#just repetitive ones

[breakbreadwithme]

want want want want want want want want want want want want want want want want want want want want want want want want want want want want want want want want want want want want want want want want want want want want want want want want want want want

[poorlydrawninstarsandtime]

loop backwards spells pool. do you know what that means? thats right. submerge your loop. submerge your loop. submerge your loop. submerge your loop. submerge your loop. submerge your loop. submerge your loop. submerge your loop. submerge your loop. submerge your loop.

[id in alt]

[soupysundae]

🐍🐍🐍🐍🐍

[6okuto]

i was thinking about oikawa and i just KNOW that he LOVES to be babied. that's just him, yk? like that's totally him and i would love to read about 30 year old professional volleyball player oikawa tooru being babied by his wife

(timeskip, fem!reader) he's just like me fr. i actually wrote something different but there wasn't enough babying so here u go 🥹🙆🏻‍♀️

tooru is one of if not the hardest worker you know, never losing sight of his ambitions and passion. determination lines his veins, and late nights of practice and analysis have seeped into the cartilage between his bones, gluing together what makes tooru oikawa, #17, setter for club athletico san juan.

but it's not oikawa, it's tooru, the boy you met in high school who stumbled down the steps after using a cheesy pick-up line on you and whines when you try to leave his arms for the washroom, who's your husband.

"long day?"

tooru groans and buries himself deeper into the crook of your neck, arms wrapped snug around your middle. he didn't really need to answer—the lit street lights and dim sky outside were answer enough.

holding back a laugh, you comb your fingers through his hair, the familiar scent of jasmine and vanilla dancing its way to you. "proud of you, baby."

your husband's voice is quiet, "thank you."

"you want me to run a bath for you?"

"...maybe later?"

"m'kay. you wanna stay here for a while?"

"yeah." his fingers trace hearts across your back, and when he pouts, you feel it against your skin. "i'm so tired."

pouting too in response, you press a kiss to his head and rub his back. "i know, baby, at least you're home now."

"but then i have to leave you tomorrow."

"and then you come back to me again tomorrow."

"but then i leave again—oh my god, what kind of sick world do we live in?" he whines, letting out a noise that could be described as a choked sob.

and this time, you let yourself laugh. "aw, my poor tooru,"—you cradle his head against you —"the horrors of a job have caught you."

"what if we worked somewhere together?" he lifts his head to look at you.

you raise a brow. "i love you, you're the light of my life, but you are not getting me on that court."

he gapes. "betrayal from my own wife?"

"okay, then come to my job."

"...well—"

"betrayal from my own husband?" you gasp and tooru pouts again—though at this point you're not sure if the original pout ever left to begin with.

it's still just as endearing, and your expression softens. "you'll be fine, 'ru. i'll baby you as much as you want every time you come home."

his pout pulls even more at his lips, and you mirror it. bringing your hands up, you hold his face and squish his cheeks with your words— "i, tooru oikawa, love my wife and my job, and i'm a strong, independent guy who can do anything."

"d'you rilly hafta hol' m'face?"

"it's for the effect and affirmations," you tease, before your amusement softens to something else. "how long are you out tomorrow?"

tooru's jaw drops as much as it can with you holding him in place. "why would you—9 hours!"

and before the dread of leaving you can fully take hold, you kiss his forehead. the apple of his left cheek, the right, then his eyes, his nose, both sides of his jaw, his lips—all with a resounding mwah!

tooru's arms cling tighter, and he leans into each kiss, always chasing your affection though he doesn't have to. you smile at the flush dappled across his face. "see? a kiss for each hour."

he opens his mouth to answer, but then the pout comes back. "each half hour at least. each 15 minutes—"

"tooru." you snort. "what is that, like, 36 kisses?"

"okay, a kiss for each minute."

"babe—"

"you know how hard i train, i know you watched my interview."

and you really don't think you'll make it to 100, much less 500 kisses, but you'll try anyway, even if after the first one, tooru says, "one."

you snicker as you place the next four, and he counts them before pointing out, "you know, kissing your husband is way easier than doing rdl's."

"yes, yes, i know, honey." you softly laugh and press another to the spot between his brows. "i'm not complaining."

he counts again—six, seven, eight, nine—and you remember the determination and patience of oikawa was never separate from tooru, especially not when it came to you.

[abyssal-ilk]

the early inquisiton party is so interesting to me because you have your inquisitor, who was just imprisoned by cassandra and accused of murdering the divine, you have solas, who cassandra threatened to execute as an apostate as she suspected he had something to do with the conclave, and then you have varric, who spent the entire second game being violently interrogated by cassandra and being accused of having something to do with the chantry exploding.

just. that's 3/3 for cassandra's party members. those early days must of been Something. you think they ever talk about it?

[crybaby-bkg]

Gojo has always been a bit of a glutton. it’s his worst trait, you think, despite the many others that he inflicts upon you in your daily life. but, it’s just not enough for you. he does that with everyone, this kind, funny, flirtatious kind of banter. getou tells you he’s different with you, shoko makes note of how he’s really not like that with so many people.

but it’s not enough. so you start cooking up different things, these desserts intertwined with a certain potion that’ll make his attention be on solely you. you crush your flowers and sprinkle them into the boiling pot, sprinkle in a little bit of this and a dash of that, before you cut off a tiny piece of your hair and let it flutter into the concoction. it doesn’t let out a tuft of pink smoke in the shape of a heart, but you have faith that it’s gonna work.

“I’ll give you a piggyback ride if you let me have that,” Gojo tries to barter with you the next day he sees you, sitting under a tree and unwrapping the piece of cake that you had oh so conveniently whipped up. you pretend to think it over, unable to help your smile as you think about how easy this is going to be, before agreeing.

it happens over time, the effects of the love potion. first, Gojo becomes a bit more clingy. he hurries across campus to make sure that he’s able to walk you back to your apartment, carries all of your bags for you. then he starts buying you all sorts of things that you don’t necessarily need (do you want breakfast?, do you need a new laptop?, can I buy you a new bed?, can we break it in?).

and everything is great at first. you adore the attention, the grandeur way he asks you to be his partner, how he moves you in quick, loves you even quicker. but, after a while, it just becomes a bit…much.

his love is never ending, which shouldn’t be a bad thing, but his love is also—everything. it’s in every crevice of your body, every nook and cranny between the walls, every exhale you take. he’s there—always just there—always just close and lingering and clingy (where are you going? can I come with you? why are you looking at me like that? don’t you love me? I love you, I love you so much, so where are you going?)

it’s not until you’re suffocating that you realize your mistake, all too late. Gojo is all encompassing, takes up all the space in your head and your line of vision and your breaths and the blood that flows in your veins. he loves you—this was what you wanted, right?—but you never wanted this, this obsession that bleeds from his very being every second that he’s near you, which is every second of every single fucking day. you never wanted any of this.

“Baby?” Gojo calls from the other side of the locked door, clawing at it like some forlorn house cat even though you know he could take it down if he so pleased. “Are you almost finished? I miss you,” his voice is a plead, as if his heart is shriveling up in his chest with every second he’s not pressed against you.

with a sigh, do you finally lift yourself from the corner of the bathroom floor, unfolding your limbs with a groan. you don’t dare look at yourself in the mirror, fearing the image of the hollowed person that is bound to stare back at you. with hesitation, do you finally unlock the door. you don’t even have to pull it open before Gojo is barging his way in, engulfing you in long arms that seem to wrap around you like some never ending boa constrictor.

“You’d never try to leave me, right? Because you love me so much.” Gojo says into your hair, his voice one that tries to convince you of its truth. and there is some there, along with the guilt of ruining him in this grotesque way that you have no other choice but to accept and live with until it suffocates you.

“Yeah.” your murmur, sinking into his body, let him hold you so close, you think you can feel his veins pulling at his skin to intertwine with your own. “Yeah, I love you, Satoru.”

(he doesn’t dare tell you that he knew all about that little potion you whipped up, how it never had any actual affect on him for more than just a couple hours. but this was what you wanted, right? for him to love you? so why not continue to just love you in his own way that’s somehow, convincingly, all your fault? why not let you take the blame for his greediness? you wanted this, right? right?)

[scootkiddo]

me watching Joel boost up Tess in ep 2

[chirpsythismorning]

Say it’s likely there will be a Brokeback Mountain reference in s5 and nobody bats an eye.

Say it’s likely that the final byler fight will be inspired by this scene and society goes wild.

[formulapisces]

reblog or <horrific thing will happen to parent>

reblog to get <specific amount of money>

reblog for <luck and something about a crush>

reblog if you aren’t <racist, homophobic, etc>

reblog or else <terrible tragedy happens>

reblog if you care about <obviously a good cause but is baiting you to look like a horrible person if you don’t reblog it>

SHUT THE FUCK UP SHUT UP SHUT UP SHUT THE FUCK UP SHUT THE FUCK UP SHUT UP SHUT THE FUCK UP SHUT UP SHUT UP SHUT THE FUCK UP SHUT THE FUCK UP SHUT UP SHUT THE FUCK UP SHUT UP SHUT UP SHUT THE FUCK UP SHUT THE FUCK UP SHUT UP SHUT THE FUCK UP SHUT UP SHUT UP SHUT THE FUCK UP SHUT THE FUCK UP SHUT UP SHUT THE FUCK UP SHUT UP SHUT UP SHUT THE FUCK UP SHUT THE FUCK UP SHUT UP SHUT THE FUCK UP SHUT UP SHUT UP SHUT THE FUCK UP SHUT THE FUCK UP SHUT UP SHUT THE FUCK UP SHUT UP SHUT UP SHUT THE FUCK UP SHUT THE FUCK UP SHUT UP SHUT THE FUCK UP SHUT UP SHUT UP SHUT THE FUCK UP SHUT THE FUCK UP SHUT UP SHUT THE FUCK UP SHUT UP SHUT UP SHUT THE FUCK UP SHUT THE FUCK UP SHUT UP

[bajablastable]

yipee

[serpentface]

Here's the intended pronunciation of the 'balls in my mouth please' conlang dialogue btw

[imashittalkingmushroom]

My problem is that the HarveyxBrucexKhoa dynamic that I've really created in my head is not actually the three of them but rather Bruharvey and a Khoa who is a jealous and petty mf.

It's 100% Harvey reentering bruce's life in a much more permanent way and Knoa immediately being like 'who tf is this?? Bruce, you can do so much better. also. you dont get to leave this friendship for some stupid romance.' and thus he needs to prove that 1) there are people out there (khoa) who can be much better romantic and sexual partners than just some guy and 2) Khoa is actually the only life partner you can have. it's not up for discussion.

So you have

Harvey, who, after lots of therapy and a few decades of ups and downs with bruce, is confident that bruce will never leave him. And he's just giving khoa the side eye cuz this random guy that Bruce met in europe years ago is continuously and rudely interrupting their dramatic, bittersweet and romantic reunion that they've been building up to for DECADES

Khoa, who refuses to admit that he wants a qpr with bruce and is in a one-sided pissing contest with harvey

and bruce, who is happy to have both Harvey and Khoa back in his life but is a little weirded out because while yes, he and khoa did have a good fuck every once in a while, Khoa is getting a bit intense and Bruce is like 99.99% sure that their relationship wasn't like that but now that .01% of doubt is hitting him in the face real hard

[applestorms]

ok, well. if last time i talked about parallels between near & light, i guess it’s only fair that this time i talk about parallels between mello & misa. yap central on this blog lately.

the main thing that stands out the most about mello & misa, and the reason why i will forever Defend them and their place in the story, is that in my mind they both function in a similar way on a narrative level: namely, both of them are incredibly active wild-card characters that keep the action going and the story moving forward when the other main characters like light, L, & near start getting too passive.

notably, while i often see this trait praised in mello, usually in the context of a comparative criticism of near for his overly-abundant passivity, i have also seen it used as a criticism of misa's character, that she breaks up the status quo of DN too significantly and thereby makes the story feel less realistic. this last point in particular is an odd argument to make imo, as if anything misa's presence only increases the realism of DN by adding some extra luck/random chance into the story in a way that is ultimately still character-motivated and thus easier for the audience to go along with-- something DN in general is very good at, often introducing elements through pure chance but keeping them grounded in characters enough that you almost don't even notice.

take light meeting naomi misora, for example: the only reason he runs across her at all is because he offers to run an errand for his mom on a bored laundry day, literally stumbling across her right at the exact moment she is divulging important insights she is literally the only person capable of making about kira. yet this moment does not stand out as particularly aggravating or out of place in the story, as ultimately the only reason why light is able to get out of that situation is his own quick thinking and ability to calm himself while under immense pressure, squeezing his way out of a potentially run-ending situation he didn't even know existed moments prior.

(not a fan of that big joel video, if you couldn't tell. lmao.)

point is, mello & misa both fulfill about the same narrative function in the story by being so aggressive in their actions, catching the others off guard even if their plans aren't as well thought out or careful as they could otherwise be. they're both incredibly passionate, dedicated characters as well, tough enough to take the hit when it inevitably comes, and in my opinion neither of them are nearly as stupid as the other MCs like to make them out to be. to some degree, i think both of them are aware of the fact that they can't win at the Mind Game Cold War Bullshit the others are inclined to get involved in, so they instead choose to carve out their own place in the story through sheer perseverance alone.

which, speaking of passion: one of the most interesting parallels i think you can make between mello & misa is the ways in which they idolize their respective heroes, misa's obviously being light while mello's is L. allow me to elaborate.

as this post points out, DN has some very interesting use of its religious imagery & theming, and in particular its use of christian/catholic gothic imagery in its story and especially its art. however, as op notes, a lot of this is quite superficial, ascribing to an aesthetic of "kitschy Catholicism," that was characteristic of a lot of early 2000s japanese goth style. yet, while i admit that a more serious consideration of religious elements in the art & story could add some interesting flavor to the story, i also think that, regardless of intention, the superficiality of DN's religious elements works really well in the context of this particular story. as i stated in my tags on that post: light is a superficial god. he is a fake, a scam, some idiot human that stumbled across the powers of a real shinigami and got his head up his ass about it. and a lot of the arcs of other characters in DN is about their reaction to light's claims-- whether they choose to follow him (e.g. misa, mikami), follow somebody else (e.g. mello), or follow nobody at all (e.g. near, also kinda soichiro?), and the implications that has for their lives and personalities.

this is all to say that while you can, on a surface level, connect misa & mello pretty easily as the two aggressive, fashionable blondes of the series, i also think that these somewhat superficial traits betray a greater connection between the two of them. if we understand the christian/catholic elements of misa & mello's fashion as a demonstration of their connection to not just a higher power but a lie, a superficial deity simply reflecting the sunlight of powers greater than himself, then i think we have great insight into another key element of both their characters.

do not forget: in the world of DN, heaven & hell do not exist. at least in the context of death itself, the realm & lore of the shinigami reign supreme, a point which the DN musical makes even more overt: "Isn't it a laugh? / Isn't it a shame? / Thinking there is someone in heaven to blame?" and "Going through the motions / as if there will be a reward / Oh, while we stay eternally bored!" (BEST SONGGG.) everyone is destined for the same fate of MU, the same void of nothingness awaits all. no reward, no punishment, no greater deity looking down upon us than the bored, slothful shinigami, lazing about in their realm and picking people off only when necessary (for the most part).

misa & mello are thus dedicating themselves to false idols, and we can see the negative effects this has on them in almost every facet of their character-- particularly for mello, who is perhaps more self-aware and has more of a mixed emotional outlook on his idol, but maybe even to a more extreme degree for misa. i keep going back to this idea of equating boredom with depression in DN, but where light/L/near are all "bored" in a very quiet, passive, stewing-in-bed late at night kinda way, misa & mello are characteristically a lot more aggressive and intense about it-- while neither of them are super overtly suicidal, necessarily, their actions still betray a distinct lack of care for their own safety or lives, expressing the same thematic sentiment as the others. even if they still don't straight up say it, through their actions they're a lot louder about not liking themselves, and seem to take the problems they see in the world more personally, shouldering the blame as a failure within themselves instead of projecting it outward like the others: e.g. light taking his unhappiness at the emptiness of his life at the start of the story & placing the blame on the world for "going to shit" & humanity's moral failings, versus misa being willing to literally & figuratively give up her life for KIRA the second he demands it, whether that be in the form of shinigami eyes or killing her own friends w/o second thought-- all because he was the only thing to bring justice to her own parents' deaths, an almost undoubtedly traumatizing/horrible experience for her considering how much value she places on KIRA/light afterwards.

to clarify, this is not to say that all of these characters are actually and literally depressed and/or suicidal, though you could certainly make that argument for some/all of them-- this is just one way that i think you could interpret their roles in the plot, and their thematic attachment to the story. even if DN isn't all that interested in considering the True Moral Answer to ethics/the justice system/human society/etc, it definitely takes at least some interest in the emotional viewpoints of characters in relation to those concepts, so i think this is a fair enough approach to take. or to say this another way, it's less about justifying the claim that "the world is shit," and more about trying to understand the emotional motivation & experience of feeling like the world is shit, if that makes sense.

that being said...speaking more on the whole "not liking themselves," thing: even if she doesn't say it aloud often, if ever, i think that misa is deeply aware of the fact that she was not supposed to live this long, that her existence at all is a pure stroke of luck that let her live on past her destined date. she dedicates herself to light so fully, not even necessarily expecting reciprocation (though she at least reserves herself the possibility of such), because being a disciple to her god at least gives her life some kind of purpose. similarly, i think mello is also aware of just how out of reach the one thing he wants is, how his desperation in and of itself is ironically the one thing keeping him from surpassing near and truly being #1. it's important to note that pre-time skip misa & post-skip mello are almost exactly the same age, around 20 years old at the time of their main arcs. they're immature, and in the case of mello especially, are lashing out at the world in whatever way they can because they know they don't quite fit into it in the way that they want to or should. regardless of the intent behind it, mello & misa both still make the conscious decision to kill with the DN-- perhaps in a way that still keeps their humanity, at least following near's logic, but it's a decision to end a human life either way.

anyways, going back to my previous point, this "worshiping of false idols," idea has some interesting implications-- for misa & mello yes, but also for L and the ways in which he contrasts again light, as under this logic mello's treatment kind of inherently gives L a similar status as a sort of false god/idol. which-- actually makes a lot of sense? or at the very least, viewing wammy's house as a kind of mystery cult a la the eleusinian mysteries is a neat approach to take. L & light's mutual alienation from humanity fits them both filling a false god status, anyway. also there's another thread of analysis you could follow here where near is instead fit into the role of the person mello is fixated on which AAAAAAAAA has interesting implications but jesus fucking christ, this post is long. some thoughts for another time, i suppose.

[beatx-mavie-archangelx]

"pronouncing 'Þerindë' as 'Serindë' is not that big of a deal" just say you've always been called right your whole life.

[read-write-thrive]

there are all of 6 fics on ao3 that come up when you search the word “disabled” in the dead boy detectives fandom. I’m dealing with a fibromyalgia flare up rn so I’ve decided to come up with some (potential!) disability/condition/syndrome/etc. headcanons. enjoy!

(oh and just to note: I stayed away from conditions with obvious facial / appearance difference as no actors with facial / appearance difference were cast in the show and I was unsure if it would be appropriate. while I have experience with a lot of the following diagnoses, I do not claim to be an expert on any of them and do not intend for this to be used as a diagnostic tool. if you feel any of these are offensive/inappropriate, please message me and I’m happy to talk about it :) this is more just to encourage broader disability representation within the fandom!)

Edwin: autistic, PTSD (from hell), chronic pain/fibromyalgia (from his death/hell), minor visual impairment (not enough to need the hard-to-come-by testing needed for glasses when he was alive and so assumed the various limits/effects were normal. was told otherwise by Niko), would’ve had shingles if lived long enough

Charles: ADHD, PTSD (from his father/growing up in an abusive household), dyslexia, Reynaud’s syndrome (either already born with it or as a result of his death—both angsty), was in the beginning stages of an ED prior to his death, post-concussion syndrome, near-sightedness (never given glasses bc he wasn’t about to tell his dad the board looked a little blurry sometimes)

Crystal: cPTSD (reminder that neglect is also abuse :), bipolar 1, IBS, endometriosis

Niko: autism, depression, POTS, hEDS, anxiety, sprite-induced agoraphobia, epilepsy, lactose intolerance

Monty: Depersonalization-derealization disorder, selective amnesia (this is not the first times Esther has messed with his form/killed and revived him, but the experience is traumatic and so his brain decides not to remember it), recurrent arrhythmia, synesthesia

Jenny: OCD, BPD, ED recovered, Celiac’s disease, diabetes type 1, anemia

TCK: autism, NPD, lactose intolerance, colourblind

Esther: chronic pain (I’m choosing to believe that the cane isn’t just for show!!), NPD, endometriosis

Tragic Mick: cPTSD, depression, HoH, arthritis, diabetes

(The Night Nurse , the Dandelion Sprites, and various other characters felt either too supernatural and/or not developed enough to assign anything to lmao)

[mikimeiko]

Hacks | Season 3 (2024), Lucia Aniello, Paul W. Downs and Jen Statsky