#ive always wanted to make a piece like this

[nerdygirlramblings]

Hello! Ive been binging poly!141 and I keep coming back to your writing for my fix (because by now its basically an addiction😅)

I had this idea that the 141 are together with a civilian reader. And civilian reader works in retail, part time, and is mostly at home. Normally, they would be home by the time their boys came home, welcoming them with open arms, a hot plate of food, and time to rest and relax. But this time, the 141 get home early and realize where reader works: Walmart (or equivalent). Reader has been keeping this a secret cause they know its not cute like a coffee shop or cool. Its just their job. And now the most important men in their life know. Im thinking the 141 found out because they went grocery shopping and happened to come across reader or something similar to that.

I work at Walmart and it sucks🥲 thought that maybe something like this might help😅

Tysm, nonny! So happy to hear you like the writing. I hope this does your idea justice. (Walmart doesn't have stores in the UK, but they own ASDA.)

Also, thank you for my first request! 🫶🏻🫶🏻

pure fluff, bad accents (per usual)

Your boys find out you work part-time at ASDA on a random rainy Thursday in March.

You don't really need a job. All four of your lovers are officers with the British army. Prior to you, they all lived in base barracks. Prior to you, they lived fairly Spartan existences. Prior to you, most of their income sat in the bank, quietly accumulating.

They have plenty of money saved up that they love using to spoil you, when you let them. You know that if you asked, they'd give you everything, but you draw the line about asking them for an allowance like some tradwife. You want some pocket money of your own. Thus, the part-time job at the ASDA in town.

You're a people person, good at handling big personalities. You need to be to keep up with your boys. Between John's need for control, Simon's stoic dominance, Johnny's aggressive enthusiasm, and Kyle's blinding charisma, you aren't some shrinking violet. Within a week of your hire, your manager watches how you weather a nasty piece of work trying to demand concessions you aren't permitted to give and immediately puts you in customer service.

You're nearly unflappable in the face of frustrated pensioners and harried parents and entitled young professionals. Over and over, you're the one they call when a customer is going spare. Which is how your boys find out about your job.

They've been deployed for over two weeks, and you have no idea when they'll return. John had originally said they'd be gone for at least a month, so you aren't expecting them home any time soon. However, they'd come home much earlier than anyone thought, and they wanted to surprise you.

You're always so good about making the house feel like a home, with your bright smile and warm laughter, your home cooked food and soft touches in decor. You make them feel like people, not weapons, and they want to return the favor. This last deployment had been hard, and all four of your boys were missing your sweet voice and tender care. They wanted to show you that they loved and cared for you the way you always showed your love and care for them.

It was Johnny's suggestion to prep a meal for you as both a surprise and a thank you. After debrief, they pile into the car and decide to stop at ASDA for everything they need before heading home to surprise you. It's John who causes the code call.

You hear Susan's voice over the store-wide address system. "We could use a little Sunshine in the floral department." That's your cue. You finish with the pensioner at your till as Jacob, your manager, comes over to relieve you.

You take a deep breath and square your shoulders. In your experience, a Sunshine call in floral is a man angry the store doesn't have the fancy arrangements listed on the website. You wish the signage on the site would be more clear that the beautiful bouquets are online orders only. It would save you having to explain why the offers in store are so limited.

You hear him before you see him, smokey voice grumbling, "But if they show the bloody thing on the site as available, you should have it hear." You'd recognize the voice anywhere. He's not angry, not really, but Susan doesn't know that. Add in the sheer size of him, and Simon looming over his shoulder, it's no wonder she called for support.

You have never wanted to walk away from a situation as much as you want to right now, but before you can make an escape, Susan notices you over John's shoulder. Her little wave is enough for your men to notice, and they turn as one to see you coming towards them. Immediately their demeanor shifts. Simon's back sags as though his strings were cut, leaving him loose-limbed. John stands a little straighter, chin up as if to impress you. They've both broken out in smiles, though Simon's are only evidenced by the laugh lines you know to look for. It's only as you get close do they zero in on the badge on your shirt.

"I've got this, Susan," you say to your co-worker. "Jacob's on my till. Can you cover?"

Susan wrings her hands. "Are you sure you don't want me to stay and-"

"They're nothing I can't handle," you tell her, cutting off her worried rambles. There's a cheeky glint in your eye as you flick your gaze at your men. You clap your hands together and say, "Right, let's get this settled, then."

Susan takes one quick look between you and the now slightly less intimidating men and heads towards the front of the store.

Once she's out of earshot, John's face breaks into a frown. "What're you doing here, love?" He glances at your name on your chest again. "You work here?" He sounds almost hurt by the revelation. You can tell Simon wants to reach for you, and the only thing stopping him is you working.

You hear heavy footfalls behind you as Johnny's Scottish lilt reaches your ears. "Och, Cap! Ye said ye'd only be a moment. Gaz and I had a hell of a time getting the trolley on its lift ta find ye. How hard is it to buy bon..." His question dies on his lips as you turn around. "Bonnie?" He, too, sounds hurt to find you working here.

You can see Kyle over Johnny's shoulder, confusion written across his features. This is not how you wanted your boys to find out about your job, if you ever wanted them to actually find out. You thought maybe you'd surprise them with tickets to Hereford FC's opening game in a few months. And if they asked how you afforded them, you could handle this conversation then, but it's out of your hands now.

And as much as you don't want to have this conversation, especially not in the middle of the floral department, you can't stop the wide grin at seeing your boys again, home and whole.

"Hi, boys," you say, opening your arms. Disappointed he might be about finding you here, Johnny's no fool. He immediately steps into your embrace, and the others quickly follow suit. You're swallowed up by the smell and feel of them. The hug lasts one minute. Then two. Then they all slowly step back.

You can see the questions and cut them off before they get started. "I have another three hours before I'm off. We can talk at home, and I'll tell you anything you want to know."

John nods first. He recognizes your tone. You won't let them derail you for answers now, and they would be wasting their breath to try. "You heard the lady, lads. Let's get home."

They start to walk away when you tease, "Captain? Was there a reason you were arguing with Susan about the flowers?"

He halts his steps and turns to you, flush creeping up his neck. He brings his hand up to rub it as he says, "Er, I, we, wanted to get ya something nice, but they don't have the same ones as online."

You melt a little, watching the way your men shift nervously behind their captain. You smile softly and reach over, plucking a bouquet of rainbow poms from the rack. "These are what I usually get for myself when you're away."

John takes them gently from your hand and passes them to Gaz to put in the trolley. "We'll see you at home, love," he murmurs, leaning over briefly to kiss your cheek. Simon kisses the top of your head, fabric brushing your hair. Johnny pulls you in for another bruising hug and kisses your other cheek. Gaz puts his hands on your waist, drinking in the sight of you, before taking your hands in his and kissing your palms.

You watch them leave, wondering how you'll make it through the rest of your shift.

Three hours and fifteen minutes later, you cross the threshold of your shared home to the most delicious scents wafting from the kitchen. After slipping your shoes off next to the piles of boots at the door, you follow your nose back to the kitchen and the spread laid out on the large wood-topped island. There's a roast and mushy peas and mashed potatoes and stewed carrots and battered cod and crisps and spinach all surrounding the flowers you'd suggested, nestled in the vase you love most, the Caithness one Johnny'd bought you on your first trip with them to Scotland.

At the table, your men sit, plates made for everyone, waiting on you. They've changed since you saw them. Gone are any traces of fatigues and tactical gear. Instead they're all in casual civvies, truly home for the first time in nearly three weeks. Simon stands as you come in and pulls out your chair, smile on his scarred lips. "Come sit, doll," he tells you, not quite an order.

You look quickly around. "Let me change," you say, tugging at your uniform top. "I won't be but a minute." You back out of the room before they can stop you. You hurry to your bedroom, pulling your top off as you go. Once behind the door, you slip from your trousers into comfortable leggings and a large jumper, one of Kyle's you think.

By the time you make it back to the kitchen, your men are more than a little antsy. Simon's smile is a little strained, Johnny is fidgeting, Kyle keeps glancing between you and John, and John is staring at you. Your chair is still out. He waves a hand at it, and gently says, "Come sit, love." It's couched as request, but you know a command from your lover when you hear it.

You take your seat at the table. "Listen-" you start, but John cuts you off.

"Are we not providing for ya, love?" You see the hurt in his eyes, how much it bothers him to think he, they, aren't doing enough for you.

"Oh, John, dear, no!" you reply, putting your hand over his on the table. "It's not that at all."

"Then what?" Simon asks.

You look at them all, the expectant faces waiting to hear how they failed you. "I get restless sometimes. I love you, and I love our life. I'm happy to take care of the house and make sure you're all fed after a long day. But I wasn't built for sitting around doing nothing. I like people; being home on my own all day can get lonely. Especially when you're deployed. I also like having my own pocket money."

John opens his mouth, and you know what he's about to say, so you continue. "I know you'd give me any money I need or want, but I like having my money. Money I earned myself." You look around at them, willing them to understand. "It's only part time. Helps me keep a little busy and have a little extra to spoil you and me with."

Johnny is frowning, but you see Kyle, head cocked, looking at you as a puzzle. "I think I understand," he says softly. "You were making you way just fine before us, and you gave up everything for us."

At his words, the crease between John's brow deepens, and you're sure he's remembering the job you had, that you'd somewhat enjoyed, when you'd first met them. You'd been working at RAF Lakenheath, living in a cozy flat in Cambridge, near The Backs, when the 141 had been coming through the base after an op. An injury had put Kyle in the med center for a week, and while he could have been transported to Hereford once stable, Laswell had worked it out for the whole team to have some R&R near the base.

You'd quite literally run into John one day, rushing to your office, after which he suggested lunch as an apology. You quickly became close with all four, smitten with them from the start. In turn, they fell hard for you. They wooed you over the course of several weeks, stopping through Lakenheath on deployments to spend some time with you. Six months in and you were completely gone on all four of them, so when they'd asked you to move to Hereford, you did without ever looking back. But it meant giving up the life you'd led.

Somewhere along the way, your happiness overshadowed all you'd left behind. After a few weeks, being home alone while your men worked started to feel isolating. You liked being a little busy, and there weren't enough projects around the house to keep you busy enough. You'd always been independent, but you didn't want to be stuck in a job with long hours anymore. You wanted to be home for your men. So you'd found the job at ASDA.

Kyle reaches over to where you hand is still on John's. "I'm sorry we didn't ask how you were coping us being gone all day," he says. He looks you in the eye as he continues. "I understand wanting to do something, wanting to be a little busy, and if this makes you happy, then I'm all for it, doll." He gives you a small smile and squeezes your and John's hand.

"Gaz is right," Simon rumbles. "We were so happy to have you here we didn't think about what you did all alone all day." He puts a heavy hand on your thigh, the warmth of him seeping through your thin leggings. "'m glad you have something to keep you from getting lonely."

"Sorry, hen," Johnny murmurs, just above a whisper. "We didnae think a' ye enough." You smile widely at him.

"Johnny, you think of me all the time. This isn't about neglect at all!" You try to catch his eye, but he's looking hard at the table in front of him. "You did nothing wrong, love," you tell him gently.

He looks at you, blue eyes bright. "Ye sure?" You've never seen him this nervous before, and you break a little.

"I'm sure love."

He smiles then, a little smile, but it brightens his face and shifts the mood in the room. You look at John who's been surprisingly quiet this whole time.

He's smiling, but it's a little sad. "I know ya said we didn't do anything wrong, but we feel like we did. We didn't notice you were bored, didn't ask if you were lonely." He flips his hand over under yours and threads your fingers with his. "Yer giving us a gift by not blaming us, and we'd be stupid not to take it, even though it feels like yer giving us an out. Thank you." He brings your hand to his lips and kisses it softly.

"Thank you. I was worried you'd be mad," you admit.

"Never could make us mad with something like this, hen," Johnny reassures you. "I'm sorry we had to spoil your day is all."

You turn back to look at the food on the island. "You didn't spoil my day. You made it. You're home early, and you made such a lovely spread. I think we should tuck in, yeah?"

Simon chuckles. "Point made, doll," he says, scooping a heaping helping of mash onto his fork. The rest take it as a sign to start eating too.

The room is silent save for the sounds of food savored until John pipes up, "Why'd ya come to florals, love? We might have missed ya altogether if not for that."

You giggle. "The sunshine call, John."

"Yeah?" He clearly doesn't understand.

"It's the shop call for a difficult customer. When I'm on shift, it's my job to handle those." You look at each of your lovers in turn. "Seems I've got a knack for dealing with muppets," you tell them with a smirk.

[luigifan1998]

luigi x wife!reader headcanons. can be set before or after he went mia

right right right. married lu. throws myself on the floor

for the sake of length ill keep this to before he dropped off the face of the earth but ive written a memo to write about the after in a separate post soon

my personal biases might get in the way of this because i am unwell and genuinely think he is in desperate need of someone whos up at 3 am fighting a manifestation of their own hubris in their bed. he needs someone that experiences romantic delirium and is convinced her dreams tell her stories of the two of them from thousands of years ago. a girl thats considered showing up to a convent and who has a favorite saint. a rotten girl who wants to eat a piece of his birth certificate. this is so crucial to me unfortunately

that being said. its my belief that lu is saccharine, something he didnt know until you came along and peeled the wallpaper off his psyche. the way his customary sweetness unravels itself is sickly and all enveloping. hes the neediest boy in the world, forever coming to you with quiet infirmity. he drapes himself over you whenever he can, always saying how you were made to hold him. his incessant appetite for affection didnt ease with marriage. he plays with your ringed finger absentmindedly. presses his lips against it, not registering the habit

he would think of marriage early on in the relationship, unreachable to the anxious expressions of others when he'd say hes going to marry you weeks into dating. when he decided this, he paced back and forth in his bedroom, hardly able to focus long enough to tell the time before seeking his mom out to tell her. it all came out in one big prosaic wave. she thought he sounded like a child but his cheeks were flushed and his heart is so painfully stitched onto his sleeve in regards to you. he doesnt press the idea of the union but he likes to tell you how hes going to make you his wife during random moments. when youre eating. when you make him laugh. when hes fucking you

i can see lu trying and failing to preserve going all the way when you mess around once youve accepted his proposal. the engagement would be long. he is so busy and so wanted by everyone around him, but the novelty of you being his fiancé would wear off after the first couple of months. he wants to fuck his wife, not his girlfriend. he wants the sanctimony of marriage to wrap around the two of you when hes inside. the vow acts as a spectator in the bedroom, and he needs it. needs you to be his and only his under a holy decree. he calls you his bride and his little wife

in my heart of hearts....... i know lu would want to propose in the most cheesy way ever. his sister behind foliage, filming the whole thing. balloons. one knee. the rest of your family nearby. the video would be uploaded onto instagram, people you havent ever met commenting with what a beautiful couple the two of you make. but i think the right girl could pavlov him into asking in a whisper under the soft cotton of a bedsheet. face kisses and crying and pleading for the rest of your life to belong to him in some capacity. he cant live without this

the ring would be beautiful and heavy with weight and the diamond would be absurdly large. he'll never let onto the price, just like hes been doing with the checks at each restaurant youve been to together since your first date. bastard. whats next? steak tartare at the reception? he starts biting you each time you deny being able to accept such an insane piece of jewelry

[taelophone]

Frat Boys & Parties ˙⟡ — A tutorial. ⋆⭒˚｡⋆ "How do I write a Frat Party?"

Ok, so as a luigi girlie, I want you guys to understand how to write our frat boy correctly !! Heres a lil walkthru of a frat party! The good, bad, and the gross lol

!DISCLAIMER! Not every frat is the same, but these are some common themes ive seen after about 4-5 crashes at diff brotherhoods lol

1. The Party

Ok, so this is a p self explanatory part. What is a frat party like, and what are some common misconceptions.

The most common one i see is that there’s some sort of “guest list” or that in order to get into a frat, you have to come with a brother. This isn’t true…at all. You will be LET IN for being a woman, as long as they find you “attractive” (I did say the bad would be included). Frat parties are usually not invite only, and if they are it’s usually a brother thing. It’s actually harder to get into a frat as a man, as their main goal is as many chicks in the house AS POSSIBLE. If you come with ONE dude as ONE chick, you will separated if he’s not a brother lol. They won’t let him in.

If you do go with a man, please bring at least 3-4 friends. There needs to be a ratio lol.

Now how do you even get into a frat? Simple! Word of mouth, socializing, etc. if you have even one friend that’s a social butterfly, you will more than likely be aware of when different frats are hosting. There is usually NO invite system.

You can make a character that’s known to be social, you can be the social friend, etc etc. But honestly its not difficult if you have even a slightly small friend group.

2. What It’s like

You can always tell when someone hasn’t been to a frat by the way they talk about them. They are very VERY gross😭 You will be uncomfortable, the music is painfully loud and shitty, the tables are sticky, everyone smells sweaty, and you will get hit on and very potentially harassed. This is why it’s wiser to come with a male friend and 4-5 girlfriends. It’s not wise to be at a frat alone or just with one girl. Remember, the goal is ALWAYS going to be getting you drunk.

Write about the stickiness of the floor, how humid the room feels, the constant jostling of bodies, and the people around you. The party will feel less realistic and flat if there’s no small dialogue. For example, bumping into people.

“Excuse me, sorry!” A random girl squeaked, a drunken smile on her face as she squeezed past, her pupils the size of dinner plates.

Or if you’re feeling a little more frat-boy motivated, write a brief interaction with a brother.

“Hey…you havin’ fun? Yeah, my dude Jacob put this party together. He’s kind of an asshole, cuz he made me do all the planning, but it’s whatever.”

If your character is more reserved and tends not to drink, the night will be uncomfortable for them. One way I like to show discomfort or emphasize the grotesque is use “gross” imagery. Compare the actions and surroundings of your character to formally uncomfortable topics and ideas. Remember, imagery is a GREAT tool! Use it to make your advantage and make your readers skin crawl!!

“The crowd around you wiggled and thrashed like a hoard of hungry maggots attacking at a piece of rotten fruit, the bitter and stale taste of the cheap beer serving as their stimulant in the ghostly night.”

And on the topic of beer, it’s ALWAYS cheap. It’s free, so why are you complaining? Complaining about the drinks is usually a no no lmfao😭 make sure to include that in as well! I can’t give you any brands to go off of cuz it’s different at every party I’ve been to, but it’s usually NEVER any high quality shit. No Heineken, no Bud Lite, no Miller.

Cheap beer tastes literally like scorching expired fruit. It has the stalest taste ever. It’s DISGUSTING. I need to emphasize this so YOU can emphasize it in your writing. Alcohol burns! It hurts to chug, it hurts to sip, it’s “spicy”. This is another opportunity to use allusion and imagery in your writing. Talk about how it feels like flames going down, or how it bites at the flat part of your tongue and stings your nose.

Now, if your character is a little bit more open to drinking, slowly begin to go from “gross” imagery or themes of discomfort into fantasy and “wonderland-esque” imagery.

You’ll have more fun at a frat if you’re not sober, and that’s the tea. Monitor how much your character is drinking, and how she should be reacting in this state! I break it up into a couple of levels.

Buzzed.

Tipsy

Sloppy

Blackout

At buzzed, your character should slowly begin to get more social. She’s giggly, happy, and a little more relaxed but still very in tune with her surroundings. Spend more time in the party than you will in her mind. At this point, she’s thinking a little bit less, so try to cut a little bit of monologue.

At tipsy, she’s getting loose-lipped and courageous. Talking to strangers, dancing with a brother she’s never met, pursuing the goal she had originally come to the party for (if she has one), and a little bit less aware. She may lose her friends in the sea of people, but she’s overall still fine.

At SLOPPY, she’s becoming a bit of a nuisance. She’s getting loud, bumping into people a bit harder than usual, has no concept of personal space, and is a yap machine. She’s talking so much, and is stumbling and laughing at anything. Or, quite the contrary, she’s crying and sitting on the floor. Depends on who she is.

At Blackout, she’s slowing down. Her words are drastically slurred, so be prepared to ignore your grammarly. She’s stumbling through people, likely trying to find a place to sit down, the lights are way brighter than they actually are, and she might even throw up.

THISSS is how you write being drunk! It varies from person to person, because I am unfortunately a flirty and energetic drunk, but this is a baseline to work with.

The more your character drinks, the more their headspace should reflect this feeling. Some words like floaty, tingly, euphoric, giddy, etc should suffice. I even like to compare it to space because sometimes it do be feeling like zero gravity😔

do we want a part 2 with how to write actual Frat boys? Cuz it seems not many of us have encountered them irl…(it’s better that way trust.)

[asheepinfrance]

tashisita. tash tash. miss dunc dunc. the duncanator. tashi washi bobashi banana fana fofashi. i love her so bad. i hope this came out alright because ive been putting off writing this for maybe?? a week. so. yeah. it's been busy lately but also im just lazy so you choose what actually kept me from posting anything of substance... The Substance (2024). im gonna stop doing this now. hope you enjoy <3 as always yada yada comments and critiques appreciated blah blah i love you.

Had you taken the time to grow up faster, maybe your timing wouldn’t be so bad. You’d been too busy enjoying the sweet, innocent moments of childhood to grapple with your pending adulthood, or at least your first steps into it. College: the one thing that had been both at the forefront of your mind and desperately pushed to the wayside. If you can’t see it, it can’t see you. The process of applying was a blur, but Tashi had helped you out, and you do remember those parts. You remembered all the movie breaks, the nights smoking haphazardly rolled joints out of her bedroom window and panicking every time you heard her parents’ footsteps in the hall, you remember each night you’d spend hours whispering and giggling into each other’s faces and each time your bare leg would touch hers it just made you laugh more. Those times still felt like clinging onto childhood, those times still felt like being young enough not to worry about anything outside of the four walls of your bedroom, still painted the pale pink you’d chosen when you were four. You can’t change it now, or you lose that safety blanket of still having a piece left of little you. Perhaps that’s what was so unfortunate about the whole situation: Tashi was what kept you from growing up, and now that you’re about to leave, you’re grown enough to realize there’s something there you’d never wanted to acknowledge.

Everyone thinks Tashi is gorgeous, because she is. You’d never thought much of it when the thought crossed your mind. And, sure, that time in middle school spent using one another as kissing practice creeps up on you at night, when there’s an uncomfortable heat in your body that nothing seems to be fixing. You were teenagers then, just barely, inexperienced and using far too much tongue. Sloppy, to be blunt. It’s still the best kiss you’ve ever had. But none of this meant anything unless you let yourself think it did. So it meant nothing, until today. Until a day before Tashi goes to Stanford, and she’s ripped out of the grasp you didn’t know was as tight as it is. If you didn’t find something to make you laugh, you’d most certainly cry, and Tashi was never one for tears, so you made an arrangement. You’re pressed shoulder to shoulder on the bed you still sleep in for the next few days, watching some movie that you hadn’t watched since the 7th grade. It isn’t very good now that you both can think more critically than finding the actors attractive. She’d always found the teenage boy with the blue eyes adorable, you’d always found his girlfriend more interesting.

There’s nothing more interesting happening on screen than there is right beside you. A living, breathing girl who holds every piece of your heart in her hands, whether she knows it or not. You hadn’t even be aware until just now, but it’s not new. She’s had you since the moment you’d met her, just the way she caught everyone. She kept you, though, and that’s not a common privilege. You can live with never being loved by her if you get to keep the knowledge that for one time you were hers. She’s too perceptive not to feel your eyes on her, because she’s always been too much of everything that she has. You know she feels you listening to the sound of her breathing like it’s the world’s most beautiful symphony, she can see that you’re letting your eyes walk the leisurely path of her cheeks, climb the steep mountain of her nose, just to reunite with hers. You, however, aren’t perceptive enough to know that she revels in it.

Tashi found you confusing, despite understanding you so well. It’s not that she didn’t understand you, because she could probably write out your exact internal monologue if all she received was a sidelong glance, she didn’t understand why you do to her what you do. Was it your unending loyalty, like a dog to its owner? Was it the way you sought her out in every crowd, even if you could hold your own without her? Was it that you seem to be the only person who expects nothing of her but a friend? Maybe it was all of those things. Or, maybe, it was none of them. Maybe it was just that you are you, that you always have been you, despite the changes made. And she loves you like she thought she never could love anyone. She loves you the way she loves tennis: like you set everything in her on fire and make her bend and sway like a melting candle. It’s fine when it’s tennis. Tennis is set by rules, ones which she has an expert grasp on, and commands with ease. With you, it’s terrifying. She can’t predict the way you make her feel because it’s different. It’s new. It’s something that makes her fiddle with the cross around her neck at night, staring at her ceiling, because all she can think about is you, you, you. You when you borrowed her dress for a party and wore it better than she ever could, you when you curled into her in sleep, you when you floated through a room like your feet never needed to make contact with the ground. Effortless in all that you do, is what she thinks. You feel so deeply, and hold things so tenderly, and she’d rather never play tennis again than never experience the depths of you the way she wants to. 

She tells you she loves you, like she has a million times over. You respond the same way you have since middle school, a whispered reciprocation of sentiments. And she aches, she melts, you never stop watching her with utter fascination. She’s loved you for a long time, of course, because that’s what best friends do. She’s been in love with you since you first let her be herself, and not what tennis needs her to be: a teenage girl. She waits for the gears to start turning in your head, for that light in your eyes to shift to one of pensiveness. Tashi has never been one to wait for anything. She grabs opportunity by the hair and pulls it towards her. She doesn’t bask in glory, just moves on to the next conquest. But she waits for you. She’ll wait until her hair is gray and the smooth planes of your face have aged with time, and she’d love you just the same. It hurts to wait so long, but she likes it. She likes that ache to remind her she can feel, to remind her that this is a sacrifice worth making. Beauty is pain, and what you have, what you could have, is beautiful. It’s only right it should burn her a bit. 

You do realize, though. You realize, and convince yourself you’re wrong, and realize all over again. You take in that sweet, all-knowing gaze of hers and it’s still true that if you don’t laugh, you’ll cry. Cry big, happy tears that run off your face and into your lap. Maybe she’d wipe them for you. But you choose to laugh. You laugh, untamed and free, raucous and unabashed, and the most beautiful thing Tashi has ever heard. That sound alone could pull her from sleep, send her into a trance. She’d do anything you asked if it meant hearing that again. She could go deaf and be satisfied with all she’s heard, blind because she’s seen all the beauty the world can offer, and it’s wrapped up into one tangible human being. A human being who’s now cupping her face in their palms and breathing in her scent and kissing her like she’d only ever been kissed in middle school. It’s more practiced and controlled now, with the two of you having gained experience through the years. It feels the same. It feels better. It feels like pulling gasps and sighs from each other’s mouths with the brush of a tongue or the caress of a thumb. Timing is bad, sure, now that there’s less time to explore this in person, but you’ve got tonight. You’ve got enough time to familiarize with each other’s bodies the way you have each other’s souls, to kiss one another breathless, to make your hearts beat in time. You can worry about the final things to pack, or the movie you were never really watching’s ending some other time. Right now, it’s Tashi. Tashi and the freedom of letting yourself be who you are, with who you want to be yourself with, without the fear of being judged for it.

[calamarispiderart]

hello hello!!! random question before i get started on work haha

how do you come up with dialogue for ur hms comics? the back n forth of them feels so heavy and realistic. especially the casualness paired with the bleeding-brooding (alliteration for fun) violence makes everything just. hit. in a tragic and hopeless way imo. it’s so neat :0

i’ve been trying that kind of writing out a bit lately too. this is what i’ve managed with my iambic pentameter gang (hms but rain world iterator). MiND is being threatened by the rage pent up inside himself. and, strangely enough, it has the voice of HeART.

constructive feedback is welcome ^_^!

once again, hello hello! sending good wishes and all :]. i love ur work ^_^ 💛

oooo hmm... this isnt something ive ever really thought about trying to explain, thank you for the question! big fan of the posing in the piece youve added here btw, i like the alliteration in 'heliocentric heathen' B:•∆

honestly the way i go about writing them isnt something i feel i can put into words with a clear structure of process... often with my comics it starts with me simply having a vague idea of 'i want to make a comic today', and drawing what feels right to lead into it. the words typically link in with the actions as well - i usually draw something, draw the next thing, write a bit of dialogue, draw the next thing, write more dialogue.... not in that exact order but the words always feel to be a reaction to the actions and the actions are a reaction to the words (and/or, words and actions work in tandem). people rarely talk in a vacuum, especially when theyre having the conversation in person, so i find it helpful to see the actions as part of the dialogue and vice versa.

occasionally ive scripted out dialogue beforehand (always with actions included within the script.) but even with a script what actually is said needs to adjust with whats been drawn. when i dont write with a script (which is the norm), its often while im drawing the next frame that im thinking over whats being said. typically i just go over and over a sentence mentally, adjusting bits until it feels right, looking at it once its written on the page and adjusting it more if necessary.

perhaps a bit vague? apologies! i do have certain mental rules i try keep in mind for each of the threes characters while writing. 'how would heart respond, how would he word this? mind? i cant word it this way because i know he doesnt do this...' <subconscious questions and thoughts but they are important to keep in mind. i find it the most helpful to keep the core traits i personally see in them in mind, and let those traits kind of... guide what is said. if i think of how that collection of traits and facets would respond to something, the vague concept that creates can then go through the filters of dialogue traits i have in mind for them. ...ehhh, put more simply... 'what is the general response this character would have to this situation' and then 'how would they structure that response through words and/or actions?'.

i, being who i am, cccc being what it is, am somewhat naturally inclined to writing grim and bleeding-brooding (nice word) things. i also consider myself to be quite a grounded person, which i hope comes through in my work! however, natural inclinations aside, cccc itself is quite a bleeding-brooding album (at least it is to me). its one about depression and self hatred and it really doesnt pull many punches in that respect. or at least, thats my read on it! as a result, that becomes reflected in my interpretation of hms. however, id also note that cccc is silly at times, theres humor in it. all good grim things need a bit of levity to really make it feel Real... people joke in the worst of times, not just the best, and it really helps in writing serious things to have just a little bit of joke to it, even if its not immediately noticable... this is hard to really give examples of honestly but it is relevant i promise. im unsure if youve read much of my writing aside from my comics, but theres just a bit of absurdity and humor in both my cccc pieces that would make the writing feel sorely lacking without in my opinion. notable with how violent and tense both those pieces are.

lots of words now! hopefully helpful ones B:•] or at least interesting! ill try write out some of the core traits and details i keep in mind when writing hms so as to give better reference points to all my prior words:

heart: reactive, not instigative. he doesnt start fights, he finishes them. he also doesnt need an insane amount of prompting to get going... but he does need prompting. apathetic, a bit fanciful. hes depressed, and not in a cute way. he talks casually but he uses serious words. no point in simplifying his language - he wants to be taken seriously, and while he makes himself look small and weak at times he is Not weak and he is Not small. hes just as much of a wordsmith as the other two. he covers his mouth when he speaks sometimes, and he puts his hand over his chest... a bit defensive? muffling his own input, but notably he still speaks. lies by omission or by twisting facts - if full honesty helps his case, thats what he uses. if a white lie works better... i personally see him as a bit of a planner too. sometimes his reaction to things is built up to; it never comes out of nowhere, even if it may seem like it.

mind: instigative, less reactive. he still reacts to things but hes generally the one starting shit and hes honestly very bad at Not talking shit. uses contractions. <this is a small one but mind says 'dont' and 'cant' and i dont think ive ever heard him Not use contractions to any notable degree. kind of weak! hes proud of himself, very proud of himself, and even in the moments of the album where theyre getting along he cant drop his superiority complex. hes bad at making compromises that put him as the lesser one. hes also quick to point blame and to lie (even if hes a bit roundabout abt it). hes also not That smart - or at least, hes not any smarter than the other two. he Thinks hes smart and hes quite confident about that but that doesnt actually mean hes right lol. aggressive verbally, passive physically. hypocritical.

both of them tend to see soul as an afterthought, or as something to benefit from. note the 'something', not 'someone'. imo, they dont really see him as a valid living entity in the same way they see themselves. speaking of soul...

soul: hes difficult. hes a difficult and complicated guy. vague, fanciful, depressed, suicidal, tired... i personally see him as quite passive. both passive and active... hes violent, towards himself and towards the others. just as they dont see him as an individual, i believe hes too apathetic and burnt out to see them as individuals either. when he threatens to hang himself, thats a direct threat to the two if them as well - and it functions as one, seeing as they are all linked in that way! his suicidality isnt purely self destructive in the way it would be in other story contexts which i find important to remember. i see him as someone who sleeps a lot... and as someone who is treated more like a tool than anything else. but he is, simultaneously, idealistic. he hopes for the best and would do anything (Anything.) to try and achieve it. he wants things to Get Better or to Stop. most of the time when i write or draw him its within the 'Stopping is the only option to Get Better' stage of things. hes tired and he doesnt want to deal with things but he has to and he doesnt want to and hes at the end of his rope. honestly within the album he feels a bit like a ghost. hes granted a similar level of personhood as the shadow of what could be, which is both more and less than mind and heart get.... hes confusing! hea a difficult guy. honestly you can take a lot of my notes and thoughts on his character with a grain of salt because hes always been such a puzzle to me haha. i find him easiest to convey in art... OH yes one last thought/trait is hes a bit... arrogant? hes tired and hes careless. listen to me or fuck off and die. arrogant. what a guy.

ahaaha this kinda became me just rambling about my reads on the three but.. hopefully helpful!! this is all stuff i try keep in mind when im writing and drawing them. theres certainly nuances ive missed and things i havent worded as well as i could, but you get the idea i hope! all of that informs how i write them and... in a way they almost lead me through the piece.

also! this isnt something i often think about because its just a natural part of the process, but sometimes i end up scrapping stuff! entire paragraphs, panels and poses, because it hits a stasis where i cant find any way for one or the other to continue the interaction - theres a distinct difference between this and the interaction hitting its ending point. if ive written one person saying or doing something and none of the parties involved are able to respond in any way at all, thats a sign that ive conveyed their characters wrong and i need to go back. people *always* have a response to something, whether thats continuing the conversation or leaving or anything. if none of them can come up with a response that feels like them, ive messed up somewhere. dont be afraid to go back and rewrite things.

ummm yeah thats all i can think of to say now! thank you for the question, and thank you for the nice words!! B:•∆ im very happy my comics come off the way youve described, and very happy youve enjoyed my work enough to want to ask me about it!! means a lot to me B:•] your rainworld iterator hms concept sounds swag as hell, id just say to keep at it!! from what youve shown here youve already got a great start B:•∆ thank you again! hope you and anyone else reading this has a good week!

[dognonsense]

@surfs-up-brian thank you brian i appreciate that! i try do that with every photo i take! i am a painter as well so and have a very saturated coloring style so i show this style in my painting through my editing. i spent a while on these photos trying different edits until i got the vibe right :) im also a musician and im always to try make album covers music because that is something i want to start doing for people later on.

im just excited because you fully understood the vibe i was going for so im happy. im stoned so im going to ramble about editing now for anyone who wants to listen

to show how much i editted for fun heres the originals for comparison.

i like using lightroom and going into the curves and manipulating everything there but for this piece it started making everything too colorful in the wrong way. another one had a weird gray darkness i had created with graphs i found interesting but I wanted it dark.

so i instead I went to into individual color editing and yanked all the saturation up and toned each color to fit the pallet in my minds style. here for example is how i increased the blue in this photo. I also up the luminosity to effect how the light effects the blue in the room.

from there i can adjust the graphs much more gently than i would do when just just using graohs since the saturations are all already increased.

in the blue graph i increased the blue in the lighter range of colors and decreased the blue in the shadows.

the white graph is very important for your balance of lights and dark. ive increased the brightness of the whites by creating the dot causing the upper curve in the line. i increase the shadow and darkness with the dot causing the lower curve. i feel like im dragging around the guts of the brightness of the photograph so quickly and easily when i use the graph. using curves allows me to feel like im painting while editing my photographs :)

then in the basic light sliders love turning the highlights down in every photo i edit. it makes the higlights stand out so much for and have a more powerful presence in the photo since it has a harder edge and contrast when i do this. i also chose to turn the whites up in this photo to increase the spotlight vibe going on

i lovee edittinf so much! my photography account is @ yvrpatches on instagram i have over 1300 photos mainly photos of bands performing and people in the punk scene. i editted ever photo i posted which taught me a lot about creating my own style :)

littlest pet shop photography i did yesterday in my bedroom :) the first two photos are inside the woodzeez market square with working miniature lights. the third is outside featuring the lps purple limousine with a pool in the middle.

[hinamie]

So remember me in a softer light

[mokadevs]

guy who has done some terrible things

[todayisafridaynight]

[cent-scratchnsniff]

ill make a whole piece on its own for the occasion but finally got 100% abno codex (finally got that one fuckass tool that has been evading me after 8 hrs of straight mem rep of the same 3 days). Library of Ruina time !!! ive been yelling about it to poor unfortunate souls who dont know abt pm at all . ill probably be busy playing it on my free time so not as much activity for a bit i think

[3-aem]

my arts been doing bad on twtter. ive recovered in the past but i worry this time will be different. the idea of losing such a large platform makes me wonder if theres point in continuing even if i feel tremendously guilty admitting that.

as my therapist pointed out today: ppl still like my art. still when i think about it i think there are other artists for you all though. better ones have come along and better ones will still come.

im in my 20s and i haven’t really gotten a chance to live my life properly since the pandemic bc of it. still art is important to me and the idea of losing it has me feeling listless. what do i do when its been who i am for years.

im unsure tbh if im going to quit.

i draw what i like but i don’t see purpose in drawing for myself.

anyways this isnt that deep my therapist is just on leave next week and i wanna cut my hair again

[feline-evil]

S E V E R A N C E

[lionbearfox]

gonna be real with y'all i think he deserves a be not afraid moment

[gobstoppr]

[OC] 🌟PROFESSIONAL STIMMERS 🌟

[recallback-art]

You know that joke, about how dogs can't recognize themselves in the mirror, and see a different dog entirely when it's really been them the whole time?

[tommygotwrittenoff]

the fact that eddie and maddie have never interacted outside a group setting is so funny actually. you cannot tell me those two wouldnt get on like a house on fire. i fear the day we get a solo maddie and eddie scene is the day we get buddie canon