#i think they may have been Going Somewhere

[pathologicalreid]

falling flat | s.r.

in which you call Spencer for help with a flat tire, and he comes to help with you car troubles - and then some

margovember

who? spencer reid x fem!reader category: fluff content warnings: allusions to the reaper, car trouble, blood, tetanus vaccine, kindergarten teacher!reader, flirting, protective!spencer, takes place following 5x22 "the internet is forever", hastily edited word count: 1.87k a/n: rahhhh an old prompt from may 2024 that ended up working for a margovember request rahhh.

The absolute last place you wanted to be was on the side of the road, in the middle of nowhere Virginia, with a flat tire. You weren’t entirely helpless until your tire jack broke, sending metal flying everywhere and cutting your hand open.

You slumped down next to your car, pulling your phone from your pocket before calling the first people you could think of. Every single one of them ended up going to voicemail. Some of them didn’t even let it get past the first ring before declining your call—traitors.

With your thumb hovering over the call button, you thought of Spencer. He had a PhD in engineering, but you weren’t entirely sure that would come in handy in this instance. It was late, almost midnight, and you weren’t even sure he’d answer.

At this point, what choice did you have?

As the phone rang, part of you hoped he wouldn’t answer. When he asked you about it the next time you saw him, you’d wave it off as a butt dial and he’d be none the wiser.

“Hello,” he said through the phone, leaving your plans quashed.

This was awkward, you had been on four dates with the guy over the span of two months, and now you were calling him in the middle of the night. “This isn’t a booty call,” You blurted, cringing inwardly and banging your head back on the passenger door of your car.

Spencer laughed lightly, “I didn’t think it was, what’s going on?”

“I didn’t wake you up, did I?” You asked, his job had a lot of long hours, and you didn’t want to bother him if he was catching up on sleep. If he was even home, “Wait, where are you?”

There was a rustling on his end of the call, “No, I wasn’t asleep, I’m at work. We just got off of a case.”

You let out a sigh of relief, at least you weren’t being a total nuisance. “Sorry, I don’t mean to bother you. I just… my tire blew out on the highway and my jack broke and no one else is answering their phone,” you told him, verging on rambling.

“You’re kind of cutting out, where are you?” He asked, he sounded concerned, and if there was a moment where you weren’t sure you still had feelings for him, it was fleeting.

Looking to either side of you for a mile marker, you stood up, looking at the ground so you didn’t step on any metal, “I don’t really know. There aren’t any signs, I’m somewhere on 28, I think?”

Spencer cleared his throat, “Do you have your location on your phone?”

“Yeah, but I don’t think I have enough service to check it,” you said, all you could see were trees.

You could hear him talking to someone, holding the receiver away from his mouth, “That’s fine, I’ll have someone look, just stay on the phone.”

It would seem that dating someone in the FBI does have its perks, “Oh, cool.” You overheard Spencer explaining your situation to someone, hearing the other person in the room say something about Reid’s girlfriend and you couldn’t help but smile. The two of you were very unofficially official.

“Hey, I’ll be there in half an hour,” An elevator dinged in the background. “Is that alright?”

You hummed, leaning your hip against the front of your car. “I mean, I’m not planning on going anywhere.”

Another ding of the elevator, “Will you do me a favor?”

In exchange for this? You’d do just about anything within the realm of legality, “Name it.”

“Get in your car and lock the doors,” he responded. “Turn your hazards on because right now you’re a sitting duck. If someone doesn’t see your car, they could hit you.”

As a favor, he was asking you to make sure you’re safe, “Okay, I’m getting in now, should I leave the car running?”

You heard the sound of a car lock disengaging through the phone, “As long as the cooling system on your car is in good shape, it shouldn’t be a problem to leave it running while you wait. Just remember what I told you about the hazards.”

Nodding despite the fact that he can’t see you, you got in the car, turning the key in the ignition before pushing the button for your hazard lights, “Okay, I’m in the car.”

“I can’t drive and be on the phone at the same time, but I’ll be there soon. Don’t unlock the doors for anyone except for me,” he told you, and you thanked him for his help before hanging up and settling yourself in your driver’s seat.

You pulled the hoodie you kept stashed in your car over your head, your school mascot—a panther—proudly displayed in the front, and made sure your car doors were locked. If you said you weren’t a little unnerved, you’d be lying to yourself.

Spencer had a worrisome job; it was something you were aware of before he ever asked you on that first date. It became alarmingly obvious to you when he revealed that he’d been shot a few months prior, which was an appropriate second-date conversation with an FBI agent. It made sense to you that he’d be concerned about you, in your idle car, on the side of the road, but you wondered if there was a case that he was thinking of. Someone with a flat tire who had met an untimely demise.

Shuddering, you turned up the heat in your car, flipping through radio stations until someone knocked on your window. You jumped at the noise, hitting your head against the roof of the car before looking outside to see Spencer. Sighing in relief, you unlocked your car door, and he opened it for you, “Sorry, I didn’t mean to scare you. Is your head alright?”

You peered up at him, casually leaning over your car door. “You cut your hair,” you observed. You’d seen him just last week, where his hair still touched his shoulders, and now it was considerably shorter.

Self-consciously, he reached up a hand and thumbed one of the tendrils, “Yeah, it just got too long—and heavy.”

Resisting the urge to ruffle his hair, your head bobbed, “I like it. Did you do it yourself?”

“You can tell?” He asked, following you around the back of your car to your busted tire. Spencer sets his tire jack down before looking back at you, putting his hands on his hips.

Grinning at him, you shrugged, “I teach kindergarten, I’m basically a professional at noticing DIY haircuts.”

On a towel that you had previously set out, the two of you sat along the side of your car, and you tried to ignore the fact that Spencer still had his weapon holstered. It made sense, he’d come straight from work, but you wondered if there was a reason he didn’t leave it in his car. “Where’s your lug wrench?”

“I can change it myself,” you insisted, “I just needed a different car jack.” You gestured to the pieces of yours that were now all over the side of the road.

Alarm flashed on Spencer’s face, “Nothing fell on you, right?”

You shook your head, “No, just a cut from the metal.”

Holding out your hand, you let Spencer take a look at the cut on your palm. “When was your last tetanus shot?”

Blinking rapidly, you frowned at him, “Uh, when I was in college?”

“That might need stitches,” he responded, letting you take your hand back. “I’ll change your tire, I don’t want you using that hand for anything,” he informed you, pushing the hydraulic jack beneath your car.

Butterflies swarmed in your stomach as you watched him take your old tire off, muttering under his breath about how your old jack was practically an artifact, seeing how it literally fell apart under pressure. “How was your case?” You asked softly, fully aware that you were likely opening a can of worms by asking about work.

Spencer’s movements faltered slightly at your question, “It’s closed. We were in Boise,” he answered tactfully, leaving out any case details and cluing you into the fact that he didn’t want to talk about it. “What are you doing out here?”

You sighed, leaning back on your hands and watching him work, “I had a meeting with the other schools in our conference. It’s annual, and this year they happened to pick the school furthest away from mine.”

“Well, I suppose it worked out well that your tire blew out so close to me, then,” Spencer said, swapping out the busted tire for the donut and looking over at you. There was something nervous in his eyes, and you didn’t know if it was related to work or you.

Humming, you tried to watch the tire rather than just watching him, “Is there something bothering you?”

He was tightening the lug nuts on the spare tire, “Are you driving home after this?”

You furrowed your brows, “Yeah, where else could I be going?”

“It’s almost a two-hour drive to your place from here,” he reminded you, his tone laced with concern. “You won’t get home until almost one in the morning,” the displeasure in his voice was plain, but you don’t have anywhere else to go. “Plus, you really shouldn’t travel that far on a spare tire, they’re not made to travel far distances.”

Crossing your arms in front of your stomach, you let your shoulders slump forward, “So, what do you suggest I do? Get a hotel?”

Spencer mumbled something inaudibly, trying to finish tightening the bolts on the tire before sighing, “You can stay with me,” he blushes, a swipe of pink across his cheeks.

Your lips parted in surprise, “Uh, I don’t… I’m not…” you faltered. Utterly failing to come up with a good enough reason to tell him no, “I don’t want you to feel inclined. This isn’t what I was looking for when I called you for help.”

He let the car down, staying quiet while the two of you cleaned up, and Spencer swatted your hand away when you tried to pick things up. “So, you can come back to my place tonight. My work-issued first-aid kit has your name all over it,” he told you, eyes flickering down to the cut on your hand.

“Okay,” you breathed, unable to conjure a reason to refuse his hospitality.

He was grinning at you, hair just barely brushing his eyebrows, “So tomorrow, maybe we can get coffee and drop your car off to get a new tire?”

You smiled back at him, “That sounds great, date number five.”

“You know where you’re going, right?”

“Yeah,” you’d been to his place once to pick him up, “Hey, Spence?”

He turned around, fishing his car keys from his pocket. He looked ready to respond to you, but you pressed your lips to his before he had a chance to speak.

You kissed him softly, whispering against his mouth, “Thank you for coming.”

He chuckled lightly, gently resting a hand on your waist, “Thank you for calling.” 

[beef-brisket]

Adam tensed. He could easily take on some angel from Heaven. But strangely enough, he found himself worrying about his fellow overlords.

Carmilla: I think it is best for everyone to find a safe place, somewhere that no one knows about, stay low, keep safe-

Rosie: So, we're essentially going into hiding?

Vox: I'm not fucking running away and hiding like a little bitch!

Adam: Oh, good! I look forward to this being your last meeting!

Vox glared at Adam: I'd watch myself if I were you. Your pompous ass sticks out like a little princesses buss boy~.

Asam: oh, for fuck sake- I'm the facilities manager. Not the buss boy.

Vox: Could have fooled me. Hopefully, it'll be your seat empty next week!

Adam smiled as Vox slammed his hand on the table.

Adam: Really? After everything we've been through? THIS is how you want me to go? After our hour together, I thought we had something special~.

Vox: Oh- fuck you, Adam!

Adam: Keep dreaming. Because that's all it'll ever be for you. A dream~.

Carmilla: Enough! If you two can't behave, I'll ask you both to leave.

Adam: My apologies, Carmilla.

Vox: Yeah... sorry about that.

Carmilla sighs: Just. Keep your wits about you. I'm not asking for you to hide, but to be safe. Since the failed extermination, things have been changing. Slowly but surely. Please. I know we may not all like each other. Just try to be civil. Because of the added danger, we'll have a meeting in two months' time. Meeting over.

Lowkey want an au where Adam has Alastors' powers.

The tentacles

The eyes

The changing size

The shadows

The sass

The deal making

Him owning Husk and Nifty

The musical numbers

The radio control

The tentacles- have I mentioned that before?

The rivalry with Lucifer

Maybe he replaces Alastor entirely. No Alastor. Only Adam. It's always been Adam.

Thanks for coming to my tedtalk.

Only Adam lol This is good! His Husk and Nifty could be Lute and Peter.

He doesn't have to smile all the time does he?

Yessss, and he plays rock instead of jazz lol And yes of course there is a rivalry lol

[pomefioredove]

I'm not sure exactly which day counts as "weekend" bc of cultural differences lol but you can ignore this if it's not on the permitted day!!

But for the brief Rollo x reader thing that's you're doing, can I please have something with him and a reader that is generally very tactile? One day they grab his hand to pull him somewhere as they absentmindedly ramble, and they don't realize it until he speaks up about it (or not....? <w<)

hii anon!! ofc this is a very cute request

*ੈ✩‧₊˚ cold hands

type of post: short fic characters: rollo additional info: platonic or romantic, reader is gender neutral, reader is yuu

Winter in Fleur City is as unkind as it is beautiful.

Autumn's colorful embrace was short and sweet, giving you but three weeks of cozy, lukewarm mornings before the trees were bare and bending in the breeze that carried along the Soleil.

The first snow of the winter season had completely frozen over the river.

It had also kissed everything in frost, blanketed the streets, and canceled classes at Noble Bell College for the morning. It was heavy and restless.

It became no wonder to you that the people of Fleur City were eager to put up their tinsel and candles. The smell of cinnamon and pine is an effective distraction from the icy wind, after all.

And so, without classes to attend to, you find yourself walking through the city on crushed snow, already muddy with boot prints and animal hooves, to a seasonal cafe which had just opened.

Oh, and the Student Council President has offered to escort you.

It's, apparently, quite an ordeal; the few Noble Bell students you pass by in the streets stop mid-snowball fight or nearly drop their to-go coffees from their mittens when they see you, bundled up in Rollo Flamme's scarf, walking hand-in-hand.

You honestly hadn't even noticed you had grabbed him. It had been somewhat of an impulse, your cold, undressed hands feeling out for something to hold.

And usually, that would have been a quill, or one of those artisanal wooden blocks this city so loves, just something to run your thumb over while you think, not the Student Council President's hand.

But he doesn't say anything, and, more presently, doesn't pull away.

"You really ought to have dressed warmer," Rollo says, fussing over the scarf he'd given you off his own neck. "You'll catch something, and missing class over a frivolous venture such as is unacceptable."

"I suppose I didn't think of it,"

"Then next time," he says. "I don't know what I would do with myself if you were ill. It's the busiest time of year."

Right. Finals are coming up.

"I won't do it again,"

He sighs. "I know. Now, come along. Morning classes may have been dismissed, quite unnecessarily, I might say, but we'll both be expected on campus at noon,"

His hand tightens around yours, and his pace becomes brisker, cutting through the myriad of tourists and laughing children and pigeons. He shields you from the falling snow and blistering wind, holding you behind him until you reach the cafe.

It's bustling and loud inside, busier than the annual cafes you're used to visiting, but Rollo somehow has you in and out with a warm drink and a pastry in no more than five minutes.

You have the treat outside, your hands already cracked from the dry cold in the air, and once you've finished he slips his hand into yours and begins walking again.

There's not much conversation. Rollo is a strange man; some days, he's happy to talk about the history of Fleur City or what he's studying in Noble Bell's prestigious law class, and some days he's like this. Quiet.

His hand is surprisingly warm, though, despite the cold he seems to maintain a high body temperature all on his own. He runs a thumb over the back of your hand, feeling the dry skin there.

"You're freezing,"

"I'm okay,"

"Honesty is a virtue," he snaps, his sharp way of reminding you that he can always tell when you're lying, and he doesn't like it.

"You'll catch your death of cold. And then what would I do?"

For a fleeting moment, you can swear he gets a little warmer; or, at least, his hand does. You must be imagining things.

The silence lingers like the cold in the air, but, finally, he gets you to start talking about your favorite class subject, which you do until you've reached the gates of the school.

Rollo stops you, bids you an overly formal good-bye, and takes his hand, too, leaving you with the cold.

Hm. He seemed so off today. You wonder what that could be?

You won't realize that you'd been holding his hand all morning until later, but for now, you're content with the mystery and the warm scarf he left on your shoulders.

[girlcowboy1]

I think gen z ultimately lost the war against mental illness when they decided to adapt the older generations rhetoric of "mentally ill ppl who have noticeable symptoms are bad and evil and must be avoided at all costs, they deserve to be alone and die alone" which... most people are not saying that outright, but that IS what they're saying, whether they realize it or not, when they choose to discuss these issues based on personal concepts of morality and punishment instead of approaching it with a mix of empathy and an understanding of science, and how the brain operates.

"Having a mental illness isn't an excuse" is true to a certain extent, but I think a lot of people don't understand that to an extent, it also IS an excuse. The only reason people like to believe that it isn't in any capacity is because mental illness is an invisible disability, and if there's one thing that people love to dismiss the impact of, it's invisible disabilities. Because we can't see what's going on beneath the surface, we struggle to understand the issue, we struggle to empathize with the affected person, whom we may prefer to instead write off as being lazy or malicious, when in reality they are in pain and/or are missing an important tool that helps them function the way they'd like to.

Before getting on medication, I felt and (still sometimes feel) as though I existed behind an invisible glass that separated me from everyone else. I could not understand the point of a lot of mundane things, I couldn't relate to those around me, I felt like my existence was a mistake that should have never happened and the universe was attempting to expunge me by making my life so hard I would kill myself.

And then I got on medication, and suddenly I was able to see things that I had never seen before but had existed in front of me the whole time. I was able to be kinder to people, to be more patient, to talk myself out of bad thoughts I would previously ruminate about for days and weeks. I was able to communicate more coherently, to express my feelings in a way I couldn't before. I wanted to do things again. I wanted to dress up, look nice. I wanted to BE nice.

Of course, these are all still things I struggle with. Like with most tools for disability, medication is helpful in giving me the ability to function in a way that makes life more enjoyable— but it doesn't completely cure the issue. The point is. I tried so hard, time and time again, to change on my own. I tried taking supplements, I tried mindfulness, I tried changing the way I eat, I tried self-help videos/books. But I was a deeply depressed, deeply agitated person whose brain was not wired the way it should have been. So none of what I tried would stick. I would act out in ways I KNEW was wrong, but when you get into a certain state of mind, it's difficult to speak to yourself, to talk yourself down from doing or saying things you know you probably shouldn't. Especially when you feel so isolated from others, and struggle to see the point in anything.

It was only after medication that I made long-term improvements. It was only after my brain chemistry was physically altered in a positive way that my brain could begin to function better, and that my outward behavior improved.

How the anatomy of the brain effects a person is a crucial part of mental health that gets left out of relating discussions too often, I think, and its where I believe gen z unfortunately tends to overlap with gen x and boomers. The brain is an organ like any other, and if it is damaged, or sick, or lacking somewhere in its anatomy.... it will not function properly. The person whose body it inhabits will not function properly.

[queenshelby]

The Peaky Role (Part Six)

Pairing: Cillian Murphy x Reader

Warning: Dad's Friend, Best Friend's Dad

Over the days that followed your intimate scene with Cillian, the distance between you and Cillian suddenly felt heavy, like a fog settling after a rain.

You did not have any scenes together over the next two days, and each time you caught a glimpse of him, a subtle shift in his demeanor tugged at your mind.

Cillian would smile at you still, but something lingered behind those deep blue eyes, a hesitation you couldn't decipher.

Every time you crossed paths, he glanced away, returning to his work like you were a puzzle he couldn’t quite solve. It was almost like he was trying to avoid you and you did not know why.

Cillian kept his distance from you during rehearsals, focusing intently on his lines or conversing animatedly with other cast members, drawing a thin veil between you. You respected his need for space, but confusion knotted in your stomach each time you saw him laughing with someone else. His behaviour made you wonder about whether your father and Nina may have been right, that perhaps you working together so intimately would complicate things.

He was your best friend's father and your father's best friend and here you were, filming some intense scenes together.

The lines between professionalism and personal relations, even if innocent, blurred, and you couldn’t shake the thought that maybe the weight of your sudden physical closeness affected him more than you realised.

Maybe he felt weirded out by having to kiss and touch you or maybe he thought that you were overstepping some invisible boundary together by engaging in these acts on screen.

“Hey,” you said one afternoon, spotting him by the services table as he poured a cup of coffee.

He caught your eye but quickly focused on the steaming mug, fiddling with the lid.

“You good?” you ventured, stepping closer, your heart quickening with anticipation.

“Yeah, just, you know…” He took a sip, glancing away. “Busy.”

“Busy or hiding from me?” you teased, attempting to lighten the moment, but his smile barely touched his lips and you quickly regretted the jab.

“Why would I hide from you?” Cillian's voice remained steady, but his eyes darted to the doorway, as if searching for an escape.

"I don't know, maybe because of the last scene?" you suggested while nervously playing with the hem of your shirt. "I mean, it was a little awkward, wasn’t it?”

Cillian set the coffee down with a soft thud and finally turned to you, his expression shifting from a hunter stalking prey back to a familiar, softer gaze.

“So you thought it was awkward?” he pressed gently, gauging your response.

You shrugged, the corners of your mouth twisting into a tentative smile.

“A bit. But I thought we did okay, don't you think?" you asked as Cillian ran a hand through his greying hair before letting out a soft chuckle that warmed the air between you.

“Yes. I think we did too,” he said, his tone shifting, a hint of amusement flashing in his eyes. “But I am not quite sure how our respective families will react when they see the footage.”

You laughed, the tension easing just a fraction. “Yeah, I can only imagine my dad’s face," you continued, shaking your head in disbelief.

Cillian chuckled, a genuine warmth spreading across his features. "I don't think I would want to be in the same room when the scene plays out because, honestly, I didn't realise that it would be so graphic," he said, shaking his head lightly, his expression somewhere between amusement and resignation.

“Did you see the cut already?" you asked with a hint of suprise in your voice, but Cillian shook his head.

“Not cut but, as a producer, I saw the footage," he replied, swallowing the last bits of coffee before leaning against the table, sighing. “I thought it was going to look more like a soft-focus kind of scene, but what was shot really leaves little to the imagination.”

You leaned against the counter, mirroring his casual stance. “I guess it is what it is, right? Just art, doing its thing. You should think too much about it."

Cillian’s lips quirked in a faint smile, but his gaze grew distant as if he were peering beyond the chaos of filming.

“You are probably right but I have known your family for a long time Y/N and I just don't want this or any other scene between us to ruin some longstanding friendships," he continued, his brow furrowing with contemplation.

“Cillian, none of this is going to change anything between us or our families because it was an act and nothing more," you reassured him, focusing on the sharpness of his jawline that reflected the light above you.

“I hope you’re right,” he said before he shifted his weight, the tension in his shoulders easing just slightly. “Now, I have to go. I am glad we talked though," he said, his voice steady, yet something flickered in his eyes, a hint of vulnerability peeking through his facade.

In Cillian's mind, it was much more than just acting though as, what you did not know, was that, for the past two days he had wrestled with conflicting thoughts.

Cillian's attraction to you felt dangerous yet intoxicating to him, like standing too close to an open flame. The scene of you on top of him had ignited something in him he thought he could control, but it became harder and harder to do.

He turned abruptly, leaving you at the service table, feeling a mix of confusion and lingering warmth. You watched him go, wondering if you’d ever find out what really lingered behind those blue eyes as he slipped away into the crowd of crew members bustling through the set.

The warmth he left behind mingled with an ache of uncertainty, pulling you in different directions but, as the day wore on, you tried to focus on your scenes with the other cast members.

You had to focus and so you did. You finished your last scene for the week at around 5 o'clock and went back to your apartment to pack.

The early evening light filtered through the window as you tossed a few items into your bag—a pair of jeans, a couple of shirts, and essentials and, by around 10 o'clock, you arrived at the airport in Liverpool for you late night flight back to Dublin.

The airport buzzed with activity—a young family juggling bags, a couple bickering over boarding passes, and scattered travelers absorbed in their phones.

You looked for the Air Lingus check-in counter nervously, hating both flying and crowded places like this and, as you navigated the terminal, the familiar pulse of anxiety gnawed at your stomach.

You spotted the Air Lingus check-in counter and approached but, just as you were about to line up, you noticed him.

It was Cillian, standing two counters over, his hands resting lightly on the edge of the counter while he exchanged a few words with the agent, a brief smile flashing across his face as he spoke.

You took a deep breath, steeling yourself against the wave of nerves that surged through you.

“Cillian!” you called out, your voice cutting through the chatter of the airport.

He turned, his smile fading briefly, replaced with a look of surprise.

“Y/N!” he said as you joined him at the counter, the moment of unexpected connection releasing some of the tension that had built over the last few days.

“Guess we’re on the same flight," you said, shrugging as you tried to calm your nerves.

"Looks like it," he replied, his voice hesistant as you were called to the check-in counter next to his.

“Just my luck,” you said, forcing a light laugh as you handed over your papers to the agent, who checked your ticket with a distracted nod.

As the woman typed away on her computer, you stole another glance at Cillian and the way his brows knit together in concentration as he finalised his check-in at the neighbouring counter.

“Do you want to sit together?” the agent asked, glancing between you and Cillian with a raised brow.

Cillian hesitated, an almost imperceptible shift in his posture.

“It’s not necessary,” he said quickly, speaking at the same time as you, not matching your enthusiasm.

“Yes!” you blurted out, the eagerness escaping before you could filter it.

Cillian paused, his eyes widening slightly as the agent glanced between you two, a smile creeping onto her face.

“Yes or no?" she then asked as she leaned closer, waiting for a decision.

“Yes,” Cillian finally conceded, his lips twisting into a reluctant smile. "If that is no trouble."

The agent nodded and worked her magic on the keyboard. “There you go, seats 22A and 22B. Enjoy the flight!”

“Thanks,” you said, grateful for the small victory as you grabbed your boarding pass, the bright letters practically glowing in your hand.

Cillian fell into step beside you as you made your way toward the security line, his posture relaxed but eyes scanning the terminal with the ease of someone used to the attention that surrounded him.

Luckily for you both however, no one bothered to approach him for a photograph or an autograph, allowing you a few precious moments of quiet.

Eventually, and following some awkward silence between you, you arrived at the gate where people settled into their seats, a blend of chatter and the rustle of bags filling the air.

You found a place against the wall, leaning on the cool surface as you looked over at Cillian, who stood accross from you and put his way too expensive bag down by his feet. He removed his jacket, folding it over his arm with practiced ease, revealing a black t-shirt that perfectly matched his torn jeans.

"What have you been listening to?" you asked, watching him put his headphones away with a casual grace.

"As surprising as it may be, I've been on a bit of a Beatles kick lately," he replied, glancing your way, eyes softening at the casual conversation.

“Really? Which album?” You leaned in, intrigued as the atmosphere lightened between you.

“Rubber Soul,” he said, his voice steady, yet there was a flicker of excitement in his eyes. “I find there’s something poetic about it."

“It's totally underrated ,” you agreed, nodding enthusiastically. “The lyrics are so alive, like they really force you to think about relationships in a different way.”

"Come on, you listen to music that old?" he teased, a hint of disbelief dancing in his eyes. "Aren't girls your age more into whatever music is trending on, I don't know, Tik Tak?" he asked, causing you to laugh out loud.

"Tik Tak?" you chuckled, shaking your head. “You really need to update your references. It’s TikTok, not Tik Tak! And yes, I can appreciate good music regardless of the age of the tunes. A timeless song is a timeless song,” you said, crossing your arms, a playful defiance lighting your features.

Cillian raised an eyebrow, clearly impressed. “Well, you’ve got taste, I’ll give you that,” he said, his voice drifting as he leaned against the wall, mimicking your stance and crossing his arms, a smirk playing at the corners of his lips just as, finally, the boarding call came through the intercom, breaking the levity.

“Now boarding for Flight 232 to Dublin,” the voice announced, echoing through the somewhat sterile airport space.

Sitting not far from the front, you found your seats rather quickly and, just as a gentleman would, Cillian offered you the winow seat.

“Please, by all means,” he said, gesturing toward the window, his expression a mixture of chivalry and teasing.

"No thanks. You take it," you insisted, giving him a nervous smile.

"Are you sure?" He scrutinized your face, searching for any hint of insincerity.

“Absolutely,” you replied, nodding firmly which is when he realised that you were anxious.

He studied you for a moment, concern flickering in those piercing blue depths. “You really don’t like flying, do you?”

You swallowed hard, fingers fidgeting with the edge of your seatbelt. “No, not at all. I’ve always hated it. The noise, the cramped space—it feels like being trapped in a metallic coffin.”

Cillian chuckled softly, but his eyes remained serious as the cabin crew prepared for take-off and, eventually, proceeded towards the runway.

“Just breathe,” he said, turning his body slightly to face you, his expression shifting to something softer.

“Focus on your breathing,” he repeated, his voice weaving through the murmurs of other passengers settling in. “In through your nose, out through your mouth.”

"Jesus, you sound like my dad when he gives one of these meditation classes," you said, trying to stifle a laugh, though the anxiety still knotted in your stomach.

Cillian’s lips quirked, his expression softening. “I may have attended a few of them," he admitted, a playful glint in his eyes. “The man thinks that breathing exercises can solve everything. But you know what? They actually help sometimes.”

As the plane began to taxi, the cabin shook slightly, the vibrations sending a jolt up your spine.

You squeezed the armrests, feeling the familiar surge of nerves clawing at your stomach.

“Just focus on me,” Cillian said, his voice cutting through the swirling chaos around you. “Talk to me about anything. Just keep your mind off the flight.”

“I don’t know what to talk about,” you admitted, your voice barely above a whisper, the weight of the plane’s movements making your heartbeat quicken and, when the plane finally began its ascent, the sensation of lifting off the ground squeezed the air out of your lungs.

“Anything at all. What’s your favorite movie?” Cillian prompted, leaning slightly closer, his breath brushing over your ear but, what you did next, suprised him.

You grasped his hand, fingers curling around his warm palm, seeking comfort in the pressure of his grasp.

“Y/N?” Cillian blinked, caught off guard as he felt your grasp wrap around his hand, his breath hitching slightly.

“Sorry,” you murmured, embarrassment flushing your cheeks as you glanced at him. “It just…helps. I hate this part and I don't want to talk, okay? Not right now," you told him and Cillian nodded slowly, his expression shifting from surprise to understanding.

He wrapped his fingers gently around yours, steady and reassuring, creating a small oasis of calm amidst the chaos swirling around you.

“It's alright," he replied, his thumb brushing over your knuckles in a steady rhythm that felt oddly soothing.

The plane continued to climb, the cabin settling into a more stable altitude, but you still clutched his hand as if it were a lifeline in a tumultuous sea.

Once the initial turbulence passed, the sound of the engines settled into a steady roar, a low hum vibrating through the cabin.

“See? Nothing to worry about,” Cillian said, a calmness threading through his voice, the warmth in his grip anchoring you.

You nodded, but your eyes remained fixed on the screen in front of you.

The screen flickered with safety instructions, and you tried to focus, but your breathing came in quick bursts.

"Sshh, it's okay," Cillian said softly, squeezing your hand slightly. “You are going to be okay!"

You felt a warmth radiate from his palm, grounding you as the cabin ambiance began to calm, the chaotic whirring fading into a dull background.

“I’m fine,” you managed to say though the tremor in your voice betrayed your bravado.

"You sure about that?" Cillian raised an eyebrow, a hint of mischief glinting in his eyes as he glanced over at you , his voice laced with gentle teasing.

“Okay, maybe not entirely fine,” you admitted, biting your lower lip as you struggled between the flicker of embarrassment and the absurdity of the situation. “But you holding my hand helped a little.”

Cillian chuckled, his grip tightening ever so slightly as he let the warmth of the moment settle between you.

“Then I’ll keep holding it,” he replied, his voice low and steady like the rhythm of the engines and he kept up his word, holding your hand for the entire and, luckily, short flight.

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[neverpathia]

fuck this shit

have my voice of the broken

and please ignore how elementary my art looks

it's not the full design unfortunately, but a little guy is a little guy, I hope. + the original pencil-and-paper lineart.

now I was gonna go by a specific order, like starting from voice of the hero and all, but broken just resonated with me too much and I thought we could make a pretty neat design out of him so there we have it.

okay I have quite a bit to say about him

come on, the fact that he's the most like me out of all the stp voices surely says something. tower route isn't exactly how my very first playthrough went, true, but once she beat the ever loving crud out of me and the rest of the route unfolded

I had to do a double take he's so real wtf

everything Broken says is something that has definitely passed through my mind at some point or another, especially when it came to a few relationships of mine. the way he just defaults to surrendering. taking the easy way out, the ONLY way out, which is in fact only digging yourself deeper into the problem. somewhere in your subconscious, maybe you know this. but what other choice do you have? she's above you in every way possible. don't you want to please her? isn't this how it's all supposed to go? and, besides, you don't want to taste the alternative.

defiance can't be an option anymore. it's a path fraught with danger and fear and the Broken is blindly submissive because it's the only thing he can be. he can't let himself think like a person or feel like a person or even be a person anymore if it's all just going to get taken away from him.

maybe he's bitter. maybe he hates the world. maybe he wants to let himself feel something that's not simply her, and her, and her.

but it's too risky, too dangerous. and it's so much 'easier' to just...not. just do what she asks, because there's a course of action put before you, and you won't be hurt if you do what she says. and you don't want to be hurt. and everything she's already doing to hurt you is so much better than everything she CAN do if you defy her.

and she loves you. in this twisted, unbalanced, unfair way of hers, she loves you. call it love because you don't want to know what else it can be.

you hate this love. it suffocates you. it drowns you. it seeks out the cracks in your soul. it enters them. it expands them. but it's the only thing left in there anymore.

it may look like a choice when you reciprocate it in the same unjust way. it's turned against you and you're just blocking off your escape, that's what they see. but what does the Broken see? safety. protection. an escape from whatever she can and has thrown upon you if you don't.

you can have "whatever you want" at the cost of a "you."

I feel so bad for him, but I can't help but feel that I...am him. Just 'choosing' to submit and keel over and accept your comfortable little prison is kind of real. It's 'choosing' safety and sloth at the cost of my autonomy, but since when had it even been a choice? external circumstances nudge you towards a corner. your own willpower, or rather lack thereof, backs you further into that corner. the Broken is too familiar.

and yet the way he always makes it a point to hear others out. he empathizes. he soothes. because he doesn't want them to be Broken like he is, or rather, he's the only other one who's just as Broken and he knows how much it sucks. to be at war with yourself all the time yet you yourself are stuck and stagnant and unmoving in everything you know you hate as much as you try to pretend you love. everything you do, every second you live, as wrong as it always feels. he wishes for a choice where he has never had one himself and he can, in a way, live that choice through others.

maybe I'm just projecting idk

fyi there's a reason I gave him that particular hairstyle. it's tied together and weighed down with two teardrop-shaped ornaments. like how he's so restricted and it's heavy, it's so heavy, being sad all the time is a bitch and you can only be tired. yet the braids are still ornate. still straight and silky smooth, still beautiful. but what then? and what if a few strands threaten to escape? it means nothing, it's still what it is. helplessly fixed in place, but who would think about it.

[runawaymun]

Hey! Any advice on writing multi chaptered fics or just longer stories?

I feel like I'm okay for like snippets but have no idea how to write the middle of a story or move a character or story from point a to point b.

And asking you because you're writing is phenomenal and I'd love some advice.

(But if no brain space for advice I totally get that too and feel free to hide this ask or something)

(Anyway great updates on boundless and the one shot Brimbrond)

Sorry for taking so long to respond to this! I just wanted to take some good time to gather my thoughts because oh man oh boy I am a bit of a nerd about plot structure, even if I pants it a lot of the time -- because middles and structure absolutely plagued me when I was a beginner and so I spent a long, long time studying it and breaking it down.

I'm going to start with some very, very basic advice and then get into some more specific stuff. So let's talk first about how to structure a long-form plot first.

DISCLAIMER: this is how I personally structure plots. More often than not I veer off my own track. And this is a very western way of structuring a plot. It's well worth looking into how storytellers from around the world structure their work because it can vary wildly (Miyazaki is a great example of this). Take this with a grain of salt. It's a guideline which I find helpful. This is going to get very, very long. Bear with me:

When I'm first thinking about how to create a plot around a story I want to tell, this is the process I walk myself through, and it tends to work about 75% of the time for the stories I like to tell (I'm not much of a thriller or mystery writer and those tend to have different kinds of structure). Main recipe is as follows:

Status quo - establish the setting and the character. Do this by the middle-to-end of chapter one, preferably. You can get away with drawing it out a bit in sci-fi or fantasy works that require more worldbuilding, but try not to.

Inciting incident - I won't tell you to start in media res, as that varies from writer to writer and story to story. Generally you want to have this somewhere in chapters 1-3. Say we're talking about LOTR - I'd say the inciting incident is when Bilbo goes invisible at his birthday party and leaves for retirement. Everything sort of snowballs from there (Gandalf confirming this is The One Ring, the Ring being passed to Frodo, the adventure beginning, etc. etc). This is where your character can lose something, or be confronted with a huge problem, or gain some new information. This is the point where your story really picks up.

Point of no return - your character has been presented with a problem or is put in a situation and now they have to decide what to do about it. Sometimes characters choose to run away, or choose inaction. It's up to you and your character as to what they do next.

The annoying part - the most helpful way I've ever found to think about middles is in terms of a series of decisions and consequences. Your character must decide what to do (or try to get what they want), and this will then come with consequences to those decisions. I ignore a lot of writing advice because writers seem to be very cagey about how they compose middles and plots for some reason, but the one piece I heard that helped me was: "What does my character want, and what stops them from getting it?" -- and this can be anything, right? Frodo wants (has to) take the Ring to Mordor. Luke wants to learn to be a Jedi like his father. Inspector Poirot needs to catch the murderer. Odysseus wants to return home. Each of these characters are going to make a series of decisions toward their goal, and they may be working from incomplete information, or bad paradigms, or racing against the clock, or against impossible odds. They're going to make mistakes. Over and over and over again. The middle is a series of decisions, consequences for those decisions, and obstacles (more on that later).

Point of no return 2, electric boogaloo (i.e. the actual midpoint to the story) - the part right before the climax -- the climax IS NOT the midpoint of your story, nor is it the end. This is your midpoint where Everything Fucking Sucks. Your character's back is against the wall. They have to change, or fail.

Paradigm shift: your character learns something new, or develops in some crucial way that leads to:

The climax/confrontation: 3/4 - 7/8th of the way through your plot. Frodo decides to keep the ring. Luke uses the force to blow up the death star. Anakin's fear and the manipulation from Palpatine overtakes him and he turns to the dark side. Inspector Poirot gets his last crucial piece of information and gathers everybody together for the Big Reveal. Odysseus gets home and chases the suitors out of his house. Etc. Etc. This is that Big Point in the story we all think as the most important or crucial point (but it's not. That's the key here. THE most important point is the whole middle of how we got here).

Consequences and paradigm shift 2 electric boogaloo: varies from story to story, but this is the fallout of the last decision or confrontation. Your character may reflect on what they've learned. The killer goes to jail. Frodo returns to the Shire and it's saved, but not for him. The journey your character has been on has irreparably altered them, or the world around them -- for better or for worse.

Resolution: the place where you land the story ;) what is the final impression you want your readers to have of your character, or this world?

Alright so that's all kind of nebulous. Let me give you a slightly more specific form of this plot structure that I use pretty often, because I almost exclusively write character and relationship-driven stories since that's what interests me most:

So most of this looks much the same (the inciting incident is some kind of meetcute. The characters then have to decide if they want to have some kind of relationship -- I like to name this part the callback). Then we have a whole weird squishy section of building interest and tension, before once again we have The Big Fight (darkest before the dawn or what have you), before one or both characters have some kind of paradigm shift, they confess their feelings (or resolve the fight or whatever), and the security of the relationship is established -- happy go lucky times, everything is beautiful and nothing hurts.

So the middle here is of course still squishy and nebulous, but the focus here is still on "What decisions are the characters making? What are the consequences of those decisions? What are they learning, and how do they respond to it?" Maybe the tension is in one character being more reticent, while the other is more open. Maybe the tension is a sexual tension (will they, won't they?). Maybe a character is working off of incomplete information, or a misunderstanding, and that needs to be cleared up before the relationship (or even their own personal growth) can progress (both Elrian and Thalionel in Stars and Boundless Sky follow this pattern). The middle is a push-pull between your character's desires and outside forces that are stopping them from getting what they want, or achieving what they want to achieve.

So okay, that's all well and good. That's basic plot structure. Let me get into my thought process about middles specifically:

Begin with your ending in mind. I do not mean that you need to have like the whole resolution to your story fleshed out. If you're that kind of writer, great! But if you're more of a pantser like me, then that can be a big ask. Instead, ask yourself: what do I want my character to have learned by the end of the story? How do I want them to have changed, or grown? Do I want it to be for better, or for worse? Is there a specific plot goal you have in mind? (saving the world, or catching the murderer, solving the mystery, exorcizing the ghost, the couple getting together at the end, the found family finally gelling with each other, or whatever).

Once you have that thought in mind, now start to think about what your character might need to get from their starting point to their ending point. If it's a murder mystery, this is your information gathering section. You can lead your character to wrong or right conclusions. Have them make mistakes. Etc. etc. If it's a romance, this is where you create a string of scenes where the characters have opportunities to interact and learn more about each other (works for platonic slowburns, too). If this is a traditional hero's journey, this is where you plop in your actual journey.

Not to repeat this ad nauseum, but your middle is all about getting your character to your end goal, but in the most difficult way possible lmao. Let them make mistakes. Let them make bad decisions -- and then follow through with the consequences of those bad decisions. Give them bad information. This is where understanding your character's fundamental flaws becomes extremely important. Your entire plot, imo, stems from your character's fundamental flaws -- because ultimately that is what is going to slow them down the most from reaching their goal. Sure, you may have the big bad evil guy (bbeg), but we're not worried about him. That's an external factor and that's easy to drop in when you need a quick problem to place in front of your protagonist -- but that problem needs to be in service to your character or your worldbuilding. Teach them something. Give them an opportunity for growth. Aragorn needs to lead at Helm's Deep so he can inhabit his leadership role. The mountain pass of Caradhras needs to force the Fellowship through the mines so that Gandalf falls fighting the Balrog and comes back leveled up and ready to fight, and other characters in the fellowship have a chance to grow into their roles without relying on Gandalf for leadership. Your middle is all about crafting little opportunities for character growth, always while moving toward your end goal -- whatever that may be.

The paradigm shifts are crucial, and they can shift for better or for worse. It's up to you and your characters and the story you want to tell as to which it'll be.

If you're bored, your reader is bored. Only write what excites you, skip all the rest, and make it make sense at the end -- I'm so serious. Yes you need to add in breaks for pacing (like the whole Rivendell section in LOTR), but in those breaks still make sure that you're either expanding your worldbuilding, or giving your characters and opportunity for growth.

If you want to tell a really long (novel length) type of story, sideplots and alternate POVs are your best friend. They are structured exactly the same as a regular plot, they're just simpler or smaller and generally work in service to the main plot. Maybe there are side characters or side relationships you'd like to develop. Maybe there's a smaller mystery or a part of your worldbuilding you'd like to explore. Action plots can be side plots to romantic or platonic slowburn plots, just as much as it can be the other way around. And this is not something you need to structure out the gate. Just be curious and playful. Find points in your story that interest you, and explore them a bit. You'll find that they expand the story.

Biggest and best tip I can give you, when all is said and done, is to decide what kind of story you want to tell and then examine how other people are doing it. If you want to write a superhero story, pick out your favorites and look at how they're structured. If you want to write a mystery, same thing. If you're writing a romance or a drama, again -- same thing. Look at the pieces of fiction that you like, figure out what you like about it, and then apply it to your own work.

That's all the general advice off the top of my head. IDK how helpful this was lol. If you want more tips on middles I can try to look at it a bit more in depth, but to be quite honest middles are really what defines a genre. Romances have different middles to thrillers. Thrillers have different middles to mysteries. Mysteries have different middles to dystopian sci-fis. Etc. Etc. So take the general advice with a grain of salt and look more specifically at the genre of story that you're looking to tell.

Thanks for coming to my tedtalk <3

[fuck-customers]

Fuck the Leads who act like I don't know how to do my fucking job. I've been here for five-ish months now??? Don't you think I would know how to do my job??? I'm not dumbass who doesn't know anything, I do most the jobs you don't do. AND successfully. If I needed help, I would ask.

Also when they try to lecture me about things the store lead already talked to me about. Like, she's talked to me a few times and nothing serious??? Like, do I need to say "Yeah, the store lead already talked to me and I've fixed it, it's literally nothing serious. I don't need your two cents." Maybe this sounds whiny but I'm sick of them clutching their pearls for minor incidents (pretty sure it was something like misplacing a singular bag of hay and it was a "eh, it's no biggie, just try to remember where it goes") and then those same people getting a slap on the wrist for oh, I don't know, losing keys somewhere that a customer could use to break into the store and rob it after close. I wasn't the one who dropped something on an animal and permanently scarred them so bad, we may not be able to sell them... ever.

Go take a lunch break that I can't take, enjoy the full time I can't have because I'm not a lead or a trainer where you guys are actually paid to care and STILL don't. One of you (gecko harmer bitch) complained the store lead wouldn't cut a coworker's AND my hours and give it to you. Whomp whomp

Posted by admin Rodney

[comfybirdie]

5 REASONS WHY I REFUSE TO BELIEVE THIS IS JUST ABOUT A TOUR

I don't think I'm smart enough for plausible theories, so this is just a vent of a long time fan. I also have not read many posts, because I've been busy with life, so sorry if someone also said these points.

1. The concept.

I hope this is an album, but I wouldn't pledge my life on it. What I think, however, this is going to be something that brings all the storylines together from previous albums. At least from the Black Parade and Danger Days definitely, but I'm also thinking a bit about Conventional Weapons, too. This is because while yes, the tour does carry the Black Parade name and comes right after everybody spent time crying about not being in the select few to attend the WWWY Fest, the Secretary was not part of the Black Parade storyline. The closest thing we had eas the Director of BLI in Danger Days. And I think we all knew who this woman was the moment she popped up on the screen:

So what if Gerard's costume for the tour was the now undead Director, who became the Secretary of the Dictator?

2. The storyline itself.

I know every word to every album, from the singles to the B sides to leaked ones. But there may always be a chance that I misinterpreted the whole thing, maybe we all did, but the Black Parade is about the afterlife. Whether you got there because of illnes, war, it doesn't matter, you become part of the Black Parade when you die. I believe it to be a celebration of life, or carrying on even after the end.

What the Black Parade has never been, was a personal celebratory National Band, which is exactly what the post writes as the story. I'm going to insert a screenshot with the story.

I saw a theory that the entire concept is going to be revamped, which it might as well be, but even it doesn't make sense.

3. Because that's not what My Chemical Romance is.

And right now I'm thinking about the captions under the pictures.

After seeing the Secretary, my first thought about these captions was that we - The Black Parade - originally must have answered by wanting to be killjoys, the rebellious ones, but eventually we broke and stood in line, becoming the Dictator's beloved National Band, to which the Secretary replied: "Good boy."

However, My Chemical Romance never stood for that. They would never reward us with a tour for standing in line and shutting our mouth. They would never become the corporate machine they stood against since the very beginning. They would never lead the Black Parade in this manner and for this purpose.

And maybe it's just my naivety, the long lost teenager somewhere deep in me saying this, but I still believe they would never do that.

4. Foundations of Decay.

Has it been 2 years since this song came out? Yes. Am I going to bring it up? Absolutely.

(This is definitely overthinking on my part, but I was a history major and with the current events, the parallels are unmatched.) So the thing about wars is, you need people to fight it for you. You need soldiers and military leaders and all of them have to be loyal and obey the orders. The easiest way to achieve that, is by building an ideological foundation you can use to sway their judgement and decision making. The mustache man started with the theory of the back stabbing of the nation. During the middle ages, Christianity provided this foundation for the crusades in the middle east. If you give people something to fear or you give them something to idolise, they will be willing to fight against or for what you want.

And this is the Foundation of Decay.

"you must build an altar where it wells"

"Take his body as a relic to be canonised"

"You stumble through your last crusade"

And is you ask me, this is why this one song came out so much earlier than the rest of the project. Because they lay the ideological foundation first, and you need people to absorb it and truly believe before you can lead them with it. So you tell them again and again and again. Play it at every show on a tour. And so that reunion tour is when the Black Parade became the National Band, instead of the Killjoys. Because we sang along to every word, we absorbed it and not just believed it, but lived it as we attended the tour and sang when they told us to, cheered if they just came on the screen. We became conditioned to follow Gerard's orders as he walked on the stage, just as we will follow the order to play for the Dictator, instead of standing against him.

5. But empires and dictatorships never last, do they?

Rome fell apart. There is a reason there was a Third Reich, because the first 2 also fell. The Ottoman Empire also eventually weakened and fell apart. And just because the Communist Party always said that life is great and everyone is happy "In the Concrete Age", everyone who has lived in a ex-soviet occupied country (hello to my fellow Eastern and Central European MCR fans), we can all tell you, it was everything but true.

And so it is only a matter of time before Dictator's reign has to see its end? Perhaps maybe even bought on by his beloved band, put together from the misfits who the Secretary had to break to stay in line.

But, this is all just my theory. Thank you for clowning with me and my tinfoil hat if you read it this far.

[red-doll-face]

Snow Angel

Chapter 1: elation

low to medium honor Arthur Morgan x Female Reader

Arthur has been living by himself, laying low (for real this time) somewhere in the Pacific Northwest. After the whole Pinkerton and Micah debacle, he has been hiding away, waiting for it all to blow over, occasionally getting letters from the people who still know that he's alive. He's been alone awhile and at first, he thought he could handle a little loneliness. He has been wrong before. Lucky for him, you look like the perfect thing to break up the monotony.

Warnings: dubious consent, low honor Arthur, smut, naive reader

WC: 2481

Hi, I’m unwell about him and I needed to post this bc I need people to talk to about it and I probably also need help lmao also may be a bit ooc. New to posting here 😳😖😵‍💫

Tags: innocence kink, size kink, vaginal and oral sex, no TB thank god. Arthur is sweet still but has mean tendencies obviously

Arthur’s new visitor has him hot under the collar.

The snow up here is about to overtake Lucky, the loyal Clydesdale you had known since you were a girl. His legs amble forward, winds whipping his mane and tail about. Hunkering over him; gripping his reins for dear life, you try to urge him further. Your throat is tight with nerves and of course the impending reality that Lucky has been slowing down. That the weather has only been getting worse since you started riding out. The last thing isn’t worth mentioning.

As if he could hear you over the blizzard winds, you clutch tight to his reins.

“Please Lucky, you can do it, boy. You can’t leave me here,”

His hooves trudge through the snow, his big legs managing to stay above the snow fall. He falters a bit here and there, more often as you go on. Grunting and shaking at his tack. You pat along his strong neck. The cold turns the moisture in the air to ice, the heat in his breath disappearing.

“I’m sorry, Lucky…” Shuffling onward, leading him on. Frost gathers over your coat and you would think the landscape beautiful if not for the lethality of it all. You’re not sure if people are meant to survive in places like this. With nose numb and fingers creaky in your thick gloves, you know you have to stop. Scanning the horizon for anything resembling a shelter, imagining yourself curled up in Lucky’s side, you can see the soft glow from a cabin a ways down the road. The only vestige of humanity you had seen for miles on what feels like the edge of the world. Windows glow with the tell tale orange of a warm fireplace. Your foot nudges into Lucky’s side for your last push, your last chance.

“Go!” you slap the reins on his neck, working him up to a trot. You approach and see what looks to be some sort of barn. It’s a small stable, a nice place to put a horse or two, maybe a dairy cow. Another horse lazily sleeps, fresh hay for his bedding. At your entrance, he perks up but stares oddly, easing back. Lucky knickers and snorts, just happy to be inside, you think.

“I’ll be back, hopefully not too soon…” You leave him there while he starts mooching the hay laid out for his new roommate. You pat his flank and watch the ice melt from his lashes.

Braced for the cold, arms crossed over your chest, you pull your legs forward through the snow outside. It’s a fight to get through the piles of snow, clouding around your lower thighs. Finally, you're on the wooden steps of the porch, which creak a bit underneath your feet. Panting, you meekly pat on the door.

“Please, I need help,” you shout, trying to speak over the blizzard. “Is anyone there?” You can hear the crackling fire, feeling like it’s warming you already. Heavy steps come to the door.

“Who’s out there?” A gruff masculine voice answers your call. It grates over your nerves, though if you weren’t alone you might have found it to be soothing. With any luck, he’s the father of a nice family whose heart would be softened by a lone young woman near frozen to death on his front door.

“Please, sir. I promise it’s just me,” your pleading seems to have done the trick and the man opens the door. Finally hitting you with a heat you had almost forgotten. He moves to the side after sizing you up. Hesitating even for a second causes him to dip his head to direct you inside. Forcing your stiff legs to lift. He takes a moment to analyze the gap you left behind. Carefully, he shuts the door and pulls the curtain closed. Maybe he had been robbed before? Lonely homesteads were easy and preferable targets for bandits. Typically neighbors were miles away, if you had any neighbors to speak of or to.

You get a better look at him, tall and strong, chest the size of a barrel. The sleeves of his plain white shirt are rolled up and the top two buttons are undone. Leather suspenders keep his deep brown trousers up. He stands as if unsure what to do with his body besides intimidate you with it, showing not an ounce of uncertainty on his face.

There is no one else here and if there is, they’re in the other rooms of his quiet and moderate home. The house smells of coffee, a disarming smell. Salt pork and boiled potatoes too. Certainly provisions that could last through this harsh winter.

“What the hell were you doin’ out there?” His tone is accusatory and judgemental. He must think you an idiot to be traveling in this weather and maybe he wasn’t all wrong. Instead of talking, your jaw clicks your teeth together. The hard look he gives you melts away and he helps you out of your coat. He's almost surprised to see you, eyes stuck on every piece of you revealed to him. Snowflakes and icy debris are shed from you and you sigh. You try your best to get your natural reactions to stop but they insist on ceasing on their own. The man huffs, stepping towards the percolator on the stove. You watch on, feeling strange that he hasn’t really invited you to sit or do much of anything else.

“You mute, girl? Asked you a question.” he takes a seat by the fire in a big chair seemingly made just for him. He sets down the coffee before taking a match and striking it, lighting the end of a cigarette he retrieved from the table. The coffee steams gently and you take it; seeing as you're very sure he had made it for you. Jerkily, you move to sit as he sets his eyes on you. The couch is soft and warm, homely with a pretty blanket, thick and colorful patterns. While his gaze seems easy and relaxed, he watches you like a hawk.

“No, I… was getting something for my granny. She’s not feeling too good. Ma sent me to get something for her. The doctor, I suppose. Didn’t make it too far,”

He exhales. The smallest noise of amusement.

“I can imagine,” You take a sip of the coffee. Warm and sweet smelling. “What kinda mother sends a pretty thing like you on a fool's errand? You really thought you was gonna bring your ol’ granny a doctor in this?” You stare, feeling a bit like a child being scolded by this man.

“Oh well, I-”

“Your granny probably already kicked the bucket while you were out here, damn near gettin’ yourself killed. If it weren’t for me, well…” scratching at the darker scruff that grows on his face. His hair is that same light brown, almost blond. He sucks the smoke out of the slim roll of paper. It's bitter and acrid, a contrast to the warm smoky fireplace. Your brows furrow. Deciding to change the subject before you say something out of turn, you take another sip out of the enameled cup he had given you. The smoke he inhaled releases in a cloud around his features, obscuring the knowing smile he wears.

“I’m sorry mister, but I don't think you gave me your name…” He ashes his cigarette, tossing his legs up on the table in the center of the room. The weight of him and his leather boots don’t rattle the table, he’s careful with himself.

“Arthur. You married?” His gaze is as hot and red as the cherry burning on the end of his cigarette. You almost start to feel uncomfortable. If there weren't a blizzard outside, you might consider walking out. He hadn’t even given you a chance to say your name. Your nervous look only seems to enthrall him more. You only now notice he’s looking at your hands but thick gloves still encase your fingers.

“No, I'm afraid not,” You contemplate telling him a lie but think about when you might have to remove your gloves. You’d rather not get caught in a fib. Though perhaps his rather brusque flirting might have come to an end should you have warned him of a man who would be looking after you. Being out here by yourself seems to have him convinced that no one truly was looking after you anyway.

“Young lady like you, unwed and caring for your Ma, Pa, all by yourself? Now that’s just sad, is what it is,” The butt of his cigarette meets its end in the ashtray on the table. Your face tweaks into a small nervy smile, nodding. “You are… a sight, for an old ugly bastard like me is all,” Your fingers start to twiddle, feeling your face warm, maybe because of the flames licking at the logs on the hearth. He’s certainly not the ugliest man you’ve ever seen nor the oldest, you frown at such an oddly self deprecating comment. You’re surprised he doesn’t already have a wife and several children running around, reading stories by the fireplace that you sit in front of. You revert back to old tactics.

“I left my horse in the stable out front, I hope you don’t mind too much,”

“Ain’t no trouble,” His hands seem to itch to be doing something, he also seems to twiddle his fingers. One hand propped over the arm of his chair.

“Why don’t I get you somethin’ dry to wear? Should be turnin’ in soon. Gettin’ late.” He stands, hands on his knees and then he’s going into the next room. It gives you a chance to evaluate the room you're in. The mantle has all sorts of strange little knick knacks, the walls, plenty of… distinctive hunting trophies and supplies. Several gleaming guns in different finishes are displayed proudly. Although pretty, they don’t seem unused. If anything, well loved and worn. You’re starting to feel every bit the lamb in the wolf’s den this man is already treating you as.

He comes out of the room, holding a pair of cotton long johns in a cream color. You’re not sure why he thinks you need them but he has been nothing but hospitable if not a bit too strong on his pleasantries and very blunt. It can be lonely out here in the country, so you offer a small smile. He stares at you, even as you awkwardly side step him and go to his bedroom. You close the door and sigh, nice to just have a moment to yourself. Away from the strange man and the cold. The warm smell of fabric and the natural musk of the wood calm you, along with the faint smell of something distinctive to him. You claw and peel at the layers of your clothing, riding gear and boots. You notice how wet your clothes are from the melting ice. Perhaps he knew better than you did.

You slip into the warm cotton of what must be his long johns. They’re nice and feel almost new. Far too big for you. That man, Arthur, did seem to be quite big. Here in the quiet room, you can remember the wind, the cut of the cold air against your cheeks, hear the wind rattle the glass. You're glad to be out of all of that.

It’s a rather modest room, a bed, an armoire, a nightstand, a cabinet. Cigarettes and a few cigars, several empty bottles of bourbon. Some old faded photographs but you're not so brave as to pick them up. The room is severely lacking in the touch of a woman department, bed pushed up against the wall. The smallest mirror adorns the wall, dusty and plain. You turn to the door and see him, standing there.

You startle and put your hand to your chest.

“You scared me Mister…” no last name to utter has you confused, he had never given you one. Your smile isn’t forced but it fades a little when you see him looking at you.

“Morgan, Arthur Morgan,” he’s really giving several once overs that feel like thrice overs, drinking you in like those bottles of bourbon. Your face feels hot again. He stares at the junction between your legs, up to your chest and then finally your face. You don’t think you've ever seen a man look at you like that; not that you spend very much time around men. The type of men at the saloons in town were no good for you, or at least that’s what Ma would say.

“Put somethin’ on the stove for ya, man can’t leave no woman hungry…” he puffs up in pride a bit, you tilt your head. Hopefully he hadn’t been watching you snoop around, or even worse, changing. You nod, a small gesture.

“Thank you, Mr. Morgan. I really appreciate your kindness,” he makes space for you to exit down the small hallway. You try not to brush against him but he’s so big, fills up the sparse room between you and the wall. He drops his arm on the door frame, making you pass underneath him. Looking up at him, you can make out the color of his eyes, a pretty summer blue. His shirt and suspenders smell clean and wintry. He makes you feel minuscule, a mouse and cougar. His features; squared and rugged from weathering the elements, are set in a stony expression but there’s excitement in his eyes.

“Been a long time since somebody called me a kind man, usually it was the opposite,” he says. His hands twitch again, the one in the door is a tight fist. You know that you can’t leave. And you wouldn’t beat him should he chase, you doubt you’d even make it to Lucky. Especially now that he insisted you put on his underclothes. The temptation to be in dryer clothes has trapped you here. You flinch as his hand descends to rest on your neck and collar, rubbing. His body moves forward, taking your silence as acceptance.

“Please, I-“

“I think you need a man to take care of you, honey, need a man to keep you inside- wouldn’t let you go out alone like this if you was my woman,” his hand squeezing at your shoulder, you don’t dare to move. Broad chested, he seems to block out all of the light from the meager lamps and the fireplace.

“Lemme show you how a man looks after a girl like you,” He eases off you and guides you down the hall, your heart thumping out of your chest. Certainly not because of the romance but the claustrophobic feeling of being alone with a man such as him, big and very strong in his advances. Thankfully, not too strong. Yet, a voice in your head warns.

If you made it, thanks for reading and pls send feedback 💝😭 I have split the chapter into 2 parts because it was way too long. I will be posting a "chapter 2" but chapter 3 will be chapter 2 for people who read the long version. I was just too excited to post it and didn't think about this LMAO

[mykelneedssleep]

I will stand by the belief that the best and funniest thing Jacobi could have done in ep 52 when Minkowski, Lovelace, and Eiffel were asking him about Goddard out of curiosity and in an attempt to get Kepler to lose his Questions Only game with Hera would've been to say they hooked up once because even if it was a complete lie it because Kepler's options for response would have been:

Continue the game without acknowledging it and let the crew believe it's true even if it isn't simply because he didn't comment in the moment even if he tries to later

Admit that it happened and potentially lose if he can't spin it into a question

Lose the game by outright denying

Deny with a cleverly worded question and maybe not outright lose but still sound like a liar even if he's telling the truth and Jacobi was the one to lie about it in the first place because he's a known liar so why wouldn't he lie right now?

Ask a very targeted question to Jacobi about employee fraternization rules such as "do you think I would violate [insert hyper specific rule in the SI-5 handbook about getting with your superior officer that's probably in there because I'm convinced everything is]?" thus keeping himself in the game but still sounding like a liar because why would he know the exact rule to bring up if he hadn't at least thought about it?

Ask a different but still very targeted question to Jacobi such as a "why would you lie about that?" type question and still sound like a liar because you don't tend to ask people directly why they're lying with no proof to back you up and this is now a hearsay argument where the people can choose to believe whoever they want (likely Jacobi because again, Kepler is a known liar and Jacobi's being so honest about everything else right now so why would this be different)

Mentally bluescreen (and lose) because he doesn't know why Jacobi would so openly say that (true or otherwise) and now cannot think of another question to keep the game going

Any of the other options but continue to be psychologically tortured in the future because while the crew may not have ever had the thought before Jacobi put it in their heads so even if they know it's not true and even if Jacobi later says he lied about it in an attempt to make Kepler lose that thought will still be floating around somewhere in the back of everyone's minds kind of all the time

It simply would have created the perfect scenario in which any action Kepler took he would still lose somehow and at this point annoying him was really all Jacobi wanted to do so I just think it would have been a real checkmate move for him

[xvxblahhhxvx]

A ramble/analysis about the significance of the bar in The Day I Picked Up Dazai

Ok, so I just reread the day I picked up Dazai, and read side b for the first time, and man do I have many, many thoughts, but one thing in particular struck me, and that is the bar. More specifically, the reason why they go in the first place and why it is significant. (spoilers for the day i picked up dazai side a, obviously)

The first time the bar is mentioned is when Odasaku and Dazai are having a discussion about death and why Dazai desires it. Oda says that "he is a fool for wanting to die" and that anyone is fool for dying before going to "that place." He doesn't specify what it is though, and Dazai thinks he's making it up at first. The way Odasaku speaks about it, it's as if it's some magic place, a place that only some can see the true value of. This intrigues Dazai, because one important thing about him is the fact that he's always searching. Always looking for something interesting, some reason to keep living, some proof that life isn't the boring place he believes it to be.

The second time this place is brought up is when Odasaku and Dazai are in the cell, and Oda is trying to convince Dazai that he should escape with him. He mentions that the place is nearby, and that they should escape and go. Now, Dazai is truly curious about it, and it works. He says, "how long has it been, I wonder? To have somewhere I want to go...I have a feeling that even if there is nothing at that place, it will be fine as it is." He's excited, and looking forward to the place that Odasaku has been, for lack of a better term, hyping up the entire light novel. Even if it may not be so interesting after all, like Oda said it might not be.

Still, when they arrive at the bar, Dazai acts a little disappointed at first. The place Oda took him to was really just a bar after all. Odasaku even admits that he lied, that where could he take him to that he wouldn't already know, and that he was merely teasing him. Dazai is taken aback at first, but in the end, he finds value in the place. They sit for ages, talking about everything and nothing, playing poker, and drinking. And despite being disappointed in the beginning, it ends up being enough for Dazai.

And now, for the actual point of this ted talk, the reason why this is so significant is because to me, the bar represents Dazai's search. He is always looking for something interesting to keep him alive, but the fact of the matter is, there is nothing. Oda says as much to him when he dies; nothing in this world is going to fill the void of loneliness inside of Dazai. But the fact that he took Dazai to something as simple as a bar, a place he said he was a fool for not going, the place that intrigued Dazai so much signifies that Dazai would only find something in a place as simple as a bar. That for all his searching, the answer might just be playing a game of cards and talking to a friend while having a few drinks. Dazai feels so far removed from human connection, but in truth, that is the one thing that could even attempt to fill the void, even if just a little. He will keep searching, keep looking for some external factor that may allow life to interest him, the thing that he would be foolish for dying before seeing, but the answer might just lie in spending the night in a simple bar with a friend.

[robustcornhusk]

every now and then i see someone out there on an outdoor elliptical, swish-swish-swishing their way down the block

and like, it has a point, which is 1) it's outside which is inherently more pleasant than inside for exercise and 2) if you got Fucky Legs it will not make them Fuckier

however

every time i see them - i think it's the same person each time - they're going downhill, slowly, and they're exerting a shitton of effort to crawl. idgi

[bacchuschucklefuck]

doing chibi is a good design exercise bc it forces u to think on shapes n essential details, essentially thumbnailing ur designs. its also a terrible design exercise bc it ends up looking cute no matter what

[wandixx]

I've seen a lot of different takes on Fear Toxin/other fear causing stuff (Yellow Lanterns Ring or something)(later just called Fear Toxin cause I'm lazy) but here is another one.

Danny seems like he isn't affected by Fear Toxin because his biggest fear is that his accident changed him so much he is no longer human, he can no longer truly experience human things.

So when he gets lungful of fear Toxin, he feels normal. He was antsy before, because c'mon, it's a rogue attack but it's not worse. Or so he thought. Because the anxiety lingers. Not enough to register as abnormal just this slight hypervigilance that makes you see things about yourself and your surroundings that you'd never realize otherwise. He'd realize he doesn't blink as often. He'd realize that if he doesn't consciously focus, he sometimes seems to not touch the ground. Forgets to breathe. He can't feel his own pulse at time. He'd realize people will miss him when he's walking down the street as if he was invisible (people just don't care about everyone they pass by). When he'd look straight into his reflection, he'd look slightly to the left. Not enough to actually name anything that was wrong but just stretched enough to fall on the wrong side of the uncanny valley. If he just caught his reflection in the peripheral vision, it'd be vaguely shadowy creature with glowing green eyes and white smoke instead of hair. Overall he'd be just wrong enough to be distinctly not human.

For everyone else, he'd be just a dude. Literally couldn't find more normal dude than this dude. Will pass as absolutely normal human unless someone is specifically looking for ecto-ghost stuff. Even most magic users wouldn't clock him at the glance

Tldr: Fear Toxin makes Danny perceive himself as some sort of eldritch horror but not enough to make him believe he'd actually be affected, while from outside perspective he's Just A Dude™

[heatherwitch]

PNW Plant Magic Series

These posts were made many years ago based on my personal (UPG) correspondences and experiences with the plants. Some views have evolved since then!

I encourage you to sit with any plant you want to incorporate into your craft and truly connect with them instead of solely using a UPG correspondence list on tumblr! Consider these a starting point/inspiration! :)

Bleeding heart

Bracken Fern

Deer Fern

Lady Fern

Licorice Fern

Maidenhair Fern

Miner’s Lettuce

Nettle

Osoberry

Red Elderberry

Salal

Salmonberry

Sorrel

Sword Fern

Trillium