#ines ivy's text + photo

[ivyines]

Hello to all the new visitors, welcome to my account.

Here you can find fanart, writing prompts, edits, matching icons, incorrect quotes, and much more content of my ships and fandoms.

If we have any of the fandoms in common, feel free to like this post, comment or follow me and i will check out your profile for some of the content!

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My fandoms include:

Anime

Naruto (franchise)

Yu-Gi-Oh (fracnchise)

Banana Fish

Sk8 the Infinity

Mob Psycho 100

Spy x Family

The Disastrous life of Saiki Kusuo

The Millionaire Detective - Balance Unlimited

My Hero Academia

Death Note

Buddy Daddies

Webtoons / Manwha / Manhua / Manga

Trash of the count's family

Lookism

Noblesse

Viral Hit

19 Days

Your Throne

The Remmaried Empress

Welcome to demon school iruma kun

Villain To Kill

Eleceed

Omniscient Reader's Viewpoint

The Greatest Estate Developer

Return of the Blossoming Blade

Get Schooled

Batman: Wayne Family Adventures

The World After The Fall

The Breaker 3: Eternal Force

Manager Kim

Killer Peter

Other

Avatar: The Last Airbender

Marvel

DC

BTS

Anthony Padilla

Corpse Husband

Alice in Borderland

Uncanny Counter

Fear Of You (BNHA fic by SleepwalkersQueen)

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If you're looking for something specific here are the tags I'm starting to use:

For writing: #ines ivy writes ✍

For ideas: #ines ivy's ideas

For fanart: #ines ivy draws

For headcanons: #ines ivy's headcanons

For edits: #ines ivy's edits

For my ships: #ines ivy's ships

For memes: #Ines ivy's low-quality memes

Matching icons: #ines ivy's matching icons

Incorrect quotes: #ines ivy's incorrect quotes

Some of my favorite reblogs: #Ines_Ivy's favorites to reblog

Mood boards I created: #ines ivy's mood boards

Playlist that I made: #Ines ivy's playlists

Fanfiction recommendation: #Ines ivy's fanfic recommendation

For asks: #Ines ivy's asks

For photos with text over them: #ines ivy's text post memes

For new content I'm starting to watch or read: #ines ivy reads / watches

︵‿︵‿ .❀✿❀. ‿︵‿︵

I have many ships so check reblogged tags to find some of my favorites :)

P.s. if by any chance someone is trying to reach me but I'm not responding, pls try my side blog @lawyer-of-shinyo-takami because I'm usually active on one or the other.

︵‿︵‿ .❀✿❀. ‿︵‿︵

❕PLEASE DO NOT REBLOG AND ADD YOUR OWN UNRELATED TAGS ❕

[clansayeed]

Bound by Circumstance ― Chapter 24: Better the Devil You Don’t (Epilogue)

PAIRING: Nik Ryder x trans*M!MC (Taylor Hunter) RATING: Mature

⥼ MASTERLIST ⥽

⥼ Bound by Circumstance ⥽

Taylor Hunter (MC) has made it good for himself in New Orleans; turns out moving to a new city fresh out of college to reinvent yourself isn’t as hard as people make it out to be. Things only start to get confusing when he finds himself the target of a malevolent wraith. Good thing someone’s looking out for him though — because without Nighthunter Nik Ryder as his bodyguard he definitely won’t survive long in the twisting darkness of the supernatural underworld he’s tripped into.

Bound by Circumstance and the rest of the Oblivion Bound series is an ongoing dramatic retelling project of the book Nightbound and the rest of the Bloodbound series. Find out more [HERE].

Note: Circumstance only loosely follows the events and plotline of Nightbound, and features a separate antagonist, different character motivations, and further worldbuilding.

*Let me know if you would like to be added to the Circumstance/series tag list!

⥼ Chapter Summary ⥽

Someone does right by Cadence.

note: And with that Bound by Circumstance is ended! I’ll start posting book 3, Bound by Choice, in a day or so! Book 3 is the only book in the series not based off of an existing Choices book, and follows the story of the Trinity in a series of flashback vignettes. Taylor and the Nightbound gang will return in book 4!

Also, Bound by Choice is currently in-progress, as opposed to books 1 & 2 which were completed at the time of posting. Once I catch up on the last chapters posted, my updating schedule will go to the weekly update my AO3 is on.

[READ IT ON AO3]

A few weeks later…

[TEXT]: hurry up [TEXT]: where r u??? [TEXT]: ur loss I’m not waiting [TEXT]: BUZZKILL!!! [TEXT]: pic.jpg

The picture does it — finally draws his attention away from his computer to where his phone screen changes from 01:07 to 01:08 as if to taunt him.

It takes Cadence a moment to realize the woman next to Kathy in her (blurry) self-taken photo is supposed to be Ivy. So used to seeing her true form in person — but glamours don’t fade on digital recording.

And who else do they know dresses like she’s always ready to attend a Victorian funeral?

In his friend’s defense Cade was supposed to be at the Shift over an hour ago.

She’ll hear his excuses and his apologies, pretend as though he’s committed the greatest sin in history — but come sunrise and sobriety he’ll be forgiven. The Nighthunter likes to make everyone think she’s the picture of cool nonchalance; the human equivalent of a cat.

But anyone who feeds strays knows just how affectionate cats can be when they so choose.

He shuts down his work, fighting the instinctual habit to leave most of it out and make his space look clean by pushing it to the sides of his desk — actually putting things back in their folders and boxes.

Tap-tap.

His head jerks up quick enough for his glasses to threaten flight. Working in this particular space for over a decade now, there isn’t anyone who doesn’t know about Odd Cadence and his odd hours; how he refuses to work in the daylight due to a debilitating allergy.

Even Gary from night maintenance wouldn’t bother.

Tap-tap.

He listens for a heartbeat. Can hear everything from the rush of water through old plumbing to the coo of pigeons scavenging on the outside Square.

Tap—

Isadora de la Rosa doesn’t get to finish her genteel knocking; pale hand hovering just shy of the taller vampire’s collarbone as he holds the door open.

She looks a little dumbfounded for him to have answered. That’s silly, though, since she was in his territory now.

The air is thick with a tension not felt since Mardi Gras those weeks ago. She looks ready to turn and leave without a word between them. He almost lets her.

“Izzy,” by way of greeting, and even though she now runs the dynasty her father built he struggles to call her anything but the petulant youthful human woman he first met her as, “I was just heading out.”

He gives her a chance; sees the opportunity for escape that flickers in her weathered eyes no longer young but no less defiant by nature.

Some people were just born ready to stand their ground. He always admired that about her.

“This won’t take long.”

One step forward, one step back. A familiar dance neither acknowledges as Isadora invites herself into his space. She’s not the oldest thing in the room by far, nor the most expensive. Still she commands the air around her to whisper softer, for the floorboards under her heels to wait until she passes to creak.

“Sure, come on in…”

She makes a point of trying to keep an arms’ length between her body and any clutter. He won’t apologize for it, not to her. She was half the reason he’s like this.

“I’m glad to see the Museum is treating you well.”

“Uh-huh.” He’s never met a de la Rosa good at small talk. He still hasn’t.

But she keeps trying. It’s hard not to cringe at every forced word, how she purposefully finds something to look at and mention; “New project, I see.”

Cadence doesn’t answer. She switches a black leather briefcase from one hand to the other; a poised woman’s version of shuffling her feet.

“You always were best kept —”

“I have somewhere to be.”

Her quirked brow says it all; how she definitely doesn’t believe him but calling him out on it is somehow counterproductive to why she’s here.

Why is she here?

Because the only reason he can conjure up has to do with the Coven, and the Council, and that’s why they’re enjoying nights like these at the Shift. To forget about everything that happened — to move on.

“Look, Izzy — if this is something that can wait, can it? I’ve got office hours tomorrow night—or hell, I’ll even come ‘round to the family house. But I do have somewhere to be, and I’m already late.”

When she takes stock of the room again he understands. It’s a tactic — and not a very good one — to allow her to think.

They’ve never been like this before. So why now?

It’s a brief flicker; blink-and-you-miss-it type. But Cadence doesn’t miss it — how Izzy stares at the chair claimed by Katherine in permanent marker.

“You’re going to meet her, the Nighthunter.”

“My friend Katherine, yes. Among others.”

“She treads dangerous waters in this town.”

It sounds a little too much like a threat for Cade’s comfort. Makes it a real effort to keep from letting it get to him.

“I think the same could be said for any hunter.” For Katherine, for Ryder.

“Yes, you would know,” she clasps the case handle with both hands over her front; a shield between them, “though this one — she’s different, isn’t she? She’s well-connected.”

Like he’s been fumbling around in the dark of his head — he finally finds the lamp chain and tugs. Lets the light flood through with an “Ah” of understanding.

So that’s what this is about.

“Contrary to what you may believe this isn’t the same world Carlo built his dynasty in. Humans — even Nighthunters and especially out-of-towners — they don’t whisper the rules to one another anymore.” Then, with firm conviction; “Katherine didn’t know she needed to ask your father for permission to bring Adrian Raines into town.”

“But you did.”

“Yeah, I did.”

If she’s here to enact some sort of delayed punishment, Cadence can’t promise he’ll stay civil. “I weighed the risks carefully,” he continues, “and decided it was best for everyone that no one knew who didn’t need to know.” Not that it had been a good choice. Maybe it could have saved Raines at his trial.

Sometimes he wonders why the two of them didn’t work out — especially when she was Turned. It wasn’t because of her perceived age, and obviously being his boss’ daughter hadn’t stopped them from getting involved in the first place.

He always remembers not a moment later. There’s a reason the term is ‘opposites attract.’ They were too similar — too hot in the head and both prone to speaking and acting without thinking ahead. Without considering the consequences.

So when she isn’t sneering an insult at him on the heels of Cade actually admitting to his wrongdoing… he knows something is very wrong.

“Izzy…?”

And the smile she offers is too forced, too fake. Sends shivers down his spine. “I’m glad you see things that way.”

“What way?”

She unclasps the briefcase with a flick of her little fingers. “That sometimes, in rare cases I think, withholding knowledge from someone is for the best; for all parties involved.

“I had prepared to give you this the night of the Minotaur’s championship fight…” The leather bound folder she pulls free is familiar only in that he’s seen the de la Rosa lawyers carry them like extensions of their hands. “And I have spent many hours since debating whether or not I made the right choice in keeping it close. Watching you in the cage — that made it easier.”

“Something’s happening, Kath—”

“Don’t fight it. Let it swallow you whole.”

Let it swallow you whole.

Katherine couldn’t possibly have known just how accurate she had been.

How it felt to stand at the edge of a yawning abyss no one else could see… and how it felt to have the ground fall out from under his feet the moment he decided to jump.

Memories of what happened after his meeting with Isadora still only came to him in clusters. It was less the act of remembering than feeling the same way — sensory triggers like the smell of blood or the tinny grate of a chain link fence.

Of course she had seen the fight. There were members of the underground community still who approached him on the street with praise for his ‘performance,’ or thanking him for standing up to the illegal deals Persephone covered with velvet and glitter.

But there’s a difference between knowing something and knowing it. Knowing the same hand he used to caress her cheek had also torn off the Minotaur’s horn. Knowing she was witness to it…

Isadora’s touch is solid, without the heat humans bring or the chill they feel. It simply is as she gives him the folder with no other choice. Whatever secrets rest inside they are his burden now.

“What you see here… I ask that you please not think less of me for keeping it from you. I was…” she doesn’t give an excuse — not a single one, “I was doing what I thought was right. But I cannot be the one to make that choice anymore. It’s too much Cadence; it’s far too much.”

He means to find comfort or some understanding in their hands. But there’s none to be found.

They pull away as intimate strangers. The space between them cavernous and echoing — and it only grows wider as he realizes she isn’t the one creating it.

He doesn’t need to ask what mystery he now holds.

What other mystery is there but the thing that has plagued him from their first “hello” to this their last “goodbye?”

Cadence’s voice is calm, even to his own ears. “Is this everything?”

“All that my daughter could find among his possessions.”

“And if I have any questions…”

“No,” she interrupts, “no you may not bring them to me. I would rather meet the sun than invite the conflict this will bring into my city, to my family’s doorstep.”

He wants to call her selfish but can’t say he wouldn’t be the same way were their roles reversed.

It’s a nice fantasy—altruism, kindness, doing the right thing so as not to hurt someone close—but it is a fantasy.

So what if he carried the ring she returned to him for a decade in mourning?

And intuition is a very separate thing from mind-reading; that he knows. In Isadora, though, the lines between them have always been a little smudged.

“In case you have any ideas of this meaning…” she breathes and tries again, “just know this has nothing to do with our past, Cadence. Consider this to be an act of release. Beyond what the Council will ask of us, I wash my hands of you.”

Isadora’s decision is as clear now as it was then. She will always choose her family over him. He can’t begrudge her that in the least.

“If only it were that simple.” But it’s probably for the best.

She leaves as abruptly as she arrived. Somehow with the ability to disrupt everything in his space without touching a single thing. As he looks around the office now it feels tainted with secrets and lies; all the things he still doesn’t know that now rest in his hand.

He need only look.

The chair is less than five steps away but he can’t muster the energy to move both his legs and arms; chooses the latter because what comparison is comfort to answers?

Cadence opens the folder and begins to read.

[putthison]

Way Down in This: Subcultural Cachet in Cool: Style, Sound, and Subversion by Greg Foley and Andrew Luecke (part I)

I grew up listening to a lot of punk rock, and sometimes I take it for granted that everyone I know is at least passingly familiar with the Dead Kennedys and Black Flag. I have to remind myself that, although some music breaks through to the monoculture, most of that stuff is niche, familiar to a relatively small group, and patched onto denim vests mostly by true believers. On the other hand, I know very little about jam band culture, or Juggalos (although I learned a lot from Nathan Rabin). While today you can pull up a ton of music across genre, subculture, and era on streaming services or Youtube, finding out the origins, aesthetics, and relationships among the groups--often young, often trying to forge an identity through music and clothing to stand out--can be tough.

Andrew Luecke and Greg Foley connect those dots with Cool: Style, Sound, and Subversion, their recently published book that serves as a chronological field guide to subcultures, with illustrated two-page spreads on groups from flappers to new age travellers (all of them are real, allegedly). Greg’s illustrations provide a great shorthand for the styles each subculture developed, and facts and essays place each in context of the broader culture and each other. Pictured above are Greg’s illustrations of the Miyuki-Zoku (early adopters of the Ivy League look in Japan) and punks.

The book rewards both casual flipping through and a full read, as threads and lines of influence emerge across time and geography. The authors and some special contributors also compiled playlists that vibe with the relevant eras and groups--contributors include Glenn O’Brien (no wave), A$AP Ferg (trap), and Peter Saville (glam rock).

I talked with Andrew and Greg about where the book came from and what subcultures, in their research, were the most interesting. Part II will post later in the week.

Pete Anderson: I was really impressed with the book. It's like an encyclopedia for subcultures, giving the origins and time frames, music, and a really helpful and artful visualization.

Andrew Luecke: We did want to make it more than an encyclopedia, but at the same time we understand that’s part of the appeal of the book. Doing spreads for each subculture is just an efficient way to organize things and fit the maximum amount of information. And we wanted the book to be a real reference too. An encyclopedia is an efficient collection organized in a very specific way, from A to Z. COOL is organized in linear time. And I think one thing that works well for the book is that it serves as a number of different kinds of encyclopedias. It’s a visual encyclopedia where one can reference all these different looks, but at the same time, one can read deeper into the histories of these cultures, so it’s a written encyclopedia as well. And then of course, it’s a musical encyclopedia.

Greg Foley:  Since we’re streaming those playlists in partnership with Apple Music, the musical encyclopedia becomes a living thing, for people to interact with. I think, hopefully, when you combine all the different layers it adds some real depth. Also, with the infographic fold-out in the book, we made sure that the subcultures connected to one another in as thorough a way as possible, showing ins and outs, and long-term influences. Really trying to show a web of shared meaning. Infographics are an efficient visual reference, but if you want to really look at it, there’s some depth there.

AL: Plus we included some essays to try and tie everything together. But yeah, the encyclopedia thing is cool for me. I’ve always loved encyclopedias and textbooks and annotated things. So I like that aspect of the book.

Greg Foley’s illustration of teddy boys.

PA: How did you team up for the work?

AL: Well, Greg is married to one of my best friends, and we were all at a fashion week party hosted by Esquire back when I worked there. Greg asked me what kind of book I would do if I could do anything, and I was like, “Well, I have this idea to do a comprehensive book on subcultures. I have a big list of like 100 I’ve been collecting for years.” And he was like, “I was thinking the same thing. I’d love to do an illustrated history of subcultures.” So it almost felt like it was meant to be, at least to me. I’m not sure why he asked me that, though. Maybe his wife Shannon urged him to? But, yes, we had very similar ideas separately. But yeah, that was about two years ago and I’d been making a list of subcultures for maybe two years before that with the serious intent of trying to do a book.

GF: Having helped start Visionaire and V Magazine as well as writing my own children’s books, I’ve developed a passion for publication. It’s something I enjoy sharing with others. I posed the question to Andrew because he’d never done a book before. So when he mentioned his list, I had a sense we could team up to pull off what neither of us might be able to do separately.

PA: Since many (but not all) of the subcultures are documented only lightly (there’s plenty out there on punk but maybe less on, like, new age travellers) how did you research this stuff?

GF: That’s one of the reasons we thought it was worth doing. Because most of the books on youth subcultures cover a few well worn groups.

AL: It’s funny that you mention that, because new age travellers was one of the toughest to research. I pieced that one together from like English government reports on the welfare of traveller children and, like, eight-year old set lists on some blog about a summer solstice gathering from, you know, 2008. Government sources like that can be hard to find, but are authoritative at least. I mean, there were some books too, but that one was hard. So we used a ton of online sources, both journalistic and less traditional.

GF: As we revised our list, we made a real effort to include international subcultures, especially beyond Western Europe and even Japan to some extent. But again, that only increased the challenge.

AL: Luckily, we also had full access to Parsons’ and NYU’s libraries since Greg teaches at Parsons. So we could access academic journals and harder-to-find books too. Because we were dealing with some non-traditional source materials sometimes, I triangulated the information for anything in the text. If three sources confirmed the same thing, that made me feel confident about including it.

GF: We did that with the photo research for the illustrations too—made sure we had multiple sources.

Greg Foley’s illustration of mods.

PA: How did you determine who made the cut?

AL: Well, one thing we found in researching this thing, is that defining what exactly a subculture is, can be tough. They all have blurry borders and overlap with other cultures and all sorts of other things. We did have a few rules though.

GF: We didn’t include religious or cult groups, though religion obviously played a part in some subcultures we included. We also didn’t want to feature, say, a specific gang, like the Hells Angels or something.

AL: But we included bikers, so another criteria was that these things had to be broad and extend beyond individual cliques or groups. They also had to have some subversive element to them—even the American college kids of the 1920s—who might not seem subversive on the surface, were redefining the rules for dressing, totally rebelling against their parents’ formalities, which were really rooted in a pre-World War I Victorian thing and bringing athletic wear to the streets and stuff. And throwing keggers and being a bit wild.

GF: Also groups had to have visually cohesive elements. They had to look like a subculture when I grouped up the reference images.

AL: Lastly, we started in the 1920s, because the overlap with mass media was so important. Particularly the record industry and radio, but also magazines, movies, and later TV. Even advertising played a role in this push-pull of rebellion and marketing. That stuff really exploded in the 1920s, and really fueled and interacted with these subcultures.

PA: Are there any you left out you would've liked to include?

AL: Yes, bike messengers and that punk-hippy tall-bike culture. I couldn’t believe we left them out. I think I did it subconsciously because I had some negative run-ins with bike messengers when I was a younger man.

GF: At certain points we considered how many of our groups revolved around vehicles. I’m sure bike messengers would have looked great but ultimately it’s a job, and maybe vocational uniforms are another book.  

Stay tuned for more from Andrew and Greg in part II. Greg designs and creative-directs Visionaire, and Andrew is a professional trend forecaster and style editor.

[roccomacnaghten-blog]

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