#in an ages long burnout | Explore Tumblr posts and blogs

threewaysdivided · 2 years ago

Note

hi 3wd. i’ve tried to write before and i’ve never gotten far in the process, despite having many ideas im enthusiastic about. all your blogging about being a planner-writer has got me thinking i might have the same style of writing as you l- and a lot of the reason im struggling to put words on paper is because i don’t have a direction or fleshed out emotional/plot beats to write towards. what would be your advice to any fledgling planner-writers that don’t know where to start? how did you start writing with this writing style?

Hey nonnie 💜

It can be super frustrating to have a bunch of pieces you want to play with but not have them come together in a way that maintains traction. Outlining could definitely be a potential tool to help sustain momentum, so let’s see if I can get some gears turning for you.

For me personally, the outline-approach is one I just sort of fell into naturally. Part of it comes from my school days; we were encouraged to write dot-point plans to structure our arguments/ research/ storytelling for assignments ahead of drafting (some teachers even counted evidence of it towards the final grade), which set it as a habit early. Fun fact: I actually outlined this answer before writing it; I do it for most long posts. Another part of it is that I tend to come at writing from a very analytical angle - there’s a degree to which I try to solve or understand stories as I consume them. One of my earliest casual jobs was working as an English/Lit tutor for high-schoolers. I find a lot of joy in picking narratives apart, figuring out how they work and finding ones that hold up through several layers of examination, so as a writer I like to construct stories that way.

Part of it is also that, when I want to write something for release, I’m conscious of the fact that it will have an audience. A question that hangs around in the back of my mind is “if I found this story and wasn’t the writer, would I enjoy reading it?”

There’s another aspect that has to do with respect, in a way. I love the worlds and the characters that I use in my stories, and for me that means writing things that feel true to their spirit, giving significance to the times when that changes and making sure they have a meaningful journey (even if it’s not a happy one).

For me outlining suits this ethos, since having a map of future directions makes it easier to place foreshadowing fairly, identify themes, build character arcs and keep explanations/ lore consistent.

I’m also going to admit that I just got lucky with Deathly Weapons. There was a very specific emotional idea that I wanted to centre a story around, and the inspiration happened to come with both a starting premise and a concept for the ending. Then I also had wish-lists; some tropes I wanted to play with, and some existing series whose storytelling structure I wanted to emulate and pay homage to. Something I realised a few years after starting DW is that I’m a very project-and-output-oriented person. In a way, Deathly Weapons’ came to me as a project brief where I already knew the end-goal and a lot of what I wanted to work towards.

With that said, let’s talk outlining:

The value of having a plan

To me, an outline is a bit like having an itinerary for a road-trip. It gives you an idea of where you’re going, how long things will take, what key things you want to do, how much it might cost and it helps you anticipate potential problems. But, like an outline, an itinerary isn’t binding. There might be some things that take more effort to change (distance to travel, bookings you need to cancel/ reschedule/ extend - key plot points that a story hinges around or that need more preparation/ payoff to be effective) but you can adjust as you go; take extra time to explore an interesting spot, add a detour based on local recommendations, skip things that turn out to be less compelling than they first seemed, take a shorter route to get to a key destination faster, extend the trip to see a few more sights or decide to cut things short because something came up. The itinerary gives you the security of already knowing where you’re headed, letting you put down the mental burden of having to work out each stop as you go and enjoy the moment more.

Ways an outline can help:

Reassurance: if you have a tendency to be anxious/ self-critical/ have high standards about characterisation, plot holes etc. then an outline can be a good way to workshop the story and get ahead of potential challenges, as well as to concept-test whether this is a project you feel like committing to.

Scoping: blocking out an overview can help you get an idea of the size and complexity of the project, and how much time/resources/teamwork it might need.

Motivation: having a plan of future story moments that you’re looking forward to can provide a goal to help you push through the less exciting parts (e.g. connective scenes) and/or help you re-find your enthusiasm if you’re returning from a break or are feeling creatively flat for reasons outside the story itself.

Iteration: if you tend to come up with stories primarily by exploring and assembling ideas, then an outline method can be a way to quickly put a concept on paper, examine it and then decide if/how you want to use it, without the restriction of needing to write it all out as polished paragraphs first.

Splitting up the steps: useful if you tend to think faster than you can type full sentences, find that you move between ideas non-sequentially or if prose-writing/ sentence construction is something that takes a lot of mental energy or stop-and-starting from you. An outline can be a way to separate the processes of story crafting and story telling into more-distinct stages rather than trying to juggle both at once. Find the story first, then write it.

Non-sequential writing: having a roadmap of your story’s structure and direction can give you more freedom in how you choose to approach it, letting you jump ahead to work on planned future sections/scenes where the inspiration is flowing rather than waiting for the next scene to “come to you”.

For a more direct comparison, Screenwriting Bibles are a form of outline for professional TV/Film production. These “bibles” are key reference documents used by writers for information on the premise, characters, settings and other project elements, as well as to plan future episodes and seasonal arcs. (This podcast transcript, article and template are good starting sources if you want to learn more about TV Bibles.)

Much like a series bible, an outline can help you keep tabs on:

Consistency and continuity: this can be minor stuff like names of background characters or small details (running gags, item descriptions, character trivia) but can also be major stuff like character motivations, who has what abilities, event timelines or story-themes.

Direction: your outline can capture the overall arc(s) and conflict source(s) of your story and their intended resolutions, as well as mapping out how those conflicts are progressing.

Causality: whether planned events and character choices feel consistent and reasonable within the internal logic of your story.

If any of this sounded helpful to you then you might benefit from experimenting with an outliner/ planner approach. There are a bunch of different planner techiques (here’s a link for some) as well as hybrid “plan-tser” methods that you could try. But for now let's talk about the general process, starting with a focus question:

What is it that makes you want to tell this story?

This might seem like a daunting place to begin but it can help with figuring out the core of your story and what you find compelling.

It’s okay if you don’t have a neat-and-clean answer straight away. Sometimes inspiration just strikes out of the blue, and that’s fine. Sometimes you have a vague directional pull but you’ll need to do some story-work before you can identify what’s calling to you. However, if you did have a specific itch or passion that drove you to write then thinking about what and why that is can help you understand what you want from the story – and in turn what might connect with other people.

I also want to be clear that this is not about judging your motivations or their “artistic merit”. I had a specific story to tell is fine, as is I wanted to explore this concept/theme/emotion/issue, or this was a gift/commission for someone else, and so is I wanted to try writing a specific genre, or I wanted to experiment with a specific medium, or I wanted to do my own version of [existing idea] or I am fascinated by this character/relationship/world or I needed some vicarious catharsis, or I was horny. And a whole bunch of other things.

Knowing what you’re trying to get out of a story can help you decide what type of story you want to tell, as well as the overall scope and what medium/format/genre to tell it in. Maybe it’s a single-scene character/aesthetic study, or a one-shot vignette. Maybe it’s one long story, or it could be series of connected stories, or it could be a story-anthology centring on a common idea. Maybe this story would work well as a comic, or art piece(s), or podcast, video, or something interactive like a choose-your-own-adventure or a videogame.

Understanding where you’re coming from can also help you answer the questions of what is your story about? and what happens in your story? which are related but not the same.

What is your story about concerns the themes and thesis of your story, which can help you figure out the story’s tone, main emotional or thematic conflict(s), and how you want them to resolve by the ending. Put simply, it’s the message.

What happens in your story is the synopsis of planned events, character actions, worldbuilding and other content. Put simply, it’s the stuff your story has in it.

Let’s take my Deathly Weapons fanfic as a case study:

What made me want to write this story? Deathly Weapons started with me being unsatisfied with what felt like a gap in the Danny Phantom x Superheroes crossover fanfic space at the time. There was a trend where stories would kill Danny’s friends and family to justify placing him with the crossover’s other hero team but very few of those stories felt like they acknowledged the emotional consequences of doing so; the ones that allowed him to grieve frequently using it for nonspecific angst about Loss™ or mourning the generic archetypes of A Love Interest™, A Sister™, Parents™ or A Best Friend™ rather than the specific characters and bonds from the series. There were also some smaller itches around plot construction and mysteries that I couldn’t find many stories to scratch. I wanted to try writing something to fill those gaps. What is this story about? Thematically Deathly Weapon’s central emotional arc is about grief and healing: in particular the uniqueness of the bonds between people and how grief reflects the specific hole each individual leaves behind, as well as the process of finding closure, making new connections and moving forward in the aftermath of loss. What happens in this story? A lot. In my youthful hubris and overambition I planned out basically a half-season of a TV show. For the sake of not dragging this section out by a mile, here’s an arc/mission plot teaser list I made a little while ago.

Since Deathly Weapons Arc II is deliberately structured to emulate a TV show, you can sort of see how that summary has accidentally ended up mirroring parts of a top-down Pitch Deck. But, of course, that’s not the outline I actually use when writing.

Different levels and types of outline

Like a lot of creative terms, “outlining” covers a pretty broad umbrella’s worth of stuff.

Methods-wise there are plenty of different approaches: from specific story-writing software (Scrivener, Campfire etc.), to word documents, to binders and notebooks, to honest-to-goodness sticky-notes, thumbtacks and string. Personally I alternate between a documents folder on my computer and a physical notepad/sketchpad for when I’m on the go, but you should pick whatever format feels most comfortable for how you process/visualise information.

Functionally, I think it helps to conceptualise three main levels of outline: Brainstorming, Structural and Detail. To be clear, you don’t have to do all three. A short story or one-shot might be served by writing directly from a brainstorming or light structural outline. You also don’t have to keep them strictly separate. A brainstorming document might cover some early structure notes or test paragraphs. A structural or detailed outline might have some brainstorming or research sections as you uncover and solve smaller questions. Heck, you can have detail notes inside your initial drafts if they help you keep the story flowing. These are tools you can use, not prescriptions you need to follow.

Let’s talk about the levels:

Brainstorming

Brainstorming is the least structured. Like the name suggests it’s mostly about getting concepts down and coming up with ideas – this could include early notes for plots beats/ scenes/ character interactions, sketches, screenshots/quotes and possibly research questions for stuff you want to confirm or find out about (e.g. checking source material, or researching systems and potential setting-locations). You could consider this like early research notes for a class essay – where you know what your subject is and might start with some initial thoughts or focus questions but are still learning and figuring out the broad strokes of your content and stance.

Despite that comparison, brainstorming is probably the most creatively fun step in the process. This is not where you worry about things like “quality”, “cohesiveness”, “accuracy/canon compliance” or “cliches” – this is the time for rolling with whatever inspiration strikes you, pouring out any idea you find interested/compelling/cathartic, asking questions, going down internet rabbit holes and generally just enjoying unabashed creation. This is your raw material: you’re going to cut and shape it later.

Structural

Structural outlines probably have them most utility in giving your story shape and form, especially if your story is long or has a lot of components. If you were doing an essay, this is the part where you’d figure out your thesis and start grouping each main argument and its supporting points into planned body paragraphs. For a story, this is where you start sorting your ideas and putting them in order; deciding on your arcs, conflicts and resolutions, working out the order and causality of events, your character motivations and dynamics, where to place key foreshadowing, major scenes and the like. This is the level where you’re going to try and solve potential story problems – to come up with in-universe explanations and identify possible plot-holes before you write yourself into them. You’ll likely do extra brainstorming or research in this phase too but it’ll be more targeted – aimed at filling gaps, connecting dots or serving specific needs.

For longer or more complex stories you might have multiple structural outlines tracking different levels of granularity; some providing an overview of the whole story/ series arc, while other focus on specific characters/ subplots or break things down into individual plot beats and scenes. You might also spin some of your initial brainstorming into reference or meta documents – content that you aren’t going to directly cover in-story but that will inform or add depth/consistency to other elements. If you enjoy puzzle-solving then this can be a very satisfying part of the process: there’s nothing quite like hiding a subtle piece of symbolism/foreshadowing, coming up with a sneaky red-herring or finding a rock-solid explanation to make you feel extremely clever.

It’s also worth repeating that you are not beholden to whatever structural outlines you first come up with – your outlines can and should evolve with you as you develop your story and come up with new or alternate ideas. (Just last year I re-ordered two major subplots and added an extra character arc for Deathly Weapons).

Some stuff to think about for structural outlining:

Remember that, as the storyteller you have full control of the narrative and what happens inside it. Like I said at the start of my case study on YJ: Invasion’s writing, even the rules of a fiction piece are made up: there is nothing physically stopping you from making the sky be a different colour every five minutes if you felt like it. If you want something to happen then you can work backwards to reverse-engineer a specific scenario where those things would reasonably occur. Start at Scene B and figure out what needs to happen to get there from Established Starting Point A. If you need a character to act a certain way, then you can tailor a situation to trigger that response based on their established personality/ insecurities/ flaws. You can manufacture specific story problems whose solutions play toward or against the skills and abilities of different characters, or create scenarios which situationally discourage characters from using skills/abilities/tools that might otherwise be overpowered. You can also make the call to deviate from what has been established in order to facilitate a scene or plot point - temporarily imposing a trait for narrative purposes (sometimes referred to as carrying a ball) or Rules Lawyering your worldbuilding to create a technical loophole. This risk here is that this can feel artificial, jarring or unfair if not reasonably justified within the story logic. There’s also a limit on how often/ how far you can push this before it risks breaking the story. If things start to contradict or situations arbitrarily turn on a dime then your audience can lose trust that the characters and world will follow the expectations set by the narrative – they can start to feel narratively unsafe, until it reaches a point where the only way for them to reconcile the dissonance and inconsistencies in the story is to acknowledge that it’s all an artificial construct being externally steered by the hand of the author. You can do whatever you want… provided you do the work to make audience to believe it.

That being said, try not go get too wedded to the specifics of your early ideas. Sometimes an element is just not going to fit with the direction your story ends up taking; whether because it’s not compatible with the eventual trajectory of the characters/events/lore or simply because it would be hard to include without disrupting/diverting/distracting from the flow of the story at that point. In some instances you can take the core of an idea and modify it to find a new place in the narrative; for example by repurposing a scene or piece of dialogue, repackaging information, rescheduling a conversation, fusing concepts together or deconstructing them and integrating the component parts across other scenes. But in other cases you may decide that the potential problems (whether structural or narrative) introduced by including an element outweigh the value it could add – in which case it’s time to lovingly set it aside. This is what they mean when they say kill your darlings. Having a designated document for future story ideas and/or outtakes can help with this (or you could do what I did with Defining Moment and turn an idea into its own side-story).

This can be also a good place to consider more technical story elements, like pacing. Think about the peaks and valleys of intensity (suspense, intrigue, action, character drama etc.) across the beats of your story; where you might want to ramp things up or down, and how you might use scene and/or chapter breaks to space out information, create breathing room or hold the audience at a certain level of emotion/anticipation. (For a good short primer, try these videos about Pacing and Tension Cycles in games).

You may also like to use the structure overview as an opportunity to take stock of Tropes and Patterns. Not to avoid them – you can’t really avoid tropes – but just to see if any are showing up and what they might be saying, even if you didn’t intend for that to happen. (For a topical example: consider what tropes are showing up around different minority/minority-analogous characters - either in their depictions or how the story treats them - and what message that might be sending. There’s a lot of bias to the way certain groups and issues have historically been portrayed in media, some of which have baked themselves into now-common stock plots and archetypes. That isn’t to say you should never use them; just be conscious and careful, especially if your story intends to make some sort of commentary on those topics.) On a more positive note, this can be another way to learn about what story mechanics you like, both in your own writing and others’.

Detail

Detail notes are the most granular level of outlining, getting down into the specifics of an individual scene or conversation. These are the least strictly necessary – depending on the length/ complexity of your story, the granularity of your structural outline(s) and your personal writing preference, you may prefer to jump directly from a structural outline into a first draft. That said they can still be useful, especially if you want to hammer out the fine details of action, dialogue or information-flow while staying a step back from specific prose. This is where you get things like a bullet-point breakdown of each line/action/piece of narration (for when you have a detailed idea of what’s going to be said/done but not the specific words to describe it) or script-style notes (for when you have the character voices and lines but not the narration or action surrounding it). As mentioned earlier, you can blend detail notes and rough drafting together – writing some sections out in prose as the words come to you, then breaking into note-form to keep the ideas flowing in sections where wording might be starting to stick.

An example

Let’s look at my outlining system for Deathly Weapons:

Now, I want to make it clear: this is not the standard. This is not even the standard for me. Deathly Weapons got a bit out of hand, ballooning into a half-season of a TV show: it’s more a series of 12+ self-contained stories in a trench coat than your standard fanfiction. However, it is a decent example of complex outlining. I have multiple levels of structural outline – some covering the entire story arc, some covering the individual missions. I also have quick-notes that I made as a consistency-reference from canon, and some worldbuilding meta I did as a thought exercise to develop one of the character-backstories (the one shown ended up published here on Tumblr). You can see how I blend the outline types together in my detailed notes, as well as how my approach to outlines has evolved from more brainstorming-focused to more structurally-focussed as the story has solidified. Again, this is not the standard, but hopefully it gives you an idea of what you can get up to with outlines for a complex long-term project.

Okay, so that’s the basic breakdown of outlining as a process (at least the version I use). Hopefully it’s got some gears turning.

However, I also know that it’s more of a framework through which to approach story-building; it’s an organisational tool that helps you set out current and future-planned content in a way that lets you take stock, identify things that need attention and keep track of important details. On its own it’s not necessarily going to be able to help address the challenges it reveals; in the same way that knowing how to plan an essay won’t necessarily teach you how to research one effectively.

In Part 2 of this series (yep it's a series now) I'm going to go over some concepts for story-building and editing that might help you during the structural phase. Click here to go to the next part >>

#Writing advice #Outlining #Planner writing #Story planning #Stories #Post Series: Outlining Tips #this was originally meant to be one post but then Tumblr decided it was too long so here we go #Sorry this took ages for me to answer nonnie #I moved cities again and the burnout after last year whacked me very hard. Brain go (half-hearted raspberry noise)#Hopefully there’s enough stuff in here to make up for the wait #It might amuse you to know that I did 3 different outlines trying to figure out what would be useful #Learn from my example but maybe don’t try to follow it #Outlines Divided (who lives in a state of derangement and writes over 10000 words of background notes per paragraph)#is an outlier and should not have been counted #There’s a lot of talk about DW in here. How very self-indulgent telling you all about me. me. me.#(It’s mostly because I’m the creator in its case so I can talk about the processes used to make it without making guesses)#Anonymous #3WD #3WD Answers

12 notes · View notes

curiositykilledtheradiostar · 2 years ago

Text

Experienced a big Irony Moment today when I got my grade back for the short story I had written about the tragedy of children being forced to grow up too soon by their elder's incompetence, and the teacher said I wrote well about themes of "discovering passion" and gave me a 98

#I mean I won't turn down the grade but Sir this is exactly my fucking point when I wrote this What #I understand death of the author but could it have least been a quiet death with a kind memory instead of hanging me in the square then #beating me like a pinata. SIR IF YOU ARE GOING TO COMPLIMENT MY WRITING ABILITY SO HIGHLY THEN LOOK PAST THE SURFACE LEVEL????#the entire point was that it was Bad that Chroma had to grow up so fast! that the fact that a 15 year old girl has to slay the dragon #indicates a flaw in the system! the fairie is a metaphor for burnout and unhealthy coping mechanisms! the narrator is unreliable! bitch!#her accepting the crown is not a good moment it is the next in the long line of burdens she has carried at this young age!#if I had the time I would have written in her death at the end but I didn't #curio chatter

5 notes · View notes

an-android-child · 8 months ago

Text

¡JAJA! YOU HAVE ACTIVATED MY AUTISM TRAP CARD

SPECIAL INTEREST

SO, first let's get to Dick Grayson and Bruce Wayne's clusterfuck of a relationship.

As everyone will tell you, comic's canon is like gender: a social construct. If anyone tries to tell you there's a main canon they're lying to you. It's true that the comics TRY to market it as such, and we've been through so many reboots and continuities that I believe the present default is, literally, that everything is canon, depending on what the writer or story calls for. Which is as confusing as it sounds, and has been regarded as, possibly, the move of all time.

And I want to make it explicitly clear that I am not taking Elseworlds (official dc aus for their ocs, like Batman being a pirate and shit like that) into account. This is literally all "main continuity" in all its rebooted as shit glory. I'll specify what continuity I mean, but basically know that every once in a while DC has the compulsive need to kill off their entire character universe and start it all again "from the beginning", except it's literally never that because half of this reboots need the reader to know the characters already, so what's the point, and that they tend to just make everything worse and deliver the most dumb possible comic events in history, with few exceptions. But that's a personal opinion and it literally doesn't matter.

At the end of the day, here's the thing. There are... A shit ton of interpretations about their relationship, because it literally varies from writer to writer. No, I'm not kidding.

Let's start from the beginning. Literally.

First Main Universe

Detective Comics (1937) #38

Writer: Bill Finger

The first appearance of Dick Grayson is hilarious because it doesn't mention any legal procedure regarding anything related to the fact that Dick's an orphan now. Batman sees a traumatized child and thinks "is anybody gonna kidnap that" and doesn't wait for an answer. There's no real label for their relationship either, aside from the cover's vague remark of "taken under his mantle", and literally those two panels where it implies that Dick will be working with Bruce as an aide or something. Or better said, that they will be going on adventures together lmao. I mean, I guess.

Also unrelated but I love the fact that Bruce caves like a wet paper towel for his kids so much, even at the beginning. No, you can't be a crime fighter vigilante, wait no no don't look at me like that here I'll train you for months here's my secret identity and all my money please come live at my very big and lonely mansion

Detective Comics (1937) # 39 & #43 & #47

Writer: Bill Finger

So yeah, for a while, the og Batman writer basically referred to Dick as an aide. Whatever that means. Unpaid internship go brrrrrrrr.

Detective Comics (1937) #40

Writer: Bill Finger

But even from the beginning, it was obvious that their relationship was special and that they cared for each other. Hell, Dick was the first person to ever know Batman's secret identity. That's a huge ass deal. Not even his fiancé knew. Before Alfred even existed, Dick Grayson was already living in that house lmao.

Detective Comics (1937) #41

Writer: Bill Finger

The FIRST ever mention of any type of legal relationship between them is this off-hand comment made when they're trying to infiltrate a boarding school to find some killer I can't remember the name of. I place some legitimacy in it because they're literally going as Bruce Wayne and Dick Grayson, no disguises. When did Bruce do the paperwork for this? When did the trial take place? Who knows! It will be explained. Later. Somewhat. Don't think about it.

As time progressed, the relationship became more explicitly parental. You could argue this was because of the controversy, but whatever it may be for, Bruce doesn't shy away from telling/showing Dick how much he loves him. He also does it when he thinks no one's paying much attention to him lol

Batman (1940) #20 (this issue is very cute)

Writer: Bill Finger

Batman (1940) #66

Writer: Bill Finger

Sometimes though, he would insist they were just the best of friends.

Detective Comics (1937) #166

Writer: Don C. Cameron (i'm not sure if it's really him, but i can't find any other sources claiming any other writer, and it kinda seems like his writing style)

Ironically, Dick seems to be the one to insist they're just good friends the most, which I find an interesting choice.

Batman (1940) #3 & #20 & #118

Writer: Bill Finger

Except... When he doesn't.

Batman (1940) #57

Writer: Bill Finger

Batman (1940) #339

Writer: Gerry Conway

Either way, don't be fooled. No matter what, this little guy cares.

Batman (1940) #13 (in this story Bruce is just pulling off a ruse with a dummy so Dick doesn't get killed, but instead of telling him he leaves the house lmao. Also, oh, the irony)

Writer: Bill Finger

The general consensus though, if there's anything like that in a world as cruel as this one, is that Dick was never formally adopted, just taken in as a ward. This was because, in the 40's, single men couldn't adopt even if they wanted to, so that was the next best thing. But that's another entire can of worms.

So yeah, Dick was never really adopte-

Detective Comics (1937) #145

Writer: Don C. Cameron (again, I can't be sure, but the comic references two other issues written by him, and I'll eat my left shoe if it's anyone else)

Yeah let's just. Let's just move on.

Second Main Universe

In the second universe, things start getting messy. Writers have decided angst is what they want, and their relationship becomes way more rocky. They fight, Dick becomes Nightwing, Bruce gets his back broken, Jason fucking dies, not in that order. Y'know the drill. The focus on father and son shifts, but let's start with the basics.

For some context, in this universe Dick isn't adopted, but Bruce is his legal guardian.

The Untold Legend of the Batman (1980) #2

Writer: Len Wein

So yeah, Dick isn't adopte-

Robin (1993) #0 (thank you so much @northoftheroad for helping me find this instance!!! there are way too many comics sometimes lmaoo. i recommend her blog so much, and she specializes in Dick's whole comic history)

Writer: Chuck Dixon

Ignore that.

He's just a ward-

Robin (1993) Annual #4

Writer: Chuck Dixon (IS HE ADOPTED OR NOT DIXON)

Ignore that.

I meant foster chil-

Batman: Legends of the Dark Knight (1989) #100

Writer: Dennis O'Neil

Fuck.

Look. This is a mess, we both know it. Let's pretend consistency is a thing that exists and that DC gives a shit about it.

In the second universe, Dick ISN'T adopted, and doesn't care much that he hasn't bee-

Tales of the Teen Titans (1984) #50

Writers: Marv Wolfman & George Pérez

I actually meant that he cares and wants to be Bruce's so-

Batman (1940) #439

Writer: Marv Wolfman

I mean, he was a child when he said that! Character development I guess! In a way! It's the same author. I don't understand the point of the conversation at the wedding if Dick literally asked him not to. I can get behind tha-

Secret Origins (1986) #13 (thank you so much @tiffanybluesclues for helping me find this instance!!! they have this super fricking cool meta i can't recoomend enough if you want to see more clearly for yourself what Bruce's and Dick's whole deal is about lmao)

Writer: Dan Mishkin

Okay this is getting ridic-

Batman (1940) #217

Writer: Frank Robbins

YEAH. WHY NOT

DID I MENTION THAT THIS UNIVERSE TRIES FOR THE BROTHER ANGLE. Except when it doesn't.

In the First Universe we had the best friends angle, now we have the brother one. They want to keep Bruce young so bad, even at the cost of consistency.

Robin (1993) Annual #4

Writer: Chuck Dixon

And also the best friend angle. Again. Because of course we do.

All this mess is just the first two universes and I'm leaving so many details out. Jesus Fuck.

Third Main Universe

The universe I was referencing, the one where Dick is adopted by Bruce as an adult, is the third main continuity. From one of my favourite comic writers (who was done so dirty, and I'll never forgive some fans for how they treat her, or DC editorial for not letting her finish her Nightwing story properly).

Batman: Gotham Knights (2000) #17 (this issue was released in 2001)

Writer: Devin Grayson (my beloved)

You'd think this would be a pivotal moment for their relationship, in the sense that it would shape how other authors wrote them from then on. As times have changed, the focus on a much more character driven story has been the cause for many changes in DC comics. One of the reasons the Second Universe was so full of angst (not as much as people make it out to be, but way more than we were used to), was precisely that fact. And now, in the present, one could argue the focus is still there, perhaps even more so. You'd think this would mark the end of an era, the beginning of another. You'd be correct, in literally any other circumstance.

But this is DC.

52 (2006) #30 (this issue was released in 2007)

Writers: Geoff Johns & Grant Morrison & Greg Rucka & Mark Waid

Batman and Robin (2009) #7 (this issue was released in 2010)

Writer: Grant Morrison

Batman (1940) #713 (this issue was released in 2011)

Writer: Fabian Nicieza

This will always be DC.

Fourth Main Universe

Nightwing (2011) #0

Writers: Kyle Higgins & Tom DeFalco

So, yeah. Canon is a social construct. Some writers see them as brothers, some as best friends, some as equals, some as father and son, some as fricking colleagues, and I'm sure you can find someone who sees them as lovers. This is literally a pick your poison type of deal here.

And all of this. All of this just to talk about Dick and Bruce. I have barely even touched the present continuity (the fourth one, I'm not counting soft reboots because everytime a new writer appears it is a soft reboot istG). I haven't even gotten to Jason.

I'll do a part two in the reblogs later about him, lmao. Probably make my own post as not to clog op's notes (this was supposed to be a short answer and it got way too long)

If you want some recs about a character in particular, or a specific type of relationship, feel free to hit me up! I'll see what I can find

dick and jason trying to give tim the crash course on what it's like to be robin, except tim leaves the conversation more confused than he was before, because everyone quickly had the realisation that there was. definitely a favourite child

dick goes on about how bruce's teachings gave him healthy outlets for his grief and anger etc etc, whilst jason's very much confused because he was kinda under the impression that robin was an outlet for bruce's feelings.

dick says that the father-mentor ratio was really well balanced during his time as robin, and bruce always saw him as a son first. and jason's just like "....i didn't even know he saw me as his son until after i died????"

#BTW I LOVE YOUR PROFILE PIC WHO IS THAT!!!!#Also sorry for the late reply I got sick lmao I think its the burnout #that made me actually physically ill so that's always fun #This post made me go into a research frenzy so I legit thank you for that cause my ass needed it #Had to restart it once or twice because it would DELETE ITSELF FROM MY DRAFTS #and also sometimes it wouldn't even save #dc #batman #meta #dick grayson #bruce wayne #i didn't even get to show the cute outing pictures of the golden age lmaoooo #this was so long and for what #I THINK I HIT POST TOO EARLY AND PANICKED #SORRY ABOUT THAT #hope op doesn't mind this long ass rant #its been so long you probably don't even remember asking this lmaooo #but i'm so thankful for all the people that have helped me #also op if you're reading this and you're uncomfortable with this long ass post let me know!!#dc meta

2K notes · View notes

icannotgetoverbirds · 2 years ago

Text

what

so. i can do my adls. i can be verbose sometimes but it's exhausting.

iadls, on the other hand:

✔: Use the phone. This includes answering and calling others.

¯\_(ツ)_/¯: Shop for groceries on your own.

(eh kinda): Plan, heat, and serve your own meals.

(yes except when dealing with the pharmacy and insurance): Manage your medicines. This includes refilling them when needed and taking them correctly.

(kinda. sometimes): Clean your house or apartment.

(working on it): Get around on your own, either by car, taxi, or public transportation.

¯\_(ツ)_/¯: Manage money and pay bills.

So literally only one of those I can definitively do, and even then I struggle with it. Two if you don't count the exception to the phone task. I'm not sure yet about three of them, and I struggle heavily with the remaining two.

And I can't tell my parents 'hey i've got higher support needs than a fucking neurotypical and more than you thought, too' because they'll legitimately think I'm choosing not to do important things for no good reason instead of because I genuinely can't.

lovely bit of a pickle to be in.

i am very grateful for my mood stabilizer right now because otherwise I would be banging my head against a wall.

#byrd chirps #like at this point i cannot get it right #stay here? my parents are going to drive me up the fucking wall out of my mind and over the edge #leave? im going to burn the fuck out trying to be independent and i can't afford a fucking caretaker #burn the fuck out and just try to figure it out as i go afterwards? good fucking luck catching a break in this day and age!#literally i have no good options i just have to get lucky #and idk how long i can hold out waiting for luck but my ass is not sticking around this house to find out that way #at least with burnout i get a little more time and a little more freedom before shit hits the fan #more time for chance to favor me. more freedom to take a much-needed opportunity should it cross my path #idk im just ¯\_(ツ)_/¯ at this point #whatever happens fucking happens and im just riding the wave looking for a way out #fuck capitalism all my homies hate capitalism #and in this moment i want to thank my mood stabilizer

0 notes

theminecraftbee · 10 months ago

Text

iskall propaganda post: if you are going “geez, I want to watch a new hermit”, this is the GOLDEN AGE to get into iskall85.

in general, he has a very good sense of humor that’s a combination of pure silliness, mean girl energy, and dry humor, and I think his voice is nice. he’s also just here for a good time; there are very few iskall episodes where he doesn’t make himself crack up a little at least ONCE. he’s corny and goofy and as I said, a little playfully mean, and he’s FANTASTIC.

in his episodes, he has a fun editing style that often focuses on comedic timing and a fun energy, and if you have liked people like the boatem crew in the past, this makes him a good hermit for getting into. he’s also stated a goal for the season of less focusing on projects, more just having fun with his friends, so if you’re a big fan of big goofy collabs, you’ll LOVE “iskall and stress make each other lose their minds for ten straight minutes” or “whatever that base thing was from today, iskall that was hilarious and also I feel bad you have to live there now”.

however, this is the iskall golden age, yes? so you do not just have his episodes! if you’re a fan of people like doc or xb, who do long mostly uncut footage, can I introduce you to vodskall85? despite the name, this channel isn’t just stream footage; indeed at this point maybe less than a quarter of it is stream footage. instead, it’s mostly “behind-the-scenes” footage, or uncut bits he couldn’t put in his episode! want to see the full uncut take of group caving? want to see a hilarious demise bit? want to see iskall waffling at the audience about game design? want to see whatever etho and iskall have going on these days? vodskall is PERFECT for everyone who wants a taste of uncut hermitcraft joy in their lives!

and as an additional aside: iskall has been struggling with burnout for some time, which is why he hasn’t been around much the past two seasons. he’s also struggled with mental health due to being a Public Guy On The Internet, his comments having for a bit been notoriously bad. however, thanks to hermitcraft vault hunters, he’s reinvigorated and ready to go, and I’m SO EXCITED to see more iskall hermitcraft content! he’s one of my top hermits, and seeing so much iskall stuff lately has been so nice. and I’d love to help see more!

so what I’m saying is: GO WATCH ISKALL HE’S SO COOL! YOU WON’T REGRET IT,

#hermitcraft #iskall85 #IM GONESTKY BAD AG PROPAGANDA POSTS BUT WATCH ISKALLGOOOOO

963 notes · View notes

pnutbutter-n-j-elyy · 1 month ago

Note

hiii - I read a bunch of your works and I loved them so much!

do you think you could do a minho (or one for everyone) piece where he's feeling burnt out but he's been trying to hold it together (maybe he's been quite successful at not making it known to the guys) because he doesn't want to be a bother y/n hasn't been around much (but has been texting to check in on him) because of university or work. but through those texts, you get a sense he's not himself and when you finally see him in person, you can tell he's trying to hold it together but the second you say "it's been hard, hasn't it?" He immediately break and y/n is there to pick him up.

okay this was a bit more specific than I intended so feel free to do your own thing but I think it would be nice to have a y/n comforting the member thing but only if youre up for it!!

Thank you and feel free to say no as well!! I understand that you've got a whole bunch of other things to do too

Thank you and have a great week.

Put Your Head on My Shoulder | Minho

Minho x gn!reader >>>>>>>>>>>>>>>>>>>>>>>>>>>>>><<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<

Minho sat on the edge of his bed, his phone resting in his hand as he stared blankly at the screen. Another text from you, asking how he was. It wasn’t that he didn’t want to reply, but the words wouldn’t come.

He was burnt out. He had been running on fumes for weeks now-between rehearsals, performances, and schedules that seemed never-ending, the burnout had crept up on him slowly, until it swallowed him whole.

Still, he had been holding it together. At least, he thought he had.

The guys hadn’t noticed, or if they did, they hadn’t said anything. He’d become good at hiding it- smiling, joking, and keeping up the act, because that was what everyone expected of him. Minho was the strong one, the calm one, always in control. But beneath the surface, he was unraveling.

He didn't want to place that burden on anyone- let alone you who had been an unexpected blessing in his life. An unexpected meeting that turned into him freefalling for you fast and hard and more passionate than he had ever loved anyone before.

He needed you and he didn't want to do anything that could potentially jeopardize his chance at forever with you.

You probably didn't want to date a burnt out man...

He rubbed his temples, feeling the tension radiating behind his eyes, and let out a breath he hadn’t realized he was holding. Your text still glowed on the screen:

Hey, love, how’s everything going? You okay?

You had been checking in on him more often lately, even though you were busy with university. He could tell you were worried, even if you didn’t say it outright. And somehow, through just those few words, you knew him better than anyone else. As if your souls were connected.

Minho didn’t reply. He didn’t have the energy to put up a front, and he didn’t want to worry you more than he already had. He figured if you sensed something was off out of the blue, you could detect his lies through the phone.

He sighed and placed his phone face-down on the bed, willing the exhaustion away, knowing it wasn’t going anywhere.

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>><<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<

It had been almost two weeks since you and Minho had last seen each other. Between your classes and his packed schedule, finding time to meet up had been nearly impossible. But today was different. You had wrapped up your work early and decided it was time to check on him- really check on him. His texts had been growing shorter, his replies delayed, and every instinct told you that something was wrong.

And you supposed you could give some credit to Han, who had willingly snitched to you about how his Hyung was falling asleep in public places.

And how he:

"-didn't even react to a cat picture. That's a red flag, Hyung loves cats."

You knew Minho didn’t like to show when he was struggling. He had a habit of carrying everything on his shoulders without asking for help, but you had seen through that long ago.

The plan was simple: drop by his place, surprise him, and figure out what was going on.

When you arrived, you knocked softly, waiting for a response. After a moment, you heard shuffling on the other side, and the door creaked open.

Minho stood there, and your heart sank immediately. He looked exhausted- his usual sharp features softened by the weight of whatever he was carrying. His skin was dry, and his hair disheveled. His eyes, normally so full of mischief and light, were dull, and there was a tightness in his expression that he hadn’t quite managed to hide.

"Y/N-ah," he said, his voice slightly hoarse.

You smiled gently, stepping inside and wrapping your arms around him without a second thought, snuggling your head into his chest. "Hey, Min. You look like you need a break."

He chuckled softly, but there was no real humor behind it. "I’m fine. Just…a little tired."

You pulled back, studying his face, and it hit you just how much he had been pushing himself. There was a heaviness in the air between you, and you could see that he was barely holding it together. You sighed.

You led him to the couch, sitting down next to him. For a moment, neither of you said anything, the quiet stretching between you like a fragile thread.

Finally, you spoke, your voice soft but firm.

"It’s been hard, hasn’t it?"

At those words, you felt the subtle shift in the air, like the last thread of his composure snapped.

Minho’s catlike eyes flickered to yours, and for a moment, he blinked rapidly, trying to brush it off, to give you a small smile like he always did so he wouldn't be a burden- so he wouldn't give you any reason to judge, to leave; but this time that flippant smile didn’t reach his eyes. His lips trembled slightly- and then, all at once, the mask fell.

He broke.

Minho let out a shaky breath, his hands coming up to cover his face as his shoulders slumped. You could hear the quiet sound of his breath hitching, the sound of someone who had been holding on too tightly for too long.

"Don't look." He whined, but you didn't listen.

Without a word, you scooted closer, wrapping your arms around him and pulling him against your chest. He didn’t resist, allowing himself to collapse into your embrace, his body trembling slightly as he let go of everything he had been bottling up. He buried his face into your shoulder, his breath coming in uneven waves.

"Shh," you whispered, rubbing gentle circles on his back. "It’s okay, Min. You don’t have to hold it together anymore."

Minho didn’t say anything, but his grip on your shirt tightened. For a while, you just held him, the soft sound of his breathing filling the space. He was always so strong, always so composed, but here, in your arms, he let himself be vulnerable. This was the first time you had ever seen him be vulnerable. And knowing im, you figured this wouldn't be a super common occurence but you basked in it nonetheless, happy that he felt comfortable enough to break in froont of you.

And you held him, letting him know that it was okay to lean on you-that he didn’t have to carry everything on his own.

After a while, his breathing steadied, and you felt him relax slightly against you. You pulled back just enough to look at him, brushing a few stray strands of hair from his face. His eyes were red-rimmed, his breathing clogged, but there was a softness there now- a quiet relief, like he had finally let down the walls he’d been building for so long.

"You don’t have to pretend with me, Minho," you said quietly, your fingers still gently combing through his hair. "I’m here."

He swallowed hard, blinking back the last of his tears. "I just…didn’t want to bother you," he admitted, his voice barely above a whisper.

You shook your head, giving him a small, sad smile. "You could never be a bother. Not to me."

There was a long pause, and then Minho leaned his head against your shoulder, the tension in his body slowly ebbing away as he rested against you. "Can I just…stay like this for a while?"

Your heart ached at the vulnerability in his voice. "Of course," you whispered. "As long as you need."

You could feel him relax further, his head heavy against your shoulder as you continued to run your fingers through his hair. You leaned back into the couch, and he shifted slightly, resting more comfortably against you.

"Put your head on my shoulder," you murmured softly, a quiet invitation to let go. And he did. He leaned into you, kicking his legs into your lap, his head nestling into the curve of your neck, his breathing becoming slower and more even as he allowed himself to cling close to you and simply be in your presence.

The room was quiet, the only sound the steady rhythm of your breathing in sync. You held him close, feeling the weight of everything he had been carrying, and you wished you could take some of that burden away. But for now, this was enough.

"You’ve been working so hard," you whispered, your voice soft as you stroked his hair. "It’s okay to rest."

Minho sighed, his eyes fluttering shut as he nuzzled a little closer. "I don’t know what I’d do without you," he mumbled, his voice drowsy now, the emotional weight finally catching up to him.

"You’ll never have to find out," you said, pressing a soft kiss to the top of his head.

Time passed in a comfortable silence, and after a while, the weight on your body became heavy as you realized Minho had drifted off to sleep, his body fully relaxed against you. You smiled softly, brushing your fingers through his hair once more, marveling at how peaceful he looked now.

He had been trying so hard to hold everything together, but here, in this moment, he had finally let himself be vulnerable. And you were grateful that he trusted you enough to let go, to rest, to lean on you.

You knew that when he woke up, he’d still have the weight of his responsibilities waiting for him. But for now, he was safe, cradled in the warmth of your arms, where he didn’t have to be anything but himself.

And as you sat there, holding him close, you knew that no matter what came next, you’d always be there to catch him when he fell- to remind him that he didn’t have to face everything alone.

With a soft smile, you rested your cheek against the top of his head, closing your eyes and letting the quiet comfort of the moment wash over you both.

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>><<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<

@abovenyx @wolfs-archive @oddracha

@iyeeeverydee @parisanmorovati @seungmincenteric

@panbish-1209 @fxiry-vtt @sseawavee

@shuporanporang @amarecerasus @softkisshyunjin

@whoa-jo @meanergreener @rikibun

@ayyonoona @shinywombatcrusade @y4yayael

@skzstan12345 @mariteez @allys-reads

@jazziwritesthings @skzstannie @yongbokkiesworld

@kkkeopi @neverendingstay @moony-9

@minsungsthirdwheel @everlastingspring143 @joyofbebbanburg

@leezanetheofficial @tr-mha-fan @bubbly-moon

@night-storm7 @missmajdastark @axel-skz

#skz imagines #skz x reader #skz stay #skz fluff #stray kids reactions #stray kids #skz reactions #skz #skz minho #lee minho #skz minho fluff #lee minho fluff #skz lee know #lee know fluff #pnutbutternjelyy #🥜🧈🪼

230 notes · View notes

twost3ps · 6 months ago

Text

I have not been doing so hot. I keep on saying that but burnout is actually crazy double comboed with artblock. But after some tears of frustration I wanted to show my swap au so yeyey

Short synopsis:

Lilith, Lucifur, Charlie 🔄 Adam, Micheal, Emily

Micheal and Adam fall after taking the forbidden fruit (it is a pear!) Rule over hell together and then have 7 children- Cain, Abel, Seth, Alclima, Awan and Emily. Hell does its own exterminations every year. Micheal and Adam lead along side with their children who participate as well. Up above Charlie watches in dispair. Her father has told her about the horrors of hell and its deranged rulers. She's the angel of Mercy (maybe I might change that) and wants the sinners of hell to have a second chance. So she goes down to hell without asking and tries to find a way to help save some of the sinners from suffering. In that time she makes friends with Hell's royal family starting with Emily and then comes to realize that heaven is a little (a lot) more corrupted than she thought

So here are some of their busts. I drew emily young bcz this was initially going to be a family portrait but I got lazy but for the au she's her canon age her horns are covered by her hair o3o

So heres a long but not full backstory and info of the au if ur interested under the cut:

Idk why yet why Micheal tempted Adam with the pear but it happened. Because of their betrayal, Adam and Micheal get sent down. But while Lilith is stripped of her fertility, Adam has his humanity stripped. When Micheal recovers, he's greeted with his lover in the form of a wild beast, body stretched, covered in feathers. The only human-ish thing is Adam's face which is essentially looks like a porcelain mask of his face with his eyes closed in a permeant smile unless he opens it and then the mask splits in two.

It takes days for Micheal to calm down the animalistic Adam. It just seems like everything about him is gone. Micheal still loves him, though, so he stays. Adam thrashes around, he screams, and he yells. The abyss is nothing but rubble as Adam digs wildly while screaming. Adam is too hostile for Micheal to comfort so he deals with just watching from afar.

As years roll by as Micheal watches his lover, Adam begins to calm down. He's grown tired and his animalistic rage has subsided. Micheal is able to pet Adam and he can see how tured Adam is. They begin sleeping together again.

All seems hopeless that Adam will ever gain any semblance of his humanity. That is until the first sinner arrives.

Micheal had seen the sinner from afar. He was going to approach, but then he heard Adam. Adam barreled at the sinner and before Micheal knew it, Adam had eaten the sinner with a vile crunch.

Micheal rushed to Adam to see the damage. Then Adam moved and turned. It was then that Adam had spoken properly since the fall. He asked Micheal what happened but Micheal could only stare and cry. They were able to talk for a while and they savored every bit of it.

That joy only lasted for a few hours before Adam became animalistic again.

From then on, Micheal made it his mission to gather as many sinners and feed them to Adam.

Initially it hurt. It hurt a lot. And after doing it for so long, Micheal knew that the sinners would never reform. But that harsh reality paled in comparison to Adam finally having his concise again. Being able to finally talk to his lover and husband was more than enough reason for him.

So time flies and hell is getting bigger and stronger. The population of sinners is also getting bigger. There becomes less spawn killing of sinners but they are kinda checked over like livestock to the royal family.

Hell in this universe is more fairy tale based to differ from whats supposed be a circus theme??? that i get from hazbin. Thats what people say so I'm making my hell the brothers grim x into the woods x shrek.

I want the royal family in fairy tale clothes okay >:(

Hell is essentially far far away land except everything is out to get you. The place is straight up inhabitable as everyone who spawns in ends up having to run away immediately. It's so hard not to die or get hurt. The terrane is unforgiving, the trees are out to get you, the flowers are out to get you, the animals are out to get you, the weather is out to get you, the water thats not whatever is out to get you. Any wrong slip and you can just die again. Sinners are a lot more prone to betrayal and rage because living is just so hard.

There is no pentagram city, its like, a couple of very small town that are ruled by overolords. Overlords are people who just got lucky or got into a contract with one of the royal children. They use their power to stay alive and have some semblance of stability but they are given power to they raise other sinners like cattle through contracts if needed.

These overlords though are pretty... yeah... so they kinda become like those fairy tale villains.

So for funzies, all those fairy tales that people hear on earth are true stories that come from hell that had been told by demons who escape to the mortal realm and whisper them in writers ears as they sleep or some bs like that sdfoeufb

But as stated, exterminations do happen. Like cattle, it is important to save up the stock. You cant consume everything as they come, cattle needs its time to grow. So every year, they let the population grow and on extermination day, Micheal and Adam ride out into hell as they purge a bunch of sinners till Adam eats enough to revert back to human form till the next ectermination.

It's only them that exterminate and collect till their children grow up and join them in the exterminations- fueled by their want to keep Adam humanly conscious. They collect the bodies and then Adam feeds on them after hours to gain his humanity back

Micheal and Adam have their children- Cain, Abel, Seth, Alclima, Awan and Emily

Cain, Seth, Alclima, and Awan become the 4 horsemen of the apocalypse (i went with the good omens version with death, famine, war and pestilence- conquest is not one -yet- )

Cain (death) in very short is like Death in puss and boots with a lot less chill. He does have Death's sickles (I wanted to make them Abel's horns so thats a maybe) He's a mama's (adam) boy and a giant brat

Seth (Famine) Chillest of the siblings. He's a lot like Adam, just not as brash. He spreads famine through locusts that emerge from his cloak. They look like pretty jewels until they fly off. Food rots in his presence during exterminations. He hates when he accidentally activates it when hes eating (he loves snacking)

Alclima (War) She's very tough and brutish. Very honest in her opinions and not afraid to speak about it. Her and Cain play fight a lot. The exorcist army exists but they live as the royal family's castle's soldiers and they are commanded by Alclima. During exterminations, she is the one to lead them in battle. Her presence gives people the rage of war.

Awan (Pestilence) Very eerie girl/ Shes got that dead eye look sometimes and just stares at people. Shes actually very kind and soothing. She's very girly and has a room similar to stockings from paswg. Shes a stem girlie

Abel kind of overlooks them as the representation of chaos. (I wanted the death and chaos are the children of the devil thing to happen so this it) The first attempted murder does happen between Abel and Cain, but since they're in hell magic sooo hahah blam Cain allows his body to merge with Abel out of regret and so Abel kind lives in his conscience but can also switch control over his brother (idk im so done)

Emily is supposed to become a fifth horseman as the representation of conquest. But she young and stuff and only just became an adult so she still maneuvering through it- also sera's here too and she takes the place of Alastor and is a royal advisor to the family sufoauebfoebos

They are all part lion coming from Micheal but their horns are from Adam

Their children are very mixed about exterminations, but Emily has the most issues with it. The family in general feels bad, but family over the people. Emily is just way more emotional about it, especially since she is yet to participate.

Exterminations are very mixed in hell with the citizens because while some have the will to live, some want to truly end their suffering. Many willingly sacrifice themselves and go under contracts with overlords. With overlords, they get to live comfortably as they possibly can but they still hate hell so when exterminations roll around they willingly die.

This is a lot but its not everything. Actually this is all very vauge rn but idk if I want to work on this :p

THIS IS SUCH A MESSKJFBIABFIAEGFIAUEGIdfi

Also a bit of the beast adam deisgn. I want to add some more stuff. do some tweaking but AUAGSDD yuppers i will change some stuff about him later (i forgot his horns)

i dont think i'll do much with this au after this -maybe draw it but i won't write- but it was a fun thought

I'll try to post tomorrow some guitarhero stuff but im so dead IAFBISUEBFGI

#hazbin hotel adam #hazbin hotel #guitarhero #michael x adam #hazbin hotel michael #micheal hazbin hotel #myart #adam hazbin hotel #hazbin art #hazbin hotel au #swap au #hazbin hotel oc #hazbin hotel cain #hazbin hotel abel #hazbin hotel seth #hazbin hotel alclima #hazbin hotel awan #hazbin hotel emily

333 notes · View notes

zujime · 1 year ago

Text

─── multiple characters x reader

characters included: bruno, joesph(not the old man ya'll, he is kinda bad tho ngl), josuke, jotaro, giorno, mista

c.w. when ur sad/upset/overthinking/idk, aged up, fluff, comfort, established relationship, no y/n usage, hcs, jjba, some italian pet names (2), a few swear words

- it's been a while since i posted jjba content, it's also been a while since i posted overall. this probably isn't much but for right now until i recover from this burnout, it's all i have. i hope you enjoy :)

at times like these, bruno notices almost immediately that something's up when he walks into your shared home and is met with an eerie silence. it's not long before he's rushing into the bedroom in search of you, only to find you curled up in bed—hidden under covers as you trembled and sniffled lightly. his touch is gentle when he rests his hand on your quivering shoulder, voice even softer as he speaks—asking about what's troubling you.

"what's wrong, mia cara" whether you tell him or not, he encourages you to release whatever tears remain as he holds you, giving you a shoulder to cry on and lots of forehead, nose, and cheek kisses as he tries to soothe you. once you've calmed down, he'll ask if there's anything you want—either a necessity or just something you want, he's getting it without a second thought. he just loves you so much and wants to do all he can for you.

now joesph...is kind of a jerk when he finds you crying at first. he'd baby talk you as he pinches, squishes your cheeks, and flicks your forehead or nose while laughing his ass off, but when he notices that you're not giving him any snappy remarks, slapping his hands away, or laughing with him, that's when he knows something's wrong and he's actually worried.

and when he starts asking you what happened, he almost sounds like a fly that's been buzzing in your ear for god knows how long, but you know he means well, especially when he's giving you the warmest and tightest hug he can—holding you against his chest as you let his heartbeat calm your uneven breathing. he's definitely babying you for the rest of the day and he might tease you a teeny tiny bit, but only to make you laugh.

josuke would probably think he did something to cause you to feel this way and if that's the case, bro's apologizing profusely (please, he's so sorry). whatever the problem might be, expect lots—and i mean lots of short sloppy kisses all over your face while he whispers tons of "I'm sorry" or "it's ok" onto your face. he might refrain from asking what the problem is both out of fear and because he doesn't want to cross boundaries or upset you even more.

but he'll spoil you rotten for the entire week cause he wants you—his everything—to feel better and he wants you to know how much he loves you. cuddles, kisses, hugs, naps together, movie night, whatever the hell you want is exactly what he's gonna give you maybe even before you ask. (he'd probably cry w you, on a serious note).

i think that jotaro would sit there and wait for you to tell him what's wrong so he'll know if it's serious or not—if it's serious he'll stay and listen to what you have to say, but if it's not like you're crying because something is out of stock or something, he's leaving the room and not even sparring you a second glance.

anyway, if you need any type of physical affection, he'd be able to tell from your body language or if you ask him for it but either way, he's not gonna not give you what you want...he's a really good listener, would literally sit there and listen to all that you have to say with no interruptions and he'd cuddle with you until you fall asleep cause he needs to know that you're actually okay, but he's not leaving your side. at all.

ok listen, not exactly like josuke, but i think giorno would be such a sweetheart. he'd ask if you'd wanna talk about it and would be content listening to whatever you say to him while he's holding you in his arms to bring your frantic mind to a slow so you can focus on what you want to say. would definitely cuddle with you in bed—you'll pass out in like less than 20 minutes so yeah.

mista would be so worried but at the same time he's asking who did it with sex pistols in hand (bro's ready to kill a bitch for you). "amore mio, who do i need to kill?" "mista, please don't kill anyone..." he's drowning you in nothing but love (kisses, cuddles, hand-holding, etc). he'd let you wear his hat or play with his hair to calm you down if that's what you want. you're getting spoiled. no, if's and's or but's, you're getting spoiled. want food? he's got it. wanna watch something? the tv's already on. wanna nap? he's already waiting in bed. he'd also let you cry on his shoulder for as long as you need and he'll give you back rubs too. :((

963 notes · View notes