#finally drawing something not object show related for a change

[cookiepop-cat]

Please tell me some of y’all have watched SML at some point in your childhood

[itslouisan]

((@leticiachaos on twitter))

Time for Q!Tallulah headcannons!!

Fair warning: this post has mentions of depression, abandonment issues, trust issues, poor living conditions; all of the mentions of Wilbur are ONLY mentions to his character not the real person.

• Due to her abandonment and trust issues, Tallulah created a tough and cold exterior not opening herself to anything new, but, if you manage to break the shell, she's sweet, caring, loyal, nice, creative, the loveliest egg possible

• She likes Richas, but has jealousy, after all he came AFTER her and still has most of the island around him and ADOPTING HIM??? While SHE had to ground herself to an empty promise of a returning loving father and feeling alone most of the time "without" a "real" family to comfort her.

• Due to her time in the attic Tallulah developed anemia due to not having for a long time the necessary nutrients and surviving off of dirt.

• She hates the smell of moss, dirt and related things despite loving botany due to her time in the attic

Black: depression, extreme anger, sorrow or loneliness, it's her way of expressing she's REALLY not feeling okay

• When she finally accepted Wilbur would never come back or be the father she wished and dreamt of, she cut her hair that was long since "hair holds memories", painted her hair black since Missa is Philza's partner and is more of a father to her than Wilbur could ever be and she was tired of holding herself to a small memory instead of accepting change and happiness

• Can't really vent not because her family wouldn't listen, but because of her trust issues and before having to be the "cute innocent girl who's there for everyone" she didn't have the space to vent and put her emotions first

• She was tired of her original red beanie matching Wilbur, it was too dirty and old, deciding to pick a purple one who matched her and a few mushroom hats to express her emotions

• Each color of mushroom represent an emotion (in canon I think she only had black and purple, but I expanded it considering there's a lot more patterns and colors of mushrooms, especially in a sort of magic island)

purple: neutral, calm, it's the regular she wears all the time

Pink: love, happiness, she's feeling creative or excited over something, possibly wanting or doing stims

Blue: shows more of "little" sadness, not strong enough to be depression or despair, but just enough to show it, also can mean fear.

Red: anger, hate.

• Due to her autism, she carries a pair of headphones ALL the time as well as stim toys, comfort objects or plushies, a sketchbook she writes and draws what she's feeling to better communicate it.

• She can play maracas, flute, piano, guitar (acoustic), kalimba.

• Big fan of musicals and history, in late nights she likes to listen to Philza's stories of the old times and Chay loves his battle stories, so they share this cozy moment

• In the beginning she could only see ghosts, but with time she could see the deities. She can see and feel their emotions but can't talk with them much, she mainly can see Mumza and Rose, Rose in the sanctuary where her power is centered and stronger, Mumza all around her dad (Phil >:) ) and every time she's with the crows.

• Knows flower language to write better letters to everyone, adding a deeper meaning, sometimes saying secret stuff through the flowers and as an extra giving pretty flowers

• Tallulah sometimes paints her nails with Phil and Chayanne, every week with a different design

• When Missa is home back from his journeys, Tallulah sees how exhausted her dad is, so she speaks in spanish (their native languages) and makes him some food or brings fruit

• Before she officially forgot Wilbur whenever she would come with other residents and her siblings, Tallulah sometimes felt weak, abandoned, left behind, after all, ALL the others had their parents, had close connections, she hated it but couldn't help but feel jealous, in these situations Phil and Chayanne always reassured her the best they could that they would never leave her and that she wouldn't go back to the attic.

• Makes bracelets for her close family, always wearing one with PxTxC on her left hand (Philza, Chayanne and Tallulah), in the right one she has a TxCxR (Tallulah, Richas, Chayanne) or it could be TxCxP (Tallulah, Chayanne, Pomme) after all she doesn't hate Richas, she hates that he's immature and acts "entitled" and dramatic over his issues, but still tries her best to be a good sister to him, also loves pomme a lot!! Considering Pomme her bestie

Reminder: Tallulah is just a child in rp, children don't know how to control their emotions and in situations of abandonment, neglect and lack of a trusting bond with a caretaker, children can struggle even more with emotions, care, jealousy, trust, self-esteem etc, so don't call Tallulah "selfish" or "spoiled" she has every right to be that way after what she's been through

• Due to her depression,sometimes Tallulah can't take care of herself, spending days or weeks in bed or just not feeling like going out, or when she does she doesn't show much interest, in these cases Phil and Chayanne always cooked some nice food and drinks, went to the nests, and chatted and comforted her

• She became a great fighter after the events of pre-purgatory and purgatory, she NEEDED a tough exterior since she was without Chayanne, and that time worsened her depression severely

[phantom-nisnow]

NARRATIVE STORYTELLING + COMPOSITION

First thing I always think of before doing ANY drawing is: what’s the story I want to tell? What’s the mood/emotion it should give off? 

For The Visionary, I wanted to capture that feeling of seeing your hard work and creations finally come to life. It’s that satisfaction as artists, engineers, and creators we feel after seeing our hard work finally bear the fruits of our labor. It’s an exhilarating feeling and we feel a sense of pride. 

I can pick out some key words from those descriptions: pride, excitement, satisfaction. Now, how do I depict that in the illustration + what compositional tools can reinforce that feeling and therefore story?

I also knew I wanted to draw my character, Kala. To reinforce the feeling, I wanted to think of his action and, in general, what he would be thinking in the illustration. I did a few thumbnails like below and figured to have him writing in his book and depicting boats in the background, almost like he’s drawing them at the moment and they’re appearing in the background.

Action: writing in his journal, almost as if making the background come to life -> gives a sense of pride and excitement.

This forms the basis of my composition. Everything from here on out (every decision in the illustration) relates back to this.

When thinking of your own illustrations and what you want your characters to do, try this simple template (do this for each of your characters in the scene):

<character> <action> -> gives <mood/emotion> e.g. The rogue flees from the castle guards -> gives a sense of urgency. A witch backs away from her cauldron -> gives a sense of fear.

Kala’s placement is important as well. I purposely made him stand on one of the fourths of the canvas at the far left to make him feel almost like one of the boats (one of his creations). You know those scenes in pirate movies (or even just Navia Genshin Impact) where the character stands next to all their soldiers or a series of cannons? Yeah, I wanted to do something similar here.

After thumbnailing, I’ll start refining the drawing and getting the structure right before doing anything else. Often, I’ll take reference photos like this and put them together in Photoshop. This helps not only get more accurate drawings but you can even put yourself in the shoes of your character. Imagine how they’re feeling in your illustration and act it out. Your pose—and therefore, your character’s pose—might change depending on how you do it which can help with your drawing.

The boats get lighter in value as they recede to the background. I fix this later on in the composition, but since Kala is the focus, I had to make sure that he had the greatest amount of contrast. So I put a hint of light near his face so that his silhouette would pop well against the darker boat behind him. I later enforce this contrast through differences in color saturation which I will show soon. 

I felt the boats weren’t grand enough + the mast shapes were too busy, and therefore didn’t support the story as strongly as I wanted to. And to further add contrast + give Kala more focus, I made the boats a bit larger, drawing them more from a low angle to further emphasize their grandiosity and the pride Kala feels in his work. It’s great when something works both compositionally well and enforces the story:

General lines of action of objects for flow. The boats specifically are all angled differently, converging towards Kala, to draw the eye towards him more + not feel static. It creates a sweeping motion to draw the eye towards him, along with the placement of papers and the shape of his coat further adding to the flow. 

In general, you can strategically place objects in your drawing to follow certain lines of flow that go back to your focus. This helps guide your viewer around your piece while also giving a sense of motion and energy.

Every artistic decision you make should reinforce the story in some way. Even the tiniest things like the line art style. This idea came after looking through the Across the Spiderverse concept art book, specifically reading about the art style choices of Nueva York. Constructional lines and architectural diagrams are seen throughout the city and I wanted to bring a bit of that into this piece. 

It further enforces the idea that Kala is creating the background behind him while also making the boats recede into the background due to atmospheric perspective. Depth of field is determined by how refined the boat’s sketch is, so the boat furthest away is still in pure constructional lines while the one closest to him is fully rendered. I thought that was a big brain idea and I’m glad I went with it >:)

To add a bit of texture, I added a grid pattern off in the distance to help with the feeling of the background being drawn in. I also added sketches of engineering diagrams into Kala’s blue coat for a bit of visual interest. These further add to the fact my character is an engineer and is almost drawing the background himself. Plus, it just looks cool.

Quick breakdown of some visual choices + how they show the story: 

large value range: the values go from very dark to very light -> deeper contrast gives sense of drama and overall intensity to the image -> reinforces feelings of epicness

strong warm vs. cool color contrast: shows the sunrise lighting, gives the character more focus (red is a very intense color) -> gives of sense of pride

sketch-y depth of field: objects further away have a more sketch-y, drawn look -> helps with atmospheric perspective and shows that the character is an engineer. contrast with more refined foreground and character.

character pose: Kala is standing tall while also writing in his journal with a very satisfied look -> 

flowing papers in the foreground: intentionally placed to aid in the overall flow of the piece -> also enforces the idea that the character in question is very experienced + shows his hard work to get to where he is now

These are all my personal choices for the illustration based on my own experiences and intentions. But every choice, from the character pose, the value range, or whatnot was intentionally done to support the story I wanted to tell in the piece. You or another artist may have different choices given the same prompt, and that’s cool! It’s these kinds of intentional choices based on one’s own experience and emotions that make art awesome and inherently human.

Let me know if you like posts like this and I’ll do more, breaking down the process and my thinking in some of my other pieces!

[tsukiiro]

Final Fantasy VII Rebirth: Gold Saucer date spoilers below

Something I noticed after watching the following part of the scene.

After Cloud asks Tifa about her talking to Aerith, she replies with "Not yet". Then, the camera changes position instead of staying in the same place which I thought was kind of weird. Watching Japanese version of the scene made me think there's more to Cloud's question than meets the eye!

Of course I do think there were multiple reasons why he asked, e.g.:

they're finally alone so he can ask Tifa without anyone interferring and he probably remembers Tifa wanted to keep this between them, as she asked in Nibelheim)

he wanted to break the silence and since he's not the best conversionalist he chose a this topic

But I believe he might have also used the topic to investigate Tifa's feelings. It seems like he wanted to say something since when they got onto the gondola and now he can try to steer the subject towards their bond/relationship.

In English version he says:

Notice how the camera changes position so that when Cloud starts talking about feelings, it shows Tifa in the foreground.

[It can mean lots of different things e.g. us not seeing Tifa's face might be a visual metaphor of "she doesn't want to tell him the real reason for not speaking with Aerith because it'd hurt him and his mental state would get worse". So this camera angle might be a way of telling the audience that there are still some issues between Cloud and Tifa which need to be resolved but it's not the right time to do it now as they can't be 100% honest with each other - Tifa can't share her memories which contradict with those of Cloud's and he can't access his true memories because of what's happening to him due to Sephiroth's control (among other things). But I digress.]

Now, let's take a look at Japanese version.

He says "I wonder if [she] still likes [him]." but since pronouns are not necessary in Japanese language, unless given context, we don't know who's the subject and object of the sentence. If this sentence was taken out of the context and asked out of the blue, you could interpret it as "I wonder if you still like me".

Only after a short moment he adds another sentence to explain what he meant by liking. To translate it literally he says: "Aerith, about Zack". So he provides information about sentence subject (Aerith) and sentence object (Zack).

I know that it's how Japanese people talk and they sometimes add more context after the sentence is formed as if they remembered what they wanted to say. I know there's nothing special about Cloud's way of speaking, but camera work here draws your attention to it, as if it wanted you to think about Cloud's intention behind his words. It also seems like he's expecting some kind of reply and what Tifa replies with doesn't seem to go according to his plan. He looks confused and you could tell there might be plenty other reasons behind it (and I do believe there are like e.g. Cloud who doesn't understand what other reason, beside it being a touchy subject, Tifa might have to not talk with Aerith), but the flow of conversation tells me Cloud wanted to be "subtle" by starting a topic related to love/feelings and it backfired.

I'm not saying he didn't want to know if Tifa told Aerith about his memories related to Zack. Of course he did. But we need to also look at the romantic undertones of the gondola date, especially since Cloud acted as if he wanted to say something to Tifa, which is a nice twist to Tifa's GS date from the original game, where she was the one who tried to confess.

I may be wrong but it's interesting how camera and spoken lines relate to each other and create an opening for various interpretations. It's definitely worth taking a closer look at this scene as it presents Cloud and Tifa's dynamic in different shades and forms.

[bandtrees]

Also Mingus. Of course

SEND ME A CHARACTER!!

MINGUS!!!!!!!! OF COURSE. under the cut lol

Sexuality Headcanon: bi :] it's ourple just like her. i don't think she especially cares for romance or ponders her sexuality much, but in less of an "arospec" way and more of a "forming human connection with her is a losing battle" way. i usually love arospec hcs and do see aro mingus somewhat often but it's just not something i really see myself.

Gender Headcanon: generally cis woman but i feel like if she learned what being nonbinary was she would try and release and trademark her own neopronouns and make people pay to use them. i do also see her being interpreted as transfem sometimes and i think that's a really interesting reading but not one that i actively subscribe to.

A ship I have with said character: ghghnmnnormingus. it's been really fuckin funny watching the tides change in the fandom on this ship - for a while i'd pondered it but never said anything, and then there was the time period where it was considered a weird cursed minority and i got vagueposted about it, and THEN mich came and singlehandedly pilled the masses and now its just, like, a ship. funny how that goes. but all of that talk aside, i just think they have so much potential in, like, every stage of their dynamic. the timeframe where norm's consumed by his completely one-sided obsession (/neg) with her is SO fun to think about, as is the idea post-canon of them forging a more normal relationship and possibly more. they're two of dialtown's most intricately-written characters imo, and it really shows in how layered all of their interactions are :'] there is so much baggage between them and simultaneously so little (with the point of "norm cares way more about her opinion of him than she even thinks about him") and it just makes the final confrontation of ch3 pay off so damn well. listen to nemeses by jonathan coulton it's THE normingus song to me. ⬇ SOOO ch3 norm @ mingus to me

A BROTP I have with said character: god her dynamics with all the mingling are so funny, i could listen to that group of people babble on literally forever. i wanna hear them talk about non-green related issues i want to hear what this room sounds like when its time to argue about, idk, taxes

A NOTP I have with said character: dialtown does not have that many options for edgelord proshittery but i have seen efforts at the one(1) they have. Unfortunately .

A random headcanon: always has some kind of headwear on, whether it be her trademark little hat or other ones she has made for her, or headbands or headscarves or whatnot. it's mostly cuz her head looks really off to me without the hat so i work in substitutes when im drawing or imagining her in more casual settings

General Opinion over said character: the height of dialtown's writing, her and everything to do with her. dialtown is already a good game but it goes from good to great when mingus takes center stage, imo. she's so interesting and also funny to watch - i think "seems silly but actually has deeper stuff going on"-type stories are best when the silly and the serious are tightly interwoven and you can't really distance them from eachother, and mingus is a great show of that as an inherently super tragic but also super funny character. there's not a word of dialogue she speaks where you don't get the impression of how pathetic and overcompensating she is, and that works both for humor and for sadness really well. i also like, in general, when typically "sympathetic" character flaws are played to be difficult or dangerous - in mingus' case her insecurity and desperation to follow in her grandfather's footsteps, and her compassion in wanting to be one of the only people left who still really care about him, it's objectively very noble- but less so when it becomes everyone else's problem rather than just hers. she has this in common with her grandfather 👍

[raayllum]

So I’ve always thought it was interesting that 2x06 opens and ends with Harrow giving Callum a present, of sorts. The first one we see corresponds to his drawing with Harrow giving Callum his sketchbook. The second one is more of a secret but still very clearly something being passed on / down to him and closes off the letter as well.

Showing that the sketchbook was a gift from Harrow that Callum uses / carries with him all the time is a great way to recontextualize some of their early bond in S1 as well as set up just how emotional Callum is in 2x07 when he 1) knows Harrow is also gone at this point and 2) still angrily throws it on the ground because he’s so worried about Rayla. It also makes his slight hesitance here make a ton of sense as it’s precious to him not just from an artist-sketchbook standpoint, but also a father-son standpoint, yet he turns it over to Rayla anyway. 

But wait, there’s more!

We know that TDP likes to repeat episode structures / plot beats not only to reinforce the Cycle and all that (Rayla’s self loathing secrecy duology, the dragon quartet), but also to show character change and growth. Hence why S4 doubles down on this and creates all sorts of parallels throughout the season with all the previous seasons, particularly S1. 

Case in point: 1x04 opens with Callum and his sketchbook (his first gift from Harrow) and closes with Rayla (unknowingly) delivering Harrow’s last gift to him. 2x06 is structured the same way, beginning with the sketchbook and ending with the cube. Callum’s dark magic plot line opens and closes the same way, too, with the sketchbook (drawings of Rayla and Claudia respectively) inspiring him to do dark magic, only for the cube to be a symbol of both temptation (2x08) and that he’s found his new path (2x09 to a lesser degree). Finally, 3x08 inverts this system by putting the cube first and sketchbook second. The cube helps Callum realize the moon opal could be used for a memory spell and then he draws Rayla’s parents in his sketchbook in order to help comfort / convince her of what he’s seen. 

Now, part of this is surely because Callum only has 3-4 important objects assigned to him (his scarf, primal stone, sketchbook, and rune cube) across the course of the series. Rayla has 1-3 (her blades, binding, and then moon opal necklace) and Ezran noticeably has none until his crown in S3, which remains consistent. Of course the objects that Callum has on him and using all his smart brain power / resources is 1) something he’s always been good and 2) something he has to be good at just from a story standpoint because why give a character something if it’s not going to be useful or leave an impact?

However, the fact that these two objects typically work in tandem with each other (Callum’s sketchbook never has any impact on the brief time he has the primal stone beyond his initial sketch of it for example) and that the ordering is consistent is interesting, to say the least, even down to Rayla’s involvement / as an initiating incident. 

We don’t see much of his pattern into S4 as Callum doesn’t use his sketchbook more than twice in S4 and is the first season in which he doesn’t draw in it at all, either. However, the last time we see him use his sketchbook and the last time we see him with the cube are both in 4x07, following in the same sketchbook-cube order we typically see, and both related to Rayla (the wind spell so she / the group won’t be too hot to sleep, her advice causing him to try to let go of the cube). 

This also reinforces the consistent Harrow-Rayla parallels running throughout the series, but that could be a meta on its own. For now I just think this is neat and will as always take my little consistent coincidences to heart in hopes it pans out for one of my theories. It’s happened before, after all!

[designstudio1]

MY THOUGHTS ON THE DESIGNS

For starters, I am quite bad with curves or playing with wavy letters and so for both my designs I tried to come up with something without changing too much of the letters. For the first design, I wanted to do something somewhat related to architecture technology. My idea for this design was to draw some kind of stairway or steps. I knew having 2 straight edges like the center of the letter “Z” next to each other could make an image that looked like a flat surface, like when drawing a prism. I then needed to incorporate the letter into a way to make a riser for the step and so at first, I tried to simply put a 90° rotated “Z” which to me felt way too simple and lost the steps effect. To solve the losing of the effect, I mirrored the rotated letter “Z” as I didn’t want to use another letter such as “N” and this solved my issue as now it looked like the cross section of 2x4 like in my architecture drawings missing one line as normally it’d be a rectangle with an X as the diagonal lines from their corners would cross. Finally, to get to the end product, I simply copy pasted a lot and made sure they aligned with snaps on and so they did and I got a nice stairway.

For the second design, I wanted something more creative and far away from architecture. I wanted to make a sort of star shape and so I believed using a letter such as “A” or “V” would be the best option. To make the star shape u pressed 4 “A”s together with their pointy end touching at the bar in the middle, one vertical, one horizontal and the 2 others mirrored. This gave me a ninja star like shape although it felt very incomplete. In my struggle to find out how to complete it, I copy pasted the same pattern on the entire page. The pattern spread past the borders of the document which I then masked. I drew a rectangle over the 20x20 surface and then selected all layers, went to the drop-down menu titled “object”, went to “clipping mask” and then “make” this clipped all the letters outside of my design surface.

Then came the issue of colour and what I wanted to do with the pattern in general. I noticed the stars across the sheet made different shapes when next to each other, a sort of square with pointy tips in the corners and a hexagon, so I got the idea of a checkerboard pattern due to the repetition of square, stars and the weird shape I just mentioned in the drawing. The problem now was that I have trouble seeing colours properly. Although undiagnosed, I’m sure I inherited some form of colour blindness from my father. And so, I picked what I believed was a dark colour of blue and then a lighter version of it. I then coloured the pointy squares with the paint bucket tool making one row of dark and the next light which gave me a checkerboard pattern with them. Then came the inside of the letter “A” I chose a lighter, more vibrant shade of blue as to make the square within the star stand out to make a second “checkerboard”. I then coloured the hexagone a lighter more teal colour making a third checkerboard with the triangles formed by the “A”s I then did the same with what I thought was purple but to change it up I made the hexagon the darker colour. I then made the blue pattern the top left & bottom right with the pink/purple pattern top right & bottom left giving me my final checkerboard. I then obviously showed it to friends and family to make sure the colours worked together and was pleasantly surprised when they said it was okay.

[doctorstrangereview]

0036: Strange Tales #142

Cover Date: March 1966 On-Sale Date: December 9, 1965

This story straddles the line between an arc related story and a divergence. It's not directly related to the Dormammu/Mordo vs. Doc story, but it involves arc characters we've seen before. And it really illustrates the fact that Doc needs to take security much more seriously. Also, he probably should have grabbed a nap at the Ancient One's pad before he headed back home.

As has become custom for this arc, we pick up from the end of the previous installment. Doc is tired, but still somewhat astute. He remembers he fought Mordo here and can't feel any trace of it. Like when someone on Bones washes down a crime scene with bleach and Temperance can't find any blood traces. Sadly, Doc has no Booth to whine to. "This ain't right," thinks Doc and out comes the All-Purpose Amulet. Everything he scans is an inanimate object so no issues with consent, yet. Doc finds the bomb, heroically grabs it from the lit brazier, jumps through the Vishanti window and throws it into the sky. Whew!

As a surgeon, Doc's specialty is biology, not physics and he doesn't anticipate the blowback from the explosion and it knocks him unconscious. Uh, oh! Doc's about to become a big slice of road pizza! Or is he? Nah, three mystery figures rescue him. Doc is saved! Or is he?

Doc is alive, but trapped. His captors have come up with bonds that I'm surprised haven't made is as fashionable in the BDSM scene. Doc's head is bound in a kinky mask (for the 60s) and his hands in these block-like things. Additionally, he's held in a spell that generates a cool aura. It looks very atomic.

The Freddy Krueger hatted captor assumes leadership of this rag-tag band of Baron Mordo minions. The leader assigns the others homework. The leader will check out the amulet, Kaecilius will attempt to do something with the cape and the Demon needs to do a non-consensual probe of Doc's marvelous brain.

Doc is pretty much helpless. He attempts to contact the cavalry. This being his mentor and good buddy, the Ancient One. The Ancient One has chosen, at that very moment, to try and find where Dormie stashed Clea. We finally get to see him go ghost, but it means when Doc calls, no one is home and he forgot to turn on the answering machine. To be fair, answering machines were pretty rare in those days. So Doc's calls just ring and ring. What now?

As Doc's life seems to be an ongoing string of lucky coincidences, the Demon shows up to perform his anal mental probe. The Demon begins this process. Even helpless, Doc is supremely arrogant and his thought narrate how his mind is infinitely more powerful than the Demon's. To illustrate this, Ditko draws a bunch of little thought snakes that crawl up the Demon's proble.

Doc takes over the Demon's mind and gives orders to release him. As he does this, we change scenes to the leader who turns out to be an attractive sorceress, wearing a lovely gown with enormous sleeves, gigantic earrings and a marvelous belt. The dress is s sort of red in the original printing. The Masterworks restoration colors it a delightful plum that I much prefer. We will eventually learn her name is Adria.

Adria is spouting to no one in particular about her plans about taking over things after she masters the amulet. Her mental contact with the Demon glitches and she realizes something is wrong. She creates a barrier around the Demon and Doc can't control him anymore. As he's still bound physically, he's forced to pop his ghost out of his body just a little to lead his physical self around. Adria orders everyone to find and recapture Doc. She uses a creepy pair of eyes kind of like Xandu did. This is very convenient for Adria as she can now go back to her world conquering research on the amulet. Bully for her!

Doc is making his way through the secret hideout and having a great deal of success punching out his captors.

Doc manages to escape. Despite still being bound, he jumps from roof to roof. In what is probably the least likely thing to happen, and I'm saying this about a series where characters regularly blast each other with magic rays, Doc misses a roof and manages to grab and pull himself up with his hands still bound.

Doc is free, sort of. But things still look rather grim for our favorite magician. What will happen next?

Wow! What a ride! We've got magic, and action, and lots of arrogance to go around. We know Doc could whip any of these individually, but combined and with the element of surprise, the terrible trio get the best of Doc. Stripped of his traditional tools, the cloak and amulet, Doc must really use his wits to defeat him. Doc is up to the task and he escapes overwhelming odds. Things aren't done yet. Doc still needs to completely free himself and defeat his enemies. The fun will continue.

[abigailjohn2023]

What Coordinated Specialists Could Present

What Coordinated Specialists Could Present

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Mull over every one of the magnificent things that you really need you head into another turn of events. Begin inciting a posting of all of the parts that you to see the worth in seeing and that you truly need to wrap inside your own fit space. Hand this number to current creators and view what they can present you.

[pgy4611fiu]

instagram work by Samantha Zamora

(Before you continue; when you see the pictures I posted on Instagram, you’ll notice that they all contain text, it’s my personal choice and I think it’ll help the imagery, you do not need to do this. Thank you.) (EDIT: I just realized how small and hidden the text is, my advice would be right clicking one of my images and clicking "Open link in new tab" to see the text)

Image 1- “Need A Drink” [alcohol pouring into glass cup]- I wanted to capture something in motion, like what we learned about Shutter Speed and Depth of Field. I chose the alcohol in a cup and the phrase “Need A Drink” because it’s something we all can relate to; after a long day of physical/mental labor, one feels hungry or thirsty, so they find whatever to satisfy themselves.

Image 2- “Beauty in Façade" [rhinestones scattered everywhere]- I wanted to fill up the composition with objects that grab one’s attention, like when you’re walking outside, and you find something shiny on the ground. I chose “Beauty in Façade" because of the obsession with diamonds and jewelry. Yeah, they’re beautiful and shiny, but they don’t hold much value (the rhinestones in this case).

Image 3- “Paint Me Pretty” [ceramic dog with paintbrush]- For this photo, I wanted to use something I made to help support my idea; the idea is about the beauty of creation and how everything one creates (A statue, painting, drawing, etc.) is an extension of oneself and shows one's thought process .

Image 4- “Permanence of The Temporary” [polaroid camera with photo]- So when we want to capture a moment, the first thing we do is pull out our cameras to make this moment last forever. A moment is just that: a moment, something that is temporary, a photo of that moment is forever.

Image 5- “Prolongation of the Picturesque” [painting being cleaned with a tissue]- This photo is about maintaining the beauty of an object. In this case, I am removing the dust of the framed painting so it will not sully the artwork (Yeah, the painting is not being damaged, but the frame of the painting can change the artwork’s appearance if it becomes dirty).  

Image 6- “On the Go” [backpack]- This photo refers to going out somewhere and taking a backpack or purse with you, one of the first few items you gather before going out.

Image 7- “I choose you” [small boxes of ink]- This photo can represent how there are multiple ways to doing something, but we limit ourselves to one or two options. So, once you’ve thought your situation over after a while, you finally decide to settle with the choice you’re going with.

Image 8- “At My Convenience” [portable fan]- Another photo I wanted to capture with Shutter Speed. This photo is about things that are made to be used in one spot and cannot be moved, but finding the exact same object, but in portable form. This can be something like a laptop or tablet where we can take them anywhere.  

Image 9- “Documentation of Conceptualization” [pencil and paper]- The main idea of this photo would be writing down ideas and thoughts as a way of planning, documenting, or expressing yourself on paper. This is beneficial because it helps you clear your mind and clarifies underlying emotions.

I think what I could have done differently would be someone else helping me take the photos while I perform the action of holding the objects with both my hands and experimenting more with the angles of my photos.

[rizzlybeare]

-Old and trusted

This is for putting on the straps around massive recycled cardboard crates. It was originally used for a flat metal strip that was put around the bale and tightened by pulling backwards and forwards to tighten it. When the strap is tight, the handles open sideways and a metal clip is inserted and closed onto the metal strapping, holding it firmly in place. This is now done in exactly the same way but using a nylon strap which is fused with heat to seal it.

It caught my eye how the new machine has changed only slightly but they still used the same technique they have always use. Showing me that it does not always have to be something innovative to make it work and does not necessarily have to change if it works perfectly.

This is the modern version of it and how it is used, It is still used with the same technique but the metal strips are now nylon. The main part that interests me is how the technique has maintained the same but the machine has slightly changed. As I mentioned before, if something works there is no need for it to be changed.

Once I had realized what that object did I suddenly remembered that there is a baler where I work, I didn't realize it was the same thing until I found that behind it are the nylon straps that pull all the squashed cardboard into a cube. This baler squashes all the cardboard that is put inside of it and also wraps it up.

And these 3 objects all do the same to obtain this final look.

These are how bailing cardboard boxes end up looking like. And below are how bailing can also be used to keep smaller things strapped together and properly kept.

-Bearly a door handle

This is a peculiar door handle that I came across when I travelled back to Spain and visited a friend at his home. It is a door handle in the shape of a bears head that has very detailed factions. The set back eyes give it a haunt look, but with a comforting feel.

The door handle made me see how people tend to open the door because of the places it is worn and polished. I saw how they opened the door and all grabbing the ears and putting the palm of their hands on the nose, making these parts shiny.

I realized that a door handle doesn't have to be just a circle shape or something you push down. Seeing this has made me look more into door handles and they way they look and how they are being used in different ways. -Getting a Hand opening the door.

Coming across this door stop me in my tracks, the simple but effective idea is ingenious and practical. It also felt welcoming and fun. The metal was cold to touch but the detail was incredible. Experiencing the fun you can have with an everyday object that does not take itself very seriously will bring a smile to the users face.

I realize we should try this approach on many more everyday items instead of sticking to the normal and copying what was done before.

-Art with dots

Coming across this artist, that interested me because of how simple his work looks but also at the same time so deeply detailed and how he plays with lights in the dark. Even though this painting is done just with simple lines anyone can tell it is Paris. These lines resemble the light and the shadow at night in Paris.

I felt myself drawn into the picture, it was like it was alive, I could almost feel the hustle and bustle of a busy Paris nightlife.

The use of the bright colours in contrast with the dark greys gives the painting its life like appeal, this makes it possible to really feel a painting without it having to be finely detailed. -Takashi Murakami

A Japanese artist of the 20th century called Takashi Murakami is a very interesting artist who can make really complex drawings out of one simple design, I relate this kind of art to Lego as I mentioned earlier because of the fact both situations start with one block/image that builds up into a complete work of art that can appear complex to those who don't look further the what they initially see. This also reminds me of LEGO bricks that are a simple little piece of plastic but if you put them all together you can create amazing structure that would be very complex. But are they actually complex? I think that they can be considered simple because they are made out of many of the same thing. Not to me confused with a building because it is much more than just bricks. -Deco Art

Having studied leather as a material has made me focus on leather when I see it, having seen this art deco chair showed me what I had learnt from it. As leather is such a formal material it makes it look much more professional. The leather is complemented with two side arms wich are made out of chromed metal and creates the perfect balance between futuristic and tradition.

The aerodynamic look expresses the change in attitudes from the Victorian times to the exciting 1920s art deco revolution.

-Jacques Émile Ruhlmann

The 1920s deco-furniture was a prime example of sleek and functional designs that covered a complete range of items over the decade, such as chairs,display cabinets and tables. A prime example of what Art Deco means would be the designs of the designer  Émile-Jacques Ruhlmann that created magnificent and beautiful chairs and tables that resembled incredible curves in furniture and how remarkably perfect and refined his furniture were. I particularly like a writing table he made because of how he made the support of it a semicircle. This particular one is veneered in macassar ebony with the working surface covered in a calf leather which gives it that professionalism that the simple things need.

-Brutal chairs

Adding some chairs for some reason makes me think it is more comfortable than without it.

-Slick chair

-Slick chair

There isn't really anything fascinating about this chair/sofa but I like how it is made and how it is simply a block with a curve in it. The dark colour gives it some formality and slick. -Awkward cutlery

I'm starting to realize how simplicity really draws my attention and how unique I think it is. Seeing this cutlery does make me doubt if it would work or not but even though it is simple you can easily tell what they are and what they are used for.

-From studying to eating

This is an innovative idea, changing everyday objects into useful and reusable everyday items.

The simplicity of this idea appeals to my past experiences of working with plastics, from changing one object into something functional. It has also made me look at everyday objects and wonder if they could be used or adapted slightly for another use.

-Simple sink made luxurious

The marble looks really nice in this bathroom and is really big, I like that you wash your hands in like a puddle. This makes it a weird way of cleaning them but because of how it looks it makes it look formal/posh. Some things can be a simple structure with and easy way of using but because of the material it completely changes how we view it. Certain materials make simple structures look more complex.

-Re-Sizing

I came across these hangers when I went to IKEA, I thought they were such a fun way to change the regular hangers we see everyday. These little changes can make an impact in the way places are decorated. What I find most interesting about this is how resizing things can give them a different use and change its original one.

Having different type or chair for a different hanger in a different room can help with the decoration and ambience of it. -Bending the light

Although this is nothing new and can be found in any household, the multitude of lights hanging together just seemed to spark up my imagination. Even though the picture does not do it justice it shows that simple things above your head don't have to only be functional but can also be beautiful as well. This made me think that making lights more elegant and better looking will also encourage people to look up as in this modern society everyone looks down and do not experience the beauty that is often above them.

This has shown me how the smallest of details can really make a difference.

-Is this jewelry?

This is a company that does very brutalism orientated jewelry in my perspective. Lots of their jewelry is ordinary but there are some things that stand out like this bracelet. The first time I looked at it I thought it was metal but when I looked it up I realized it was leather. The materials it is made out of are leather and sterling silver for the adjustment system. This bracelet is the kind of thing I think about when I hear brutalism. Making this out of materials that aren't usually used for that type of thing.

It interests me how people make things like jewelry out of materials that I would never have thought about to make it.

-How times have changed

Watches live on our wrists, in our pockets and we think very little of them in general. But they are works of art inside and out. They have been put into space and deep in the ocean. It shows it items can be functional tough and beautiful as well.

Watches are actually a very complicated device in the inside but on the outside they make them look like something very simple and easy that are just 2 stick pointing and two numbers.

-Don't get mad

This is a product called the Wastebasket. It is made out of Eco-friendly plastic and rubber. The colour and shape immediately caught my eye and had to look more into it. The idea of this project was to try and calm down anger or create a product that can feel fun and joy in the act of throwing when angry. The designer looked for a humorous design so it could allow joy and fun to reduce anger.

What interested me the most was the backstory to this product, because the first time I saw this I just thought it was a table which was a bin. Once I had read into it I was even more interested and I eventually found out that it was designed by joom design located in Seoul, Korea.

This made me realize that just because something looks like it has an obvious use to it, it does not mean it is for that use.

-Keywings

This idea really intrigued me because of the simplicity of it and how effective it is at the same time. Something that is so basic and helps so much. When I came across this at a key shop, immediately I thought how good this idea was. I have struggled sometimes opening a locked door because of the size of the key, so this product is something that would help me.

The fact that it is just a key attatchement and not necessarily part of the key makes it so much better by being able to remove it and add it when pleased. Having been in that situation really makes me interested about the object.

Having seen how efficient this product really is makes me realize how small details and difficulties can be solved in a simple way to make some ones life so much easier.

-Fusion

While I was making my waste not project I realized how beautiful the combination of all the colours of the bottle caps wore. How all of the caps melt together and formed a sheet. Once I put light through it it created this really call pattern that also made this cool colour on the walls. That made me think about using the knowledge I got from this project to make more things from recycled plastics, expanding, experimenting and bring new life to these throw away items that no one gives a second look.

-Simple is perfect

Simplicity shows elegance and understanding with a few lines and curves. No one would be in any doubt of what this sign means and what its intended use is for. Most people wouldn't even notice this small detail but for those who use it makes a difference. The fact that it is cut from metal gives it some permanency rather than just a sticker on a sign. Putting a little extra effort and detail into the most normal everyday objects can make things stand out in an artistic and open minded way.

-LEGO

I have always played with LEGO as a kid and I still really like them, but I feel that simplicity really does have a space in it. These are just blocks that are different shapes and sizes and such simple things, but as you put them together you create incredible structures that can be very complex.

A LEGO structure is simply something made out of lots of simple little blocks. it isn't as real life structure that is more that just brick, when it comes to LEGO it is only the blocks that create the structure.

In conclusion, a set of simple things doesn't make something complex.

[musicloverxoxo7]

The recording studio – feat. Yoongi

Idol!Yoongi   x   fem!reader

Summary: You bring Yoongi lunch while he’s working on music. But you have an agenda.

Themes/warnings: smut, nipple play, fingering, protected sex, established relationship

Wordcount: ca. 1.2k

Disclaimer: 18+, DO NOT INTERACT IF YOU ARE UNDER 18

I do not own BTS. They merely inspire me. None of this is related to their persons in real life.

You’ve barely seen Yoongi the past few weeks since he’s been so busy working on music. Time to change that. You’ve made him a nice lunch, packed it up and are now entering Hybe building.

You’ve been together for so long that you have your own key card that lets you into the building, into the elevator and, best of all, Yoongi’s studio.

It’s the weekend and you’re off work today. You step into the elevator with one of Hybe’s producers. The employees seem to never sleep.

“Visiting Yoongi”, the guy asks, nodding at the lunch bag you hold.

“Jup. He’s gotta eat. He keeps forgetting to pack lunch.”

“Lucky guy.”

You smile at the producer. The elevator pings open. You bow your head before exiting. The walk to Yoongi’s studio is short. You knock four times. No objection from inside so you use your keycard. There’s the humming sound that says it’s unlocked.

You push the door open. Yoongi sits at his desk, headphones on. He hasn’t even noticed you yet. Gently, you close the door and walk over to him. You put the lunch bag down on the table and look down at him.

His eyes are closed. He’s totally immersed in the music.

“Yoongi”, you try. No reaction. So you repeat it louder, squeezing his upper arm. He blinks his eyes open.

“Honey.”

Yoongi presses pause on the song, pulls off the headphones and gets up.

“I brought you lunch.” You point at the bag.

Yoongi pulls you into a hug and gives you a peck on the lips. He has that soft, fuzzy expression in his eyes that means he’ll give you a few kisses, say some sweet nothings and then send you on your way.

Not today!

“You look beautiful.”

He runs his large hand over your blouse and down your side over your skirt. Your heart flutters. Something low in your belly screams to take the opportunity.

You run your hand through his long hair and pull him close again. It’s as if he can read your mind because there’s no way this is a peck. Your tongues meet. You press your body into his, melting fully into the embrace.

After a few seconds, Yoongi draws back. He lets go of you and walks to the door.

“Thanks for coming, honey.”

You frown. Are you being dismissed this quickly?

Yoongi locks the door.

“I’ve been having a hard time focusing on work. I kept thinking of you.”

“You did?” You smile coyly.

“Yeah. More specifically-“

Yoongi grabs you around the waist and sits down on his chair with you on his lap.

“More specifically about bending you over whatever surface is available and having my way with you.”

Your heart skips a beat.

“I picked this skirt specifically for such a purpose”, you whisper next to his ear.

You rub your core against his crotch. Finally.

Yoongi’s hands tug on the hem of your blouse until it comes free. He slides his hands up your stomach and to your boobs. He cups them, squeezing a little. A sigh escapes him. You’ve always secretly thought they are kind of like stress balls for him.

You move one of your hands to your back and unhook the bra. Yoongi instantly pulls it away and slides his hands under.

“I love your boobs.”

“Mh, I know, babe.”

You lean into his touch. The friction has done its part. He’s hard under you. Makes rubbing against him feel all the nicer.

“If you help me takes this off, I’ll show you how much I like them.”

Your lower stomach clenches at that. Rapping has made Yoongi skilled with his tongue. In all areas imaginable.

Quickly, you unbutton your blouse and toss it to the side. Your bra follows suit. Yoongi’s eyes are on your perky nipples. He licks his lips. You arch your back, so your boobs are closer to him. A smile tugs on the corner of his mouth.

One of his hands comes up from your hips. He takes your nipple between thumb and index finger and gives it a twist. You clench your hand into his t-shirt. He does it again and again. Your head drops back, and you let out a whine.

Instantly, you clap a hand over your mouth.

“The studio is soundproof, honey. You should know that by now.”

You smile. Thank goodness. It makes your life a whole lot easier.

Your core clenches as Yoongi keeps up the ministrations on your nipple. You have your eyes closed so you don’t see him move in to take your nipple into his mouth. The soft warmth feels heavenly. Especially once he starts working his tongue on your nipple.

You claw at Yoongi’s shirt, your legs shaking. Your moans and whines flow freely. The waves of the orgasm wash over you. Yoongi withdraws once you let out a final sigh. Your nipple is red and sensitive, and you feel very nice. You smile at Yoongi sleepily.

He gets up, making you stand with him. Your brain is still a bit foggy. Once he turns you around and gently pushes your upper body forward until your elbows are propped up on the table, you understand, though.

Yoongi rolls up the swirly skirt around your waist and pulls down your underwear. You can hear a drawer open and close. This has been such a regular occurrence that Yoongi has a box of condoms here at all times. You smile into your arm. You hope he doesn’t have to open that drawer in front of other people.

Yoongi runs his long fingers over your folds and finds your clit. You buck your hips into his hand. You lose any sense of time as he continues drawing circles on your clit. Your next orgasm builds. Just as you’re about to come apart, Yoongi pushes into you.

Your moaning fills the room. The orgasm has you breathing heavily, clenching around him.

“Mh, honey”, Yoongi breathes.

You take over taking care of your clit. Yoongi’s hands move to your hips. He holds you in place as he pushes into you, deep and slow. He fills you up just right and, in this position, he hits your sweet spot perfectly. Lewd noises fill the room. Yoongi’s occasional throaty moan makes your toes curl.

The snap of his hips becomes harsher.

“Babe”, you whimper.

“What? Harder still?”

The man knows you too well. His deep, hard thrusts have you clawing at the table. Paired with you drawing circles on your clit it drives you towards orgasm three.

“It feels so… so good.”

“I’m close, honey.” He’s breathing hard. “One more?”

“I’m-I’m-“ You can’t get the words out before the third orgasm of the day steamrolls you. You slump forward on the table. A few more thrusts and Yoongi comes apart too. He leans over you, propped up on his elbows. His long hair tickles your cheek.

“Thanks for coming over today. I really needed you close.”

© musicloverxoxo7, 2022

Please do not copy or repost my work. Doing so will make you legally liable for stealing intellectual property.

[bts-weverse-trans]

201127 Weverse Magazine ‘BE’ Comeback Interview - Jungkook

Jung Kook: “I hope this feeling never fades” BTS BE comeback interview 2020.11.27

I had a chance to interview BTS before, when they debuted. During that interview, Jung Kook had one small habit; when I met him again a while later, he had corrected it. He makes a conscious effort to change himself. And after seven years, I met Jung Kook again.

You directed the music video for “Life Goes On,” BE’s title song. Jung Kook: I was really eager to direct the music video from the outset. My plan was to organize the synopsis, discuss it with the  music video director I was working with, shoot and edit them, but we were short on time. So I worked on it while sharing ideas with the director. Originally there were a lot of scenes with lip synching in them, but we took some of them out and put in more scenes that conveyed the members’ emotions better. It wasn’t easy to combine scenes, but I think now I know more about how much of everything is needed when shooting a music video.

You had shot the Golden Closet Films and uploaded them to the BTS YouTube channel, and now you shot a music video. Jung Kook: Once we were on location, we had directions for everything we needed to shoot prepared in advance, so I took candid shots of the members here and there with a camera during the shoot. We were filming in a beautiful place so when they asked me to take pictures of them as they wanted to be presented, I did.

What kind of pictures did you take of yourself? Jung Kook: I was just, in them. (laughs) I’m not in the shot for the Golden Closet Films either. I kind of take a back seat. The director had to shoot my parts for the music video, since I couldn’t film myself, so I relaxed a bit. I tried to make the other members look really good when I recorded them. Since this was a BTS music video and not my own, I wanted to show what was happening with every member and the team, not just one individual’s thoughts. Each person who watches the video might feel different, but I wanted to show that we feel what other people feel, that we’re in the same situation.

You get your picture taken a lot, but you don’t pay much attention to the ones you’re in. Jung Kook: I never really liked having my picture taken. (laughs) And I’m usually with the others when we’re working, obviously, but it’s hard to take a camera and take selfies. So I take pictures and videos of the other members every chance I get.

Do you still find it difficult to have your picture taken? Jung Kook: I put my best face forward when it’s for something I have to do, like  for photo books, but it’s still not easy. Videos are okay, though. And even though I’m not nervous at all when I sing in front of tens of thousands of people, if I have to sing or talk in front of a small group, I get super nervous. I never feel that way on stage, but maybe I have a hard time doing things that are a little bit awkward for me.

It seems like you draw a distinction between work you enjoy and work you find difficult. Jung Kook: Work related to music, like recording, composing, writing lyrics, filming music videos and things like that, are all fine. But anything outside of that is probably a challenge for me.

On BE, you each explained your feelings about work in the song “Dis-ease.” You must have experienced a cycle of enjoyable and difficult work over seven years, so how did you get through the hard times? Jung Kook: I actually understand my own problems well, so most of the time it’s okay. I can figure things out one at a time through experience instead of just looking for answers. I’m always growing and my personality changes, depending on my environment. I think I’ve learned to do things I used to find difficult by experiencing it little by little.

Speaking of growth, “Skit” was very memorable. You recorded it the day after “Dynamite” reached number one on the Billboard Hot 100 chart and you, who talked about what you did before you became trainees in “Skit” in your debut album,talked about being first place on the Billboard Hot 100 this time around. Jung Kook: When I was a trainee, I saw the older members rapping and thought, “Wow, they’re so cool!” But now, after having spent everyday together, I’ve forgotten about all that. (laughs) Sometimes I see the lyrics they wrote, see them dancing and hearing the things they say on stage, and think, “Oh, right. That is the kind of person they are. They’re a lot different now.” You know how you don’t feel it when you live with your family, but if you can’t see them for a long time, you miss them. You might even cry. We’re a real family. Like, legit! (laughs)

Your “legit family” (laughs) each put their own songs on BE and came up with units spontaneously. What was it like making the album that way? Jung Kook: We talked with the company over the outline of the album and organized our ideas together. That was our process for making songs. Then we’d listen to them together, and if we thought they weren’t great, we’d go back and work on them some more. The members would get together and say, “Hey, how about so and so do a unit song this time?” or, “What should it be about?” and share a lot of ideas that way.

How did the others respond to your song, “Stay”? Jung Kook: That song was originally meant to be on my mixtape. We planned to put a different song on the album, but after V heard it, he said, “This song that Jung Kook wrote is really good,” and then the other members all listened, said it was better than the other one, and somehow (laughs) “Stay” made it into the album. The message for the other song was also, “Even though we’re far apart, stay just where you are.” I wrote my song with the same theme so I loved that it was included in BE. At first, I wanted to talk about how we’re always together, using the English word “wherever.” I wanted to express how we’re always together no matter where we are, but Namjoon heard that and said “Stay” might be better. I liked his suggestion, so I changed it. He really helped me to organize my thoughts, since I’m not always good at writing everything I want to express.

One might go as far as to say the lyrics sound heartbreaking, but it’s arranged in EDM. Jung Kook: We imagined we were performing for the fans while we made it, jumping up and down with them.

It sounds like you really miss your fans. Jung Kook: This album really hit us in a different way, with this situation being what it is. Because the world is struggling with COVID-19, we have to keep our heads up and convey our messages to our fans.

What can your fans expect from you when you finally meet again? Jung Kook: There’s nothing specific, but when I watched our old performances, my facial expressions were awkward and my dance moves weren’t always perfect. I keep working to improve myself, so I hope   when the fans see me, they think my performance is amazing and that my aura fills the stage.

Are you happy with how you look in your latest work? Jung Kook: I’m not 100% satisfied, no. When we did performances for “Dynamite” recently I kept seeing my imperfections.

Your acting in the intro to your “Dynamite” performance was really impressive. Even in COVID-19 times, you captured a feeling of liveliness and being cool, as though to explain what the song is all about. Jung Kook: Actually, on the first day of filming the music video, I was supposed to film my parts first, but I was so bad that it had to be pushed to the end of the shoot. So,I was a bit more relaxed when the camera rolled.

So that’s what you get when you’re relaxed! (laughs) Jung Kook: Yes, I relaxed, and something went “pop!” and “boom!” inside me, and then I did it however I wanted. (laughs)

It’s fascinating how someone who performs the way you do during stadium tours can feel nervous while filming and yet still do so well in it. Jung Kook: I can be a shy person. When people used to ask me to sing, I couldn’t always do it—like in front of adults or teachers. And I’m still a bit like that. If I start thinking, “Oh, I can’t do this,” then I really end up not being able to do it. Even when I could have done well.

Why do you think that is? Jung Kook: I feel the same way about my dancing and my singing, and I can’t compose a really amazing melody either. I feel like I’m always somewhere in the middle. But then I also think I have my own colors, so I like to quietly, slowly open up to people, and let them know what kind of person I am. Yeah, something like that. (laughs)

But, when you review your songs and performances objectively, you see all of your changes, don’t you? Jung Kook: There’s a lot of change. My voice has changed a lot; I grew taller and my frame and facial structure have changed, too. I could tell how awkward I looked at the beginning, but after a while, I think, “My gestures look better now, but I feel like my dance is too rigid.” And again after a while, “Now my dance is fine and my gestures are good, but I’m making awkward facial expressions.” And later, I say, “Now I got the facial expressions down, but, hmm, there’s no killer move.” (laughs) That’s how I slowly changed. And then my actions, thoughts, dreams, goals, what I value, what I want to do—all these things will change depending on the situation.

You had some changes in BE, too. Throughout “Life Goes On,” you lightly carry your voice and tone throughout the whole song, like they’re flowing. Jung Kook: Right. I think that’s very important. My general feeling was my voice should be woven into the song, rather than bringing out my individual voice. The lyrics say the world stopped, but I can’t keep on being sad, and life continues and flows on. I wanted to mix a little bit of my own colors into that complex, subtle sadness. I listened to how the other members recorded their parts for the song, and I sang while thinking about how I could do it in a way that it would all blend together well. I kept changing my voice exploring how to make it sound better, cleaner. I kept trying new things while I was recording, performing, and practicing.

When you look back after all that change, don’t you feel like you accomplished a lot? Jung Kook: I don’t really pay attention to things that have already happened. I think more about what it is I need right now, so I rarely think, “I got a lot better from how I used to be,” or, “I did a good job.”

You sound insatiable, in a good way. Jung Kook: Yes. This is how I want to keep living, and I hope this feeling never fades.

You’ve found immense success with BTS. What makes you want to keep doing more and keep improving yourself? Jung Kook: I want to show people who I am: how I talk, how I act, how I sing, and so on. And after that, I want to be acknowledged for doing what I like to do, and for people to see what an amazing guy I am. I want to do these things step by step. I want to be appreciated as Jung Kook, as the real me.

What do you think is the source of that energy—the energy to keep proving yourself, even though you’ve already achieved so much with BTS? Jung Kook: I think my heart’s telling me to. BTS was able to climb this high thanks to the group members, the company and our fans. But there’s always the question of whether I could receive that kind of recognition by myself, so I have this feeling of wanting to throw myself at some challenge alone. There’s a lot I want to do, and a lot I want to achieve.

By gradually improving yourself, what kind of person would you ideally want to become? Jung Kook: A person who’s crazy awesome in their field. (laughs) Those kinds of people look cool even when they do something different. I still have a long way to go. I feel like I could be more captivating and draw more out of people by improving any number of things, by trying hard to be confident about my singing, or the way I dance and perform. BTS is way more important and meaningful to me than I am to myself, so I’m not saying I want to do anything alone. But I hope I get to the point where I can perform alone for three or four hours in a venue full of people.

It’s clear that your job, music, is very important to you. Jung Kook: I must never let it go. That’s what I always think. I have to keep it close to me, even if I get bored, or I don’t want to hear it, or it feels like a hassle. I want to keep on making music. It may be a long ways down the road, but I want to prove myself with my music.

You said before that your MBTI is ISFP, so I looked it up. Obviously, MBTI can’t sum up a person perfectly, but it says ISFPs tend to be “curious artists.” Your answer reminds me of that. Jung Kook: That sounds about right. I looked up the personality traits for ISFP too, and it was interesting. (laughs)

Maybe that’s the reason you set your goals so high. You seem like you have high standards and want to keep growing. Jung Kook: It’s like a foggy mountain top. (laughs) I can’t even see it yet.

You’ve been climbing for seven years, staying curious. Is there anything you want to say to the people who have been watching you all this time? Jung Kook: Umm … Well, there are seven of us, and the seven of us keep running ahead. So it’s possible we could get tired, one by one, and drop out, right? But if more people join us, one by one, and run with us, we can support each other and pull each other up if someone falls down. That’s kind of how I feel. There are people who supported us from the beginning who have been watching us the whole time since, and because of them our follower count keeps going up, and they all keep us on track. So the only thing I can say is—thank you. We were nothing special, really (laughs) but they keep on liking us and supporting us, and the best way we can repay them is to give them our all through our music and our performances. They push me to work hard, even on things I find difficult. (laughs) I’m eternally grateful.

Just like in the last line of “Stay.” Jung Kook: “We are together.”

Trans © Weverse

[get-shiggy-with-it]

Just My Type Pt. 1

Pairing: Tomura Shigaraki x Reader

Word Count: 3.7k

Warnings: slight dubcon, stalking behavior, voyeurism, male masturbation, sorta subby shiggy if you squint, reader is pretty gender neutral, no pronouns used, 18+ MINORS DNI

Summary: You’re a part time transporter for the LoV and Shigaraki just can’t seem to get you out of his head. So much so that he follows you home and jerks it to you changing in front of your window.  

Note: first time writing for shig and this sat in my drafts forever, I’m thinking of a part two If there is any interest. 

Part 2

AO3 Mirror

He didn’t understand you. 

Though, to be fair, he didn’t really understand anyone—he never needed to. 

As long as the League did what he told them to do when he told them to do it,  that was always enough. Ultimately, people were nothing more than overly complicated pits of questionable motivations, each arbitrarily categorized as good or evil and judged accordingly. Whether or not he understood those motivations was immaterial. 

It was enough to have them simply obey. 

And he’d never bothered with wondering why they followed him. 

But that wasn’t exactly true anymore, because Tomura Shigaraki did wonder now—wondered often, and somewhat obsessively, about you. 

He was doing it now, even. Eyes creeping their way across the dingy floorboards to where you stood by the bar’s entrance. You looked very out of place there, and your voice was almost too loud as it broke the almost constant silence. 

It wasn’t that you stood out, though—really it wasn’t. To anyone else, you probably didn’t at all. In fact, the only reason he became even tangentially aware of you at all was because you came to him for payments. You were just a transporter, showing up every now and then to drop off or pick up a new order and rushing out again. 

‘Reliable’ is the word Kurogiri used. That’s why he recommended you, and he was right. 

You did your job quietly, without error. 

All this was just to say that from the outside you were frustratingly unremarkable—a blip, a smudge on the page of his life’s work in the making. 

And yet. 

And yet you were so impossible to ignore, standing out immediately every time you walked in a room. 

You were nothing special, nothing he hadn’t seen before. Though, now that he thought about it—neck tingling the second he felt your eyes on him—maybe it wasn’t so much that your presence itself was incongruent. No, objectively speaking, you did fit in perfectly amongst the shitty furniture and refuse. But it was specifically the way you carried yourself around him which seemed so blatantly unusual. 

“Everything’s unpacked and accounted for,” you called to him, sauntering over to his seat along the bar. 

You had a particular walk—It was something he noticed early on. Like you always knew exactly where you were going. 

“Good,” he nodded and tossed an envelope of cash your way. 

He never knew what to say to you, so he tried to say as little as possible. Though there were plenty of things he wanted to say. Questions and phrases occurred to him nightly, clamoring at the seal of his lips to escape, to be spoken into reality. 

“Same time next week?” you asked, obvious to the rampage of thoughts in his head. 

You always looked him in the eye when you spoke, no one ever did that. 

“Yeah.” 

The upward quirking of your lips when you spoke made his palms sweat, “See you then. Pleasure doing business with you, as always.” 

Your hand was the last thing to disappear from around the door frame and into the street. As your figure faded away into the crowd, the air seemed to grow heavier. The soft clinking of glasses as Kurogiri tidied up, the oppressive scent of bodies and liquor and smoke all wafted back in. 

Now he’d wait another week to say all of two words to you and pretend it wasn’t the only thing he’d truly looked forward to in years. 

***

So no, Tomura Shigaraki didn’t understand you, but he was beginning to wish that he did. 

Which was concerning in it’s own right. He was not accustomed to whatever the pit that developed in his stomach when you came around was called and for good reason. Things like that got in the way of progress. He knew that much at least. And he tried, so very hard to disregard it, but you kept coming back every week and he— 

He couldn’t. 

It was just because you were attractive. That was what he tried to tell himself. It was because you were attractive and you wore those tight uniforms sometimes and Dabi was...Dabi, so he always pointed it out. It was because you were attractive and he was only human, as much as the rest of the world tried to deny it. That was the only reason you ever crossed his mind. He could accept that. It was a physical response, nothing he could help. 

You were nice to look at, and he appreciated your willingness to do your job and keep your mouth shut otherwise. 

In the beginning, it was easy to convince himself of this. 

Easy to live with just the stolen glimpses of you rushing in and out the door. But as those short few seconds grew and your employment with the League became increasingly stable, just the sight of you weaving through the tables or negotiating with Kurogiri at the bar wasn’t nearly enough to keep him satisfied. 

Then you started staying for drinks some nights, maybe every other week or so, which certainly didn’t help the situation. 

The others liked you enough. Despite the effect you seemed to have on him, to everyone else you were unassuming in a way Tomura was beginning to think must be purposeful. Shallow, yet personable enough to be appealing to just about anyone. He was sure the rest of the team would never notice it, but he had such a hard time doing anything other than drinking in every word that fell from your lips that it was hard not to see the way you casually dodged every question thrown your way. 

In any case, it made you easy to get along with, and so when you did decide to hang back after runs, the bar was always a bit lighter and filled with the scent of drugstore shampoo instead of blood and grime. Tomura himself never actively participated in ‘team bonding activities,’ but he remained in the periphery. 

Listening. Looking.

 At you. 

Tonight was one of those nights, and it was following the same formulaic structure as usual. Kurogiri made everyone a drink, Toga laughed too loud at a terrible joke, and after a few shots Dabi made a thinly veiled pass at you. 

Tomura was starting to think that he did it specifically to get to him, and it was annoyingly effective. His chest grew tight as he watched a scarred and stapled hand slide it’s way into your lap. Tomura’s own nails dug painfully into the scabs of his neck while Dabi’s bit at the flesh of your thigh. 

But the surge of anger, of jealousy, didn’t mean anything. Not really. 

Dabi always pissed him off, so he tried to blame the visceral reaction on the fact that the burnt piece of beef jerky masquerading as human was a bit of a bastard. And since everything Dabi did pissed him off, it also made sense that this did too. 

This had absolutely nothing to do with you particularly he thought to himself, even as the burning in his throat lessened when you pulled away and stood to get another drink. 

It made a frustrating amount of sense for you to fuck Dabi, though. He was outspoken in a way Tomura could never match, with a more traditionally dominant manner that attracted partners like moths to his flame. 

He thought maybe you would at first.

Fuck Dabi, that is. You struck him initially as one of those quiet types who saw softness where there was none and clung to it. Gravitated towards broken people in a desperate attempt to fix them, as if that could bring some meaning to your useless existence. Of course, he’d probably made an equally poor first impression as well. 

Regardless, he was fairly certain you never did fuck Dabi. 

Mostly because he would have assuredly rubbed it in Tomura’s face and because sometimes—like right now—he’d push past the churning in his gut to look up as Dabi not-so-casually propositioned you into his bed. And when he did, he caught the way you hid a secret grin behind your hand, ducking your head down with the most incredulous look plastered on your face for just a second. Like you knew that charred asshole didn’t have a fucking clue. 

Though he really couldn’t be sure if that was anything more than a trick of the light. 

“Care to join?” 

Your voice ran through him like a thousand volt shock as he looked up from the table to see you standing just behind him. 

“What?” he asked incredulously. 

He didn’t seen you coming, too busy glaring at your empty seat to notice the signature sound of your footsteps drawing near.

“Do you want to come drink with us?” you said again and nodded towards the empty glass in his hand. 

This wasn’t part of the routine. You hadn’t ever approached him before outside of the necessary work related conversations. Predictably, Tomura fumbled just a bit. 

Yes. “No, I’m done here.” 

The way you kept moving your head to keep eye contact with him was nearing oppressive. He just barely caught the slight frown as you backed away for him to brush past you towards the stairs. 

“Suit yourself,” you shouted after him. 

He didn’t bother answering, just slammed his bedroom door and sat at the edge of the mattress with his head in his hands and his dick raging hard in his pants. 

***

Even from two floors away Tomura heard you getting ready to leave. He could easily picture it, and was currently despite his attempts to think of quite literally anything else. The way you’d slide your empty glass across the bar top and just fade like a shadow into the night air. 

He could hear the rest of the League beginning the crawl up to their respective rooms one by one. And it was the persistent thought of you sliding back into your coat that convinced Tomura to finally let his mind slip. 

All the failed attempts at concocting business strategy, budgets or what he would need you to deliver next fell away, leaving only thoughts of the way your lips fit around the rim of a glass. How the moisture beaded just on the plushest part and your tongue flicked out to wipe it away. 

Then his hand was slipping too, teasing under the waistband of his pants and stroking his still aching cock. 

He’d never had his dick sucked but he imagined—in the dark of his room, listening to you offer your goodbyes through the floorboards—that you’d be good at it. Thought you might nip at his thighs and take his whole length into the wet heat of your mouth in one go. You’d roll your pretty tongue over the head of his cock until he couldn’t take the teasing doses of pleasure. He’d buck his hips up, milking himself with your throat and you’d happily let him. 

Tomura pumped his length, fucking his hand in earnest now. Curiously he made a small ‘o’ with his thumb and index finger, trying to replicate what the seal of your lips might feel like. He closed his eyes and attempted to conjure a good accompanying image: you, on your knees, head bobbing on his cock. And, god that was so good. He even muttered the words under his breath, but it wasn’t quite enough. 

The image quickly shifted as he chased his climax. Maybe you’d want to press your fingers past the tight ring of his ass too till he was a shaking mess, cumming all over your face and chest. He did it himself sometimes, rocking back on his hand when he was really desperate to achieve a knee-weakening high. 

That almost did it, his hand sloppy with drool and precum all while you were just downstairs. 

These moments were the most delicious. When he stopped trying to deny himself of the fantasy—what was always buried in the back of his head when you came around. 

That you might touch him. That you might tell him how good he feels. That you might like it. 

But then the loud click of the door swinging shut on the main floor rang through the halls. And at the thought of you, gone once again, all the images were soured. Instead, the pressing reality wormed it’s way back in. Reminding him that he would only wake up in the morning—as he had so often done—crusted in cum and sweat and wondering if you were the type to stay the night or if you’d disappear from his bed just the way you did from the bar every time the others got a bit too close. 

And the more he allowed that thought to creep it’s way into his head, ripping away his climax, another compulsion grew. He could feel himself cresting a hill as you slipped right through his fingers—taking a nosedive straight into a disaster that smiled up at him with your pretty, pretty lips.  

***

It was just good business practice. 

That’s what Tomura repeated in his head, hoping from streetlight to streetlight just a block or so behind you. But nothing he did was ever strictly good, and the only thing even slightly business related about following you home tonight was that you happened to sort of work for him. 

Damn, you moved fast.

Tomura guessed that shouldn’t come as a shock considering your job depended on it, but it was a struggle not to lose sight of you. He ducked into doorways or alleys when you stopped to cross the street. Your form flitted quickly between the patches of neon-lit sidewalk, passing 24-hour convenience stores and clubs whose thick bass beats reverberated in the cool night air. 

He hung back when you finally began ascending the stairs of what seemed to be an apartment complex at the far side of a dead end. It looked shitty, but in a sort of charming way—vines growing haphazardly up the iron railings and paint chipping so the walls looked like an oil canvas from far away. Tomura watched you take the stairs two at a time until you disappeared into the depths of the building. 

In the stillness that followed, he began to question the point of all this. 

The decision to follow you was not well thought out.

After whipping the mess of spit and cum from his hands, Tomura had snuck out into the hall. Really, he’d only meant to listen, maybe catch an extra glimpse of you before the night ended. But then, through the halfhearted bantering and inane pissing contests, he caught you drifting towards the door. And as he watched you slip, really watched and felt the distance growing between you, something struck him. 

Maybe it was the way that sliver of light pollution from the doorway illuminated the dips and hollows of your profile. Or the sparkle of your coat buttons amongst the smoke from Dabi’s cigarettes. But more likely, it was the way you paused—one foot already in the street—and glanced at him for just a split second. Immediately catching his face hidden between the railings as though you could sense his gaze on you. Like you felt the same shiver down your spine. 

When your eyes roamed over him, they left tremors in their wake. 

It was pathetic. It was sad and disgusting—a part of him knew that—but just that one simple look, that small acknowledgement of his existence had him raging hard in his pants once again. 

Tomura moved without thinking, moved by the shameful compulsion to grab any scrap of attention you’d throw his way and cling to it. 

And now he was here, standing outside your apartment like the creep he knew he was, to do what exactly? What had he hoped to accomplish? He just...he wanted, needed to feel it again. So long he’d subsisted on incredibly complex daydreams and nightly fictional scenarios in which you kissed him and didn’t spit in revulsion at the feel of your lips on his. 

And when you looked at him, half caked in shadow and lit up with haze, he was overcome with a desperate, mortifying need to know for sure that all those dreams weren’t unfounded. 

Tomura Shigaraki wanted you so badly it hurt, like his ribs were cracking under the pressure of it. 

You gave him a crumb with that glance, but he was never known for his patience. No, he was greedy and selfish and he needed more. 

And for once, the powers that be seemed to have taken his side. Just a few minutes after you were swallowed up into the mass of concrete, a light flicked on in one of the upper windows. Through the drawn back curtains, Tomura was absolutely blessed by the sight of you—hands tugging the top from your shoulders and baring swathes of your naked skin for him to wonder at. 

If just a look could get him hard, then this might just kill him on the spot. 

You really shouldn’t be changing in the open like that. Anyone could be watching. 

But with a show this good, well it would be insulting not to take full advantage wouldn’t it? Of course. You’d want him to. How could he waste such a perfect opportunity to jerk himself off to the thought of fucking your perfect chest while he could actually see it. And oh, oh god your nipples were definitely hard and just begging to be sucked on. He could almost taste you in his mouth, feel how silky the buds would be against his tongue. 

Fuck. 

You were going to ruin him. 

Looking around, the street seemed to be deserted, no other buildings lit either. It wasn’t so much that he cared if anyone saw, but letting his guard down so out in the open was never very appealing. Though the visage of you, stripped and illuminated for him alone, was enough to over power any amount of trepidation. 

Tomura’s hand dipped back into his jeans, wrapping around his cock and stroking as best he could in the confined space. Precum streamed from the tip as he teased it with his thumb while you started to shimmy out of your pants. He whimpered at the glimpse of your ass on full display. 

His mind raced. 

You were both exactly and nothing at all what he expected. Which was more to say that the you that existed in his head was an amalgamation of all his favorite porn vids mashed into one, but this—this was nothing like he’d ever seen hastily sifting through tabs on his PC. 

There were marks and dips and curves and angles that he hadn’t thought of before. Hadn’t ever really seen without the separation of clothing and it was delicious and not nearly enough. God, his cock throbbed, gushing at the thought of your thighs around his waist, or head, or hiked over his shoulders. He could give you what you needed, he had no evidence of this but he just knew it. 

You stretched, and he could nearly hear the joints popping. Out in the open, exposed and so close to being caught, all of Tomura’s sense were heightened.  

God what he’d give to see your face, watching, knowing how hard he was for you. He could picture it now: the twinge of shock, the barely disguised pang of want. Maybe you’d be disgusted with him, but really this was all your fault. This is what you did to him. 

The wrongness of it all only made that much more enticing.

Tomura set a steady pace, pumping his hand along the length of his cock, so hard and dripping with every swipe of his thumb over the tip. You were shifting in and out of his view now, rummaging around what he assumed was your bedroom. It was physically painful every time you disappeared, a whine bubbling up in the back of his throat at the loss. 

His length pulsed against his palm and his toes curled inside his sneakers. 

Small, ragged gasps leaked through the cracks in his lips and condensed in the air. In the dim streetlight, the little clouds of condensation shifted and sparkled like sweat on taut skin. He envisioned drool dripping down onto your back as he pounded into you. His free hand dug into the meat of his thigh, pretending as though it was your flesh he was leaving fingerprint bruises on instead. 

Trying to convince himself this was anything other than what it was. 

Tomura’s hand moved faster, knuckles scraping the zipper of his jeans and spilling slow, thin streams of crimson onto his aching dick. It stung and stoked the coiling low in his gut. Fuck, his teeth ground down biting into phantom flesh. What he wouldn’t give to mouth at that perfect curve in your neck, run his tongue up the pulsing vein and hear whatever lovely noises spilled from your lips. 

He was so close to spilling over, but he just a bit more. He’d come this far already, why not dive just a little deeper off the edge?

It wasn’t entirely conscious, the quick steps he took across the street and up the stairs you’d taken. Tomura’s body was functioning on base instincts, carrying him mindlessly closer to the object of his desire. It wasn’t hard to find the right room. It wasn’t a large building, only a few units, and he swore he could smell the familiar scent of your soap wafting out from under the door. 

God he really was a pathetic fucking dog, sniffing you out while his dick was aching to rut into his own hand. 

But as he stood outside, debating whether to dust the whole wall separating your sweet, naked form from him or to pick the lock and slip inside, the knob turned on it’s own. Before he could even think of rushing back to the street, you were standing before him, eyes alight in a way he’d never seen before—wide and blazing and hungry. 

[peach-astrology]

Neptune in the houses.

Neptune in the first house:

1)Charisma even with the wrong facial features,which blooms especially brightly in the photo.This is the position of the planet had Marilyn Monroe.

2)Falling in love with an unattainable object – a movie actor,a singer,an inaccessible beauty,for example,the one in the mirror:)

3)They have a certain taste that they design on clothing and the interior of the house.I often meet such people with blue or green eyes.

4)They are very friendly and compassionate.They can be the people to talk to and cry to.

5)With bad aspects,a person may have mental illness.

Neptune in the second house:

1)They are prone to reckless spending,they can spend their entire salary on a certain thing that they literally "fell in love"with.

2)With a strong position of the planet and the absence of negative aspects,the native can really achieve success and earn good money in art,chemistry and medicine.

3)Big money can come to them in an unusual or unexpected way.And also mysteriously disappear...

4)When Neptune is affected,people can feel a lot of guilt,even where they were not at fault.

5)I really recommend keeping a money-book.This way your money will be under your guidance.There is no other way to work out this position of the planet.

Neptune in the third house:

1)It is most convenient for such people to learn through pictures and examples from life.They may not count well in their minds,for example.(But you still need to look at Mercury)

2)They can be good writers,bloggers,or singers.

3)Because of problems in the parent family,such a person often lives with one of the relatives.

4)When the planet is hit,a person can be absent-minded,do poorly in school,be very shy and have bad relationships with siblings.

5)With a strong Neptune,a person can be a good teacher(he feels other people when talking)

Neptune in the fourth house:

1)A person has problems with one of the parents who may have liked alcohol or illegal substances.Or he died early.Often,such people may still have a parent who is ill with something,who needed a lot of care.

2)Their parents may have been of different nationalities.Their house often had guests.

3)With bad aspects,a person could run away from home or leave it at an early age.

4)They relax through privacy.During this time,you can draw,meditate,or watch a movie.

5)This position of Neptune is good for social workers who are able to realize their talents for the common good,preferably within a large organization that will give them a lot of clients,colleagues and suitable motivation for their work.

Neptune in the fifth house:

1)Low self-esteem or,conversely,skillful psychological manipulation of others.

2)If the position of the planet is not worked out,a person can turn his head from the beloved.He can idealize his image,add too much romance.

3)By nature,human is a very gentle,kind and merciful person.He has charisma and sex appeal.

4)They could be very troubled children.

5)Pregnant women with this situation should be VERY careful to monitor their health.

Neptune in the sixth house:

1)They may have unusual allergies or just a large number.

2)Their health can directly depend on the cleanliness of the house and their food.

3)They should not rely on others.Not everyone works honestly and correctly.Also PLEASE respect yourself and don't help everyone.

4)The best solution for a native is to work from home or to reach the level of a manager yourself,when you don't have to spend time on routine duties.And in order to build a successful business relationship,it is important to give up the use of alcohol and psychotropic drugs,because such a person gets used to them instantly.

5)With a weak Mars in the natal chart,there is idleness and a desire to frequently change the place of residence.

Neptune in the seventh house:

1)With a harmonious Neptune in the 7th house,the native radiates the energy of love and subconsciously waits for acceptance and sympathy when getting married,moving to a new job and entering a University.

2)When the planet is affected,idealistic expectations turn into broken dreams:it is difficult to join the team,do not accept it as it is,you have to sacrifice your interests.

3)Their partner may suffer from some kind of mental disorder and the person will help to cure it.

4)Such people need to learn to read their feelings and be able to make final decisions.

5)When choosing a job,a person should carefully study the personality of the manager,so as not to experience emotional abuse.

Neptune in the eighth house:

1)You have a very active imagination and a powerful imagination.You may have an interest in the supernatural,psychic phenomena,or the occult.You may have strange fantasies,vague fears of ghosts and death,so it is best not to engage in such things until you are firmly on your feet in the material world.

2)Prone to seeing strange dreams and nightmares.Often suffers from insomnia,may end up in a dream or under anesthesia.

3)Must keep track of the family's finances,their partner may have spent too much money.

4)Their relatives have occult abilities(maybe a human too).

5)Neptune is the most passive planet and sexually it leads to deep and Platonic love.Sex and bodily pleasures are not in the first place for him,the main thing is emotions and tenderness.

Neptune in the ninth house:

1)The karmic task is not to allow yourself to become a "stranger among your own",forgetting about the roots and national traditions,maintaining a balance between the desire for reform and respect for history.

2)He is actively interested in educational programs and social reforms.He likes to study and shows the ability to learn foreign languages,and strives to help people deprived of their freedom.

3)The defeat of the planet creates a danger of ignoring professional training and determines difficulties in communicating with relatives of a partner.

4)Very often such people are very demanding in love.

5)The advice is to deal with your thoughts and ideas.You can't combine incompatible things.Spend more time meditating and being alone to make important decisions.

Neptune in the tenth house:

1)Their work must be creative for career growth.

2)The weak position of the planet provokes intrigues and intrigues of colleagues and strained relations with the boss,and in a strong position,the sharpened intuition of the native will help to get away with it.

3)If their work is normal,they can modify it.For example,such a teacher can teach in an unusual way,and simply differ from others.

4)In a good position a person can give good advice.

5)Your father was a unique person, different from other people, or unpredictable in dealing with you. Perhaps his views were unstable or he was too headstrong, but in any case, he created his own unique life. You may have been separated from it, either literally or figuratively. By interacting with it, you have learned the need to stand firmly on your own two feet, not depend on anyone, and this imprint has formed one of the basic attitudes to life that you will follow as an adult.

Neptune in the eleventh house: 

1)In love,an incorrigible romantic.

2)When Neptune is stricken,it has unreliable friends.They should choose their environment carefully even at work.

3)Even the owner of Neptune in the 11th house often has low self-esteem,is shy to show their talents,hides in the shadow of others.Having a fine mental organization,it is vital for him to learn to punch his way with his elbows,so as not to be trampled by the crowd.

4)You can read people's feelings,but you can't distinguish between friend and foe.Paradox.

5)You are the friendliest of all houses!

Neptune in the twelfth house:

1)Such people often hide their feelings and attachments.

2)Like the sixth house you need to value yourself and your time and not help everyone.

3)There are a lot of talents not only in creativity,but also in other areas of life.

4)They literally feel the money,intuition saves them from bad deals.

5)They like not to respond to messages for a long time,not because of resentment,but simply because they are resting or sleeping ahaha.

[impalementation]

spike, angel, buffy & romanticism: part 4

part 1: “When you kiss me I want to die”: Angel and the high school seasons

part 2: “Love isn’t brains, children”: Enter Spike as the id

part 3: “Something effulgent”: Season five and the construction of Spike the romantic

* 

“But I can’t fool myself. Or Spike, for some reason.”: Buffy and Spike as a blended self

Before I get into seasons six and seven, it’s worth asking: why would the show do all of this? Why would it spend all of this time developing a supporting villain and joke id character? Why would it give him a romantic arc? I see people say that the writers only gave Spike these storylines because he was popular or they wanted to keep him around, but even that being the case, there was no need to give him the specific arc that they did. It’s more than possible to read meaning into the story that they chose from the array of possible options. 

Here is the thing about the id. It’s not actually something separate from you. It’s not a ravenous monster you can blame your weaknesses on while remaining pure and dignified. The id is part of you. The immediate and enduring appeal of Spike is, I suspect, strongly influenced by the fact that the things the id wants are so very human and sympathetic. His foibles and mistakes are often painfully familiar, even exaggerated through vampirism as they are. In fact, it’s precisely because Spike is allowed to show a full range of reactions to love, because the writing is under less pressure for him to do the “right” or dignified thing, that he can at times be compelling in ways other characters can’t. If Spike just did nasty things, his appeal wouldn’t be much more complicated than the appeal of Angelus, who people tend to like as a villain or storyline rather than as a relatable character. But Spike doesn’t want to dismember nuns or construct elaborate murder tableaux. He wants familiar things like love, identity and meaning, even if the ways he goes about getting them can reflect people’s worst impulses. 

Which brings us to Buffy, and Buffy’s story about growing up. Buffy is Buffy’s show, which means that every writing choice tends to revolve around her arc in one way or another. And this goes for Spike’s storyline even more than most. In the final three seasons of the show, the writing finally engages with how inextricable the id--and all of its impulsive, inarticulate romantic desires--really is from a person’s self. So instead of keeping Spike at a comfortable distance, both Buffy and the writing begin to take him seriously. They begin to invite him in.

Starting in season five, it’s telling how frequently Buffy herself projects on Spike, rather than just the writing setting them up as mirrors. She tells him that he’s the “only one strong enough” to protect her family, and later assigns Dawn specifically to his protection. In “Spiral” she describes him as “the only one besides me that has any chance of protecting Dawn.” This is a very intimate role that she otherwise only assigns to herself (and which is not really based on pure practicality, considering that she’ll later describe Willow as her “big gun”--yet never gives Willow the task of protecting Dawn). She tells him that he cannot love, which is the thing she fears most about herself. Her protests that Spike is a vampire, and thus cannot express or want human things like love, mirror her lamentations that as the Slayer, she cannot have a normal life.

From the Gilliland Gothic double essay:

More than any of her other lovers, Buffy and Spike overlap one another so often that at times their character arcs become nearly indistinguishable. With Angel, Buffy traveled a parallel path in attempting to master self-control. With Riley, her journey ultimately took her in the opposite direction. With Spike, Buffy’s journey is most closely shadowed, in that her interactions with him in many ways can be seen as metaphors for her feelings about herself.

So now Spike is multiple things. On the one hand, he’s the soulless id he’s been since season two. His vampiric behavior represents a morally uninhibited way of reacting to romantic frustrations, among other things. But on the other hand, his vampirism now also marks him as like Buffy, not merely her opposite.* Nor is he only her mirror in the realm of romantic love. The part of him that is a vampire is the part of him that is supernatural (ie, Romantically larger-than-life), that sets him apart from regular people, and dictates how he can and cannot behave. Just like Buffy’s slayerness. His vampirism is what makes him capable of protecting Dawn, while also making him (supposedly, according to Buffy) incapable of human feeling--again, just like Buffy’s slayerness. Instead of Buffy’s Slayer side being aligned with Angelus, who was an unmitigated evil, it becomes aligned with Spike, who is something more complicated. 

*(Though it must be noted that this was a process that began in season four, with the show aligning Spike with the Scoobies by making him a victim of the Initiative. Spike being supernatural suddenly marks him as non-normative, just like the Scoobies, in contrast to the institutional conformity that the Initiative represents. The evolution towards treating the Romantic supernatural as something positive and associated with identity plays a key role in transitioning the show to the more complicated attitudes of the last three seasons.)

This shift in the show’s attitudes towards the id affects how Spike is used. In “Blood Ties” for example, Spike assists Dawn in breaking into the Magic Shop and in “Forever” he helps Dawn resurrect her and Buffy’s mother. In both cases, Spike could be read as embodying impulsive behavior that Buffy is supposed to be better than. Yet both cases specifically involve Spike helping Dawn, who is repeatedly portrayed as Buffy’s human side. As Buffy says in “The Gift”: “[Dawn]’s more than [my sister]. She’s me. The monks made her out of me. [...] Dawn is a part of me. The only part that I--”. In other words, Buffy’s id becomes closely tied to her humanity, even going so far as to become its safeguard. “Blood Ties” ends with Buffy affirming her connection to Dawn, which Spike’s rule-breaking directly enabled, and “Forever” ends with Buffy acknowledging how desperately she wants her mother back too, and becoming closer to Dawn as a result. (Compare to “Lovers Walk”, where Buffy acknowledging her id results in her breaking away from Angel, not drawing closer to anyone). Or in “Intervention”, Spike building the Buffybot directly parallels Buffy’s own anxieties about what she thinks she should be. She thinks she’s losing her ability to love, and that effusive fakery is her only recourse (as she said in “I Was Made to Love You”: “Maybe I could change. [...] I could spend less time slaying, I could laugh at his jokes. I mean men like that right? The joke laughing at?”), a fear that even has some merit, given that her friends cannot tell her and the bot apart. Instead of Buffy and Spike having separate arcs in the episode, Spike learning the difference between real and fake dovetails with Buffy’s own relationship to her realness and fakeness. It turns out that neither of them want a bot version of Buffy. They want real emotion, things like sacrifice and heartfelt gratitude. If even Buffy’s id would let itself be killed for Dawn, then maybe she has nothing to fear from herself. Maybe there is some beauty in the emotional part of her nature that she thinks she must repress.

In other words, part of the writing (and Buffy) fully engaging with romanticism and the id, means engaging with the ways they can be bad and good. There’s this weird thing that happens with Spike as soon as he falls in love with Buffy, where suddenly his actions are more uncomfortable, and to many, off-putting, because their object is Buffy (instead of another vampire like Harmony or Drusilla, who either enjoy the same vampiric things he does, or the audience might be inclined to see as a moral nonentity regardless). His comic id quality becomes somewhat darker and more serious, almost like the way Angel’s early season two darkness becomes more serious after he loses his soul. But at the same time, Spike’s actions are also more intriguing, sympathetic, and even noble...because their object is Buffy. It makes no sense that a soulless vampire should not only fall in love with the Slayer, but genuinely attempt to transform himself into someone worthy of her love. And yet that’s exactly what Buffy inspires him to do. By loving Buffy Spike’s dual nature, and the dual nature of his romanticism, is thrown into relief: it’s something that can be selfish and creepy, yes, but also something that hints at the idea that real romanticism does exist. Something worth feeling romantically about does exist. Thus the writing can at once criticize, say, the way the chivalric mindset conflates love and suffering, while also suggesting that there are kinds of love it’s worth being transformed by. (Meanwhile, Spike’s fumbling bewilderment over how to love Buffy, and what the rules of loving people correctly even are, creates a human middle ground between monstrousness and heroism). By leaning into the way that Buffy and Spike have been used as mirrors for three seasons, and introducing the mythology-bending idea of Spike being in love with Buffy, the writing is able to fully engage with this complicated, contradictory nature of love and romance.

All of which is to say. Spike becomes a potential love interest, and is given a convoluted inner conflict between monstrousness, humanity and heroism, in precisely the season in which Buffy begins to reckon with her own inner conflict between her darker impulses, her human reality, and her supernatural role. It’s no coincidence that season five opens with Dracula, an icon of romantic vampire mythology, tempting Buffy with darkness and promising her insight into her nature. Or that a vampire kidnaps Dawn--again, her human half--in the next episode. Or that the season’s antagonist is a super-strong blonde woman who wants to destroy Dawn instead of protect her. Or that she says goodbye to Riley, the boyfriend who embodied her hopes for a more normative way of being (notice how Riley is progressively destabilized by everything non-normative about Buffy’s life, and provokes those anxieties Buffy expresses in “I Was Made to Love You”). Over and over in season five, Buffy fears that her Slayer half is cold, destructive, and otherwise dangerous. That these Romantic things like gods and vampires have it in for Buffy’s vulnerable humanity. Yet Buffy’s vampire id simultaneously gives lie to these fears by proving itself capable of heroism and genuine human feeling.

In other words, Spike becomes a potential love interest in a season that treats the Romantic--ie the grand and mythical--as something more than just an attractive lie to be disabused of. Rather, the question that season five seems to posit to me, and which will not be fully answered until the end of season seven, is this: once you do clear away the attractive lies, once you accept the hard realities, once you’ve seen the darkest underbellies, what are the things that are left that are truly grand and beautiful? What are the stories that are really worth telling, and the heroes that are really worth having?

And the show asks and answers these questions on both a very personal level, and a more meta, systemic level. On the personal level, Buffy and Spike are forced to confront their illusions not just about the world, but about themselves. They are made to ask themselves what constitutes a heroic role or a demonic weakness, versus basic, unromantic humanity. And on the meta level, the show asks questions about our expectations for how both love stories and chosen hero stories are supposed to go.

part 5: “Everything used to be so clear”: Season six and the agony of the real