#groove creation

[gagliandi]

Melodic Rhythm

Melodic Rhythm: Bringing Your Lyrics to Life(Inspired by Jack Perricone’s Great Songwriting Techniques)Melodic rhythm is a crucial yet often underestimated component of songwriting. It works hand in hand with the lyrics, shaping how words are delivered and influencing the listener’s emotional response.Why Melodic Rhythm MattersEmphasis on Key Words: Holding a note or placing it on a strong beat…

[haha--lorge]

Pst. Consider: Bratty mpreg.

oh beleive me I'm considering it <3

a cocky asshole of a man who's always had such high standards for sexual partners winds up pregnant, and he knows EXACTLY which one of his hookups is to blame. after cornering the poor sap who got too caught up to pull out, and explaining to them that they'll be responsible for the pregnancy they've caused, he starts making demands.

things start out reasonable of course, 24/7 catering, tailor-made maternity wear, a larger bed. simple and easy things, surely they can afford that, if they could afford to keep thrusting carelessly that night. we're lucky he only goes for the rich ones, if nothing else for the sake of the babies.

once the ultrasound reveals he's carrying 8 babies, things really get going. our father-to-be starts holding that number over his lover's head like it's a ransom. the hookup has to be in attendance constantly to tend to not only his growing hunger and body but also to his intensifying libido. no matter where they are, if the preggo wants it he WILL get it. after all, look at all this weight he has to carry around. it's only reasonable for his partner to carry a few dozen clothes, take-out containers, sex toys, and anything else their beloved needs. even if it's never enough and the demands never stop

by the time 9 months have rolled around our enormous preggo is breaking records in so many books, but the most impressive remains his neediness, which his partner continues to fullfill. they even secretly hope their beloved brat goes a bit more overdue

considering it always 😋👌

[pastelpousay]

Ray Ray Ray ive had a Wild idea /pos

so Emperor's New Groove Ray got there by time-travel stuff, yeah? what if Ray was in Yzma's lab trying to figure out how to replicate it (either from a genuine desire to go home, even just for a bit, or just for funsies, idk lol) and Kuzco came down to check in on her. and the experiment goes A Little Bit Wrong.

granted, it does work. they do time travel. they just time-travel into the past. when Kuzco is a baby just learning how to walk. and he gets to see his sister, and his father, and he gets to see how much they love him.

Ray attempts to redo the experiment. and it takes them a little bit further. it takes them to the night Quya disappeared, and they get to see what happened to her.

Ray takes them back to the present this time. and Kuzco orders guards to scour Inti's temple for his sister now that he Knows.

(aka HEY WHAT IF RAY HELPED KUZCO REUNITE WITH HIS LONG-LOST SISTER with a sprinkle of hurt/comfort between Rayco 🥰)

WAIT STOP THATS SUCH A GOOD IDEAAAAA AHHHHH

I feel like that would make Kuzco see Ray as like a sort of blessing or something almost Because I still feel like he has some rather Vague memories of Quya before she had left so he had probably missed her for so so long 😭😭 and Ray finally (yet accidentally) revealing where she was he WAS PROBABLY LIVE OVER THE FUCKING MOON BRO LIKE HE MISSED HIS BIG SISTER AND LIKE NOW HE LOVES RAY EVEN MORE FOR THAT LMAOOO

WAIT I STILL LIKE THE JUNIOR CHIPMUNK IDEA TOO SO LIKE I FEEL LIKE MAYBE A COMBINATION LIKE RAY’S SPELL REVEALS WHERE SHES HIDDEN AND THEN THEY GO AND QUYA IS JUST SITTING THERE WITH KRONK, CHACA AND TIPO WITH LIKE A BUNCH OF OTHER KIDS AND JUST TALKING TO A FUCKING SQUIRREL 💀💀 LIKE IM SORRY THATS SO FUNNY AND LIKE IF THIS WERE CANON THATS LITERALLY SOMETHING WOULD HAPPEN IF THIS WAS A MOVIE 💀😭😭

Also the guards being hella dumbfounded by the scene infront of them when they pull up lmaoooo 😭 (I’d imagine Kuzco would also be there and he’d probably be like “how tf do the people I know keep running into each other-“ BECAUSE LIKE THAT LITERALLY HAPPENED DURING THE ENTIRE LLAMA INCIDENT WITH KRONK AND CHICHA AND THE KIDS💀💀)

BUT YEA THATS A BRILLIANT IDEA FRRR EEEE I LOVE MAKING LORE THIS IS SO SO MUCHH FUNNN YAYYY!!! :D

[nonuggetshere]

Oh I can't wait to refine and finally post the designs for PK's siblings in my AU, it really looks like their mother ran out of ink while making them

[llondonfog]

🥹

[mildkleptomania]

are you ready to see one of the sillier character concepts i've done

are you?

really?

alright, here he is

yes he drinks milk out of a wine glass

no he is not a humanoid cat in there, aside from maybe having slightly more handlike paws

yes he is going to make cat puns on purpose in his villain monologue while he has you strapped to his James Bond death trap table

[sysig]

Hey don’t I know you

Bonus:

[trillytrex13]

https://open.spotify.com/local/Billy+T+Acoustically//ACERTUFY/293?si=0YOdYckDSH6A60in2le8EA&context=spotify%3Aplaylist%3A0SKDq6q5mobT0XlRlX1cX8

[groovysaber]

Lately im starting to focus a little more on my original creations (My ocs like Crimson etc) which is why you're seeing a bit more oc art! Ill still make fandom art too ofcourse but i wanna show people more of what I'VE gotta offer to le planet earf

You can stay up to date with all of my characters over on Toyhouse!: https://toyhou.se/CrimSaberDemon/characters

[murkycran]

I know it could be taken a couple different ways, but I feel like Lucifer calling rebuilding the hotel "a remedial creation for me" is him saying that he's finally healing from what Heaven did to him. Good for him; bro got to not only beat up one of the biggest representations of what's wrong with Heaven (Adam) but also is getting his motivation and creative groove back.

(Pssst if you liked this analysis, you should go check out the second part!)

[theweirdsenpai]

I wish I had more time to draw, I wanna learn!! I wanna grow as an artist!!! I wanna create with my bare hands!!!

[gagliandi]

Melodic Rhythm

Melodic Rhythm: Bringing Your Lyrics to Life(Inspired by Jack Perricone’s Great Songwriting Techniques)Melodic rhythm is a crucial yet often underestimated component of songwriting. It works hand in hand with the lyrics, shaping how words are delivered and influencing the listener’s emotional response.Why Melodic Rhythm MattersEmphasis on Key Words: Holding a note or placing it on a strong beat…

[riddlerosehearts]

thinking about how people who watch the emperor's new groove and somehow come out of it shipping pacha and kuzco, or thinking yzma only became evil when kuzco fired her and that she would've been a better ruler than him, are both so wrong in so many different ways and are also missing one of the things that i absolutely love about the movie. which is that, the way i see it, pacha and yzma are counterparts. as parental figures to kuzco.

like, just to get this out of the way first, yzma was a dismissive asshole to a peasant whose family was starving. and yeah, if kuzco had been in her place he definitely would've also done that, which... is why she would not be a better ruler than him. she'd just be the same because they're both horrible people in the exact same ways. her reaction to being fired is to plot murder, and as soon as his funeral is over she sets everyone to work on replacing paintings of kuzco with paintings of herself and covering the palace with imagery that makes it clear that it's all about her now. i'm not even sure why this is a discussion tbh.

and also, kuzco is literally a teenager. he's barely 18 years old. source: in the movie, yzma says at his funeral that kuzco was "taken from us so tragically on the very eve of his eighteenth birthday." she also claims in the movie to have "practically raised" him, to which kronk replies "yeah, you'd think he would've turned out better". and sure, she could be exaggerating, but what evidence do we have that she is? we learn absolutely nothing of his parents, who are never mentioned even once in the movie, or of anyone else who could've raised him, and she's his advisor who for some reason sees no problem with attending to royal duties in his place. most likely because she's his regent. also, i'm not exactly a fan of the sequel tv series "the emperor's new school" but it does have something that backs up my point: kuzco is revealed to be an orphan and just before his father went and got lost at sea, he asked yzma (who was also his advisor) to take care of kuzco if anything happened to him. so, yeah, the writers who worked on the series clearly thought that yzma genuinely did raise kuzco, and nothing in the movie contradicts this.

and i find the idea of her being his only parental figure for pretty much his whole childhood incredibly interesting because, and this also goes back into why she wouldn't be a better ruler than him--she mirrors him as a reflection of what would've become of him if he'd never met pacha. they're both incredibly arrogant, power-hungry, selfish, and cruel, with a tendency to blame their problems on everyone but themselves. yzma was even originally going to have her own reprise of kuzco's theme song "perfect world", which i really wish had been kept:

[ID: Lyrics that read:

I'Il be the sovereign queen of the nation And the chicest chick in creation I'm the cat with all the cream and ooh-la-la This deadly concentration Will put an end to my frustration Now this perfect world begins and ends with moi

What's my name? Yzma, Yzma, Yzma Yzma (what's my name?) Yzma, Yzma (What'd you say?) Yzma (Ha ha ha ha ha ha ha ha ha!) Yzma. End ID]

(this song can be fully heard in "the sweatbox", the documentary about the making of the movie, and is also on youtube btw)

anyway, i'm sure yzma would not exactly have been the most nurturing or hands-on guardian, especially given that she and kuzco don't exactly treat each other like family. but it makes a lot of sense to think that her behavior influened kuzco's throughout the years. and for the entire movie, she remains determined to kill him. when he tries to reason with her and admits that he should've been nicer, she says the same thing to him that he originally said when he fired her. she never grows or changes and in the end, she hurts the one person who was willing to stand by her (and even then, kronk had never fully been on board with her plan) and he ends up trying to crush her with a chandelier. kuzco on the other hand is able to realize the error of his ways, come to regret who he was in the past, and start taking steps toward being a better person. his theme song gets a reprise where it's changed from a song about one person being the center of the world to a Power Of Friendship song. why? because, as i've already mentioned, he has pacha.

pacha, who similarly to both yzma and kuzco is in a position of authority as the leader of the village but unlike either of them is gentle and humble. who isn't afraid to stand up to kuzco and be honest with him even though he's the emperor, who agrees to take him back to the palace but has no obligation to be so helpful, kind, and caring toward him--and just about every reason not to be--and still chooses to be anyway. pacha who is 45 years old (also stated in the sweatbox documentary) and can see that kuzco is practically still a kid, not a single day over 18, who has time to grow and change. pacha, who already has a wife and two kids with another on the way, but practically treats kuzco like one of his own. who acknowledges that if kuzco dies all his problems will be gone and then still worries about him and goes out of his way to rescue him after he wanders into the jungle. who sees kuzco shivering at night and covers him with his poncho, who carries him when he's genuinely too weak to keep walking, who refuses to give up on him even after repeatedly being betrayed by him because he believes there's good in everyone.

also, while yzma ends up repeating kuzco's harsh words of dismissal as she tells him of her plans to kill him, kuzco had previously repeated pacha's words that "nobody's that heartless" after he saved pacha's life. and as the movie progresses kuzco and pacha's relationship becomes more and more equal and is constantly contrasted by moments of yzma being cruel and unappreciative of kronk's kindness. a good example of this is how kronk is constantly being forced to carry yzma everywhere on his back while yzma literally walks all over him and steps on his hands when she gets down, whereas when pacha briefly carries kuzco after the latter collapses he tells him he'll have to walk the rest of the way later and kuzco doesn't even protest.

idk if i'm even explaining well what i'm trying to say here. but basically, if yzma actually raised kuzco and contributed to his current behavior, then she and pacha both are figures who guided him and helped him grow. only yzma helped him become the tyrant that he was at the start of the movie, who was selfish and callous and saw everyone else as beneath him. whereas pacha helped him see the value in being selfless and considerate of others. and in the end, yzma is stuck as a cat and nobody is concerned about her. kronk has found a new job that makes him genuinely happy, while kuzco has decided to build a hut on the hill next to pacha's and effectively joined his family. in the sweatbox documentary it's even mentioned that chicha and the kids were at risk of being removed from the film, but it was decided that they needed to be there because having just pacha as a single guy who lived alone wasn't interesting enough--kuzco needed to go from having basically an empty world where he had nobody to being able to come together with pacha's whole family. and i just think that's incredibly satisfying and beautiful. it also leads up to one of the few things i really do enjoy about the emperor's new school, which is the fact that during the show kuzco moves in with pacha and chicha and pretty explicitly thinks of them as basically his parents while he's like a son to them.

idk. i feel like my mind went in a million different directions while i was writing all this. but i guess i just think that for all of the praise the emperor's new groove gets for its comedy and for how hilarious yzma and kronk in particular are as a duo, the movie also has a lot of genuine heart that gets overlooked. kuzco's character growth and his unique dynamic with pacha is, for me, really what elevates the movie from just a funny movie that i like to one of my favorite disney movies. and i wish more people appreciated that aspect of it and saw it as a found family story in the same way that treasure planet, brother bear, and lilo and stitch are all found family stories.

[mewtwoandme]

I uh.....I may have done a thing yesterday...

So I wanted to doodle something to get back into the groove of things. One thing led to another and I ended up making a new oc...but um, I kinda got attached to him...

This is Legion. He's my smug bastard son, and I love him XD.

He is a type of shadow mewtwo. He wasn't impaled by the shadow synergy stones but his body was infused with synergy energy during his creation, and he has become one with it, causing the crystals to spread and protrude from his body. He remains conscious and compos mentis, having a very charismatic and mischievous personality, despite being the future antagonist. Yup, I decided he will be canon in the distant future events. He's somewhat of a...bounty hunter :>

[theredofoctober]

MANNA- CHAPTER TWENTY-FOUR: GATEAU

Dark!Hannibal Lecter x Reader x Dark!Will Graham AU fic

TW for eating disorders, noncon/rape, abuse, past child abuse, Daddy kink, cannibalism mentions, death mentions (including of a young people), Stockholm Syndrome

Read after the cut

---

As the night goes on, made odd by the truths held above your head, Hannibal sends you into the kitchen for the wine Will has forgotten there as though you are his little maid to be so imperiously commanded. Grumbling under your breath you slope into that other room, thinking to spit down the neck of the bottle to lend it the flavour of your displeasure.

Your gaze falls first upon a vast chocolate gateau resting on the sideboard, its rich aroma stirring awake your appetite, the pangs of which you now rarely know.

At this you feel an acute disgust at your body’s failing. No doubt some human matter has found its way into this creation, likely by blood to bring salt to its flavour, but even if by a rare chance it hasn’t you cannot stand that you desire it after all the years you’ve abstained from dessert.

Still, even as you scorn yourself you reach with one finger across to the cake and scoop from it a curl of icing, shuddering as it glazes the roof of your tongue with its silken sin.

Guilt rides over you at once: the totting up of numbers, the phantasmic sense of weight already building on your bones. In a panic you smooth over the gap in the cake left from your burrowing finger with a nearby clod of icing, hoping it won’t be noticed when Hannibal comes to cut a slice for supper.

The kitchen door opens behind you, making you jump and wipe your guilty hands together as Will appears in the frame.

“You were taking a while,” he says. “Thought I’d check on you.”

“What do you care?” you reply with a haughty toss of your head. “You’re barely here anymore. Don’t pretend to give a damn now you’re back.”

Will shuts the door behind him and leans against it, his arms folded.

“I thought you wanted me to put my full efforts into this case.”

“Yeah, but that doesn’t mean you should just abandon me.”

With an unpleasant laugh Will says, “I’m sure you and Hannibal get along just fine on your own.”

You think cynically of your elder captor assaulting you against his front door, biting at your flesh. A lean coyote in a gentleman’s clothes.

“You don’t like the idea of him fucking me when you’re not there, do you?” you ask, and Will shrugs, refusing you an honest reaction.

“I’m just aware of what I’m missing, that’s all.”

It occurs to you to question how often he thinks of rutting you in those elongated hours apart, or if it is only Hannibal that inhabits his mind in ire and yearning alike. Will may not have forgiven him the harm he’s done, but he certainly cares for him still.

Perhaps it is the homosexual angle of the romance that prevents him from viewing it as such; if only women have otherwise enchanted him what sense can he make of this new lust?

“Well,” you say, “if you want we can swap places. You stay home with Hannibal and I’ll play detective with the FBI.”

“Funny,” says Will. “I like our arrangement the way it is.”

You look at him doubtfully.

“So you’ve really never considered it? You and him together, the way I am with him?”

“I consider you and me together,” says Will, and he steps towards you, driving you against the kitchen island until its edge impresses a horizontal groove into your back. “How I’m starting to forget what you taste like.”

Your breath jars in your throat, and you’re ashamed by the airless, claustrophobic sensation of desire that his words elicit.

“What would Uncle Jack think hearing you talk like that?” you ask.

Will smirks.

“Not everything I do is for Jack’s approval.”

He loops an arm around your waist, his palm grazing your skin through the smoke of your dress.

“Maybe you should be thinking about him,” you say, wriggling against the hammerhead of Will’s forceful want. “I don’t think he’d put you and dear, dear Daddy onto the Lover case if he knew that you were raping me.”

“Are we?” asks Will, and there is laughter of such an easy cruelty in his eyes that you wonder how you ever thought him good.

“Yes,” you say. “You are raping me, even though you love me. Maybe even because you do.”

Your voice is frail with emotion, no longer teasing. Will touches your cheek, and even that light touch is something evil, knowing of your weakness for him.

“I never thought I’d hear you say that,” he says. “Not about me.”

You shake him with both hands, unhinged with a sudden desperation.

“It’s messed up, but I’m right, aren’t? You love me. Say it. Just say it. I need to hear it.”

With an abrupt motion Will hoists you up onto the kitchen counter, your unmoored limbs flailing around him.

“How about I show you?” he says, and reaching up under the gauzy skirt he pulls your underwear down to your ankles.

How often he disappoints you, refusing to free you, refusing you the words you beg of him.

Will kisses you from your hardened mouth down your clothed body to your unclothed cunt, and his lips are like a roaming spark beneath which you flinch in revulsion and response.

Your hands weave through the thick of his hair, and you kick at his shoulders briefly before the motion of his tongue makes you still.

The sight of Will glancing up at you between your thighs, the stirring of his mouth against the bead on which he strings you out—

You moan, yet through you, as always, is the disgust of having your flesh expressed of its need like juice from a persimmon, that he to whom you’ve grown close engages in this incest, and has you indulge in it, as well.

No longer can you envision an existence with him where that element were not part of it, nor one absent of his envy.

Even as Will devours you it is Hannibal whose taste he seeks, hunting the remnant he’d left in you that morning against the shower wall, hoping there is some trace not rinsed down the drain.

Against Will’s claims you know there is some sleeping shred of him that thinks of the hand, the mouth, the carefully trained form under the designer suits, and resents that you—his subordinate, and unwilling at that—have experienced all in place of him.

You muse upon how it will be if ever Will gives in to the cravings of man, envision him shunting you off into some corner to observe as they make violent love like the dispute of brother gods.

This, in conjunction with the roll of Will’s fingers and tongue-tip upon you, conducts a new music of pleasure, and afterwards an anger that he has transformed you so utterly as to be this easily aroused.

Scuttling your hand across the kitchen island you feel for the wine bottle, toying with the notion of striking Will over the head with it, and wonder if you’ve gone as bad as him to feel joy at the thought of his red brains and the red wine of his warm blood across you.

You’d never do it, yet the thought comes back and back unbidden. Hannibal has beckoned it in with his talk of killing, the resurrection of the poorly buried dead.

It’s as your fingers wrap around the glass that Will says darkly, “Don’t you dare.”

His face is turned against your thigh, its expression stern, though not entirely serious.

“I wasn’t doing anything” you protest.

“You were thinking it,” says Will. “That’s enough.”

Then his jaws are on you again, and pleasure crushes you flat as though between the earth and a stone.

He loves you, you think, in the midst of it. The only man outside your family that ever has, and he has treated you with greater cruelty even than Leland Frost. Yet you cannot resist affection of any kind, and so as Hannibal rightly guessed it is no longer entirely unrequited.

Self-loathing takes over in your orgasm’s decline, and you push Will away with the soles of your feet, not wanting to sully your hands with him.

“I’m bored now,” you snap. “Take your wine in yourself.”

You thump down onto the kitchen floor, swerving Will as he reaches for you with a testy jerk of your shoulder.

“Little One,” he says, and then he corrects himself with your real name, so rarely heard from him now that you are touched that he thinks of its use.

Still you leave the room, finding yourself on the bitter verge of tears.

*

In sleep you have one of those particular dreams that read more of latent prophecy, a canon yet to give itself birth. In a scrub of forest you crouch over the nude body of a woman, pulling from the open mouth of her gut glittering organs upon which you feast with a scavenger’s appetite.

Will and Hannibal oversee this feast in approving silence, their figures a second darkness in the night.

Why they do not share in that meal you do not know; perhaps they have eaten already of their own kills, observing with full bellies as you follow suit.

It does not strike you in this dream to loathe the thing you do, for to eat is to survive, and so to meet the approval of your masters. With eagerness you crawl up the cool length of the cadaver, ripping up carpets of meat as you go.

Only when you reach the face, upturned to the dish of the moon, that you recoil with a spasm of horror and recognition of it. You know this woman, yet cannot in sleep recall her name, nor conjure the place from which you remember her.

“Did I kill her?” you ask, for this, too, you do not know.

“No,” says Will. “Not with your own hands.”

“Your proximity to her was enough,” says Hannibal. “All those who have been even in passive orbit of you may fall foul of death. We have told you this, Little One.”

You stare into the dead woman’s sunken eyes which appear in their stillness like replicas of glass.

“But if I didn’t kill her, and you didn’t either, then why am I eating her?” you ask.

“I fear you will go mad in losing those you love,” says Hannibal. “So you must consume and accept the dead as part of you, as I have. That way both mind and memory will last, if not intact then transformed as you are by the sating of your hunger.”

“It won’t work,” you say. “I don’t believe that. That’s your religion, not mine.”

“You’ll learn to embrace your madness, then. After all, each of us three would be consigned to an asylum for our habits by those that don’t understand us. But I would always understand you, Little One, no matter what condition your broken mind was reduced to, in the end.”

Then your captor’s hand presses down on the base of your skull until you're forced to lap at the dead woman’s blood.

You awake half hanging off the side of your bed, your body having mimicked the acts of your dreaming self as it has not done since you were young. In those years you’d often jarred yourself awake by attempting to speak aloud or to gesticulate to some ephemeral figure.

That you’ve resumed this abandoned habit disturbs you far more than the content of your dream, and in a panicked rush you start out of your bedroom into the hallway, turning not into Will’s chamber—which tonight is occupied by his sleeping form—but into Hannibal’s.

The door swings open under your frantic touch, and a startled figure sits upright in the shadows, as disbelieving of you having come to him as you are yourself.

“What’s happened?” asks Hannibal. “Are you feeling alright?

“I had another dream,” you say. “I’m scared.”

You find yourself sitting on the end of Hannibal’s bed, the first time you have done so willingly. His face is an amazed blank, unable to translate the meaning of this new and impulsive action.

“Your nightmares are likely a side effect of reducing your medication,” he says, at last. “I should have warned you. I apologise; it’s my mistake.”

With a hoarse laugh you say, “What do you have to be sorry about? Everything that ever goes wrong... you know exactly what to do. You take care of me even if I don’t want you to. You’re always so sure of yourself.”

Hannibal switches on the bedside lamp, his face solemn in the belt of its light.

“That is untrue. I have many flaws and failures; you’ve seen for yourself that I’m not always as in control as I’d like to be.”

The attack with the knife, he means, or his tampering with Will’s mind, both grave mistakes, so few of which have occurred throughout your stay that only they, of all, occur to you. That Hannibal is a killer, a defiler of flesh living and dead does not present itself despite its obvious nature, for even in this he is unerring, cunning and clean.

“I’m going to let you down,” you say. “You think you can fix me, and I know how hard you’re trying, but I’m not okay. It’s going to get worse.”

Hannibal runs your cold fingers between his own until they warm.

“You say this because recent developments are frightening you. Because you assume the good that will come of submitting to mutual love will not last. You would rather propel yourself into a fit of anxiety than permit yourself the slightest happiness.”

You turn him a look of reproach.

“You know why I can’t.”

“Because we are killers.”

“Yes.”

“But you love us still.”

Tugging your hands from Hannibal’s own you say, “If I did I’d be a terrible person.”

“We can’t help who we care for in this life. That you are able to love against the bounds of your morality isn’t evidence of personal failure.”

Yet surely it must be, you think, is in fact a marker of how greatly you’ve given in to him.

You say nothing of this aloud, however, only inch across the bed into Hannibal’s arms, kissing him in the hope of ridding your mouth of the taste of blood from your dream.

“There’s time for this tomorrow,” he says, gently, drawing away; clearly he thinks you’re seeking sex, an invitation you’re amazed to see him decline. “It’s very late, and I have patients to see in the morning. Rest now. You’ll feel better for it.”

You sleep nestled against him, his palm on your belly, which for once you neither mind nor think much of, merely consoled by his presence there with you.

*

The following week you are suspended between shame and self-pity, aware that you have fallen by a missing rung on the ladder of pious restraint into collusion with the men that you’re unsure you can arise from.

Will becomes as present in the household as work and commitment to his dogs will allow, the continued, quiet feud with Hannibal still complicating the evident need to remain at his side.

With you Will is tactile, sensual, smothering you with the weight of his covetous desire.

"You need to talk to him about what happened between you," you say to Hannibal one night, your head in his lap as he draws another portrait of Will as some tragic hero. "He's driving me crazy. I wish you'd just hash it out together or something."

"He's lost trust in me," says Hannibal in a tone of martyred sadness. "That can't be rebuilt inorganically. In time I hope his anger will pass."

It's on the tip of your tongue to suggest that he unburden all of his wrongs in one grand gesture, but thinking the better of it you return to placid silence.

This new method of survival you have taken on, though considered wise even in your early days of imprisonment, is so indistinguishable from genuine attachment that you could not confidently distinguish the two from one another.

Amy would be disgusted with the woman you've become, pining for the approval of predators, one of which has struck up a friendship with her own attacker. It is a dark blessing that through hypnosis she has forgotten this, will read of you in Tattle Crime and frown at the strange pang she feels at the notion of you shared by the named men.

In this way you become your own accuser, sparing no empathy for the difficulty of your plight. As others would judge you so you judge yourself, are brutal in the manner your keepers have sought to discourage.

Rebellion comes in strange forms, as of late.

You while away your days in windows frosted with the turning of autumn into its pale sibling, writing the first coherent entries of the journal you've long been unable to manifest. Your prose is clumsy, your handwriting without any particular art, but in this alone you gain some tangible accomplishment and distraction from your conflict.

Knowing Hannibal surely reads your diary you consider caution, but upon realising there are few secrets left between you both you write honestly and without fear of being bent across his lap.

“WEDNESDAY—

I haven’t been allowed to talk to my parents in so long that I can’t even hear their voices in my head anymore. I guess I’m realising that I’ve been picturing strangers ever since I came here, and I don’t know how I feel about that.

Do I even miss them anymore, or is it other, made up people I just tell myself I miss? Were they ever real to begin with?

They call it solipsism, the theory that nothing actually exists outside your perception. I read that it one of Hannibal’s books— George Berkeley was the name of the philosopher. I hope I spelled his name right.

Since I was little I had this fear that I was the only real person in the universe, that everyone else I ever met just vanished the second they weren’t in front of me. I still feel that way, I guess.

My bad memories are the only proof that I’m not alone, as much as I’m afraid—or sometimes find myself wishing—that I am.

I just remembered a day my parents took me shopping around Christmas one year. We went to this huge shopping center, and it was so busy and noisy that my Mom got really worked up and started snapping at everybody as if it was our fault the whole city picked that day to buy presents too.

I guess I did something wrong— maybe I wandered off, or I said something she didn’t like. But suddenly she yelled so loud everybody around us turned to stare at us except my Dad, who looked away just like he always did. Messed with his glasses. Pretended he saw something interesting in a store window when we all knew he hated shopping and was just dying to get out of there and go home to the TV.

Five minutes later Mom tried to hold my hand like nothing ever happened. Like she forgot what she just did, or didn’t realise that it upset me. Then when I wouldn’t let her take my hand she got mad all over again, and I could tell it hurt her feelings.

I’ve always wondered how she justifies those moments to herself, or if she shoves them down so far that she can just pretend she’s never in the wrong.

If I did imagine my mother, why would I make her that way?

Anyway, I think this whole solipsism thing is why I don’t buy Hannibal’s idea of absorbing life, even if it’s just a symbolic gesture. If I can’t see you then you might as well be dead, so really the thought that something would be left of that person after their heart stops beating makes no sense to me.

Only my dreams are real. Realer than I am. But if they’re repeating what Hannibal keeps telling me then what does that mean?”

"FRIDAY —

“I spat out some of breakfast into a napkin today. Daddy Hannibal took me upstairs and hit me with some kind of leather flogger till I said I was sorry. I wasn’t, though, and he knew it. He told me I’d never get to go to nice places with him if I kept behaving in that way, and that would be the real punishment.

I keep forgetting that’s what he and Daddy Will want at the end of all this. To take me out of the shadows of this house into their light.

Haven’t they thought about how weird it’s going to look to everybody? What will they tell people? That I’m their daughter? Their inappropriately young girlfriend?

They’ll have to take me somewhere nobody knows us and no one really cares. Places we can be different people except to ourselves. But maybe we’ll become the people we pretend to be. I’d like that to be true.”

It’s as you’re finishing this particular entry that you overhear voices in one of the many hallways— Hannibal’s, and that of Jack Crawford, who’s been invited to dinner again. Perceiving a hushed secrecy to their dialogue you return to your talent of eavesdropping and sidle up to the nearest door.

It’s Jack you hear first, partway through some muttered sentence.

“—Heard about the fibre sample Beverly picked up on in Lillian Greyflower’s file.”

“A thread from a hospital gown,” says Hannibal. “Yes. She had Turner Syndrome and was undergoing frequent medical checks to monitor her health.”

“She wasn’t the only one,” says Jack. “Bryce Mulligan was struggling with Kidney Disease, Anaïs Foreau was a premature birth— all the Mask Murder victims had conditions that affected their weight and height in some way. None of them were much over five foot tall.”

So these are the details Will did not wish you to know, cautious of spooking you with the implications of the discovery. Your illness is the reason for the Lover’s interest in you: as many differences as there are between you and his first set of victims this is the one great likeness to have drawn him in.

“The killer’s first muse herself was in poor health,” says Hannibal, “and with stunted development for her age. I suggest you search missing persons records for a white, blonde female under the age of eighteen, last seen accompanying an older male family member; I believe she disappeared around the time the Mask Murders began. Look specifically for girls with growth disorders, genetic, and chronic conditions.”

“We need to narrow down a state,” says Jack. “The murderer is clearly a travelling man.”

Then, clearing his throat, he adds, “Speaking of the Lover, have you—”

Hannibal intercepts the question briskly.

“Not yet. As things are now I couldn’t possibly disturb the peace by announcing such unpleasant news. I will attempt it as soon as I can.”

Lost as to the meaning of this abrupt turn in the conversation you strain your ears, frustrated when the men’s voices lower so far as to become incoherent. Only Will’s footsteps approaching behind you compel you away from the door.

“Stop it,” he says. “You want them to catch you like that?”

Turning around, you stick out an irreverent tongue at him.

“Who says they were going to catch me?”

Will scoffs, scarcely masking his amusement.

“Quit screwing around. Go sit at the table. We’ll be eating soon.”

The dinner you find awkward in the deliberate avoidance of the Lover case, small talk expanded into impossible complexity across the courses. Having seen death in its multiples you are both angered and entertained by the senselessness of your fathers thinking you too delicate to endure what you have learned.

Jack’s hesitation you understand, being that of the three men only he thinks you wholly innocent. Your keepers, however, are purely concerned with avoiding the resulting unseemly outburst, and in this you are reminded that no matter what affections you’ve developed to protect yourself from a prisoner’s despair a prisoner you still are.

Glowering at them both under your lashes you crush a slice of ‘fish’ under your fork, watching it take the shape of the tines. It’s as you’re observing this process that an idea occurs to you, brought on by the visitor in the room. A chance to communicate to Jack that he dines with a cannibal, that he has eaten of the same people for whom his officers seek justice—

Stuffing the morsel of fish into your cheek you say, “I’m full. Can I be excused?”

Jack glances at Hannibal, his brows angled, and you realise that he discerns something overfamiliar in your tone or body language he isn’t sure enough of to interrogate.

“You’re free to leave whenever you like,” says Hannibal. “Enjoy your evening.”

“Thanks for joining us,” says Jack, and you offer him a weak smile before rushing out into the living room where your journal and ball point pen remain.

Tearing a leaf out of the back you write

‘TEST THE MEAT!!! IT’S HUMAN!” in a hasty scrawl and spit the fish you’d kept from dinner into your hand.

Your heart clatters in your chest like a train across some treacherous road as you dart through to the hallway. On a rack hangs Jack Crawford’s overcoat, the pocket of which you intend to deliver your grim parcel to.

This is the answer to the question of your freedom, the sole proof required to unlock the criminal mystery of the Copycat.

Upon reading your note Jack will take this meat to the lab where all forensic discoveries are founded, and in the makings of its DNA will realise what creature he has dined with, and what he has been tricked to eat at his table.

He will get you out of this house, give you back to your parents and end this horror you’ve been bent to fit by moulding hands. Hannibal will be imprisoned or institutionalised, perhaps Will too, if he’s discovered to know more than he suggests of his companion, or if your relations are found out.

There will be no more men and women eaten in the grand house of death, and no more will you be abused and infantilised, or forced to take your fill.

Things will be as they were before your abduction, a known unhappiness which from having lived before you know that you can bear.

Yet even as you reach into Jack’s pocket the negative aspects of this plan suggest themselves to discourage you from this rash and unplanned act.

You think of the Lover’s crimes going unsolved and continuing around you, closing in until you too are taken and locked into a doll. Even if the killer does not dare to capture you in your infamy there are the choking attentions of the press to think of, the humiliating questions as to what you have been made to do as concubine to your insatiable men.

Leland Frost would likely make some comment on it, as thoroughly as you’d attempt to avoid him, his eyes bright with a jilted humour.

“Guess you’re not my girl anymore, cher.”

“Shut up,” you whisper aloud. “I never was.”

The cold grease from the meat soaks the skin of your fingers, and your stomach turns over at the smell of it.

All your doubts have surely been injected by Hannibal’s hypnosis to dissuade you from escape, for even as you dismiss those that have already come to mind more follow, each more unpleasant than the last.

After all, these previous concerns assume the success of your attempt to rally Jack to your side. He has been groomed by Hannibal to think you mad, and a conniving lunatic at that, one poised to invent scandal and atrocities abound if it means you’ll be released from treatment.

Upon discovering the note and meat making filthy his beautiful coat Jack is unlikely to follow the command you’d penned there; rather, with a pitying look, he’ll deliver it to Dr Lecter, bringing down, unwitting, another brutal lesson from your keepers upon you.

But even should Jack believe or humour you and process the sample as is your design there is no likelihood of Hannibal submitting quietly to arrest. He is a killer, and as such will fight every man against him until none stand.

Then he will turn upon you in whatever fashion he decides, and the attempt will be for nothing, one you may not even live to regret.

The risk of failure is not worth the pursuit, you decide, and resign yourself to retreat from the hallway and from the temptation of hopeless escape.

As you turn into another room you collide with Will, who has followed you from the table.

“Sorry,” you mumble, and attempt to sidestep him, your full hand held partially behind your back.

Will takes you by the shoulders, pushing you lightly up against the nearest wall.

“Wait,” he says. “I know you’re up to something. You’d better admit it now before you’re in even more trouble. Don’t bother to lie; there’s no reason for you to be loitering out here unless you were doing something you’re not supposed to.”

When you don’t answer his gaze falls to the fist tightened upon your shame, and the set of his mouth steels.

“You’d better show me what you’re holding,” he says. “Let’s hope Hannibal’s feeling more forgiving than I am.”

[pascalsummers]

Hey, could you please write Marvel men with a bf that likes to knit/crochet?

A/N: Here you go! Sorry this took so long I am trying my best to get back into the groove of things so hopefully I can post more stuff soon. Enjoy!

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You Like to Knit and Crochet (Avengers x Male Reader)

BUCKY

Bucky wouldn't have much of a reaction to it but he would find it to be an interesting hobby to have. While Bucky wouldn't admit it out loud he really likes it when you make sweaters for him. The thought of you taking all that time and effort into making something for someone like him gives him a warm feeling in his chest. Whenever he is relaxing in the tower you can usually find him wearing one of the sweaters you made him. Eventually, you offered to teach Bucky how to knit and crochet. Bucky was actually able to pick it up quickly and while he doesn't do it in his free time he will sometimes join you whenever you are working on something.

STEVE

Steve was impressed by your knitting and crocheting skills especially since it seemed so time-consuming. He would generally accept anything you give him but Steve does tend to like your handmade sweaters and socks the most. He especially likes it when you add little designs to them but he will playfully roll his eyes if you add anything American flag-themed to them. Over time Steve would get curious enough and ask you if you wouldn't mind teaching him something. Steve would have a little bit of a struggle in the beginning but he would eventually get the hang of it. Steve would give you some knitted socks as a present and a thank you for the ones you made him.

THOR

Thor would think it was a nice hobby as some of it would remind him of how some people in Asgard would make their tapestries. One day Thor noticed you had made a crochet bee and was curious if you could make a snake for him. Thor loves it when you present him with another crocheted or knitted animal and he will make sure to show off your creation to the other Avengers. Thor was very honored when you offered to teach him how to knit and crochet. Despite Thor's enthusiasm to learn it was apparent that Thor wasn't that good at it as his creations tended to turn out lopsided and incomplete in places.

TONY

When Tony first heard about your hobby Tony made sure to add senior citizen jokes to his conversations with you. While Tony was appreciative of your gifts to him they didn't really fit his style. Usually, you can find the scarfs and hats you make for him on a couple of his suits in the lab. Despite his seemingly dismissive attitude about them, he does genuinely like them and if you really want to he will wear some of them on occasion. Tony turned down your offer to teach him multiple times but eventually you wore him down enough to give it a try. Tony after some time actually wasn't too bad at it but he would tell you it's not his thing plus it makes him feel old.

LOKI

Loki wouldn't react too much to the discovery but he would comment on your skill at doing such a task. When you first presented Loki with a scarf you made for him he was taken aback and didn't really know how to react to it besides a subdued thank you. Loki can be seen wearing the scarf from time to time which lets you know that he does appreciate the gift even if he would never say it out loud. Loki would be a little reluctant to try out knitting and crocheting but would decide to try it out at least once. After a little bit of time, Loki would actually get the hang of it pretty quickly but he wouldn't do it often since it doesn't interest him that much.

BRUCE

Bruce would be a little curious about your hobby and would ask you some small questions about it from time to time. Bruce tends to appreciate anything that you give him but the one gift you gave him that he holds close to his heart is a blanket you made for him. When he first saw it he was taken aback by it and gave you a genuine thank you for the gift. Bruce will usually bring the cover out for the two of you to lie under whenever you watch TV together. Bruce would actually be the first one to ask about you teaching him and while he may not be the best he does get a pretty decent grasp at it. The two of you will sometimes knit and crochet together to relax.