his life, Kit immediately switched on his subservient personality and was desperate for any kind of validation from the hedgehog. We only see it for a few panels before he is told about Surge and sinks into a depressive state, but it's made very obvious.

And when he leaves to help?

Kit's conditioning under Starline means that he is excessively codependent on Surge– and if Surge isn't around, on anyone who is nice to him. The hypnotic repetition shown to us was "You live to support Surge. You'll do anything for her." Kit's sole purpose in life is to be a Support party member.

Kit's conditioning was to be the new Tails.

Starline wanted Surge and Kit to replace Sonic and Tails– that much was obvious from the get-go. But what was also obvious was his fundamental misunderstanding of Sonic and Tails's dynamic and how that negatively impacts Surge and Kit's relationship.

Starline completely misses the strong sibling bond that Sonic and Tails have. To him, Tails is just there to support Sonic, to provide the brains and tech that Sonic lacks, and so Kit needs to be there to support Surge in the same way. He sees it only as a business partnership, and not a mutual relationship built on trust, love, and shared experiences. Starline only saw other people as tools, so obviously he projected that onto Surge and Kit, hoping that they would immediately take up the closeness that Sonic and Tails did because, well, they served the same purpose to each other, right?

Except Surge and Kit don't have that relationship. These two children were forced into the same proximity and made to work together. They're coworkers at best, being told to act like a family.

Obviously their dynamic is super toxic, with Surge clearly holding a lot of power over Kit, but it's also clear that this isn't because Surge wants to beat on the kid. She was made to be Sonic, and so she has his arrogance (and possibly Shadow's, considering IS1 showed his image when Starline was talking about stealing abilities), but, as Boom!Sonic says, "Without any of the awesomeness to back it up." Okay, wrong, she's plenty awesome, the correct phrase is "Without the experience" and, most importantly, "without the altruism that makes Sonic Sonic." Surge wasn't programmed to like the people she saves, because that would conflict with Starline's goal to take over the world. So she's only made to be competitive and to want to best Sonic, anyone inbetween them be damned. This clashes with Kit's programming to not only be liked, but to be liked by Surge. Surge was also programmed to believe fully in herself in order to enhance the arrogant trait, and Kit was made to give her the help that she doesn't want.

To Surge, Kit represents everything holding her back. And she's not built to view him as a person, because Starline doesn't view him or her as people. Obviously this doesn't absolve her of her treatment of him, and later issues showing her getting more and more aware as she becomes more social is definitely going to impact the way she views him– or, if it doesn't make her reconsider Kit's personhood, it'll serve to make her more antagonistic for the viewer.

But the point is, Sonic trusts Tails because he knows and respects him as a person. It isn't just because Tails can help him, but because he knows Tails will. Surge, at this point in the comic, not only doesn't view Kit as a friend, she doesn't even care what he thinks or feels.

And despite the brainwashing, I don't think Kit is oblivious to this. He knows how bad their situation is, but he is so conditioned to accept it that he can't escape it whatsoever. In both fights with Tails, Tails talks him down easily because Kit doesn't want to hurt anyone. Kit only reacts violently when Surge is brought up, because he's meant to do anything she wants.

Like he said to Belle, he was made for Surge. And what he says directly after– "Sonic can use me, too." Kit doesn't even view himself as a person, only a tool– that's how far Starline's brainwashing went. It's clearly even affecting Surge, who realized in the latest issue, #72, how fast she and Kit fell into their abusive patterns again once Clutch took over– they were conditioned to be tools. Clutch claimed to want to help them, but really he was just using them for his own ends, just like Starline. So they went back to the familiar.

And speaking of familiar– pain is familiar to Kit, specifically pain in service to others. In his breakdown in #50, he says that Starline made him happy he'd been hurt. And in Imposter Syndrome #3 and #4, we see that him and Surge hate Starline and want to usurp him... but also are still trapped in the patterns he implanted in them. Surge still wants to kill Sonic and outperform everyone else. Kit still can't do anything but what she wants, to the point he becomes near catatonic when he believes she's dead.

Another pattern Kit is still trapped in is the idea that he has to be okay with his own suffering.

The only sense of home or family Surge and Kit have is in each other, but they fundamentally can't work together, at least as they are currently. Kit is expected to take Surge's anger, and Surge isn't expected to treat him like his own person.

And this, I think, is Kit's problem with Tails.

He was made to be Tails, and he knows this, but he can never have what Tails has. He can never live up to Tails and do what Tails can do, despite that being his entire life's purpose.

He doesn't hate Tails because he was programmed to– as he says to Surge, he only wants to destroy Sonic because she wants to. When he first encounters Tails, he refers to him as his target- a simple, unemotional term. He doesn't have the deep ingrained hatred for him that Surge does for Sonic.

Instead, he hates Tails because of what he sees in him. He sees Sonic and Tails interact, he sees how much Sonic trusts and relies on Tails, and he sees how he also loves and respects him. He sees how Tails has his own motivations and opinions, and he's experienced Tails's genuine compassion that was in part fostered by the hedgehog that raised him. In turn, Tails is loyal to Sonic, but not because he has to be– because he, in turn, loves Sonic and wants to be with him.

Kit only wants to be with Surge because he was forced to. Starline wanted to use Surge and Kit to stop Sonic and Eggman's cycle, but he made a whole new one instead. Kit is trapped in a cycle of pain, knows he's trapped in it, and is helpless to escape it.

Tails isn't, and Kit sees that in Tails. Subconsciously, he sees Tails and only sees how he fails to live up to his life's mission, and how he'll never have what Tails has.

After all, why would anyone bother with him? They already have Tails.

Is he a target? I like it here now.

[dollyichi]

BETTER THAN A BLANKET!

katsuki bakugou x f ! reader ᯓ★ 1.04k words. fluff / established relationship / not proofread / maybe ooc but you know… it’s a sleepy bakugou

katsuki has this habit of moving you on top of him. it’s a very pure, almost natural, but mindless action that just happens when you’re together.

it happens more frequently on a lazy, late afternoon during his off days. when the sun’s about to set and the both of you are enjoying each other’s company. laying down side by side, comfortable in each other’s silence.

the errands for the day were done and instead of going on a date outside, you opted to just get back home quickly—he definitely had no complaints at all, in fact, he was happy to stay at home with you, especially since he was barely even at home because of the several missions and emergencies he was dispatched to. to him, a big flaw of being a hero is being away from their lover for long periods of time—but it’s always more important that the world you helped widen for him is safer for you.

when you got home, you watched a few movies with him. laughing about the cheesy romcoms that’s number one on the streaming site. throwing popcorn when he mocks a cringy line. “well shit, he was really fucking stupid for that. can’t be me.” was your favorite comment from him, making a mental note in your head that he really hates slow-burn romance. definitely hates cheating routes too, thinking the whole film is a waste of time.

sooner or later, the two of you end up getting a little drowsy, wanting to take that power nap that the two of you deserved after the hell you guys went through this week. both of you are just waiting for sleep to hit and drift off in each other’s arms.

this moment you have with him is always special, never failing to tug on your heartstrings, especially since the golden shine of the sun passes through the thin curtains of your lovely home, landing perfectly on his pretty face that’s trying to blink and stay awake all because he always preferred you falling asleep first. half lidded eyes that still shined prettily accompanied by the warm rays.

when katsuki gets extra groggy and sluggish, he pulls you over on top him all too suddenly. tugging at your arm, looking at you like a puppy wanting treats. his mouth’s in a straight line yet his eyes already is saying a lot, it is one of the most expressive parts of him if he chooses not to speak.

and you let him, moving on top of him while he maneuvered you to however he liked, landing on him with a soft thud. you scoot a little bit to be more comfortable. nuzzling your face against his neck when you’re already put in place, “he smells so nice,” you think. he wraps his arms around you in such a tender embrace—you couldn’t move even if you wanted to. also spreading his legs apart so yours could stay on the mattress in case your legs get numb later on, he’s so considerate.

your arms under his while you softly cling to the sleeves of his shirt. you’re both chest to chest, almost feeling each other’s heartbeats. he loved doing this so much because you being his very own personal blanket would always bring him comfort. you’re always just so full of warmth and he always wants to feel it from head to toe—this is just the best position to have it possible.

you’ll talk for a bit, saying how you missed him all week and he grins at you. “yeah? your boyfriend left you all alone huh? what a dumbass.” and then you’ll tell him some stories about what you did at work, chatting about how the coffee machine keeps breaking cause an intern hasn’t learned to use it properly. he’d give you replies in small phrases, happily listening to your voice while fighting the drowsiness that’s kicking in. chuckles whenever your pitch gets higher from your rants. then you’d go back to telling him how you saw him at the news the other day, how you always worried a lot, which always made him a little sad but it couldn’t be helped.

but you’re pouting at him so cutely he ends up smiling. “i’m here now aren’t i?” he asks in a way that reassures you. “mhm, safe and sound.” you say, nudging your cheek against his.

you really wished time could slow down, even for just a bit, just to have katsuki all to yourself for a little while longer.

eventually your chat with him turns to a slower pace, your voice gradually getting softer and softer, and words more disconnected as your mind gets hazy with sleep.

he mumbles a small, “sleepy?” and you snuggle deeper onto him, which immediately translates to his head as a ‘yes.’ he doesn’t ‘bother’ you anymore with any other words or further conversation. instead, he kisses the top of your head while he waits for you to drift off before him. and he repeatedly tells you how much he loved you, at least in his head he did.

you’re closing your eyes while he rubs your back, soothing you into that dreamscape while you hope to see him right there next to you just like you are now.

when you wake up you’re in the same place you were in, except the extra warmth on your back with your puffy comforter that katsuki somehow placed on without waking you.

you figured it’s time to start preparing dinner from how dark the room is. yet, with the way he looked so cute sleeping so soundly under the cool hue of the moonlight you think it’s probably fine to sleep for a few more minutes.

and you kiss him just for a little while before you lay back down. not knowing he was awake a few minutes after you did and hoped you wouldn’t notice the blush that’s creeping up his cheeks. “that was dangerous,” he thought to himself. maybe it was cause he was still high off from his dream but whenever you make his heart skip a beat this much it makes him want to ask you to be his girlfriend again (i think this definitely calls for a ring katsuki!)

do not copy, plagiarize, translate, or repost my works

[arolesbianism]

I find it so funny just how long I'd have to talk to get to a single non original character in the random card au if I explained the worldbuilding in chronological order. I'm pretty sure the first recognizable characters would be og Tae and Rei and even then there's a pretty big span of time where they could have possibly existed so I could theoretically go through a Lot before getting to them even without all of the finer details of kingdom worldbuilding

[mikurulucky]

Well after watching Don Hertzfeldt's World of Tomorrow film again (the first one rather), and being that I'm STILL not technically done with my Johan et Pirlouit hyperfixation, I came up with a rather interesting and angsty au/futureverse setting for Johan. Well, not futureverse in the classic sense, but more of a sci-fi futureverse/au/idk what.

The setting is over 1000 years ahead of our current time period. Time travel might not be a thing, but human cloning technology has become close to a perfected practical science. And knowledge about neurology, memories, and dreams have dramatically improved to the point where humans have figured out how to extract memories and dreams from neurons. And eventually, extract memories from even long dead neurons.

A scientist in Belgian Wallonia managed to find a way to clone an ancient person found in an archeological dig under a local man's farm and found a way to transfer his original memories into the clone, medieval language knowledge and all. No small feat, almost miraculous considering how delicate the brain is as an organ. But once he's all grown and able to interact with others on his own, she goes all lab rat on his ass and her assistant's like "Man, just because we cloned a human from the past doesn't mean you get to treat him like this! He's a person, not some museum exhibit!"

And then she rescues clone!Johan from the situation, and now he goes from homesick for his original time and home, coping with the people he loved being long gone, to eventually accepting his extended lifespan and just wanting to be treated like a human being. The assistant later realizes Johan is her many times great grandfather, his title of chevalier being the same as her surname after looking at her geneology. Through her experience in linguistics and being a college language professor, he manages to teach him modern French, and after many years, when his time draws to a close, he asks her not to clone him anymore and to let him rest after living his second life.

He even shares some stories about his past life. Him dealing with Peewit's singing, his brief romance with a princess, some details the assistant didn't even find in any medieval manuscript that detailed his escapades.

"This has been an interesting life. Much different from my last. VERY much different. So much has changed in 2000 years, it's hard to believe it's been that long since I last left this earth. Thank you for everything."

Basically, a tragic yet bittersweet story about how a past human with his memories still intact reacts to being in a foreign time and place. About feeling drastically out of place and frightened, and then making new memories with new people and new things. Coming to terms with the fact he might never return to his old time and loved ones again, and becoming comfortable with making new relationships. About the horrors a clone of this sort would've gone through if it was possible.

Lotta emphasis on memory here.

[child-of-the-danube]

Agatha All Along in general but especially Agatha and Rio are so fucking special to me and I cannot be normal about this...

We are finally not being queer-baited. Whether they seal it with a kiss or a flashback scene or a happy ending it doesn't matter. We have confirmation that those two women were and still are deeply in love.

It's two mature women. No weird age gap, no mentor-pupil dynamic, no disproportionate power play. I find coming out and setting into your queerness stories incredibly important but it is so refreshing to see a story where the discovery and accepting that you're queer isn't the focal point. They just are who they are and neither them nor the people around them had a big dramatic reaction to it like it's something strange or unexpected. They just ARE and my god is that beautiful to witness ❤️

Their softness, connection and care for eachother is so heartbreaking. Agatha smiling and leaning into Rio when talking about her scar cause Rio already knows, Agatha melting just by having her hair played with, Rio refusing the kiss cause that would be taking advantage of Agatha's weak moment, making sure she knows that Teen isn't her son, Rio regretting what she had to do for centuries. I am losing my mind over here

The whole cast is mature women (well, + Joe haha) which again, refreshing as hell to see. And I love how the focus isn't just completely on Agatha. We get constant glimpses into everyone. Jen saved the day twice already. Alice had her beautiful moment in e4, Teen is basically their spirit guide with his spell book. Adore that lil funky boy Agatha technically kidnapped but whom she very obviously cares for more than she would like to. Lilia is my favourite of this new found coven family. Her and Agatha are the oldest and have seen the most and suffered through so much. I think that's why she softened up to Agatha and vice versa. Beside Teen, Agatha seems to be the softest towards Lilia like when she had her hallucinations and she didn't mock her but reassured her it's ok and Lilia's constant blurting out of prophecies like "Protect Agatha" 😭😭. I could go on for ages about all of their dynamics.

And everything about the production and the actors themselves being SOOO invested into the story and clearly loving what they do.

I don't give a shit about Marvel in general but damn, they got me with this one. Canonically gay witches, Kathryn Hahn and Aubrey Plaza, musical numbers and then they throw in miss icon legend mother Patti Lupone on top of it all. I am in every possible way the target audience

The talk about how witches, monsters and in general creatures feared by the wider population are so very deeply queer coded is for another day but AAAAAAAAAAA I love everything about this show so much I might just explode

[childrenofcain-if]

DEMO ✝ BACK-UP ACCOUNT

Wealth. Power. Death.

The Ballad of the Young Gods is a dark academia interactive fiction story, with dark fantasy and psychological thriller themes. Some of the romances also contain tropes and storylines which may be disturbing to some readers.

It is based on media like “Ninth House” by Leigh Bardugo, “The Secret History” by Donna Tart, “Masters of Death” by Olivie Blake, and SYFY’s “Deadly Class”.

It is rated 18+ for depictions of swearing, sexual themes, violence, and death.

Getting into an Ivy League school is a dream that thousands of American students nurse from a young age. Luckily for you, that dream is your reality. Four years of continuous hard work and pressure have made you a proud freshman at Yale University. And as if that wasn’t enough, you have been handpicked to attend Rathore College, whose selection process is revered across all the nation’s top educational institutions. But you should’ve known this stroke of luck came with a catch.

Yale is a crucible of power, where secret societies wield arcane magic and the dead are far from silent. The illustrious House of Styx wants you and this is a situation that not even your money can get you out of.

They are powerful, elite, and most of all, controlling beyond recognition. They are also the heart of the eight secret societies that attach themselves to Yale. From the White House to Hollywood’s most acclaimed stars, their influence reaches farther than anyone can dare to imagine.

A sinister conspiracy brews under Styx’s watchful gaze, one that threatens to unravel the fragile balance between the living and the dead. But in a graveyard of secrets, you and your accomplices are the ones with the shovels. You’re now in a world where the past is never truly dead, and the lines between life and death blur with each passing day.

But some secrets are better left buried, and some prophecies are destined to drag you to hell.

Cédric Armand Lacroix / Céline Armelle Lacroix (M/F)

Vindictive. Conniving. Ruthless.

As the heir to the Lacroix fortune, C is every bit as arrogant as their bloodline demands them to be. Even after the messy divorce of their parents which further led to their disownment by their father, Alain Lacroix, they refuse to give up on their dignity. They’ve vowed to destroy him one day and take what’s rightful theirs, brick by brick. The world bent to C’s whims, what money couldn't buy them, those pale green eyes probably did.

There is nothing that they can’t have, especially if they set their mind to that. That is until you came along and stayed one step ahead of them every time in everything that mattered. It wasn’t just the fortune or the legacy at stake; it was the bruising of their pride, the constant reminder that someone—anyone—could outmaneuver them. But beneath the layers of resentment and anger, there’s something more—something darker, even more dangerous.

An obsession takes root, one that blurs the line between hatred and fascination. And they vow to spend their whole life despising you for everything.

Romance trope: Enemies / Academic Rivals to Lovers.

Vance Kasper Næsholm / Vanessa Karina Næsholm (M/F)

Pious. Haunted. Disillusioned.

Raised under the oppressive influence of a rigid, fire-and-brimstone faith in a Danish Catholic orphanage, they were taught to see demons in every shadow and sin in every touch. Forever haunted by the visions provided by a wrathful God they can neither fully grasp their mind around nor escape from, their only reprieve came on the day they got adopted at the age of six and diagnosed with schizophrenia. But the truth of their ‘psychosis’ may be far more sinister than any medical diagnosis could account for.

As the tides become even stormier and their medications become ineffective when they arrive at Yale, all V can do is hold on to the last threads of control over their lives. Your first meeting almost makes them teeter over the edge.

Now that they’re your roommate, they’re bound to you by fate or folly, but whether they’ll be a stable ally remains to be seen.

Romance trope: Roommate Romance.

Wilhelm Johann Ostendorf / Wilhelmine Johanna Ostendorf (M/F)

Exhausted. Abandoned. Lost.

What does the world think of you when you’re a product of brilliance and neglect at the same time? With an Oscar-winning filmmaker for a father and a mother ensconced on the American board of directors at the Louvre, their pedigree is undeniable, yet it is a legacy more hollow than it appears. While their parents sculpted their careers into masterpieces and amassed accolades, they left W to be raised by their paternal aunt and uncle. A sizeable trust fund and periodic checks served as their parents’ only gestures of care, a shallow substitute for the love and attention their only child so desperately craved.

The only times they had felt more than someone who was deeply unlovable were the summers you spent on rusty swingsets and fast bicycles with training wheels. But the swingsets have long been dismantled, and the bicycles have been traded for cars.

The only questions remain—are you the same kid who saw them, really saw them, beyond the reality of being unwanted and the suffocating looks filled with pity that came with their name? Or will this reunion only serve to confirm their deepest fear—that they are, and always have been, truly alone?

Romance trope: Forgotten Childhood Friends to Lovers.

Dumitru Constantin Diaconu / Dumitra Constantina Diaconu (M/F)

Charismatic. Reckless. Guarded.

D’s name is the one that comes up in almost every conversation about Yale’s wildest parties. A natural-born rockstar charmer with a magnetic presence, they effortlessly draw people into their orbit, collecting hearts and bodies with the ease of someone who’s always been in the center of the gold rush. Despite the countless admirers and the trail of broken hearts left in their wake, you’ll always find them with a Marlboro between their lips and a new person in their arms to warm their bed at night. Their smile is a promise, and their laughter a siren call. In the haze of flashing lights and the thrum of bass that pulses through the walls, they are a heartbreaker in every sense of the word.

Feelings are a complication they don’t allow, a line they never cross. They’ve perfected the art of detachment, of keeping their connections strictly no-strings, because to let someone in would be to risk the vulnerability they’ve long since sworn off.

Will you be the only person they'd let peel back the barbed wire surrounding their heart? Or will you be left with nothing but the faint scent of cinnamon and a tale that wasn't meant to be?

Romance trope: Friends with Benefits / Sex First, Feelings Later. [You will only be able to unlock their romance route through a hookup.]

Maxwell Edmund Whitlock-Singh / Maxine Edythe Whitlock-Singh (M/F)

Duty-bound. Noble. Untouchable.

Politeness and decorum are second nature to M. They are the embodiment of manners, a living testament to the art of subtlety in a world where spectacle often trumps substance. They are the sort of person who commands attention without seeking it, a product of both royal blood and rigorous self-discipline. Dubbed the “Paragon of Styx,” M is a modern Plato, someone who finds as much solace in philosophical debates as in the classical texts they’ve devoured in multiple languages. As the second-born child of the Crown Princess of Wales, they have always understood that their life would be one of service with every action scrutinized, and every word weighed.

Their intellect is vast, but it is their passion for the esoteric that sets them apart. For all their convictions, there is a restlessness within M that even they cannot fully articulate. It is the paradox of their existence—a life of privilege that feels at times like a gilded cage, a role that demands both reverence and obedience. Indeed, heavy is the head that wears the crown.

Will you make them realize that life is more than duties and expectations? Or will you become yet another figure in the background, another reminder of the golden cage they were born into?

Romance trope: Forbidden Royal Romance / Secret Relationship.

Step into the shadows as the wealthy heir apparent to a billion-dollar industry who is just starting at Yale University as a freshman.

Be a part of Yale’s most enigmatic secret society, the House of Styx.

Fully customize your character including: pronouns, gender, physical appearance, personality, sexuality, and more.

Romance 1 out of 5 love interests (all of them are gender-selectable).

Study forbidden knowledge, practice dark magic, and try not to fail at your actual coursework.

Test your mind, body, and soul in rituals that blur the line between reality and nightmare.

Learn about the secrets that your mother took to her grave. Is she really the same woman you remember so fondly from your childhood?

Will you rise to navigate the sinister plans brewing under the nose of the House? Or will your actions drag you and your companions to the fiery depths of Hell.

W̶̗͖̝͆h̷͕̲̑̎̓̍̄̎͠͝a̵̢̛̫̾̓͗t̴̙̫͛̐͆̾̀̓̔̊͝ ̴̪́́̈́͛̂̉̀͒̊́ạ̸̗̯̲̘̬͗̀ͅr̸̢̪̜̭̼̠̟̜͚̂̈́͋͋̅͑̉́̎͝e̸̩̯͉̿̊̔͛̃̎͝ͅ ̵̢̹̜̤͍͙̩̬̰̜̏̃͝͠y̷̢̨͇̘͍̌́͐̍̆̓̑̐ǫ̶̢̧̡̛̥̤͉͎̟̃̏̍̓̒ͅu̷̓̂̾̇̇͜͝,̸͎̖̮̲̳̻̱̬̎̒͑͝ ̸̡̛̰̌͐c̶̛̪̗̰̻̜̲̘̺͗͊h̴̡͔̦̘̤̖͊̿̓̇i̵͉̘͙̥͍̼̜̐̐̄̅͝͝ĺ̶̡̧̧̼̦̦̗̰̝̼̓̊̀d̸̡͎͔͔̰̖̿̐̈́̓͊̌̃̓͜?̷̩̗̲̫̮͕̍̈́́̽͜͝͝

DEMO

RO DETAILS

SPOTIFY (for RO playlists, click on their names in the cast section)

PINTEREST

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WRITTEN BY: axel (he/him)

CODED BY: @albywritesfiction (they/them)

[khywren]

it's time for some more astarion analysis~

making this a separate post in case people wanted to reblog just the gifs on their own and don't care about the extra fluff. i'm certain this scene has been analyzed to the hells and back by this point, but when i was making this set something really stuck out to me and i wanted to throw my two cents in anyway.

this is the tail end of the mirror scene from act 1, where you catch astarion looking in the mirror and lamenting about not being able to see his reflection or knowing what he looks like anymore. and while that alone is sad enough, it gets SO MUCH WORSE.

if you express genuine interest in his predicament (i.e. asking him if he misses his reflection and what color his eyes were before he was turned), you get to see the mask slip. it's one of the first times in the game that he's not hiding behind his quick wit and silver tongue.

if you tell him you'll be his mirror, you can see the change in his demeanor immediately. his face softens, the cadence of his voice changes; you can literally hear the vulnerability in every word he says. huge props to neil and the rest of larian for making the distinction between these dialogue options, of course. it's the little details that really make moments like these shine.

but there was something else i noticed in the footage i recorded as well that i hadn't picked up on any of my other playthroughs. i've spent a lot of time staring at this man's face, especially while capturing idle animations for gifs and wallpapers, and most of the time it's what you'd expect, with minimal face movement, expressions changing, etc. most companions i record seem to behave the same way, with similar expressions/blinking/eye movement.

but just look at astarion's face here. this feels deliberately unique. he is SO anxious, so worried how you'll perceive him. the rapid blinking, the nervous darting of his eyes… it genuinely breaks my heart.

(tumblr will only let me upload one video per post, but just look at any other idle footage of him and you'll see the difference)

and the second you tell him what he thinks he wants to hear? that he's very attractive? he slips right back into his suave, flirtatious persona, and even praises you for complimenting his looks. even if you eventually ask him if all he wants is shallow praise, he still deflects and isn't completely honest with you.

note that if you choose to take the less compassionate route and simply tell them that he has a "very good face," he will still prompt you to tell him what you see when you look at him, and the delivery of the line is subtly but noticeably different and more guarded. similarly, if you poke a little too much fun at him by calling him old and draw too much attention to his mole, he gets very flustered and ends the conversation immediately. understandable, since he's relied on his appearance for so long, and hearing (even jokingly) that even that might not be something he can use anymore must be at least a little terrifying for him.

so naturally, you might think that by being truthful with him would perhaps net you a better result -- after all, you're telling him what he asked for, what you really see, that you see him as more than just someone to lust after -- but it doesn't. he actually seems a little upset if you choose those dialogue options. in that moment, he wants to know that you find him attractive, because he thinks that's all he's good for. because if you find him attractive, there's a chance that he could seduce you and use you for protection against cazador. i do think he also genuinely wants to know that there's so much more to him than just a pretty face, since that's a big theme of his entire story/romance arc, but that's not at the top of his priority list this early in the game. he's relying purely on instinct. he knows how to respond to people telling him he's attractive. accepting genuine compliments about the person beneath the mask? that's probably not something he's had much (if any) experience with in close to two centuries. he didn't have the luxury of being able to let anyone see who he really was.

all that to say that this interaction is really heartbreaking. he wants to be seen, wants to be understood and possibly loved, but at the same time he still thinks he needs to put on a front to ensure he can keep himself safe. watching him slowly start to unlearn those habits during the course of the game has been one of my favorite things about bg3 and a huge part of what's really endeared astarion to me as a character.