#hes in my brain literally all the time

[achenetype]

better the devil you know. — dealer!ares

pairing: dealer!ares x reader

content/warnings: suggestive content, no sex in this one sorry but i do have a sequel planned, age gap, modern au, reader's parents are implied to be abusive, ares drives recklessly, Inappropriate Thigh Touching (TM), drug mentions, dealer!ares

listening to: home by daughter

In hindsight, you should have gone to a college further away from your hometown. It would have been harder for your parents to convince you to come home if you weren’t living forty minutes away.

It would have been easier, actually — easier because you could have been hanging out with your friends, studying and drinking and smoking, instead of sitting with your back pressed against your door while your parents fought in the kitchen down the hall.

Jesus fucking Christ, your mother yells, muffled by the door, you don’t even care about this family!

You can’t hear what your father says in response, but the crash of a plate shattering against the wall makes you jump. Your hands shake as you pull your phone out of your pocket and scroll through your contacts until you reach the last number.

“Hey, kid,” Ares’ voice crackles through the speakers of your phone. “What’s up?”

Another thud sounds against the wall. You let out a shuddering breath, clutching your phone in your hands. “I, uh—I need, like, a favor,” you say.

You can almost hear Ares raising an eyebrow through the phone. “A favor?”

“Yeah,” you whisper. “I need—are you at your apartment?” You chew on your lip, pulling your sweatshirt tighter around your body. “Cause my—uh, things aren’t the best at my place right now,” you say.

Ares sighs, the sound made crackling by the speakers. “Thought you were at school?”

“I went home for the break,” you say. Another piece of glassware smashes against the wall; the sound crystallizes in your mind, piercing and terrible. Tears well up in your eyes.

You flinch and gasp, pressing your back against the door. “My parents—they, uh, they’re fighting, again.”

Ares clicks his tongue. “Shit, angel.” The sound of a lighter flicking on rasps through the phone and you squeeze your eyes shut.

This is the worst idea in the history of bad ideas. Ares isn’t a friend—he’s something different. Your dealer, yes. A smoke buddy. And sometimes, sometimes, there’s this weird tension between the two of you—this energy that makes your stomach turn and your head spin.

But asking him a favor like this…it could ruin everything.

“Can you,” you say, “can you, um. Come pick me up?” You bite your tongue as Ares lets out a slow exhale.

You’re about to retract your request when he says, “Send me your address.”

“Huh?” You blink, your breath catching in your throat.

“Send me your address,” Ares repeats. “I’ll be there in half an hour.”

It feels like the air has been sucked out of your lungs. “Okay,” you breathe. “Okay.”

You’re not sure whether he hangs up or you do.

A few taps at your screen later, and a location pin pops up on in the black space of your messages.

You slowly stand up, still leaning against the door. The world feels like it’s moving in slow motion as you grab your backpack and absently start to fill it. Clothes. Your wallet and keys. The last dregs of the weed that you’d bought from Ares a few weeks ago.

You slide the panel of your window open, wincing at the scrape of metal on metal. You were used to sneaking out, but your legs had never shaken like this before—you’d never been running from something. You’d always been trying to get to somewhere, never away from it.

You step out onto the roof and shuffle to the edge of it, shimmying down the fire escape and jumping down to the pavement. Rain soaks through your sweatshirt as you walk around to the front of the building, dampening your skin and hair and chilling you to the bone.

You’re sitting on the sidewalk when Ares’ car—a battered Jeep—pulls up. You hear the door slam before you see him, but he kneels in front of you and gently brushes your hair out of your face.

“Hey, angel,” he murmurs. “C’mere. Up you go. Let’s get you inside.” His hands are warm and strong, pulling you to your feet, and his arms bracket your chest as you lean against him. “C’mon, angel. In the car.”

You nod numbly, stunned from the cold and the fear swirling in your chest. Ares’ eyes are dark as you climb into the passenger seat of his car and pull your knees to your chest. He tosses your bag into the backseat.

“Thank you,” you mumble.

Ares looks over at you and sighs, turning the key in the ignition. “‘S nothing.”

You tuck one soaked piece of your hair behind your ear as he pulls away from the curb. Cold air wafts through the air conditioning, making your sweatshirt stick uncomfortably to your chest and your arms. Your legs, exposed by your shorts, pebble with gooseflesh as you shiver and shift in the seat.

Ares’ eyes snap from the road to you, up and down, and one of his hands slides from the steering wheel to rest in the empty space between the two of you.

Despite the AC, it is suddenly and dizzyingly warm in the car.

Ares’ hand wavers in place for a split second before moving again, settling against your bare thigh. His thumb draws small circles on the flesh of your thigh as he drives.

“You okay?” he says, low and rough, not taking his eyes off the road.

You nod. “Mm-hmm,” you murmur. Your legs part even more, shifting your hips up slightly, and Ares’ grip on your thigh tightens.

The tension in the air was so thick you could have cut it. Your eyes flick from Ares’ hand to his face, back and forth, and the car speeds up as he merges onto the highway.

“Hold on,” he says, maybe more to himself than to you—his fingers dig into the soft flesh of your thigh. You can feel a bruise forming under the skin, and the thought makes you just the slightest bit wet.

Just a little. You’re not that depraved.

Ares slides his hand higher, his fingertips grazing the seam of your torso and your leg, and you shudder as he slips a hand under the hem of your shorts.

Against your better judgement, you spread your legs that extra inch and lean back.

“[Y/N],” he says. “Tell me not to do this.”

“What?” You blink and look over to where Ares is white-knuckling the wheel. The speedometer on the car ticks up—Ares had already been speeding, but now it reads eighty, eighty-five. Ninety. You feel gravity pressing your back to the leather seat.

“You need to tell me to stop touching you,” he says lowly. “If you don’t want this, tell me no.”

You bite your lip. Oh.

“We can’t do this, angel,” he says, still pressing the gas pedal down. Ninety-six. Ninety-seven, eight.

“What if—what if I want you to?” The words come out of your mouth before you can stop them. Your heart batters against your rib cage. Ninety-nine.

Ares takes an exit—you're going too fast to see the sign—and leans on the brake, stopping just short of the crosswalk. The momentum throws you forward.

His hand moves from your thigh to rest across your collarbone, holding you back from hitting the dashboard.

"We're going to my place," he says roughly. "And we're gonna finish all this." He gestures with his free hand in the space between you and him.

You lean forward, so sweetly, and press a short kiss to Ares' lips. "I look forward to it," you say softly.

When the light turns green and Ares' eyes flick back to the road, you sneak a glance at his legs. Something satisfied and a little giddy curls up inside your stomach when you see that he's hard in his jeans.

[deadpoets]

DIEGO LUNA as CASSIAN ANDOR ROGUE ONE (2016) dir. Gareth Edwards

[vaguely-concerned]

a collection of early game ingellvar moments that made me go '...oh. oh rook LOVES loves the grand necropolis huh' with devastating force in my first playthough (+ one bonus lucanis being -- perhaps not quite convinced because his delivery makes me so happy and I made this for me. every day I'm so incredibly glad you're here even if you maybe aren't so much yet lucanis)

[happi-dreams]

I watched electric dreams finally !!!!!

It’s so good and odd but ohshdkebdkwbdhmehdh EDGARRR !!! EDGAR I LOVE YOUU !!!!!! ! ! ! ! YOU DESERVE BETTER !!!!!

When I saw the ending I SOBBED what the HELL,,,,,

[poliodeuces]

stairway to heaven

—

edit: i don't know if it's just from my phone, or it's tumblr compression, but this looks unfortunately so so blurry. better quality on my twitter 💥

[somegrumpynerd]

Killer's nightmare

He has many, but the one he has most often is of coming out of stage 3 and finding he's killed his new family too alone again. Or maybe worse, that he'll never quite be without someone from his past.

Luckily, it is just a nightmare, and he has a different Nightmare he can see to help him calm down.

[fatedroses]

More than just the Demon.

[puppppppppy]

personal character design headcanons + brainrot

Note: the re-bound!au does NOT belong to me, it belongs to @chipper-smol I’m just not normal about it lol

[shoezuki]

Thinkin bout Sampo Koski rn as like. His character n what we get of him in honkai star rail and he fucking. He confuses me like. There has to be So Much more to him like

The general vibes of him and especially how other characters treat him is that of comic relief, a punching bag, a goof, just a slick conman causing trouble. It's genuinely difficult NOT to insult him n treat him badly with dialogue options and any time he's even mentioned March 7th hisses at him. He's literally a cryptid in belobog. He's a joke.

But. But. There's his light cone. It makes me insane. It contradicts all of that.

In it he's competent. He's badass. He's omnipotent. He's able to somehow know a sniper from however far away is locked on him and address them specifically.

And even like... in the entire plot of jarilo-vi he's spoken of like he's not much. He's a 4 star character. But he's practically as present as bronya and seele and Gepard and his involvement in the story is ASTRONOMICAL. He has a part in every major event. He's the one who drags the Trailblazers and bronya into the Underworld. He's the one who takes you to svarog, to the overworld again. He gets Natasha and saves you from svarog. He's the first character you ever meet on jarilo.

And he seems to just vanish before you confront cocolia. But no. Sampo is the one who has the last word and wraps up the entire mission on jarilo-vi. He fucking breaks the forth wall. Jarilo-vi both begins and ends with Sampo.

He calls himself shadowy comic relief yet he seemingly orchestrated everything. What is he. What the fuck is he doing. What else is up with him and when will we get more of him. I want to bite into him and tear him apart.

[spearxwind]

Happy 10th birthday to Cercerion!

OUGHHH UR RIGHT CERCIE IS 10 YEARS OLD NOW !!!!!!

HAPPY BIRTHDAY BABY BOY BELOVEDEST DID NOTHING WRONG EVER IN HIS WHOLE LIFE !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

[s0fter-sin]

one of my favourite aspects of supernatural that you very rarely see in paranormal shows is that sam and dean are already versed in the world they live in. there’s no sudden discovery of ghosts and demons and now they have to learn about them along with the audience; they are born into it and already know all about it. it allows the audience to follow their personal story instead of also trying to figure out this new world and its rules

the first season is full of knowledge we never see them learn; “w*ndigoes are in the minnesota woods or- or northern michigan. i’ve never even heard of one this far west.” […] “great. well then this [his gun] is useless.” (1x02), “you don’t break a curse. you get the hell out of its way.” (1x08), d: “it’s a god. a pagan god, anyway.” […] “the annual cycle of its killings? and the fact that the victims are always a man and a woman. like some kind of fertility right.” […] s: “the last meal. given to sacrificial victims. d: “yeah, i’m thinking a ritual sacrifice to appease some pagan god.” (1x11)

almost every episode in the first season is a monster they’ve faced before that they then explain to the audience in a way that should feel patronising; like it’s the same speech given over and over again but instead, the audience almost feels included in the knowledge. it’s stated with such an innate confidence and comfort in said knowledge that it feels like we already knew it too; “spirits and demons don't have to unlock doors. if they want inside, they just go through the walls.” […] “the claws, the speed that it moves; could be a skinwalker, maybe a black dog.” (1x02), “it's biblical numerology. you know noah's ark, it rained for forty days. the number means death.” (1x04), “no no no, not the reaper, a reaper. there's reaper lore in pretty much every culture on earth, it goes by 100 different names.” […] “you said it yourself that the clock stopped, right? reapers stop time. and you can only see 'em when they're coming at you which is why i could see it and you couldn't.” (1x12)

they already know and, at least in the first season, already have what they need to kill whatever they’re hunting; already know to salt and burn bones for spirits, fire for a w*ndigo, exorcisms for demons, a silver bullet to the heart for shapeshifters. there’s only three times in the entire first season that they run into something new to them; 1x14 when sam gets his first vision that leads him to another psychic, 1x16 when dean calls caleb for help on the sigil he put together and he tells him about daevas, and 1x20 when they find out vampires are real- and they only don’t know that bc john thought they were hunted to extinction and not worth mentioning

(there’s also technically two half instances if you count one of them knowing something the other doesn’t - sam figuring out the tulpa in 1x17 and dean already knowing about the shtriga in 1x18 - but those still rely on sam and dean having prior knowledge)

even when they’re uncertain about facing something, it’s not bc they don’t know what it is; it’s precisely bc they know what it is and acknowledge that it’ll be a difficult hunt (“i don't know, man. this isn't our normal gig. i mean, demons, they don't want anything, just death and destruction for its own sake. this is big. and i wish dad was here.” 1x04)

so much of the tension in paranormal shows typically comes from the main character(s) not knowing what is happening to them/the people around them and having to find out how to resolve it. supernatural is unique in that it operates more like a police procedural. the tension comes from solving the clues and identifying patterns to figure out who (what) the killer is and intercepting before they can take another victim

it’s such a different tone to go for when compared to other shows that came both before, during, and after its run. it sets sam and dean on even footing with each other since they both have the same knowledge going in, and it puts them in a place of authority usually reserved for an outside character

the shows i compare spn to most is charmed, buffy and teen wolf; every main character in those shows are brought into the paranormal world knowing nothing, putting them on the same level as the audience, and they have their mc interact with others already knowledgeable about that world in order to overcome their problem/monster of the week. the audience organically learns about this new world as the characters learn about it. it’s a sound writing strategy that prevents “as we already know”-style exposition but something that complicates it is if your world building isn’t unique or intriguing enough, this slow introduction can become boring

we’ve seen shows like these before; sitting through the same tropes of characters learning to use their powers, struggling with no longer feeling normal/relating to the regular world around them, and not knowing how much they can trust the people already involved in this new world gets repetitive. all three shows eventually reach the same level of comfort with their new world that spn starts with but if the characters aren’t enough to draw you in, you can end up dropping it before they reach that point (and often, before the overarching plot can really kick in and evolve the show beyond the villain of the week format)

it’s the superhero origin movie in tv format; dragged out and overplayed. dropping the audience into an established world of course comes with its own problems but you also have the benefit of pre-existing established character dynamics that let the audience slot in like they’ve always been there instead of just getting to know all the characters while the characters also get to know each other

sam and dean already knowing about the supernatural lets the audience immediately get to the core of the story; the conflict between sam and dean, the search for their father, and the mystery of what killed their mother

[1doesnotsimplyhavejust1fandam]

Half questioning my memory of the post s4 era, half side eying a certain character, so correct me if I’m wrong, but I don’t think there was ever a time when the Buddie fandom fully took the single “Evan” from the season 4 finale as Eddie receiving “Evan” privileges from then on. From my recollection, fics stayed mostly consistent with their uses of “Evan” by Eddie, perhaps just with an emphasis on important moments (love confessions, Christopher’s adoption papers, wedding vows, NDEs, etc.) after the finale. And I had to stop myself from wondering why that is because I know why. We all know. Because nobody wanted to use “Evan” in fics when Buck had just told his parents that people who know him call him Buck. So Buddie fandom heard that, accepted it, and uses it only sparingly. In canon and fanon, even Maddie only rarely uses “Evan” anymore, and it feels even less common for her to use post-Buck Begins (if at all, actually). So the fact that Tommy and BT fans tend to use “Evan” (at least, this has been my experience) is so utterly jarring. Buck told everyone his preference, and I believe LFJ has spoken about being told to use only “Evan” when referring to Buck, so I simply do not understand anyone who believes that BT is in love already or endgame. Yes, it could go the “Buck gave Tommy ‘Evan’ privileges off-screen” route, but then why push it off-screen? It would be a major allowance made for a new love interest, and a significant step in Buck’s character arc. Yet we see nothing of the sort. So why would anyone believe that’s what happened? The last we heard, Buck had told his parents and everyone else to call him Buck exclusively, with the minimal exception of Maddie (who was, for most of his childhood, his one and only lifeline and confidant). That sort of history and characterization is not ignored if there is not something very wrong with the writers’ room. It was not even ignored by a significant portion of the fandom post-season 4, although Eddie gaining permanent “Evan” privileges would’ve been a strong indicator of a Buddie endgame (had an on-screen explanation of Eddie gaining this privilege been released). It was not ignored, and it did not change the nature of Buck in fic nor fanon. So why in hell is the same not holding true for a brand new relationship like BT?

[ratguy-nico]

Adivinen quien al fin dibujo algo? Wich means I'm back baby!

Its not perfect (like everything I made), but I just love drawing comic-like-stuff, I get to relax more. I dont try to do the lines perfectly or the super accurate anatomy (mostly cause I dont know shit about anatomy at all) and also get to be more simple in the colors, wich helps cause I struggle making colors a lot.

I missed drawing my babies...but why did I drawing them like that? XD I swear...I think I should have seen some reference cause I totally change the way I draw the Burger Babys which is crazy for me XD

Now...is this an AU, is this them as teenagers, why is Louise working on Aplebees? Well I didnt put an exact age for the guys here, they could be 16 or 19 I dunno.

This is solely based on this post from @zer0ogravity I lmao with this and totally need it to draw it.

btw I from Latam, I didn't knew what Applebees was until making this comic so if Applebees dont look like this sorry.

[nibbelraz]

What goes through my mind whenever I see him

[caeslxys]

I’ve mentioned this elsewhere but it feels relevant again in light of the most recent episode. Something that’s really fascinating to me about Orym’s grief in comparison to the rest of the hells’ grief is that his is the youngest/most fresh and because of that tends to be the most volatile when it is triggered (aside from FCG, who was two and obviously The Most volatile when triggered.)

As in: prior to the attack on Zephrah, Orym was leading a normal, happy, casual life! with family who loved him and still do! Grief was something that was inflicted upon him via Ludinus’ machinations, whereas with characters like Imogen or Ashton, grief has been the background tapestry of their entire lives. And I think that shows in how the rest of them are largely able to, if not see past completely (Imogen/Laudna/Chetney) then at least temper/direct their vitriol or grief (Ashton/Fearne/Chetney again) to where it is most effective. (There is a glaring reason, for example, that Imogen scolded Orym for the way he reacted to Liliana and not Ashton. Because Ashton’s anger was directed in a way that was ultimately protective of Imogen—most effective—and Orym’s was founded solely in his personal grief.)

He wants Imogen to have her mom and he wants Lilliana to be salvageable for Imogen because he loves Imogen. But his love for the people in his present actively and consistently tend to conflict with the love he has for the people in his past. They are in a constant battle and Orym—he cannot fathom losing either of them.

(Or, to that point, recognize that allowing empathy to take root in him for the enemy isn't losing one of them.)

It is deeply poignant, then, that Orym’s grief is symbolized by both a sword and shield. It is something he wields as a blade when he feels his philosophy being threatened by certain conversational threads (as he believes it is one of the only things he has left of Will and Derrig, and is therefore desperately clinging onto with both bloody hands even if it makes him, occasionally, a hypocrite), but also something he can use in defense of the people he presently loves—if that provocative, blade-grief side of him does not push them—or himself—away first.

(it won’t—he is as loved by the hells as he loves them. he just needs to—as laudna so beautifully said—say and hear it more often.)