#i'm really excited to see how this will turn out .. >_<< /div> Explore tagged Tumblr posts

[badnewswhatsleft]

rock sound #312 (nov 2024)

transcript below cut:

ROCK SOUND 25 ICON

FALL OUT BOY

A BAND THAT CAPTURED THE HEARTS, MINDS AND HEADPHONES OF A GENERATION OF KIDS WORLDWIDE, FALL OUT BOY UNDOUBTEDLY CHANGED THE LANDSCAPE OF THE ALTERNATIVE SCENE FOREVER, NEVER AFRAID TO EXPERIMENT, TAKE CHANCES AND MAKE BOLD CHOICES AS THEY PUSHED FORWARD. FOLLOWING A SUMMER SPENT EXPLORING THE 'DAYS OF FALL OUT PAST', PATRICK STUMP AND PETE  WENTZ REFLECT ON THEIR PATH FROM POP PUNK, HARDCORE MISFITS TO ALL-CONQUERING, STADIUM-FILLING SONGWRITERS AS THEY ACCEPT THEIR ROCK SOUND 25 ICON AWARD.

WORDS JAMES WILSON-TAYLOR

PHOTOS ELLIOTT INGHAM

Let's begin with your most recent performance which was at When We Were Young festival in Las Vegas. It was such a special weekend, how are you reflecting on that moment?

PATRICK: It's wild, because the band, I think, is going on 23 years now, which really came as a surprise to me. I know it's this thing that old people always say, 'Man, it really goes by so fast', but then it happens to you and you're just taken aback. There were so many times throughout the weekend, every 10 minutes, where I'd turn around and see somebody and be like, 'Holy shit, I haven't seen you in 18 years', or something crazy like that. It was hard not to have a good time. When I was going up to perform with Motion City Soundtrack, which was an exciting thing in itself, I turn around and Bayside is there. And I haven't seen Bayside since we toured with them. God, I don't remember when that was, you know? So there was so much of that. You couldn't help but have a good time.

PETE: I mean, that's an insane festival, right? When they announce it, it looks fake every time. The lineup looks like some kid drew it on their folder at school. For our band, the thing that's a little weird, I think, is that by deciding to change between every album, and then we had the three year break which caused another big time jump, I think that it would be hard for us to focus on one album for that show. We're a band where our fans will debate the best record. So it was amazing that we were able to look backwards and try to build this show that would go through all the eras - nod to Taylor obviously on that one. But it's also an insane idea to take a show that should really be put on for one weekend in a theatre and then try to take it around the world at festivals. The whole time on stage for this particular show production, I'm just like 'Is this thing going to go on time?' Because if the whole thing is working totally flawlessly, it just barely works, you know what I mean? So I give a lot of credit to our crew for doing that, because it's not really a rock show. I know we play rock music and it's a rock festival, but the show itself is not really a rock production, and our crew does a very good job of bending that to fit within the medium.

That show allows you to nod to the past but without falling fully into nostalgia. You are still pushing the band into newer places within it.

PATRICK: That's always been a central thing. We're a weird band, because a lot of bands I know went through a period of rejecting their past, and frankly, I encounter this thing a lot, where people have expected that we stopped interacting with older material. But we always maintained a connection with a lot of the older music. We still close with 'Saturday'. So for us, it was never about letting go of the past. It was about bringing that along with you wherever you go. I'm still the same weird little guy that likes too much music to really pin down. It's just that I've carried that with me through all the different things that I've done and that the band has done. So for us, in terms of going forward and playing new stuff, that's always the thing that's important to me; that there should be new stuff to propel it. I never wanted to be an artist that just gave up on new music and went out and played the hits and collected the check and moved on. It's all got to be creative. That's why I do it. I want to make new music. That's always why I do it. So something like When We Were Young is kind of odd really. It's an odd fit for that, because it's nostalgic, which is not really my vibe all that much. But I found a lot of nostalgia in it. I found a lot of value in looking back and going 'Wow, this was really cool. It was amazing that we did this, that we all did this'. That scene of bands, we're all old now, but it has taken off into such a moment culturally that people can point to.

Let's jump all the way back to the first ever Fall Out Boy show. There is very little evidence of it available online but what are your memories of that performance?

PATRICK: So the very first Fall Out Boy show was at DePaul University in a fancy looking dining hall. I actually applied to DePaul, but I never went there because the band went on tour. I think there were only two or three other bands. One was a band called Stillwell, who were kind of a math rock emo band, and then this heavier, more metallic band. And then we were there, and we had a guitar player, John Flamandan, who I have not seen since that show. He was only in the band for a week or two, and we were still figuring ourselves out. We had three songs and I had never sung before in front of people. I did a talent show at school one time when I was a kid and theatre kind of stuff where you would sing, but it was more in that context. And I was also a kid too. This was the first time ever that I'm the singer for a band and I was fucking terrified. We had a drummer named Ben Rose, really great guy. I haven't seen Ben in a million years, either, but we were still figuring ourselves out. The other thing is that all of us, with me being the exception, were in other bands, and all of our other bands were better than Fall Out Boy was. We were very sloppy and didn't know what we were doing, and so I don't think any of us really took it seriously. But there was a thing that was really funny about it, where even though we kind of thought we sucked, and even though we weren't really focusing on it, we had a lot of fun with each other. We enjoyed trying this other thing, because we were hardcore kids, and we were not the pop punk kids and the pop punk bands in town, that was like 'the thing', and we were not really welcome in that. There was a fun in trying to figure out how to make melodic and pop music when we really didn't have any history with that. It was very obvious that we didn't know what we were doing at the beginning.

So when did it begin to feel like things were finally clicking? When did you find your roles and what you wanted the band to be? 

PETE: In regards to the music, I liked Fall Out boy, way before I probably should have. I remember playing the early demos and it giving me a feeling that I hadn't felt with any of the other bands that I had been in. Now, looking back on it, I might have been a tad early on that. Then as far as the roles, I think that they've been carving themselves out over time. We've always allowed ourselves to gravitate to our strengths. Between me and Patrick, we'd probably make one great, atypical rock artist if we were one person. Because our strengths are things that the other doesn't love as much. But I think that what has happened more is it's less of a fight now and there's more trust. We have a trust with each other. There's things that Patrick will play for me or explain to me, and I don't even really need him to explain it, because I trust him. I may not totally understand it, but I trust him as an artist. On the other side of that, it's also very nice to have someone who can veto your idea, you know what I mean? It's nice to have those kind of checks and balances.

PATRICK: I had been in this band called Patterson, and all three of the other guys sang in kind of a gravelly, Hot Water Music vibe. I was not intending to be a singer, but I would try and sing backups and, it wasn't a criticism, but there was this vibe that, while I could do the gravelly thing, my voice was coming through and it didn't fit. It was too pretty and that became a thing I was kind of embarrassed of. So when Fall Out Boy started, I was actively trying to disguise that and mute it and hide behind affectation. Pete would really push me to stretch my vowels because that was in vogue in pop punk at the time. There were all these different ways that we were trying to suppress me, musically, because we were just trying to figure out how to do the things that the bands we liked did. But that wasn't really us, you know? It's really funny, because 'Take This To Your Grave' was recorded in three sections, about six months apart. Over the course of that time, I can hear us figuring it out. I think a really defining moment for me was 'Saturday', because I am not brave, I am not a bold person, and I do not put myself out there. When I was showing the band 'Saturday', we were jamming on the bit after the second chorus, and I was mumbling around, just mucking my way through it, and I did the falsetto thing. I didn't think anyone could hear me over us bashing around in Joe's parents house in this tiny little room. But Pete stopped, and he goes, 'Do that again'. I was so terrified of doing that in front of these guys, because you gotta remember, I was incredibly shy, but also a drummer. I'd never sung in front of anyone before, and now I'm singing in a band and I'm certainly not going to take chances. So I thought the falsetto thing was really not going to happen, but when I did it, there was this really funny thing. Somehow that song clicked, and it opened up this door for us where we do something different than everybody else. We were aiming to be a pop punk or hardcore band, but we found this thing that felt more natural to me.

As you embarked on Warped Tour, simultaneously you were finding this huge level of pop and mainstream success. How was it navigating and finding your way through those two very different spaces?

PATRICK: I used to work at a used record store and what shows up is all the records after their success. So I got really acquainted and really comfortable with and prepared for the idea of musical failure. I just wanted to do it because I enjoyed doing it. But in terms of planning one's life, I was certain that I would, at most, get to put out a record and then have to go to school when it didn't work out. My parents were very cautious. I said to them after 'Take This To Your Grave' came out that I'm gonna see where this goes, because I didn't expect to be on a label and get to tour. I'm gonna give it a semester, and then it will almost certainly fail, and then after it fails, I'll go to school. And then it didn't fail. Warped Tour was very crazy too, I was talking about this at When We Were Young with My Chem. Both of us were these little shit bands that no one cared about when we booked the tour. Then we got to the tour, and all these people were showing up for us, way more than we expected, way more than Warped Tour expected. So Warped Tour was putting both of us on these little side stages, and the stages would collapse because people were so excited. It was this moment that came out of nowhere all of a sudden. Then we go to Island Records, and I had another conversation with my parents, because every band that I had known up to that point, even the biggest bands in town, they would have their big indie record and then they would go to the major label and drop off the face of the planet forever. So I was certain that was going to happen. I told them again, I'm going to put out this record, and then I'll go to school when this fails. 

PETE: I think that if you really wanted someone to feel like an alien, you would put them on TRL while they were on Warped Tour. You know what I mean? Because it is just bananas. On our bus, the air conditioning didn't work, so we were basically blowing out heat in the summer, but we were just so happy to be on a bus and so happy to be playing shows. You go from that to, two days later, stepping off the bus to brush your teeth and there's a line of people wanting to watch you brush your teeth. In some ways, it was super cool that it was happening with My Chemical Romance too because it didn't feel as random, right? It feels more meant to be. It feels like something is happening. To be on Warped Tour at that time - and if you weren't there, it would be probably hard to imagine, because it's like if Cirque Du Soleil had none of the acrobatics and ran on Monster energy drink. It was a traveling circus, but for it to reach critical mass while we were there, in some ways, was great, because you're not just sitting at home. In between touring, I would come home and I'd be sitting in my bedroom at my parents house. I would think about mortality and the edge of the whole thing and all these existential thoughts you feel when you're by yourself. But on Warped Tour, you go to the signing, you play laser tag, you go to the radio station. So in some ways, it's like you're in this little boot camp, and you don't really even think about anything too much. I guess it was a little bit of a blur.

Pete, when you introduced 'Bang The Doldrums' at When We Were Young, you encouraged the crowd to 'keep making weird shit'. That could almost be a mantra for the band as a whole. Your weirder moments are the ones that made you. Even a song like 'Dance Dance' has a rhythm section you never would have expected to hear on a rock track at that time.

PETE: You know, I just watched 'Joker 2' and I loved it. I do understand why people wouldn't because it subverts the whole thing. It subverts everything about the first one. That's something I've always really loved, when I watch artists who could keep making the same thing, and instead they make something that's challenging to them or challenging to their audience. Sometimes you miss, sometimes you do a big thing and you miss, and we've definitely done that. But I gotta say, all the things that I've really loved about art and music, and that has enriched my life, is when people take chances. You don't get the invention of anything new without that. To not make weird stuff would feel odd, and I personally would much rather lose and miss doing our own thing. To play it safe and cut yourself off around the edges and sand it down and then miss also, those are the worst misses, because you didn't even go big as yourself. This is where we connect with each other, we connect by our flaws and the little weird neuroses that we have. I rarely look at something and go 'Wow, that safe little idea really moved me'. I guess it happens, but I think about this with something like 'Joker 2' where this director was given the keys and you can just do anything. I think a lot of times somebody would just make an expected follow up but some people turn right when they're supposed to turn left. That's always been interesting on an artistic level, but at the same time, I think you're more likely to miss big when you do that.

PATRICK: Going into 'From Under The Cork Tree', I had this sense that this is my only shot. It has already outperformed what I expected. I don't want to be locked into doing the same thing forever, because I know me. I know I'm not Mr. Pop Punk, that's just one of many things I like. So I would be so bummed if for the rest of my life, I had to impersonate myself from when I was 17 and have to live in that forever. So I consciously wanted to put a lot of weird stuff on that record because I thought it was probably my only moment. 'Sugar, We're Goin Down' was a fairly straight ahead pop punk song but even that was weird for us, because it was slow. I remember being really scared about how slow it was, because it's almost mosh tempo for the whole song, which was not anything we had done up to that point. But in every direction, in every song, I was actively trying to push the boundaries as much as I could. 'Dance, Dance' was one of those ones where I was seeing what I can get away with, because I might never get this chance again. We were on tour with a friend's band, and I remember playing the record for them. I remember specifically playing 'Our Lawyer…' that opens the record, which has that 6/8 time feel, and they kind of look at me, like 'What?'. Then I played 'Dance, Dance', and they're like, 'Hey man, you know, whatever works for you. It's been nice knowing you'. But I just knew that, on the off chance that I ended up still being a musician in my 40s, I wanted to still love the music that we made. I didn't want to ever resent it. It's ironic because people say that bands sell out when they don't make the same thing over and over again. But wait a second. Say that again. Think about that.

That attitude seemed to carry directly into 'Infinity On High'. If you may never end up doing this again then let's make sure we bring in the orchestra while we still can... 

PATRICK: That was literally something that I did say to myself this might be the last time, the likelihood is we're going to fail because that's what happens, so this might be the last time that I ever get a chance to have somebody pay for an orchestra and a choir. I always think of The Who when they did 'A Quick One, While He's Away' and there's a part where they go 'cello, cello', because they couldn't afford real cellos, they couldn't afford players. That's what I thought would happen for me in life. So I went in and thought, let's do it all. Let's throw everything at the wall, because there's no chance that it's going to happen again. So many things came together on that record, but I didn't expect it. 'Arms Race' was a very weird song, and I was shocked when management went along with it and had kind of decided that would be the single. I was in disbelief. It did not feel like a single but it worked for us. It was a pretty big song and then 'Thnks Fr Th Mmrs' was easily the big hit off that record. So then we have two hit songs off of an album that I didn't even know would come out at that point. But again, it was very much just about taking the risks and seeing what the hell happened.

As you went on hiatus for a few years, you worked on a number of other creative projects. How did those end up influencing your approach to the band when you returned?

PETE: On the areas of the band where I led, I wanted to be a better leader. When you're younger and you're fighting for your ideas, I don't think that I was the greatest listener. I just wanted to be a better cog in the machine. When you're in a band originally, no one gives you the little band handbook and says 'these are the things you should do', you know? I just wanted to be a better version of who I was in the band. 

PATRICK: There's a combination of things. 'Soul Punk' is a weird record. I love that record but I kind of resent that record for so many things. It's my solo record, but it's also not very me in a lot of ways. I had started with a very odd little art rock record, and then I had some personal tragedies happen. My EP that I put out far out sold expectations so then all of a sudden, Island Records goes, 'Oh, we think this could actually be something we want singles for'. I think we had all expected that I would be putting out a smaller indie record but then all of a sudden they were like 'oh, you could be a pop star'. So then I have to retrofit this art rock record into pop star hit music, and also channel personal tragedy through it. I hadn't ever really been a front man - I'd been a singer, but I hadn't really been a front man, and I hadn't really written lyrics, certainly not introspective, personal lyrics. So that whole record is so strange and muted to me. So I went from that album, which also failed so fucking hard - I should have gone to school after that one. But Pete had reached out to me just as a friend, and said 'I know you're in your own thing right now, and I know that you're not the kind of person that is going to be in my fantasy football league, so I'm not going to see you unless we make music. But you're my buddy, and that kind of bums me out that I don't see you at all, so I guess we have to make music'. I thought that was a fairly convincing pitch. It's true, that was what we do when we hang out - we make music. So we reconvene, and going into it, I had all these lessons that really made me understand Pete better, because Pete is the natural front end person. So many of our arguments and frustrations and the things that we didn't see eye to eye on, I grew to understand having now been in the position of the point man that had to make all the decisions for my solo thing. It really flipped my understanding of why he said the things he would say, or why he did things he would do. I remember early on thinking he was so pushy, but then, in retrospect, you realise he was doing it for a reason. There's so many little things that really changed for me doing 'Soul Punk' that were not musical but were more about how you run a band and how you run a business, that made me understand and respect him a lot more.

What are memories of that initial return and, specifically, that tiny first show back at the Metro venue in Chicago?

PETE: Those first shows were definitely magical because I really wasn't sure that we would be on a stage again together. I don't have as many memories of some of our other first things. We were just talking about Warped Tour, I don't have many memories of those because it is almost wasted on you when it's a blur and there's so many things happening. But with this, I really wanted to not take it for granted and wanted to take in all the moments and have snapshots in our own heads of that show. I did a lot of other art during the time when we were off, everybody did, but there's a magic between the four of us and it was nice to know that it was real. When we got on that stage again at the Metro for the first time, there was something that's just a little different. I can't really put my finger on it, but it makes that art that we were making separately different than all the other stuff.

Musically, as you moved forward, everything sounded much bigger, almost ready for arenas and stadiums. Was that a conscious decision on your part?

PETE: Patrick felt like he was bursting with these ideas. It felt like these had been lying in wait, and they were big, and they were out there, and whether he'd saved them for those records, I don't really know. That's what it felt like to me. With 'Save Rock And Roll', we knew we had basically one shot. There were really three options; you'll have this other period in your career, no one will care or this will be the torch that burns the whole thing down. So we wanted to have it be at least on our terms. Then I think with 'American Beauty...' it was slightly different, because we made that record as fast as we could. We were in a pop sphere. Is there a way for a band to be competitive with DJs and rappers in terms of response time? Are we able to be on the scene and have it happen as quickly? I think it kind of made us insane a little bit. With 'American Beauty…', we really realised that we were not going to walk that same path in pop culture and that we would need to 'Trojan horse' our way into the conversation in some way. So we thought these songs could be played in stadiums, that these songs could be end titles. What are other avenues? Because radio didn't want this right now, so what are other avenues to make it to that conversation? Maybe this is just in my head but I thought 'Uma Thurman' could be a sister song to 'Dance, Dance' or maybe even 'Arms Race' where it is weird but it has pop elements to it.

PATRICK: I had a feeling on 'Save Rock And Roll' that it was kind of disjointed. It was a lot of good songs, but they were all over the place. So when we went into 'American Beauty…', I really wanted to make something cohesive. I do think that record is very coherent and very succinct - you either like it or you don't, and that's pretty much it all the way through. By the time we got to 'MANIA', I had done all this production and I'd started to get into scoring. The band had done so many things and taken so many weird chances that I just felt free to do whatever. At that point, no one's going to disown me if I try something really strange so let's see what happens. 'Young And Menace' was a big part of that experiment. People hate that song, and that's okay. It was meant to be challenging, it's obviously not supposed to be a pop song. It's an abrasive song, it should not have been a single. However, I do think that record should have been more like that. Towards the end of the production, there was this scramble of like, 'Oh, fuck, we have no pop music on this and we need to have singles' and things like that. That took over that record and became the last minute push. I think the last half of that record was recorded in the span of two weeks towards the end of the recording to try and pad it with more pop related songs. I look at that record and think it should have all been 'Young And Menace'. That should have been our 'Kid A' or something. It should have really challenged people.

But we have spoken before about how 'Folie à Deux' found its audience much later. It does feel like something similar is already beginning to happen with 'MANIA'...

PETE: I agree with you, and I think that's a great question, because I always thought like that. There's things that you're not there for, but you wish you were there. I always thought about it when we put out 'MANIA', because I don't know if it's for everyone, but this is your moment where you could change the course of history, you know, this could be your next 'Folie à Deux', which is bizarre because they're completely different records. But it also seems, and I think I have this with films and bands and stuff as well, that while one thing ascends, you see people grab onto the thing that other people wouldn't know, right? It's like me talking about 'Joker 2' - why not talk about the first one? That's the one that everybody likes. Maybe it's contrarian, I don't really know. I just purely like it. I'm sure that's what people say about 'Folie à Deux' and 'MANIA' as well. But there's something in the ascent where people begin to diverge, you are able to separate them and go 'Well, maybe this one's just for me and people like me. I like these other ones that other people talk about, but this one speaks to me'. I think over time, as they separate, the more people are able to say that. And then I can say this, because Patrick does music, I think that sometimes he's early on ideas, and time catches up with it a little bit as well. The ideas, and the guest on the record, they all make a little bit more sense as time goes on.

'MANIA' is almost the first of your albums designed for the streaming era. Everything is so different so people could almost pick and choose their own playlist.

PETE: Of course, you can curate it yourself. That's a great point. I think that the other point that you just made me think of is this was the first time where we realised, well, there's not really gatekeepers. The song will raise its hand, just like exactly what you're saying. So we should have probably just had 'The Last Of The Real Ones' be an early single, because that song was the one that people reacted to. But I think that there was still the old way of thinking in terms of picking the song that we think has the best chance, or whatever. But since then, we've just allowed the songs to dictate what path they take. I think that that's brilliant. If I'd had a chance to do that, curate my own record and pick the Metallica songs or whatever,that would be fantastic. So it was truly a learning experience in the way you release art to me.

PATRICK: After 'MANIA', I realised Fall Out Boy can't be the place for me to try everything. It's just not. We've been around for too long. We've been doing things for too long. It can't be my place to throw everything at the wall. There's too much that I've learned from scoring and from production now to put it all into it. So the scoring thing really became even more necessary. I needed it, emotionally. I needed a place to do everything, to have tubas and learn how to write jazz and how to write for the first trumpet. So then going into 'So Much (For) Stardust', it had the effect of making me more excited about rock music again, because I didn't feel the weight of all of this musical experimentation so I could just enjoy writing a rock song. It's funny, because I think it really grew into that towards the end of writing the record. I'd bet you, if we waited another month, it would probably be all more rock, because I had a rediscovered interest in it.

It's interesting you talk about the enjoyment of rock music again because that joy comes through on 'So Much (For) Stardust' in a major way, particularly on something like the title track. When the four of you all hit those closing harmonies together, especially live, that's a moment where everything feels fully cohesive and together and you can really enjoy yourselves. There's still experimental moments on the album but you guys are in a very confident and comfortable space right now and it definitely shows in the music. 

PATRICK: Yeah, I think that's a great point. When you talk about experimentation too and comfort, that's really the thing isn't it? This is always a thing that bugged me, because I never liked to jam when I was a kid. I really wanted to learn the part, memorise it and play it. Miles Davis was a side man for 20 years before he started doing his thing. You need to learn the shit out of your music theory and your instrument - you need to learn all the rules before you break them. I always had that mindset. But at this point, we as a band have worked with each other so much that now we can fuck around musically in ways that we didn't used to be able to and it's really exciting. There's just so much I notice now. There are ways that we all play that are really hard to describe. I think if you were to pull any one of the four of us out of it, I would really miss it. I would really miss that. It is this kind of alchemy of the way everyone works together. It's confidence, it's also comfort. It's like there's a home to it that I feel works so well. It's how I'm able to sing the way I sing, or it's how Andy's able to play the way he plays. There's something to it. We unlock stuff for each other.

Before we close, we must mention the other big live moment you had this year. You had played at Download Festival before but taking the headline slot, especially given the history of Donington, must have felt extra special. 

PETE: It felt insane. We always have a little bit of nerves about Download, wondering are we heavy enough? To the credit of the fans and the other bands playing, we have always felt so welcomed when we're there. There's very few times where you can look back on a time when... so, if I was a professional baseball player, and I'm throwing a ball against the wall in my parents garage as a kid, I could draw a direct link from the feeling of wanting to do that. I remember watching Metallica videos at Donington and thinking 'I want to be in Metallica at Donington'. That's not exactly how it turned out, but in some ways there is that direct link. On just a personal level, my family came over and got to see the festival. They were wearing the boots and we were in the mud. All this stuff that I would describe to them sounds insane when you tell your family in America - 'It's raining, but people love it'. For them to get to experience that was super special for me as well. We played the biggest production we've ever had and to get to do that there, the whole thing really made my summer.

PATRICK: There's not really words for it. It feels so improbable and so unlikely. Something hit me this last year, this last tour, where I would get out on stage and I'd be like, 'Wait, fucking seriously? People still want to see us and want to hear us?' It feels so strange and surreal. I go home and I'm just some schlubby Dad and I have to take out the compost and I have to remember to run the dishwasher. I live this not very exciting life, and then I get out there at Download and it's all these people. Because I'm naturally kind of shy, for years, I would look down when I played because I was so stressed about what was happening. Confidence and all these have given me a different posture so when I go out there, I can really see it, and it really hits you. Download, like you said, we've done before, but there's something very different about where I am now as a person. So I can really be there. And when you walk out on that stage, it is astounding. It forces you to play better and work harder, because these people waited for us. The show is the audience and your interaction with it. In the same way that the band has this alchemy to it, we can't play a show like that without that audience.

[ylangelegy]

After MAMA awards I'M VERY PROUD OF MY BOYS and seeing Woozi crying, nooooo my mannnnn

So can I request Woozi or anyone after awards, all members celebrating with their partners hehe LOVE YOUUU!!!

PLEASE PLEASE 🛐🛐

🍑 i will really live the rest of my life repaying you.

you don't see seungcheol until the next day. such is the life of the general leader, it seems— the never-ending heralding, the non-stop worrying. he deals with his boys, first, then the fans, then the staff. but once that's all done, he's at your front door, collapsing into your arms before he's even past through the entryway. it doesn't matter how many awards its been. he is still overwhelmed by it every single time, and you are a soft place to land. he comes home to you and whispers the sweetest nothings in your hair. i'm so proud of them and they did so well and they're so happy. as he holds you tight— like you're the only thing keeping him upright— it's your turn to let him hear those words. i'm so proud of you. you did so well. you get to be happy, too.

the jeonghan on the other end of the video call has been quiet for the most part of the past half-hour. you'd be more worried if you hadn't already predicted where his solemness was coming from. "hannie? still with me?" you prompt gently, and he finally tears his gaze away from the ceiling to look back at you. "yeah. yeah, i'm with you," he answers. a beat. there are some things you no longer have to say out loud. how he wishes he was there. how he misses them and tries not to let it show. instead, you give him a reminder that's quiet and firm. "this is yours, too," you say. this award. this moment. these boys. all still his. there's a ghost of a smile on his face as he mumbles, "right. of course. how could i forget."

joshua likes keeping lists. a running one he has with you is that of gratitude, where the two of you try to end each day with acknowledgements of what you're grateful for. you're expecting a whole essay for him after tonight. he surprises you by keeping it short, sweet, and straight to the point. in no particular order, he types out into your shared note. music, the boys, you. hours later, he adds a footnote like it'd occurred to him as an afterthought: i'm always grateful for those three, but especially so today.

"look at them!" jun shrieks. his video call pixelates, either from spotty connection or his sudden burst of enthusiasm. you have half a mind to warn him that he may get a noise complaint again, but this time it'd be completely warranted. he's positively vibrating with excitement, his eyes glued to the livestream of his twelve brothers ascending the stage for their second award of the night. "look at them," he repeats, and this time his voice is more reverent than anything. you could comply, could do as he's asking, but your eyes are trained elsewhere. and look at you, too, you want to say. look at you and all that you've done to get this far.

even though it's been an exceptionally long day, soonyoung comes home brimming with adrenaline. he does dance routines in your living room. he jogs around your block until you beg him to just come back. he sings in the shower before collapsing onto the bed next to you, where he suddenly becomes boneless. the glow of pride stays even as the exhaustion hits. he pulls you against him and cuddles right into you. to soonyoung, this is as good as any trophy: the peace that comes with falling asleep next to you.

wonwoo has no destination in mind. he has a car with a full tank, and a playlist of all his favorite songs, and you in the passenger seat. that's more than enough. you pass through tunnels with warm lighting; expressways where he keeps the windows down so the wind will whip at your hair. occasionally, you'll stop to grab a snack or take a photo of something interesting on the side of the street. after hours of just going in circles, he'll ask, "should we keep driving?" even though he knows you'd never deny him this. this. his little celebration in the form of getting 'lost' with you.

nobody hears from jihoon for the next couple of days. the managers are worried, but the boys all just shake their heads and say that he's in good hands. which means: he's wherever you are. the two of you don't talk about his speech, about his public breakdown, because both things make him want to hide forever. instead— he sleeps in. he watches movies from months ago that he promised he'd get to. the two of you go on walks at night, and have breakfast at lunch time. the vicious cycle will soon have to begin again. jihoon knows that. but for a few, precious moments, his heart is not a heavy burden because it's safe and sound in your capable hands.

seokmin takes you on the textbook definition of your perfect date. a shopping spree? here's his black card. an amusement park? he'll rent out lotte world for the day, if he must. you're understandably baffled. he's the one who just won big, and yet you're the one being treated like royalty. try to resist and he'll only push back on you. seokmin already spoils you enough as is, but this is just a little more over-the-top than the day-to-day stuff. at the end of it all, his rationale is as sweet as it gets. "you keep me going," he tells you. "and so you deserve just as much credit as i do."

mingyu has always liked to celebrate with a meal. you'd expected his usual fare of some swanky restaurant or high-end café, but, this time, he asks for only free reign of your kitchen. he props his phone up against the salt shaker and pulls up a youtube video before flashing you his best 'just-trust-me' grin. your trust is not misplaced; the two of you do manage to bake the celebratory cake, though whether it's any good is an entirely different story. the end result doesn't matter as much as the process. mingyu is happiest about the flour marks on your cheeks, about the kisses he steals while you whisk eggs. it's not a birthday cake, but you light up a candle for him anyway. just for the hell of it. "make a wish," you tease. he's looking straight at you as he blows at the flame.

minghao asks for a beach day. the two of you set out for the nearest one. maybe the sand is a bit rocky; the shore, lacking in shells. he doesn't care. he only seeks out the sun beating on his back, the saltwater clinging to his skin, the first punch of air after emerging from the water. as the stolen weekend winds to a close, the two of you sit at the point where the water lap at your toes. neither of you have to speak. here, minghao lets the tide wash away the ache of homesickness. here, minghao redefines 'home' as a future with the boys of his youth, with the music that is as constant as the waves— and with you, of course.

the ferry ride to jeju is about four or so hours long, but seungkwan doesn't mind. there's just something so right about getting on the first vessel that will take him back where he has family waiting with a homecooked meal and a play-by-play of the award show. besides, the ferry means having four hours of uninterrupted leisure time with you. the pair of you literally have nowhere else to be except this boat and this point in time, which seungkwan is a little guilty to be so happy about. he's a glutton for your time and attention, and these ferry rides— these trips home— remind him just how much he likes taking the scenic route.

vernon treats it almost like it's just another day. almost. you're thrown off by his initial nonchalance, by the lack of utter fanfare in the way he asks you out to lunch and the two of you barely discuss the recent accolades. when you prompt him about it, you realize it's not because of arrogance or ignorance. "we're just doing what we always do," he says with an expression of mild confusion. winning?, you almost inquire half-jokingly, but that's only part of it. he elaborates, "we were just ourselves, y'know?"

when chan suggests a rage room, you're understandably confused. the wrath-based activity doesn't seem like the most optimal celebration, but you're not about to cramp his style. the two of you queue the angriest songs known to man before smashing some defunct appliances and throwing empty bottles against a wall. once your time is up, chan looks at you with that familiar spark of fire in his eyes. that dedication you fell in love with, that passion that has always burned bright. "again?" he asks, and you know it's not just the rage room that he's asking for.

[tenebraevesper]

Sonic X Shadow Takeover Analyzer (Part 2)

I was so excited to hear this Takeover since it is only Sonic and Shadow talking to each other and answering question. It is one of those times where you get to see their dynamic without anyone else's input.

Since I feel like I could write an essay about these two, I decided to instead put all my thoughts into bullet points, this being Part 2 of my list:

Obligatory ''Shadow likes Latinas'' joke.

I love how Sonic sees their rivalry as a friendly competition, even describing it as being two sides of the same coin and pushing each other to be better. Shadow points out how he fights because he has a purpose and he will fight Sonic if their ideals clash. Sonic isn't buying it, though. He really wants to make it clear that his presence is important to Shadow and he wants to hear that from Shadow himself. Shadow finally agrees, with Sonic sounding so proud of himself.

Addendum: Considering how the cutscene battle in Sonic X Shadow Generations went, Shadow definitely can't resist fighting Sonic to best him, regardless of his own goals. Their rivalry gives him purpose.

''GO OFF KING!!'' Sonic, what?! X3

Shadow goes on a rant about Super Monkey Ball, with Sonic immediately trying to apologize for the whole thing. It's hilarious!

''THOSE MONKEYS NEED TO PUT ON SOME PANTS!!'' Shadow, you don't even wear pants.

I love how when Sonic and Shadow talk about Jet, Sonic immediately turns the question to be about their rivalry, pointing out how their little competition is why Shadow keeps Sonic around. Shadow just groans in exasperation, but we all know Sonic's telling the truth.

Black Doom really has an obsession with Radical Highway. I suppose Radical Highway is to Shadow what Green Hill Zone is to Sonic. Also, love how Shadow retorts to Sonic's ''Radical'' pun by calling him ''Mr. Green Hill Zone''.

When they're asked to draw something, their immediate response is to draw each other, with Sonic even trying to give some input to Shadow. They're not the best at it, though; something they wholeheartedly agree on.

Shadow is so proud to have his Year, and Sonic likes it too, to the point of showering him with constant compliments. Shadow enjoys it, but claims how he's not ''seeking attention''. Nobody's buying that Shadow.

Sonic Shuffle get mentioned!!

Shadow played chess with Maria, which is really nice. Also, if Sonic ever plays chess with Shadow, he'd totally be the guy who eats the chess pieces, much to Shadow's confusion. Also, the fact that Shadow claims how Sonic would lose on purpose to annoy him is both hilarious and also kinda sweet, considering how Sonic has been acting in this whole Takeover.

Fadel is back and trying to get into either Team Hero or Team Dark... and Sonic and Shadow clearly refuse to have him on their teams. I find it hilarious how Sonic immediately directs him to Team Dark and Shadow claims how applications are closed, then points him at Team Hero and gaslights Sonic into reluctantly accepting Fadel into the team.

I actually watched Games Cage's reaction to that, and he is completely oblivious to the fact that Sonic is being passive-aggressive by mentioning how Tails called dibs on their only parachute, meaning Sonic is cool with letting the guy fall off the Tornado. X3

Sonic is so persistent about wanting to hug Shadow! I get Sonic Prime vibes from this and I'm loving it.

''I don't need... your kind of hugs.'' There's two things I can conclude from this:

Shadow only likes the hugs Maria and Amy gave.

Shadow actually would be fine with Sonic hugging him, but they have to be meaningful rather than fleeting considering his earlier comment. Sonic is totally oblivious to that, though.

Sonic Boom ''Shadow broods in a cave'' reference!

Besides training, Shadow's hobby is reading. He's a bookworm, and Sonic sounds so excited about learning that. I can totally see Sonic thinking about dragging Shadow into another Storybook Adventure.

Shadow's first time turning Super was still him learning how to control that power. It explains why he ran out of energy back then, while Sonic had more experience and could keep it longer. Sonic also keeps complimenting Shadow about looking cool in his Super Form, even calling him wise for pointing out how that power needs to be controlled.

WHY DOES SONIC HAVE ABRAHAM TOWER ON SPEED DIAL?!

Shadow definitely doesn't work for G.U.N. That's something that has been confirmed. I have to say, the whole conversation between the Commander and Shadow was really awkward, but the kicker is Sonic's being oblivious to the whole awkwardness. He is so proud that he arranged a call between them.

I love how Sonic's neutral opinion about Orbot changes immediately the moment he hears Shadow's own thoughts on the robot. Once Shadow says he dislikes Orbot, Sonic immediately agrees with him, and when Orbot offers to get them coffee, causing Shadow to like him, Sonic also agrees that Orbot is fine. This really feels like Sonic wants Shadow's approval by agreeing with his opinions.

Sonic and Shadow are arguing about who is better at raising their Chao. They legit sound like married couple arguing about how to take care of their children. Sonic is definitely the fun dad, while Shadow has to take care of the discipline.

Shadow doesn't believe in ghosts, despite Sonic pointing out how they ran into paranormal stuff several times. Sonic also tries to scare him a couple of times, with Shadow showing no reaction.

Shadow's favorite Doom Power is Doom Morph, and Sonic is a little jealous of that form once he hears more about it. The fact that Shadow just keeps bragging about it and annoying Sonic is hilarious.

''Skill issue!'' Lol, Shadow. I can imagine Sonic rolling his eyes at that comment.

Shadow scolds the person who listens to the Twitter Takeover instead of studying for their exam. He really cares about their education, while Sonic points out how he needs to lighten up.

Let's be honest, Sonic and Shadow definitely love hanging out with each other, admitting it in their own way that they care about each other.

I believe that this Takeover proves that Sonic and Shadow really have a good dynamic when they sit down and hang out with each other. They bicker, they tease each other, they come to agreements and disagreements, they care... It is so enjoyable to listen to them and I'm looking forward to seeing more!

Oh, and yeah, this was a feast for the Sonadow fans, if you ask me. I hope you guys will enjoy my notes, because I'm definitely going to take advantage of all the new information I got. I can't wait for the meal we'll get once the Sonic the Hedgehog 3 movie comes out.

#Sonic X Shadow Takeover Analyzer (Part 1)

#Sonic Cyber Revolution (Masterlist)

[archiveofvirtue]

doll!reader wants to take control during sex but rafe isn’t gonna submit that easily, so she has to find another way

cw ⎯⎯ nsfw, established relationship, making out, turning dom!rafe sub, forced submission (?) kinda, handcuffs, praise, overstimulation, oral (m. receiving)

“hngh..feels so good rafey.” you hummed, your hips continuing to roll against his still clothed cock, feeling him getting harder the more seconds pass. His lips were still attached to the sensitive skin on your neck as he sucked and licked on your sweet spot.

Rafe was leaning against the headboard, his fingers digging into your hips, pulling you closer, unable to get enough of you. Just as his lips began to trail down to your collarbone you pulled back slightly, a mischievous smile on your pink and glossy lips. He gazed up at you, his ocean blue eyes filled with lust and complete adoration.

“You’re driving me crazy, doll.”

he murmured, hands still clinging to your body.

“Good.” you whispered, leaning back down to nip at his jawline, his stubble slightly rough against your soft lips. As your kisses trailed down his neck, something in you shifted. You hadn’t planned for it to unfold like this, feeling kinda strange. Usually, Rafe was the one in charge, his dominant nature pulling you into submission so effortlessly that you never questioned it. You loved the way he took control, how he made you feel small and cared for. But what if you, just once, took the lead?

You weren’t sure where it all came from, but you also weren’t scared to find out. Maybe deep down you’d always wanted to see how far you could push him, to make him yours like he did to you. As your heart began to race you realized that the idea really turned you on, the wet spot on your panties only growing bigger.

Your fingers slid up his chest, brushing over his collarbone before settling at his neck. Your grip tightened slightly, feeling a bit nervous and just adding a playful pressure to start things off. Rafe tensed beneath you almost immediately, his hands shooting up to catch your wrists.

"What the hell are you doing?" he asked, his tone sharp as his blue eyes locked on yours. You froze, and for a second you thought about chickening out, to just leave it to him, but then a new found courage came rushing through you. “Just trying something new..”

Rafe let out a frustrated sigh, loosening his hold on your wrists but keeping them steady. "Doll, that's not really my thing. You know I'm not into—"

"Please," you interrupted, your voice a mixture of pleading and determination. Your hands moved to cup his face instead, thumbs brushing over his cheeks. "Rafe, I promise l'll make you feel good.“

His jaw tightened, and for a moment, he seemed to weigh your words. Rafe wasn't used to giving up control—not to anyone, and most of the time not even to you. But the way you looked at him, your big, hopeful eyes and your sweet pout, made it impossible for him to say no. You were his doll, his everything, and despite his doubts, he didn't want to disappoint you.

"Fine," he finally gave in. "But don't push it."

Your face lit up with excitement, not thinking that he’d actually agree. "You won't regret it," you promised, lips brushing against his again as your hands adjusted their grip, softer this time, testing his limits. You could feel the tension in his body as Rafe fought the instinct to pull away, his breathing uneven under your touch.

"Relax," you murmured, kissing the corner of his mouth, then his neck, your lips moving in a slow, deliberate rhythm. "Let me take care of you." A playful smirk was plastered on your lips as you placed your hands on Rafe's broad chest, gently pushing him back against the pillows. "Just trust me, okay?" You whispered, your tone dripping with sweetness, though your eyes sparkled with something malicious.

Rafe let you guide him, his hands resting loosely on your bare thighs. "Why do I feel like you're up to something?" he asked, his voice tinged with suspicion, though he couldn't help but smirk back at you.

"Close your eyes," you instructed, voice soft but firm. The blonde boy raised an eyebrow, clearly hesitant. "y/n-"

"Just do it," you interrupted, leaning down to kiss him again, silencing his protests. It was a kiss that left him momentarily dazed, and when you pulled back, he complied with a small groan, letting his eyes flutter closed.

Reaching over to your nightstand you slid the drawer open carefully, trying not to give yourself away as you pulled out the fluffy pink handcuffs you’d stashed there, finally finding an opportunity to use them. The rattling and soft clicking sounds as you adjusted them immediately made Rafe's brow furrow, even with his eyes shut.

"What's that?" he asked, his voice sharp, the hint of suspicion growing stronger.

"Shh," you cooed, leaning down to kiss him again, but this time he didn't fall for the distraction. His eyes snapped open just as you had clasped one of the cuffs around his wrist and secured it to the headboard.

"Whoa, whoa, whoa," Rafe protested, tugging his arm instinctively, but you were quicker. You grabbed his other wrist and clicked the second cuff into place before he could stop you. His eyes widened as he pulled at the restraints, the fluffy pink cuffs holding him securely against the headboard.

"Doll, what the fuck is this? Get ‘em off."

You sat back on his hips, earning a low grunt from him while twirling the tiny key between your fingers with a smug grin. "Mmm, I don't think so," you said, voice dripping with confidence. "You're not in charge here, Rafey. I am."

Rafe's breath hitched slightly, his jaw clenching as he looked up at you. There was a flicker of something in his expression— frustration, maybe even a little fear, but also an undeniable heat in his blue eyes as he registered your words. He was done for.

“y/n, I swear to God-" he began, but you cut him off.

"Swear all you want," you giggled sadistically, leaning down until your lips were just a breath away from his ear. "You're mine now, Cameron. And you're gonna sit there and take whatever I decide to give you." Your voice was unusually low, commanding, and laced with a sultry edge that made Rafe’s body react before his brain could catch up.

He squirmed beneath you, his face flushing as he realized just how much your words affected him. "Baby, come on," he said, his tone wavering between irritation and something softer, almost vulnerable. "This isn't funny."

"Oh, I'm not laughing," you replied, grin widening as you watched him tug at the cuffs, the muscles in his arms flexing uselessly. Your pussy clenching at the sight, he was so unbelievably hot like this. You reached out, brushing your fingers along his jawline.

"Baby.." he muttered, his voice strained as he tried to muster up some semblance of control. But the way you looked at him, the power you held—it made him feel small in a way that was both frustrating and oddly thriling, feeling the buldge in his boxers grow. The way you were acting drove him crazy, thoughts running wild with all possible scenarios. It was all so new to him and seeing you in control definitely flipped a switch inside of Rafe.

You fully ignored his complaints, the outline of his erection definitely was enough for you to keep going, your fingers dipped below the waistline of his boxers, pulling them down as his erection sprang free. you held his already leaking cock in your hand, running your thumb along the tip before licking a stripe all the way to up his base. you repeated this action a few more times, then fully taking him in your mouth as far as you could go.

“fuck, baby..” rafe groaned, helplessly pulling at the handcuffs. you began to swirl your tongue around his cock, your hand wrapping around the inches that you couldn't get in your mouth. you continued to suck him off, pulling all the way off and then taking him back in. his grunts became louder, hips buckling up into you, while his tip hit the back of your throat.

Gagging and slurping sounds filled the four walls of your room, your saliva mixed with Rafe’s precum making your mouth move smoothly around him. You could tell he was close by the way he squirmed underneath you, tugging on the cuffs with all of his strength, complete trapped.

“You’re gonna cum for me pretty boy?” You chuckled up at him, hands replacing your mouth for a second as he watched you with hazy eyes, fully emerging into submission, nodding hastily. “Y-yes..fuck.”

You began jerking him off at a fast and rough pace, your hand gliding along his thick shaft with ease as you watched him twitch, quickly wrapping your lips back around his tip. Just as your tongue tasted him again you felt Rafe release, white ropes of cum pouring down your throat as you moaned, your own arousal running down the insides of your thighs.

Pulling yourself off him with a plopping sound you smirked satisfied, licking the corner of your swollen lips while Rafes chest was raising heavily up and down, trying to catch his breath. You leaned over Rafe, your fingers working quickly to unlock the fluffy pink handcuffs that had kept him restrained for far longer than he'd anticipated—or admitted he'd tolerate. The click of the cuffs releasing was followed by a deep exhale from your boyfriend as he brought his arms down, rubbing his sore wrists briefly, his lips curving into a slow, devilish smile.

"Enjoy yourself, Doll?" he asked, his tone low and teasing, but there was a dangerous edge beneath it that sent a shiver through your body.

You were unable stop grinning triumphantly as you sat back on your heels. “Maybe I did," you teased, brushing your hair out of your face. "And maybe I'll do it again."

Rafe chuckled, sitting up slightly, his movements deliberate and slow, like a predator sizing up his prey. "Yeah?" he asked, his voice silky smooth, though his eyes burned with intensity. "You did a good job, I'll give you that. Might even let you take control more often... if you're lucky."

Your confidence flared at his words, lips parting to say something smug, but before you could get a word out, Rafe’s hands shot out, grabbing your waist and flipping you effortlessly onto your back. A surprised squeal escaped your lips as he hovered over you, his body pinning yours to the mattress in one swift motion.

"Rafe!" You gasped, your cheeks flushing as you squirmed beneath him, your earlier dominance quickly turning into nervous laughter. "What are you-"

"Shh," he interrupted, pressing a finger gently to your lips before leaning in closer, his nose brushing against yours.

“You really thought that you could just tie me up and have your way with me without consequences..?”

my first time writing for doll!reader and im already obsessed with her and rafe’s relationship 🎀

feedback and requests are greatly appreciated !!

tags 🏷️ @gibson-g1rl @starkeysprincess @drewspinkbunny @drewsarms @rafescokewhore @rafeslacy @rafesangelita @rafey-baby @nativegirltapes @maybanksbaby @httpsdrewstarkey @dolcekissy @moremaybank @cherrygirlfriend @beausling @cosmicanakin

[daisymbin]

could you do fluff prompt #27 with woozi 🥹 maybe a birthday related one since its his bday (you might see this past his bday but thats okay! ><)

oh no, I'm late 😭😭😭 but hopefully, I did this prompt justice for jihoon!!!! thank you for requesting ��🫶

request your own: full prompt list!

check out my masterlist! // jihoon’s m.list

fluff prompt #27: "did you plan this whole day just to make me happy?"

jihoon wasn’t one for elaborate birthday celebrations. if it were up to him, he’d spend the day in the studio or curled up with a book, far from the fanfare. but you had other plans—and somehow, he found himself being pulled into them.

“why are we here?” he asked, eyeing the quaint record shop you’d led him to.

“you can’t tell me you wouldn’t want to be here,” you said, holding the door open for him. “besides, i thought it’d be fun to pick out something new for your collection.”

jihoon didn’t argue, though he tried to hide the faint flicker of excitement. he wandered through the aisles, his fingers brushing over album covers as he let out a soft hum of approval.

“you’re stalling,” you teased, nudging him gently. “what’s caught your eye?”

he finally pulled out a vinyl, glancing at the cover before turning it in his hands. “this one’s a classic,” he muttered, almost to himself.

“then it’s yours,” you said easily, taking it from him to pay at the counter.

“you don’t have to—” he started, but you shot him a look that silenced him.

“don’t ruin the moment, jihoon,” you teased, and he felt his lips twitch into a small, reluctant smile.

the next stop was a small café tucked away in a quiet corner of the city.

“why here?” he asked as you both settled into a table by the window.

“because they have a build-your-own drink option,” you said, sliding the menu toward him.

jihoon raised a brow. “you think i’m going to do that?”

“you’re picky,” you replied, grinning. “thought you’d appreciate the control.”

he couldn’t argue with that. after some coaxing, he found himself picking out ingredients, customizing a drink to his exact liking. when it arrived, he took a sip and let out a soft hum of approval.

“good?” you asked, watching him with a smile.

“better than i expected,” he admitted, surprising himself.

“see? trust me more,” you said, leaning back in your chair with a triumphant grin.

the last stop was the city observatory, where you led him up a winding staircase to a quiet viewing platform. the city stretched out below, its lights twinkling like scattered stars.

jihoon leaned against the railing, his eyes scanning the skyline. “you really planned all this?”

“maybe,” you said, standing beside him.

“why?” he asked, though the answer was already starting to form in his mind.

you hesitated, your voice soft as you finally said, “it’s your birthday, jihoon. i just thought you deserved something special.”

he blinked, caught off guard by how easily you said it.

“did you plan this whole day just to make me happy?”

you fiddled with the hem of your jacket, your gaze on the city below. “...maybe.”

jihoon stared at you for a moment, his chest tightening with a mix of emotions he didn’t know how to name.

“you didn’t have to do all this,” he said quietly, his voice more tender than usual.

“i know,” you replied, finally looking at him. “but i wanted to.”

he leaned back in his chair, the corners of his lips twitching into a smirk. “next time, let’s skip the record shop and café and just come straight here.”

“oh?” you tilted your head, your eyes narrowing playfully. “why? did i make it too exhausting for you?”

he shook his head, his smirk softening into something more genuine. “no. i just like spending time with you. and maybe... next time, we can stay a little longer. just us.”

you blinked, and then a small, knowing smile spread across your face. “are you trying to tell me something, jihoon?”

“maybe,” he said, leaning forward slightly, his voice low and teasing.

you laughed, the sound bright and warm, and jihoon found himself smiling too, his chest light and full all at once.

[postracehair]

say again

george russell x reader | 3.9k

three times george curses. or, a beginning, a middle, and a future.

cw: george cursing. a few scrapes and a little bit of blood, some kissing, and a love confession to boot.

a/n: this kind of ran away from me, especially in the middle but every time george russell says fuck an angel gets its wings. written ages ago but posting in honor of Las Vegas.

---

YOU'VE GOT TO BE FUCKING KIDDING ME

The door buzzes and you let yourself into the building.

You've only been here a few times, but a match day spent with your coworker and some of her friends is better than sitting on your couch alone, right? Wine and cookies in hand, you trudge up two flights of stairs to her flat. By the time you reach the landing, you can already hear the chatter and the TV.

No one seems to hear your knock so you push the door open and gingerly step in. The kitchen is on the other side of the flat, and you assume everyone is somewhere between there and the television.

But when you pass the living room where the TV actually is, there's just one guy on the couch. Leaning forward, elbows on his knees watching a penalty get called.

"You've got to be fucking kidding me," he says to no one.

You snicker. He whirls around. "Hello," you say.

"Sorry," he says, standing immedietly. Wow, he's tall. "Sorry, hello."

Oh, and he's familiar. You know him, kind of. He's -- god, he races cars, right? Shit, what is his name? Your coworker has social connections you barely understand so it's not really a surprise to find someone who is probably famous in her flat.

"It is just you, then?" you ask. He laughs and runs a hand through his hair. Dressed in jeans and a team jumper, his casual outfit is at odds with the severe cut of his jaw, his cheekbones. He just looks expensive.

"No," he says. "No, everyone is putting plates together. I'm afraid I might be the one most interested in watching the match."

"Not going well?" you say lightly.

He rounds the sofa, hand out. "Could be better," he says. "I'm George."

You readjust the items in your hands to shake his and tell him your name. He repeats it, and you smile.

"Let me go put these down," you say, "and then, um. Do you want some company, George?"

Honestly, you're not sure where that came from. But, though you came here to escape the smothering loneliness of your own flat, something about him makes you want to stay here rather than go into the kitchen with everyone else.

"'Course I do," he says. "I promise to tighten up my language. Won't do for that to be my first impression."

You wave him away though your cheeks feel a little hot and head for the kitchen.

Your coworker brightens at seeing you and takes your hostess gifts with ease.

"The match is on in the other room," she tells you, "but most of us are drinking in here."

"I saw," you say. "I met George."

She hears something in your tone that turns her expression something between amused and calculating. "You did, did you?"

You just nod, loading up a plate with the various nibbles. "How do you know him, anyway?"

She shrugs. "Oh, you know." No, you don't, but she plows on. "What did you think?"

"Taller than he seems on TV," you mutter. "But very polite. He shook my hand."

That gets her to laugh. "Oh, of course he did. Well, don't stand around in here with us. Go chat up a Formula 1 driver!"

George is back on the couch when you return, arm stretched over the back of it, brows furrowed.

"Has anything exciting happened?" you ask him, sitting down with a perfectly responsible distance between you.

He grimaces. "Nothing good. Wolverhampton, bless 'em, are quite bad."

That might explain why no one is watching this match with him, but you keep that to yourself.

"I see," you say, solemnly. "But loyalty is loyalty, I suppose, if they're your club."

"Exactly," George says. "It's suffering but it has to be done." Someone on the screen triggers a free kick and George leans in until it's over. He starts talking about one of the players being traded, or his contract being renegotiated, or something. You nibble on your plate and just watch. He's animated, this man. Fringe falling over his forehead the more he gestures, blue eyes wide and serious. It's all very endearing.

"Sorry," he says suddenly. "I'm being so rude. You don't want to hear about all of this, do you?"

You smile at him. "I don't mind. I came over for some company more than anything else."

He sinks back into the couch a little, hand running through his hair again. "Well, lucky for me that you did," he says.

Your face feels hot and you don't want to mistake this for flirting if it's not. He is a world-famous athlete, after all, but here you are on the couch next to him. "Lucky for you, indeed."

He laughs, delighted.

OH, SHIT!

This is not how you saw your life going, but maybe that's just the nature of it. Big moments happen just the same as small ones and we have to handle them regardless. The trajectory of your life shifted just a little bit when you sat down on someone else's couch to watch a football match with a stranger.

Because that stranger -- George -- is now much more than that. He asked for your number that day before he had to leave earlier than everyone else, and has been speaking to you ever since. Texts, phone calls, FaceTimes. And, when he's not driving hundreds of miles an hour halfway across the world, he likes to spend time with you.

They're dates, you know they are. But things are still casual, immensely so. Coffee, dinner, long walks through the park. It's probably past due that you ask him what he'd like out of this, but your friends tell you to just have fun for the time being. You've learned a lot about him in the last month or so, both from him directly and by doing your research.

You'd watched a few Grand Prix before meeting him but not with any kind of rapt attention. Now, obviously, you watch with purpose. See him zip around the track, read his radio messages, hope desperately that he'll be alright. He's a big mix of things, George Russell. Witty but determined, thorough but reactionary, polite but intense. You want to keep getting to know him on a personal level and measure that up to how he appears to the world.

Today, you're on one of those long walks. George is recounting the last race at your request. It's always more interesting to hear him talk about what happened than watching it, though you're really growing to love that part, too.

It's a bit chilly and he's got a scarf on in addition to a nondescript hat pulled down low over his eyes. You're used to this by now, though you wish you could see his face more fully.

"And then -- well, I'm sure you saw this bit -- he turned right into me like I wasn't even there!"

"But you avoided it," you remind him. "I saw that, too." A cold wind blows down the path and you shiver a bit.

"You alright?" he asks. "Nippy, huh?" He stops walking and turns to you, his huge hands coming to rest on your shoulders before he rubs them up and down your arms.

"A bit," you agree, a little breathless. God, you really need to talk to him about what this is. You're thinking about him all the time, which is a bit of a nuisance, as you're not sure he's feeling the same. But, a small voice in your head tells you, you can't be too far off in thinking that it might be based on the way he's looking at you right now.

Even under the cap, you can see the soft set of his brow, the way his eyes are shining. The gentle quirk up of his mouth. What would it be like to kiss him? Would he let you?

George stops his warming efforts, catching your hands in his. "Better?"

All you can do is nod. He grins, looking a bit too pleased, and starts walking again, you in tow. This is something else you've learned about him -- he really can be a cheeky bastard. He must have more than some idea as to how he affects you and enjoys it. It's somewhere between a game and a challenge.

You're thinking about ways you can get him back, ways you can flirt mercilessly. His hand is in yours and he's half a step ahead of you when suddenly your fingers are ripped from his and you find yourself on your hands and knees with a gasp.

George is immediately there with you.

"Oh, shit," he says. "Are you alright?"

"I--" You're a bit too stunned to say anything. George rarely curses, which is funny given how you met, but it unsettles you a little bit as much as it warms you. "I think I tripped?"

"Let me see your hands," he says, gently tugging at your wrists with his long fingers. He sucks on his teeth when he sees your palms. "Not too bad, but a little scratched."

You rearrange yourself so you're flat on your bum, legs in front of you. Your hands might be alright but your knees are another story. The fabric of your jeans isn't ripped but you can see the bloodstains already.

"Oh," you say. You look up at George, feeling a bit pathetic. "This is embarrassing."

He scoffs. "No, it's not," he says. "I do think we should get you cleaned up, though."

"We can go to my place," you suggest. The sting sets in a little more, but mingles with your chagrin and you just set your jaw. "Help me up?"

"Brave girl," George says. He presses his lips to the base of your wrist and stands, tugging you up as he goes. "Have you got first aid things at your flat?"

You nod, running through the contents of your bathroom in your mind. It occurs to you that George has not been to your place before, and you did not mentally prepare yourself to bring him there today.

George gently says your name. "Let's get a cab, shall we?"

It takes no time at all to flag one down. George removes his hat in what you can clearly see as an effort to get the cabbie to hurry along a bit, but it seems to work. He takes one look at you, one more at George, and steps on it.

"Let me get your belt," George mutters, making quick work of the buckle.

"I don't think I've ever worn a seatbelt in a cab in my life, George," you reply. He just pats your thigh.

"Think we've had enough injuries for one day, don't you?"

George and the cabbie chat about the race season, about how hot it really is in Singapore, about one of George's recent podiums. He keeps you tucked into his side the whole time -- he's ignored his own seatbelt, you notice -- hand on your thigh. You keep your palms turned up on your knees and wonder how on earth you got here.

The city flies by and you lean your head on his shoulder. You can feel something shifting between you, something clicking into place that wasn't entirely settled before. It's scary, it's exciting, it's big. It's something you're going to have to talk about.

George pays the driver in some large bills and helps you out of the cab and up the steps of your building.

"Where are your keys?" he asks.

"Front right pocket of my jeans."

"Pardon my reach," he jokes, and lightly rests on palm on your hip and slides the other into your pocket to find them. He tugs the keyring out and winks at you before unlocking the door. Up the stairs, into the flat. Shoes toed off, coats on the hook after George helps you out of yours.

"I'm not an invalid, you know," you tell him. He clicks his tongue.

"We don't want blood on this nice coat of yours, do we?"

You roll your eyes. George glances around your flat and smiles. "This is very you."

Dishes on the counter, the pillows a mess on the couch, your books and trinkets on every flat surface -- you suppose he's right.

"Thank you?" you say. He taps your chin with his knuckle.

"It feels like a home, I mean." Your cheeks feel warm and your heart sighs. God, the things he says.

"Oh," you breathe. "That's kind."

"And does this home have a first aid kit?" The reminder brings the dull sting of your scraped skin back to the forefront of your mind.

"Bathroom cabinet," you tell him. George nods.

"I'll get that. Why don't you change into something loose so I can get to your knees?"

In your room, you tug carefully tug on some sweatpants, mindful of your palms, and let yourself marvel at how today has gone. You expected to have George here someday, but certainly not like this. Will he want to see your bedroom? You shove some dirty laundry into the hamper and thank past you for making the bed this morning.

"I think you should sit on the counter," George calls. "Whenever you're ready."

You pad out to meet him in socked feet. It's quite the sight, him in your kitchen. He's bent over your sink, washing his hands. His sweater has been tossed over a chair and you can see the lines of his back under his t-shirt.

"Do you need help getting up?" he asks. You nod. Together, you get yourself on the counter, making you about eye level.

"Hello," you say. His hat is gone, too, so his fringe falls across his forehead in slightly curled strands. When you've cleaned yourself up, maybe you'll work up the courage to run your hand through them.

"Hello yourself. Right hand, please." You hold out your palm and George gets to work. He cleans it, getting all the bits from your skin, and then uses an alcohol wipe.

"Do you have a special interest in first aid, or something?" you ask to distract yourself from the sting. His thumb strokes your pulse point as he works.

"I guess you get beat up a bit in karting when you're young," he says. He wraps one palm in gauze and moves onto the other. "I suppose i just like knowing how to take care of people."

"God," you groan. "Is there anything wrong with you?"

He looks at you then, hair falling into his blue, blue eyes. "Oh," he smirks. "Plenty, darling." He finishes up on your other palm and holds it in his for a moment longer than you expect. Then he slowly brings your hand to his mouth and kisses the bandage.

You might gasp, You're not entirely sure, eyes glued to his lips like nothing else exists. Then he kisses the other palm. Your gaze flicks up and George is looking right at you.

"Knees," he says, voice a little hoarse. "Alright?"

"Alright," you breathe. You stick one leg out just to see what he'll do. You're learning that he rises to the occasion, and that's exactly what happens. He cups your ankle, places your foot on his thigh, and slides your sweatpants up above your joint.

"That's gnarly," he says, breaking the tension. You laugh and tap his leg with your other foot. "You ready?"

"I'm ready."

He makes quick work on it. One hand on your calf, the other gently cleaning and bandaging. The silence is comfortable, familiar, though you've not been in this situation before. It's not until George is almost done with your other knee that he speaks.

"You know," He says, lightly. "If you wanted me to touch you, all you had to do was ask. The tripping wasn't entirely necessary."

"George!" you gasp. He squeezes your calf.

"I'm just saying, darling."

He ties off the gauze and rolls down your pant leg. You widen your knees and he steps between them immediately, hands resting gently on your thighs. It's absolutely electric -- going from shy, appropriate touches to being in your flat together, his hands all over you. How are you going to go back?

Maybe you can't.

George's eyes rake over your face. You inhale his exhales, feeling them on your lips. His pupils dilate.

"What is this, George?" you whisper. His fingers press into your thighs a little harder.

"Well," he says, tongue darting out to wet his lips. "What would you like it to be?"

"I don't know," you say, honestly. He is not dissuaded, does not back away. He must know that this is hard for you -- his life is so different from yours. As it is, you avoid social media so you don't see pictures of you splashed across gossip accounts. It's impossible to totally stay away from it but you try, because you really like being with him.

"Shall I tell you what it is for me?" George says.

You nod.

He cups your face in his hands, thumbs stroking the delicate skin under your eyes.

"Every second I am not with you I am thinking about when I'll see you next," he says. "I store up things to tell you and take photos to show you and I have a bag full of things I've bought you but been too afraid to give you. Beautiful things, things that remind me of you."

"George--"

"I worry about fucking up your life," he continues, and you fall silent. "This is a lot. I am a lot. My life is not simple, and you've already seen that. But I want you in it. I want you in it however you want to be there, though I have my suggestions. I promise that if you let me, I'll treat you so well, because you deserve everything, and --"

Your heart is going to explode if he goes on any longer, so you close the gap between you and kiss him. Finally.

It's just the press of your lips against his for a few seconds, your eyes fluttering shut, before George catches up to what's happening and angles your faces a little bit to make it deeper. Your bandaged hands rest on his elbows and you swallow a sound from deep in his throat, something that lights a fire in your belly.

"Blimey," George says, leaning your foreheads together.

"What, no curse for me?"

His eyes sparkle and he wrinkles his nose at you. "Fuck," he says. "I've been thinking about that for weeks."

You press your lips to the corner of his mouth. "That's more like it."

BLOODY HELL

What the fuck was that? Is he serious? Keep focused, George. This is fucking ridiculous. Head down.

It's a bad day. Not as bad as it could be -- George does not end up in the wall. But he ends up way further down the pack than he should, barely scraping together a few points. It's the car and everyone knows it. The bouncing, the drag, the understeer. A showing far too poor for this late in the season.

And George is pissed. It's not often that you see him this way -- he's fairly levelheaded, even when things get tough. Something about him causes conflict to lull, things to fall into place, but even that can't fix the silver arrow.

You slip out of the garage during the last lap to sit in his driver's room and wait.

This isn't your first race. Far from it, by now. Things got official halfway through the season after that day in your flat, and you've been coming to as many as you can. It's a rush, really, to see him work. Scarier than anything, but when it's good? It's amazing. You love the energy of the garage and everyone seems to have taken to you, too.

So much so that they know to send George right to his room before the media pen so you can calm him down.

You sit on the bench and wait.

He comes in, closing the door firmly but never slamming it, and sighs. All the tension melts from his body and he looks defeated. Sweaty, annoyed, and defeated.

"Hello," you say, lightly.

He smiles wryly. "Shit day, huh?"

You love how George looks after a race. Hair a mess from his helmet, skin beaded with sweat. He unzips his race suit and lets it hang at his hips and you can see the outline of his muscles through his fireproofs. It's genuinely swoonworthy, even with his visibly bad mood.

"Are you alright?" you ask. He shrugs, rolls his shoulders, and winces.

"Bloody hell," he curses. "My back is killing me."

"What can I do?"

"Nothing," he says automatically. "You're perfect just as you are."

It's a reflex he has -- not to ask for things. You're still working it out, poking and prodding to find the cracks. Maybe, with time, he'll loosen this grip he has on his desire to make your life as comfortable and wonderful as possible without thinking of himself. There are moments when it's best to just let him fuss, but right now you think you can push back a little.

"George," you sigh. "Come on."

He hides his face behind a sweat towel for a breath, then tosses it aside. "Alright," he says. "Just sit with me for a bit."

You scoot over on the bench and he flops next to you, head back against the wall and eyes closed. His hand fumbles around for yours, pinching your thigh when he overshoots, which makes you laugh. He cracks a smile and opens one eye just enough to see your grin before settling back into his rest.

He breathes deeply, fingers entwined with yours. The line of his jaw is pronounced in the awful lighting of the room and the shadows under his eyes look worse than usual. A few more races and then he can rest. What will you do in the off season? Maybe a vacation. Hopefully a vacation. You imagine George in swim trunks on a beach somewhere, dozing in the sand. Rubbing sun tan lotion on his back and his shoulders and his nose, reading books for hours until he convinces you to run into the water. Lazy days on a balcony or in a bed with all the windows open, never being far from each other --

Someone knocks on the door.

"Christ," George mutters. "Let's ignore it."

"You need to go to the pen, darling," you whisper back. He squeezes your hand and presses your legs together.

"Just a few more minutes," he says. "Eventually they'll just come in."

"If you say so."

You press a kiss to his tacky cheek and lean your head on his shoulder, eyes fluttering shut.

George takes a deep breath. "I love you," he says.

The words stretch into the silence that comes after, the moments it takes for you to process it. They fill the small room, sneak their way into your bloodstream, your lungs, all the way to your heart.

Part of you is waiting for the follow-up. I know it's too early, I know it's a lot, You don't have you say it back. But George doesn't deal in excuses. He feels it, so he says it.

You lift your head to look at him and find him already staring at you. Not expectant, just looking to look.

"I love you, George," you say.

He grins bigger than you've ever seen, bigger than after your first kiss, than the days when he's on the podium.

Someone knocks on the door again.

"Oh, piss off," he mutters and leans in to kiss you.

[gabessquishytum]

Morpheus is a well know and incredibly talented figure skater who recently switched coaches. Hob has no idea why Morpheus left his previous coach, Roderick Burgess, for little ol’ him, but he’s excited for the opportunity to work with a skater he’s always admired. Dream is amazing at what he does so he’s also confused why he’s always so critical of himself and self depreciating.

Then the first time Morpheus falls during training he just sort of… stays down on the ice. He doesn’t seem all there when Hob goes to check on him. Turns out Morpheus is waiting to be hurt/punished for his mistake because that was how Burgess “motivated” him.

Morpheus doesn’t need much help as a skater, so Hob has decided his new job is to help Morpheus heal and build back his confidence (and maybe learn to be loved along the way).

I love this concept so much, and I just have to recommend a certain fic which matches this prompt quite perfectly. Rewrite the Stars by @arialerendeair features coach/skater Hob, lowkey traumatised skater Dream, and the most amazing descriptions of trust growing between two people ❤️ I'm a huge fan!

I'll add my own little response - I LOVE the idea of Hob being less of a technical coach and more of a supportive friend? Dream doesn't really need anyone to tell him how to perform a quad or choreograph a routine, but he DOES need someone who will get him out of bed on his bad days, bring him hot chocolate and high protein snacks, and praise him for every little thing he does right. Hob is essentially Dream’s emotional support animal at this point and he's just really fucking happy to be there, okay. Seeing the first ghost of Dream’s smile is better than winning any competition in the world. He's never going to leave Dream out on the ice, ever ever again.

[novankenn]

Snippets from "A Mafia AU"

(Original Post) / Inspiration by @pilot-boi

Pyrrha was at her wits end. Currently she was engaged in a knife fight in the storage room of a Pumpkin Pete's Novelty store, because Jaune had decided it would be FUN to get her a matching hoodie! Pyrrha ducked under a wild slash, before lashing out with several rapid jabs of her own combat blade.

"Go away!" Pyrrha snapped, "You're running my date!"

"Date?" Pyrrha's current opponent, and Jaune's would have been assassin froze, and just stood there blinking her amber eyes. Her faunus trait, a set of cat ears that matched her long black hair flicked back and forth. "Date?"

"Forget I said that!" Pyrrha snapped, as she used that moment to take a more balanced combat stance, She had been fighting on the back foot this whole time and now. "Let's get this over Belladonna!"

"Hold on. I need a minute." Blake Belladonna, one of the premiere up close and personal assassins, commented as she absentmindedly tapped the flat of her knife blade against her cheek.

"You need a minute? I have to go. He's going to come looking for me, and I can not..."

"You know you shouldn't hide things from someone you're interested in. It will cause trust issues." Blake offered with a smile.

"What?"

"You can't have a solid foundation to a relationship with out trust." Blake continue to expand on the subject, "It's the cornerstone of any relationship, but doubly important in ones that end up long term, possible permanent?"

"Permanent?" Pyrrha stood up straight, giving Blake a narrow eyed gaze. "What are you talking about?"

"You know, elaborate dresses, golden rings, white picket fences, children?"

"You can't be serious!" Pyrrha snapped. "I'm supposed to kill him, and he somehow saw me following him, and thinks I'm his body guard! I have no idea how to fix this!"

"You're the one that called it a date." Blake countered. "Not me, and if you really think about how you've been acting... it has been kind of body guardy."

"That's not a word." Pyrrha deadpanned.

"Eh. Anyway if you want out, and can't do it yourself... step aside. Let someone else..." Blake ducked out of the way of broom handle thrown like a spear. "Okay... touched a nerve there!"

"Pyr?" came the sound of worried voice. "Pyr are you okay? The sales woman said you ran into the back! Is your tummy bothering you?"

Blake froze, in complete shock at the words being uttered by her target to her rival, and the sight assaulting her. Pyrrha Nikos. THE Pyrrha "Goddess of Death" Nikos was blushing! Full on atomic red! It was all just surreal, that Blake couldn't make herself capitalize on the opening.

"Pyr?" the door creaked open behind the red head, who in a panic flicked her wrist sending her knife zipping through the air to bury itself with a thunk into an out of sight wall. "Are you okay?"

"I'm fine Jaune." Pyrrha answered, turning herself to see Jaune as well as track Blake, who was still completely stunned by what was going on. "Just ran into..."

"A friend!" Blake announced, as she like Pyrrha disposed of her combat knife. Though Blake threw hers up into the ceiling.

"Well any friend of Pyr's is a friend of mine." Jaune cheerily spoke as he walked past Pyrrha with his hand extended for a greeting. "Name is Jaune Arc. Short sweet and the ladies love it!"

"They do?" Blake asked.

"Of course they do." Pyrrha chuckled nervously before moving to stand as close to Jaune as she could, without actually climbing on top of him. "Anyway I came back here, not because of my tummy..."

"Are you sure?" Jaune asked with genuine concern. "We have five cheese lasagna last night, and I know how cheese doesn't agree with you."

"I'm fine, Jaune." Pyrrha's blush gotten even darker, but her emerald eyes glinted dangerously when Blake's teasing grin was noticed. Blake didn't like that look. "This is Blake, and she... works here."

"I what?" Blake stuttered out.

"You do?" Jaune's eyes gleamed in excitement. "Yes, someone who knows Pyr and works here. You have to be able to help me find the PEREFCT hoodie for her!"

"Wait!" Blake yelped as Jaune grabbed her by the wrist and started to walk back to the front of the store. "How are you so strong?"

Pyrrha's blush, faded, and she took a slow steadying breath, before jogging to catch up, to keep an eye on her Jaune... er her target. Yep, her target... no her Jaune. Pyrrha grit her teeth and internally screamed at her traitorous mind.

A/N - Figured I throw out another snippet, just for the hell of it, plus it's kind of of fun trying to come up with ridiculous situations to throw Pyrrha into. 😁

[tinylilacbun]

I just had a thought for your new series.

Everyone in the obx kinda knows how Luke is but noone says anything. Maybe JJ shows up to babysit and he had a bruise/black eye or cut basically an obvious injury and toddler readers parents recognise what it's from and invite him to spend a few nights in their guest room under the guise of babysitting because they know he won't accept help

Feel free to completely ignore this, I literally just woke up and had the thought so I thought I'd share- :3

-a very shy mutual lol 😅

Omg hi my sweet moot!! Hope you like this :3

You're sitting on the living room sofa, wriggling your feet as you watch Bluey on the tv while eating your snack, occasionally seeing your parents pass by.

They're getting ready for their date and instead of whining and crying for them to stay you're giddy with excitement and can't wait for JJ finally to arrive.

You gasp when you hear the doorbell ring, jumping off the couch to run towards the front door barely reaching the handle you open it quickly, squealing at the sight of JJ.

JJ chuckles, your adorable face distracting him from the throbbing pain from the lingering bruises and cuts on his face that you luckily haven't noticed yet as you hug his legs.

"Oh, JJ, honey good you're here. We're almost ready to go. She already had dinner but still needs her bath before going to sleep." Your mother tells him as she puts on her coat while your father puts on his shoes.

"No problem, we'll manage this, huh?" He grins down at you.

She turns to face him, her smile fading at the state the teenager is in. Obviously your parents know about his father and the probably bad environment JJ is living in, your mother's heart aching at the sight before him.

JJ has a forming bruise on his cheek and cuts on his eyebrow and his bottom lip, but still smiling down at the little princess that's clinging to his legs. Your parents share a look, already figuring what must have happened.

"Hey, buddy, um we really got a lot on our plate the next few days and wanted to ask if you would maybe sleep here in our guest room for the rest of the week? It would really take some pressure from our shoulders knowing our baby is taken care of." Your father asks him, grabbing the car keys from their designed bowl.

"Uh, yea...sure." He says, not noticing the true intent of the request but agrees nonetheless, he could never say no to spending time with you. "You heard that, cupcake? We're gonna have a sleepover."

"Yay! C'mon Jay! I gots to show you m'new critter family!" You squeak, pulling at his hand to drag him to your room.

As soon as you both disappear from their sight your mother sighs. "I'm worried about him."

Your father nods, grabbing her hand and kissing the back of it. "Me too. But we can't do much since he won't accept it. I'm glad he agreed to stay, tho. Now, come on, let's give him some time to relax here."

You're happily showing him your new calico critter set that you got after your dentist appointment. Introducing each critter to him, you both sitting on the fluffy carpet of your room.

"And dis S'Jay 'cause he reminds me of you!" You smile, handing him the tiny figure, looking up at his face for his reaction you furrow your brows in confusion.

Without thinking you reach up to touch his cheek and JJ winces, gently taking your wrist and pulling it away from his face. "Don't touch it please, um...it-"

"Hurts? You got boo-boos?" You ask curiously and he nods, a small smile on his face at your innocent question.

"Yeah, but it's fine." He says, watching how you rush out of your room.

He gets up from the ground and follows after you, seeing you just as you're about to enter the bathroom and as he's about to enter you rush back out and bump into his legs, JJ grabbing your shoulders to keep you steady with a chuckle. "Careful there. Watcha got there?"

You motion for him to come closer and he leans down, not expecting you to suddenly place a bandaid on his cheek, grabbing another one from the colorful package that you place over the cut on his eyebrow.

JJ's face softens at the action, picking you up when it seems you were done with nursing his wounds. "Thank you..."

You smile at him brightly, leaning closer to press a kiss on each bandaid. "Kisses make me feels better."

His heart almost explodes at your cute gesture, letting you tuck your face in his neck as you wrap your arms around it he could feel a single tear slip down his cheek, grateful for having someone who doesn't question him or tells him that he should get help and do something about his dad.

Taglist

For everything:

@my-river-lilly @pauntedblacknails @fanfictioniseverything @devilslilbabysblog @buckymydarlingangel @hallecarey1 @daybreakwinter @loveshineslikethesky @wandaslittlewhore @vase-of-lilies @white-wolf1940 @simpingbutch @mischiefsemimanaged @alina02 @teddybearsgrr @doozywoozy @angelbabydoll28 @glxwingrxse @lilymurphy03 @veryvaughnny @lokigirlszendaya @youngstarfishdinosaur @little--baby--bear @minideathgoddess @rach2602 @gh0stgurl @flourishandblotts-inc @lovelyy-moonlight @yoruse

@mythixmagic @iris-xoxo-juhu @mylettterstoyou @sunf1ower16

For JJ:

@chiaraanatra @chimindity @flora-eva

[ckret2]

I'd been meaning to do this since I found your account but today I read through the entirety of your Goldielocks fic (or at least, what's available) and all I can say is WOW !!!!!

You're really fucking good at writing these characters, capturing the lighthearted-yet-somehow-serious tone of the show, and the stuff you make up for worldbuilding fits right in with canon stuff. As a lover of making things canon-compliant and in-spirit-of-canon, this fic is like a dream come true. You're an amazing author !

I really look forward to your post-TBOB edits of the eclipse arc and the flatworld arc, I can already kind of guess where you're gonna go with it, but it's still exciting to think about what direction you might take things.

I'm also wondering, are you planning on changing anything about the Death Valley girls, what with the info we got about ciphertology and the like ? Or keeping them relatively the same ?

(I stayed up till almost midnight reading this - I'm so glad I don't have to be anywhere early tomorrow)

Thank you!! I've discussed my TBOB edits of the eclipse arc already, you can see some of them here if you want.

For the flatworld arc, I actually think basically nothing's going to change. Spoilers, but: Bill's world was never gonna be like Flatworld. It was gonna be a big reveal late in the fic ("big" for the characters, not the readers lmao) that Bill's world was actually pretty okay—like yeah, a few flaws, but not "barely-exaggerated satire of Victorian-era ableism/sexism/classism" flaws—and everything the kids read in Flatworld that made them pity Bill was 100% bullshit. It was going to turn out that Bill's world is actually...

... pretty much fucking exactly like Euclydia ended up being in canon—up to and including baby Bill getting medical trauma over having a super-rare cool-ass eye mutation that lets him see the stars of the third dimension.

I was gonna have Bill go "oh yeah, that's why I drove the author insane, I was that pissed at him for making my home world look that bad. I didn't correct you guys because I thought it'd be useful if you pitied me."

I did this because, before TBOB came out, I knew that no matter what I wrote about Bill's home dimension, probably a good 20% of readers would just push it to the side and automatically assume that his dimension was exactly the same as Flatland—like, occasionally readers were making comments about my fic talking about how triangles ***ARE*** oppressed in his home dimension like it was a canonical fact and taking it as a given that I was writing that. For that 20%, it seemed to me like the best way to ensure it got through to them that whoa, this isn't Flatland would be to have the characters assume his dimension is exactly the same as Flatland so that I could say, in story, "no that's totally wrong."

Post-TBOB, a lot fewer readers are gonna make that assumption. But having the characters assume his dimension is a lot worse than it really is is still a part of the story—it ties into the narrative of them slowly growing to expect him to be something more sympathetic/heroic than he actually is, a la Dipper's assumption that the Axolotl poem is a prophecy about how Bill will help save them—so there's no reason for me to take it out.

So yeah, tl;dr: Flatworld doesn't need to change because it was always going to be wrong.

I'm only gonna change the Death Valley girls a little bit. Everything I've currently written about them stays the same; except I'm also gonna mention that, yes, they are a Ciphertology sect, and yes, all the girls in the cult are Cipherwives.

So now I also get to crack jokes about Bill being both flattered and a little creeped out that even after he mostly ditched the cult they just kept inducting new recruits as "cipherwives" whether he showed up or not, like wow, you're just gonna marry him off in absentia to some lady he's never met??? What if he doesn't wanna marry her? What if he doesn't like her haircut?? Every time he shows up he finds out he's got a new wife! He loves the attention, but jeez, girls! At least send him a letter with his new bride's picture and wait for him to mail back an "OK" or something!

[hyperions-light]

okay everyone today let’s talk about profound, overwhelming emotion as a theme in Veilguard

Sounds fun right

Gonna do like a sort of deconstructed essay thing (or I WAS, but this is an actual essay. Sigh)

Thesis: DATV is exploring how its characters confront and process emotions and events so overwhelming that they could define the characters entire lives if ignored or pushed aside; the player is encouraged to provide the characters with the appropriate emotional tools to dismantle the seemingly impossible obstacles that stand in their way, in order to complete their character arcs and contribute to the resolution of the central conflict.

WOagh this got way long, like REALLY long, so I am cutting here. I hope you didn't think the Grey Warden essay was verbose, bc this is much longer! You've been warned lol

PART I: ISATUNOLL

I feel like we have to talk about Harding first bc what’s more overwhelming than having the entire history of your race shoved on you at once? (I've decided to relocate to the computer, so you know I'm taking this seriously) So Harding gets magic rock powers, and then you have that sort of lull in her story where she's just trying to feel them out, but you can already see the game setting up the dilemma, because she's constantly checking against Rook to see what they think about it. She doesn't know how to feel-- should she be worried, excited? You can encourage her down different paths, but whatever you choose, you're providing a way for her to conceptualize this thing that (as far as she knows) has never really happened to anyone else.

And then when you go to meet the Oracle, the game introduces the idea of this overwhelming rage, this intense frustration that IS hers, but also isn't. She (probably) doesn't know what happened to the Titans by that point (you can do Regrets of the Dread Wolf pretty early but idk if it's able to be finished at that point?) but I think the stone giant you fight there is her inborn anger resonating with the much larger, dormant anger of the Titans. And you see her deny her own anger and her own feelings generally (the coffee scene with Lucanis, while tonally lighthearted, is intended to set this up). Again, Rook can intervene, and this time you also see your companions providing their own advice (Lucanis and Taash both tell her not to hide her anger/try to make people happy and Davrin repeatedly urges her to stand and face 'whatever it is' directly). So both Rook and their friends are supplying tools to deal with this upcoming confrontation.

So, the culmination of the arc comes in Isana Negat, where Harding faces the physically manifested anger of the Titans in the form of herself. She says it is her anger, and it IS, she is angry and they are angry, together; Isatunoll-- I am, we are. She did not know what to do with it, and that is why it is here; the game is positing that avoiding confrontation and acceptance of one's feelings can lead to harm for oneself AND for others. It IS Harding that is attacking you, because it was her raising the enemies in the cavern. But, at the same time, Harding is here out of a desire to protect others, and she is compassionate to this manifestation; she apologizes for not knowing how to confront it and letting it run wild in this way.

Fortunately, by this point Rook and company have already provided her with the tools to be successful in this encounter. She does not turn away from her anger, she does not attempt to run or dissemble as she might have done before. By the time Rook reaches the platform she has already absorbed the being; she is just having a hard time fully accepting it. Rook and the other companion physically grab hold of her, as Rook directs her down the path of acceptance through compassion, or acceptance through embracing anger. It is important that neither choice offers a denial. Through the strength of the unity of the team, here represented by physical closeness, and because Harding herself has changed as a character, she is able to integrate the Titans' anger and affirm that she and the other dwarves will continue to persist in spite of what was done to them. DAI players may recognize this as a well-placed echo of the conversation thread between Solas and Varric about the man who persisted in spite of losing everything; Varric said then that the fact that the man lived, that he continued, was a triumph in itself. The dwarves triumph as a race here, by not allowing the horrific violation committed against the Titans destroy them, and so does Harding.

The final piece of Harding's journey is her meeting with Stalgard and his sister outside of Isana Negat, in front of the mountain that was/is a Titan. She returns to them the knowledge that was lost for centuries, and the anger that comes with it, but affirms that they cannot return to what was; this brings change, GOOD change, to the dwarven people and will redefine them. By successfully accepting this outsized emotional trauma, Harding has helped her people, and becomes a more effective member of her team. Catharsis, acceptance, and emotional growth make her stronger.

PART II: I AM NOT THIS

When Rook meets Lucanis, he has been kept in a prison for a year, being tortured and violated by the Venatori, who have been attempting to turn him into a demon. It hasn't worked correctly, because Lucanis and Spite have an accord. However, you first see him just kind of running around killing whoever he comes across; Rook provide direction and a specific target, a chance for freedom. It is significant here that the prison is underwater; Lucanis is, metaphorically, drowning. The prison is also referred to as the Ossuary, which is a place you store the bones of the dead; the outside world believed he was dead, and, metaphorically, he did die here. You kill his torturer, but it is not enough; the woman who kidnapped him and the orchestrator of his violation still lives.

Rook returns to Treviso where Lucanis finds out that he has truly lost almost everything. His grandmother, Caterina, appears to be dead, and his city, Treviso, is occupied by the Antaam. The only thing he has left is Illario, and he immediately grabs onto the idea that Zara, who he believes killed Caterina, is going to kill Illario, too. He panics in response, but he is trained as a Crow to shut down his emotion, and practiced at doing so from his year spent constantly disassociating in the Ossuary. He says he needs to work; Illario and Teia protest, but he insists. He is returning to the thing he knows how to do, grabbing for a sense of normalcy when everything else is lost and he believes the little he has left is in danger. He will destroy the threat and this will also conveniently allow him to put off his real emotional trauma from the prior year.

Every cutscene Rook has with Lucanis between his major plot events in this section involves him trying to contain and ignore Spite. He tries to constantly stay awake to ensure that the demon cannot take over, and he tries to befriend and placate his new associates by buying them stuff (a VERY rich person thing to do) and taking care of them. He is trying to convince himself and them that he is NOT dangerous; he is not a demon, not an abomination. But he is not confronting his fear, he is only putting it off; often, in conversation with others he will be flippant about Spite, or he will deflect their concern about it. He chooses his 'bedroom' in part because it can contain Spite, and because it is the farthest possible location from the Eluvian, where Spite keeps trying to go (I just noticed that! Very fun!). In the meantime, he is also ignoring the fact that Illario is being extremely suspicious, because he doesn't want to know that his brother is the one who hurt him. Lucanis is an astute person by nature, and could certainly have observed this, had he not been deliberately trying to obscure it from himself.

Davrin is a huge problem for him because he is the most direct person in Veilguard. He shows up and tells Lucanis that if Spite overtakes him, he will kill him. This touches on Lucanis' fear of his own lack of control and drives too directly at what he wants to ignore. They are immediately at odds, which is made worse by Lucanis' 'failure' at Weisshaupt, which causes him to lash out at Davrin. He believes that the fact that he was unable to kill Ghilan'nain is indicative of him losing his abilities as an assassin, which is one of the only familiar things that he has left. Fortunately, Rook and company are there to reassure him; the situation is helped by the presence of Taash, Emmrich and Neve, who are unafraid of Spite, and whom he can rely on to control the demon if he cannot. However, the problem remains that he refuses to seriously deal with Spite in any way. As the inextricable representation of Lucanis' trauma (it would LITERALLY kill him to remove it), ignoring him means Lucanis is unable come to terms with what has happened.

This comes to a head when Illario kills Zara, and Lucanis is unable to stop Spite from almost murdering his brother with his own body in response. This is the final, most devastating loss of control. He apologizes to Rook for the lapse, and tries to refocus on Illario, who he now has definitive proof betrayed him. He says he is going to take everything away from him, but truly this is just another distraction; revenge is not going to be enough because it will just mean that he has nothing on which to focus his and Spite's combined ire, and then he will still have a demon inside him and no accord. What saves him is Rook, and finding out that Caterina is still alive. This is fantastic news because it means he hasn't lost everything, but it also presents a dilemma; is it more important to attack Illario, to seek revenge, even if it endangers Caterina's life? Does he risk what he values most-- his family-- to pursue his vengeance?

I was going to write an entirely separate post on the mind prison, my favorite part of Lucanis' arc, so I'll (try) to be brief here. The metaphorical Ossuary is a prison of Lucanis' fear; those he is scared he will hurt, or who will see him for what he believes he is: a demon. In order to get him out of it, Rook needs to cooperate with Spite, and confront each fear individually, breaking down their flawed presuppositions about Lucanis which are trapping him there. It is also significant that Lucanis himself is unable to articulate that he is trapped, and is even unable to ask for help; it is Spite who invites Rook in and concretizes Lucanis' emotional state. He can't get out alone. When Rook reaches Lucanis he admits that he has been avoiding his emotions but that, "It's just... so much. I don't know where to begin."

What happened to Lucanis was life-alteringly traumatic. It is unsurprising that he does not have the tools to effectively confront it. However, Rook encourages him here to begin the process by creating an agreement with Spite in the short-term. Process your trauma by breaking it down and taking it one step at a time. After this section in the game, the player can hear Lucanis converse with his friends about trying to work with Spite; about how the spirit is learning to understand the physical world, and they are no longer fighting. Again, we see that ignoring his emotions was hurting both Lucanis himself and other people, and that by moving forward, no matter how slowly, he can regain control of his life and build a new one alongside Spite, accepting the new circumstance.

When he confronts Illario for what he did and, incidentally, control over the Crows, he does not kill him. He never loses control and he and Spite work together to resist the blood magic that Illario attempts to use on them. Working through his problems with the support of his team allows Lucanis to preserve what he values-- his family, the Crows-- instead of pursuing an endless and ultimately pointless crusade of death in an attempt to avoid his problems. He makes the Crows stronger and heals himself through confronting and accepting his emotions.

PART III: I WILL GO AND SEEK ATONEMENT

Hey it's Solas! Remember how this game used to be called Dreadwolf? That was probably because he's the thematic anchor of the narrative. So, here we go. (This section is going to discuss the 'good ending' for Solas, because I don't think the others really feed into this theme much.)

Solas is the instigator of the conflict in Veilguard, and he may be an antagonistic force throughout the story, depending on how Rook chooses to deal with him. This game gives confirmation that Solas is a spirit, and so the generally established rules apply: he acts as you expect him to act, he is what you expect him to be, so the player is likely to have wildly variable experiences with him.

Throughout the game the player can encounter sections which depict his greatest regrets in his life so far; taking physical form, creating the weapon that severed the Titans' dreams, incidentally creating the Blight, accidentally sending Mythal to her death, and accidentally creating the Veil (dang, nothing goes right for this guy lol). This series of decisions led, in Solas' time, to monumental harm for countless people, and it is what has led him to his current course. He cannot stop because he is utterly trapped in his regret; these moments, though degraded, surrounded him within the Lighthouse while he planned for a decade. The Caretaker tells you that his regrets are so vicious that they are the teeth with which Elgar'nan and Ghilan'nain are tearing into the Crossroads. Solas is destroying something beautiful he helped build because he is unable to let go of the past.

Although you, dear reader, may have your own opinion of him, Solas is undeniably compassionate. In DAI, he will give you massive amounts of approval for simply helping out villagers and performing menial tasks that serve no greater purpose than to alleviate suffering. The amount of suffering he (mostly) unintentionally caused could do nothing but horrify and pain him. His regret is oceanic. If you decide to persuade him to your side at the end of the game, one of the reasons he cites for continuing down his destructive path is because it would dishonor those he has wronged if he were to abandon his work. He is sunk cost fallacy-ing himself into mass murder, basically.

Part of the reason that he is doing this is because, like with Lucanis' issues, the emotion, the weight of the repeated failure is almost too big to effectively reckon with. But Rook can help him do it. Throughout the game Solas watches through his avatar in the Lighthouse; he sees Rook build their team, sees them solve the problems of the people around them and find strength in unity, and so when they appear in Minrathous he does actually believe that they can solve the problem that he cannot. He is deceiving Rook when he gives them the dagger, true, but this is his most valuable asset in the fight; if he did not believe in their success, it would be extremely foolish to give it to them and to commit himself to the comparatively lesser evil of Lusacan. So, Rook has effectively proven the Power of Friendship, as it were, through their actions in Veilguard.

To achieve the 'good end' for Solas, you need to have finished Regrets of the Dreadwolf and successfully confronted the fragment of Mythal that lives in the Crossroads. She will be impressed by your work in proportion to the amount of things in the game you've finished, so you must have bonded with your companions and you must have freed the Crossroads from the ravages of Solas' regrets. He helped make the mess, but other people can help him fix it, which is essentially the point that Mythal makes to him at the end; that he's not literally solely responsible for actually every bad thing that's ever happened.

You also have to tell the Inquisitor to attempt to reach him, which will lead to them saying something about forgiving his past actions if he stops trying to destroy the Veil presently (I assume the dialogue is similar in the friendship route; I have a Solas-romancing Inquisitor and that's basically what she said. I felt that part was general enough it probably carried over). All of these people and various pieces of Solas' past and present are here to break down the gigantic wall of regret that's preventing him from doing the right thing in this moment. All of his arguments for why he must keep going are refuted by these people he cared for, and to whom his regrets are attached.

Through Rook's actions they have demonstrated their ability to solve seemingly overwhelming problems. You can help Harding tame the anger of the Titans, you can help Lucanis confront his trauma, and you can help Solas finally see past his regret and be the hero he has always wanted to be. This is obviously not the only route the player can take through the game, but if they do, they help create a narrative that repeatedly deals with deconstructing and resolving overwhelming emotion. (Dear readers, remind me to make a post about Bioware games and participatory storytelling.) The story examines how intense emotion, ignored or denied, hurts oneself and others, and presents several solutions which all begin with asking for help. There is strength in unity, in compassion and togetherness, and if you cannot see the way forward alone, you will find it with other people.

WhEw okay if you actually finished reading that give yourself a high five and take a lollipop from the basket on your way out the door

on any other platform I think I would have hit a word limit of some kind, so thanks tumblr

edits incoming? very tired rn. Think I had some other point to make about Solas that I forgot maybe. I also think I could've added some of the other companions to this (Taash and Bellara were top candidates) but imo these two are the strongest for this particular theme. And it was already so long lol

okay I sleep soon. you can lmk what you think if you want? don't be a dick tho, I hope that goes without saying lmao

[blueishspace]

Hero, Villain God 15

(Prev) (Next) (First)

*Scar's pov*

Cub has called you... He said it was something really important so you did your best to make it as fast as you could...... He hasn't really been very happy with you after the Mother Spore incident so you didn't expect him to be the one to ask to see you... You are a bit nervous...

Wait! What if he's quitting?!? You could never manage to do your work without his help! You'll have to beg! You will do it if that is what it takes.

You sigh ...Here goes nothing.

"Mayor Ren and Martyn have been taken hostage"

What? What does he mean they were taken hostage? Doesn't he have bodyguards to protect him??

"How? When? Where is he?"

"Oh he's still in his office"

Come again? What is Cub on about then?

"But you said he was-"

"Yes, it seems it is the office that's holding him hostage"

..."What?"

"Specifically, the mechanical door and windows have all been locked by an unknown attacker. The defense system has been turned into a threat on his life."

"Oh"

"We believe either an hacker or a villain with power over technology might be at fault."

You see, what you don't understand is why you were called for this. It feels suspicious.

"Do you want me to go after this hacker -"

"No. Not now at least. The mayor needs you to get him and his vice out of the building unharmed. The defenses he installed are quite dangerous when made into weapons so be careful"

"Am...am I going to work alone then?"

"Yes. Ocean Queen water manipulation could backfire around so much electronics and the building is too cramped for Sheriff's wings."

You think you understand, you nod at him, he looks at you.

"I'm ready"

"And don't stay out too long"

Cub wasn't kidding, as you dodge a literal laser you wonder just how paranoid the mayor must have been when he set up this defense system... This is a level of security you would think to find in a super secret governent base, not the mayor's office.

You don't have much time to wonder though as another laser almost hits you in the face and w- IS THAT A MACHINE GUN!?!?

You sigh as you take out one of your explosive arrows, you'll have to fight fire with fire if you want to get anywhere... hopefully the mayor won't mind a bit of property damage.

You really don't want a lawsuit right now by the mayor...or exile! Wait could the mayor even exile you if he wanted?

... You should ask Cub later.

*Martyn's pov*

You have been trapped in this office with Ren for what feels like hour now... It might have been, It's not like you can tell with the windows blacked and no clocks in the entire office... Why does Ren have literally 0 clocks in his office!?

Your thoughts are suddenly interrupted by Ren shouting in your ear.

"We are doomed Martyn! Doomed I tell you! I knew they were coming for me and now we are going to die here!"

Who was coming from him? This is news to you.

"I ... I'm sure they must have sent someone to save us Ren. You are still the mayor, pretty important guy if you ask me."

"Who knows how long that will take my dude, we might have to stay here to starve for days! We'll have to result to cannibalism to stay alive!"

Ok what, how have we got to this point.

"Woah there, how about we *don't* do that actually? How does that sound mate?"

"Right, right... I am sorry Martyn."

...You stare at eachother... Without his voice in the background things are weirdly akward... He's always seemed so confident, you have never seen him this worried before...You hold Ren's hand, he seems surprised for a moment.

"It's going to be alright, I'm here with you"

"Yeah... Yeah, you'll protect me!"

Uh... You don't remember saying that but telling him no would just be too cruel.

"Right, you can count on me Ren."

"Of course dude! I trust you more then I would trust myself!"

Ren's face is suddenly so close to yours, right in front of you. You didn't expect it so you scream and fall back.

"Ah??!"

"Oh sorry dude! I didn't mean to jump at you like that... I got excited"

"It's...it's fine Ren"

"Are you sure?"

You are staring into his eyes and he is staring into yours... It wouldn't be too hard to just lean in and-

"Hello people! Hotguy here to save the day! Is everyone ok?"

...Motherfucker.

[jediwrites]

this won’t work

pairing: anakin skywalker x jedi knight fem!reader

theme: angst/comfort

summary: after a mission, you’re feeling like shit, anakin comes to comfort you.

warnings: a little angst, but we get the confort part too :) mentions of nightmares, toxic thinking (i guess? idk how to name it sorry), sad feelings, probably grammar mistakes

word count: 881

A/N: hello there, just a small work to start (idk if i can call this angst?). i'm really excited to share this with y’all, it’s far from the best but i liked how it turned out. this is the first time i post my writing, so i'm afraid, but really happy too, so i hope yall like it. if you want to make a request (or just want to talk) feel free to ask!

You felt the sweat getting down on your forehead and spine with every swing of your saber, your hands held the base with a strong grip, trying to stop the trembling. You had been in the training room for hours. It was probably late at night, but you didn’t care. You would be there until your body ran out of energy or ran out of those feelings that were consuming your very being. The meditation wasn’t working, so the saber fight had to.  

You shouldn’t be letting those feelings consume you. So much shame, regret, anger. You were a Jedi, for the Maker’s sake. It seems like you were incapable of controlling it, though. You had failed them, how it would be possible for you to not feel anything? 

Since the attack of Grievous and his droids, it has been impossible for you to have a good night. Every time you tried to close your eyes and let sleep take you, the sounds of screams and shots flood your dreams, with the creepy laugh of the cyborg being the melody of them. So you wake up more tired than before. Wanting to run away from those memories, your mind came to the idea that if you worked your body to exhaustion, you probably wouldn’t have dreams or nightmares. 

“This won’t work at all” a voice suddenly filled the room, startling you and making you come to a halt. Your distraction almost got you hit by a blaster, but you deflected it with a fast swing of your lightsaber. With a command, you turned off the droid.

“You scared me, you idiot!”

The man laughed. “Well, I can’t say that wasn’t my objective.”

Rolling your eyes, you retracted your lightsaber, putting it in your belt. Drying the sweat from your forehead with your robe’s sleeve, you turned in his direction.

Looking at Anakin made your heart skip a beat. That’s probably because of the intensive training you were doing seconds ago, nothing related to the man, of course. Crossing your arms over your chest, you spoke:

“I thought you were on a mission.” You weren’t expecting to see him so soon, but you felt the relief of seeing Anakin again getting through your body. 

“You thought right, but the council called me to get back to Coruscant.” Anakin had his arms crossed in his back, with every word he did say, he gave a step to your direction. You kept still, waiting. With only a small distance between you, Anakin put one of his hands on your shoulder, squeezing softly. “Are you alright?”

His caring tone made you break. Before you could prevent it, your eyes were burning and your face was buried in his chest, with his arms around you. You were crying like a baby, probably his robe would be wet after that, but you couldn't care less, neither could he. 

After some time of your crying being the only sound in the room, you calmed down, feeling Anakin’s hand soothing your back. You missed him so much.

“It’s alright, you’ll be alright.”

You moved your head from his chest, being able to see his face without getting away from his embrace. Anakin got a small smile on his lips, you could see the sadness in his eyes. He knew very well what you were feeling. Losing men to the battle wasn't an easy thing that you could just forget that happened, but going on after surviving and fighting for those who had fallen was the best to do. Dwelling in the possibilities of what could have happened if another decision or move had been taken, wouldn’t bring anything good.

Letting his mechanic hand on your back, he put the other in your face, getting rid of the remaining tears from your cheeks. “Do you want to talk about it?”

You thought about it. Maybe it would help, the last time you spoke about the fateful day was with the council, and if you would be honest you didn’t say everything. Right, you told them how you and the soldiers got to fight Grievous and the casualties, but besides the strategic thing — and the tragedy —, you didn't say anything more. In your mind, telling them about how this mission affected you would make them perceive you as weak, or worse, perceive you as someone incapable of returning to the battlefield. So to not give chances, you kept every feeling to yourself.

“No,” you said. “Not now, at least.” 

Having Anakin in your arms made you feel more at ease. It was ironic how this very man, who has a mixture of emotions flooding from himself, was the one capable of soothing your stormy feelings.

A thought passed through your mind, making you a bit embarrassed. Wanting to hide this from him, you got your head back in his chest, tightening even more your arms around him. 

“But I will be glad if you could stay with me, like this, for tonight,” you whispered, a comment only for his ears.

The sound of his laugh made a smile appear on your lips. “My beautiful girl, you don’t have to ask again.” Anakin kissed the top of your head, whispering back. “I won't let you go from my arms tonight” or ever.

[raven-at-the-writing-desk]

I've been trying to focus on thinking about things I enjoy about the idea of the TWST anime. And regarding overblots, I think an anime version would really help illustrate (even more) how terrifying the process is. I really like how the manga shows Riddle's OB, and I love anime as a medium, so I'm pretty hyped to see how it will be conveyed in it.

I really hope they accentuate the horror of it- I'm aware that they might not go all in w the horror like I would personally like, but the thought still excites me. What kind of music will they play? Will the animation change like it does in some animes when the characters are distressed (wobbly lines, glitchy effects)...? What sort of directions will the voice actors get? I mean, they already voiced the game, but anime gives them more room to do voice stuff. I'm really hyped for this aspect tbh...

And I'm also excited for the possibility of dubs, since I'm quite a fan of the whole dubbing world. (I know some ppl have their fears about this last possibility, but in my case even if it turns out to not be so good, I think we could still have a good time w something like that. Plus I've seen some popular eng dub actors hyped about the anime and wanting to be casted for certain characters)

I also wanted to apologize for my previous ask ᕙ⁠(⁠⇀⁠‸⁠↼⁠‶⁠)⁠ᕗ I already did so in the comments, but I felt bad about doomposting on your inbox. My mind's first reaction is usually to see the negative first and become anxious, and it's something I'm working on, but it sometimes goes out of hand. But now that a bit has passed, and specially thanks to your advice, I can sit down and try to focus on the things that excite me rather than the ones that scare me. Sure, building too much expectation could backfire at the end— but as you said, we have little to no information at this point. So I think focusing on the things I'd like to see is a better usage of my time. If they turn out to disappoint me... That's something I'll worry about next year, I'll suppose. I'm still a bit anxious and scared, but there's also lots of things I'm hyped for. I'll try to take your advice and focus on those. 🫂 Sorry if my previous negativity made you uncomfortable.

[Referencing this news! Asker’s prior post here.]

I’ve seen a lot of fans speculating that the OB transformation sequences will resemble magical girl ones! While that’s a fun idea, I do feel like it makes more sense for the anime to portray OB as something scary and all-consuming, similar to how it is depicted at the end of animated dorm commercials and in the manga. For the characters experiencing them, it’s not meant to be glamorous… All that agony, the dripping ink leaking out of their orifices and dripping like blood. Overblot looks incredibly horrific, and I think that should come through in the animation—whether they change the usual style for these segments or keep it the same.

I think the anime would reuse (or maybe do remastered versions of?) the Twst soundtrack for a lot of the show. The compositions are already there, so might as well. Maybe experiencing the anime will help to make the music more memorable, since it seems the game soundtrack alone isn’t doing it for some fans.

No clue about the JP voice cast; I did see some people worrying that they could replace the game’s voice cast for the anime, but as I’ve mentioned already, that’s an unfounded claim. If the usual VAs are there, surely they won’t just reuse the already recorded lines from the game?? 😂 I’d think they’d at least have to rerecord those based on how the script and its scenes are laid out, plus additional dialogue to fill in the gaps (such as new scenes).

No confirmation of an English (or other language) dubs yet either! (Again, this is another topic related to the anime that sparks worry, but I must stress that it’s pointless to get into a tizzy about something that isn’t concrete yet.) But yes, I’ve already seen English VAs expressing interest in certain characters; Daman Mills wants to be Malleus, Alejandro Saab has made it known he has Twst on his radar and wants to voice Leona, etc. (The latter has done Twst dorm leader impressions for fun before; I think Mr. Saab could make for a decent Leona or even Malleus!)

Don't worry about the previous ask ^^ I think it's better that we discuss these things with one another rather than post or tweet into the void and allow those negative feelings to fester. If you want to view it in a different way, think of it like the OB boys actually getting therapy/finding someone to confide in instead of being allowed to stew in their own emotions and risking OB a second time. Sometimes all it takes is that gentle nudge or a reminder to step back and take a deep breath. When we let our emotions get the best of us, we end up thinking and acting in irrational ways, and then that can lead to people--whether yourself or others--getting hurt.

[httpvomitello]

In the Glow of the Lab Light *⁠.⁠✧

donnie x male!reader

The lair was quiet, save for the soft hum of Donnie’s lab equipment. Earlier, it had been alive with energy, laughter bouncing off the walls as you, April, Casey, and the turtles played games and ate way too much pizza. But now, everyone had retreated to their respective corners to sleep.

Everyone except you.

The fire was everywhere, roaring and relentless. You could feel its heat, hear its crackle as it devoured everything in its path. The smoke burned your lungs, making it impossible to breathe. Voices screamed your name, but you couldn’t reach them—couldn’t save them.

You woke up with a sharp gasp, sitting bolt upright. The air in the lair was cool, but it felt suffocating against the sheen of sweat on your skin. Your heart raced, pounding so loudly in your ears you barely noticed the tears streaming down your face.

You rubbed your hands over your face, fingers brushing against the scars that marked your skin. The burns—visible reminders of a night you could never forget. A night that had taken everything from you.

You didn’t notice the soft footsteps approaching until a voice, gentle and laced with concern, broke through the silence.

“Y/N?”

You turned to see Donnie standing in the doorway, his bo staff in one hand and a frown creasing his brow.

“I heard you,” he said, stepping closer. “Are you… alright?”

“I’m fine,” you said quickly, your voice shaky and unconvincing. “Just a bad dream. Go back to bed, Donnie.”

But he didn’t move. Instead, he set his bo staff aside and crouched down next to your bed. “That didn’t sound like just a bad dream,” he said, his voice quieter now. “Do you… want to talk about it?”

You hesitated, your hands clenching the blanket tightly. You’d never told him the full story. You’d never told anyone, really. The scars on your body were explanation enough for most people. But Donnie wasn’t most people. Or turtle...

“It’s just… memories,” you finally admitted. “Of the fire.”

His eyes flickered to your scars for just a moment before meeting yours again. “The fire that…?”

You nodded. “That took my family. I couldn’t save them.”

Donnie’s gaze softened further, and he sat down beside you. “Y/N, it wasn’t your fault.”

“I know,” you said quickly, though the words felt hollow. “It’s just… it always feels so real. Like I’m back there again.”

He was quiet for a moment, and then, without a word, he reached out and placed a hand on your shoulder. The gesture was small, but it grounded you.

“I can’t pretend to understand what you went through,” Donnie said, his voice steady. “But I can promise you this: you’re not alone now. If you ever feel like the memories are too much, I’m here. You're my boyfriend, and I don't want to see you suffering because of this, thinking you can't tell me anything. I'm here for you.”

You looked at him, the glow from his lab casting soft purple light across his face. “Thanks, babe.”

A small smile tugged at the corners of his lips. “It’s what I do. Emotional support genius, at your service.”

Despite everything, you chuckled. “Is that an official title?”

“It is now,” he said, standing up. “Come on. Let’s go to the lab. I have some projects I could use your input on. Distractions are an underrated coping mechanism, you know.”

You followed him, grateful for the excuse to leave your nightmare behind.

You followed him to his workstation, where he rummaged through a drawer before pulling out a sleek, circular device. “This,” he began, holding it up, “is a prototype I’ve been working on. It’s designed to help regulate stress responses.”

“How does it work?” you asked, curiosity momentarily overriding your anxiety.

He smiled faintly, the excitement of explaining his invention clear in his tone. “It uses biometric feedback to monitor your heart rate and breathing patterns. When it detects elevated levels of stress, it emits a calming frequency.”

You raised an eyebrow. “So, it’s a stress-busting gadget?”

“Essentially,” he said, handing it to you. “I haven’t tested it much yet, but… I thought it might help you. Especially on nights like this.”

Your chest tightened, but this time, it wasn’t from panic. “You made this for me?”

“Well, I made it for anyone who might need it,” he said, his voice dropping into his usual awkward ramble. “But yes, I had you in mind specifically. Your well-being is—uh—important to me. Very important.”

The corners of your mouth lifted into a small smile after kissing his cheek “Thank you, Donnie. Really.”

He cleared his throat, clearly flustered. “It’s what I do. Genius inventor and, apparently, boyfriend extraordinaire.”

You chuckled softly, reaching out to take his hand. “You’re definitely both.”

Donnie squeezed your hand gently, his thumb brushing over your scarred skin without hesitation. “Y/N, I can’t erase what happened, but I’ll do whatever I can to make things easier for you.”

“I know,” you said, the weight on your chest lifting just a little. “And i love you for that.”

The two of you stayed like that for a while, the steady hum of the lab filling the silence.

[swiftiethatlovesf1]

A race for love p.15

Hii guyss, I hope you enjoy this part. If you've missed part 14 or the other parts you can find them on my masterlist :)

Formula 1 is all about speed, but in this story, the real race isn't just on the track. Read on to find out who will win the ultimate race-for your heart.

- Spa 2023 -

Race day in Spa has the paddock buzzing with energy, especially with a massive wave of Max fans taking over. The sea of orange flags and cheering crowds are electric, creating a wild atmosphere that only adds to the pressure and excitement in the air. You've been running around the McLaren motorhome all morning, lending a hand wherever it's needed, keeping track of the endless details that keep the day moving smoothly.

As the race unfolds, though, things don't go as planned for McLaren. Oscar struggles with the car and ends up finishing last, while Lando manages to place seventh but isn't particularly pleased with the result. The mood in the motorhome is a mix of disappointment and exhaustion. As the post-race interviews begin and everyone is occupied, you slip out of the motorhome and make your way to the F2 and F3 paddock, eager to catch up with friends before the day ends.

When you arrive, you see Franco chatting with some of his team, and a smile spreads across his face as soon as he notices you.

As you settle into Franco's embrace, the weight of the morning starts to slip away. His arms around you feel like the first bit of peace you've had all day.

"Alguien está cansada," he murmurs, a soft smile playing on his lips as he holds you close. "You've been running around all day, haven't you?"

(Someone is tired)

You nod, letting out a tired sigh. "It's been non-stop, honestly. And with the race going so badly, the McLaren motorhome is just... tense. No one knows what to say to each other."

Franco tightens his arms around you, resting his chin gently on your head. "Lo siento, mi amor," he says, his voice warm and soothing. "I get it. My race wasn't great either; we just didn't have the pace, and it's hard not to feel... a bit useless, you know?"

(I'm sorry, my love)

You look up at him, sympathy filling your gaze. "I know it's not what you wanted," you say softly, reaching up to brush a strand of hair back from his forehead. "But I also know you did your best, and there'll be more races, better ones. I'm always here cheering for you, win or lose."

He gives you a small, grateful smile. "Gracias, hermosa. You know... it really helps, knowing you're here, even on days like this."

(Thanks, beautiful)

For a moment, you both stand there, wrapped in each other, blocking out the noise of the paddock. The world feels smaller, quieter, and safer. Franco lets out a soft sigh as he runs his hand soothingly along your back, his words gentle. "I don't think I've ever looked forward to seeing someone so much. Tú me haces sentir mejor, just being here."

(You make me feel better)

The way he says it, his voice so tender and sincere, makes you smile. "You too, Franco," you reply, feeling the words settle warmly between you. "I didn't realize how much I needed this—just us, right here."

He kisses your forehead, pulling you even closer. "We'll take more moments like this, I promise. Nadie más, sólo tú y yo."

(No one else, just you and me)

You stay wrapped up in him, feeling a deep comfort you didn't realize you were missing. But after a few more quiet moments, you suddenly remember.

"Oh, I totally forgot," you say with a small laugh, pulling back slightly. "I need to return Ollie's sweatshirt."

Franco raises an eyebrow, a smirk forming. "Ah, el famoso Ollie," he teases, a hint of playful jealousy in his tone. "I'll come with you. I think I'd like to see his face when you give it back."

(Ah the famous, Ollie)

You laugh, linking your arm through his as you both head back towards the paddock, and Franco's lighthearted presence fills you with a renewed warmth.

As you and Franco finally spot Ollie, you call out, "Ollie!" He turns at the sound of your voice, a smile spreading across his face—until he sees Franco by your side. The warmth in his expression fades slightly, but he quickly covers it up as you approach.

"Hey! I wanted to give this back," you say, holding out his sweatshirt with a grateful smile. "It saved me last night, so thanks for that."

Ollie takes the sweatshirt, his smile returning. "Anytime. Glad it came in handy." His gaze shifts briefly to Franco, then back to you. "We had a blast last night—hopefully, we can do it again sometime."

Franco's arm slides casually around your shoulder, his thumb brushing gently against you. "Oh yeah, she told me all about it," he chimes in with a grin that doesn't quite reach his eyes. "Seems like you guys were having a lot of fun. Maybe next time, I'll join and see what's so entertaining."

The air between Franco and Ollie shifts, the tension barely noticeable to you, but an unspoken challenge passes between them as their gazes lock. Ollie's jaw tightens almost imperceptibly, while Franco's smirk lingers, his stance relaxed but his eyes holding steady.

Just as you're about to notice the shift in their expressions, your dad's voice crackles from your phone, snapping you back to the moment. "Where are you? I'm ready to go."

"Oh! Gotta go." You quickly step forward, hugging Ollie tightly. "See you next race," you say, smiling warmly at him.

Then, turning to Franco, you squeeze his hand as he pulls you into a brief, soft hug. "Catch you soon, princesa," he murmurs, a hint of affection in his voice as he presses a kiss to your forehead.

With a wave, you dash toward the F1 paddock, the lingering looks between Ollie and Franco fading from your mind as you hurry to catch up with your dad.

After you leave, Franco turns back to Oliver, his expression hardening as he faces him with a smirk. "So, in case it wasn't clear," he says, a hint of triumph in his voice, "we're together now. Maybe if you'd been faster, things would've been different." He shrugs casually. "But I guess that's what separates the winners from the rest, no?"

Oliver's jaw clenches, the shock in his eyes quickly replaced by anger. "You think just because she trusts you, I should? I don't," he retorts, voice low and simmering. "Maybe she's let her guard down around you, but I haven't. And just because she's with you doesn't mean I'm going anywhere, especially when there are still questions unanswered. I haven't forgotten those messages. Can you say the same?"

Franco's smirk fades slightly, but he holds Oliver's gaze with steady confidence. "Keep thinking whatever you want," he replies, unfazed. "You're only here because she hasn't told you to back off yet. And maybe she never will, but you're not her priority—I am." He leans in, dropping his voice. "So why don't you let her be happy, instead of clinging to something that's not happening?"

Oliver's hands ball into fists, but he keeps his voice calm. "As long as I have a reason to doubt you, I'm not going anywhere. Whatever's going on with those texts? Maybe she should be doubting you too."

Before Franco can respond, an engineer from his team calls him over, effectively ending the confrontation. He gives Oliver one last look, daring him to push back, before walking away.

Meanwhile, you're back at the McLaren motorhome, oblivious to the clash that just took place. You dive into your work, helping Lando's and Oscar's crews with post-race equipment checks and preparations before leaving. There's a hint of tension in the air, but you shrug it off, attributing it to the stress of the race day.

Tag list: @hs2016, @a-beaverhausen