#like these are more super short mentions but people will get mad at me if I don't tag them so ¯\_(ツ)_/¯

[barblaz-arts]

Fellow Chaggie shipper, here and I wanted to ask you a question. Could you please do an analysis post on the Chaggie argument from Hello Rosie. I know this will sound weird but I can't get over the level of icy anger Charlie had towards Vaggie or how despite everything going on, Charlie is more hurt from Vaggie not being honest with her. Just angst all around.

Oh yeah sure I'd love to!

I'm not sure there's a lot I can say about that argument that isn't already super obvious, so I wanna talk about Charlie's anger because of something my brother said as we watched episode 7. He loved that episode apparently because "When they're separated, it's even more obvious that Charlie is the one who's more quick to lose her cool." Which, looking back, is actually true!(To an extent)

Vaggie and Charlie are both quite quick to anger. Charlie is just better at hiding it because she's a chronic people pleaser. Although Charlie wouldn't immediately show her anger at a person being a jerk to her specifically, she's immediately summoning fire and brimstone over anyone who hurts/insults her friends or the cause she's fighting for.

Love this lil bit in "You Didn't Know". How Vaggie is the one telling Charlie to calm down, as if she knows what's about to happen. She knows that if she doesn't at least try to reel in her girl Charlie would be spitting literal fire at a goddamn seraphim.

It would seem like such a surprising role reversal, but if you look at all the times Charlie would lose it whenever Vaggie's not there to tell her "babe, chill", then it makes sense.

But then when their fallout happens, Charlie's short temper is even more apparent. She calls Alastor an asshole to his face even though she considered choosing his support over her father's. She openly glares and rolls her eyes at Rosie when she jokes that her and Alastor look like an item even though she still kept things cordial with Valentino after he licked her arm. She flips the bird at some old lady even though she didn't take visible offense at all the demons that inserted their crude and rude selves in "Happy Day in Hell." While she was cold and subdued even when upset with Vaggie, she was explosive and in ur face when she was pissed at everyone else.

Vaggie reigned in both the girl in Charlie who dreams a little too big and the demon who's waiting to lash out in flames. It really makes me wonder if there's a difference in the kind of person Charlie used to be before Vaggie. Before she had friends to be angry on behalf of and a person to calm her down. And then, in the wake of their argument, Charlie is left with a lot of anger that is easy to ignite.

But I love love love that despite all that anger, Charlie can't bring herself to deny that she loves Vaggie with all of her hurt heart.

This little moment is one of my favorite parts in the series. My brother mentioned that this episode and episode three were his favorites because he liked the beats the dialogues followed. So he looked back--

(the man literally paused the episode to check the opening credits of ep 7 and 3. I was a little annoyed because I just wanted my Chaggie dammit! We'd make terrible youtube reactors with all the pausing and discussing mid-episode that we do...)

--and was satisfied to see that it was written by the same person, Ariel Ladensohn. Apparently she's in a sapphic relationship too and projected her own experiences whenever she wrote Vaggie and Charlie, and it must have paid off because the moments she wrote with them felt so real.

Charlie expressing her fear that even Vaggie's support and love could also be part of the lies she told was understandable considering the betrayal she felt. But immediately following that she goes "Oh that's a horrible to thing to think!" which I love even more. Even when she's understandably mad she thinks about how Vaggie would feel over Charlie thinking that of her. Because although Vaggie lied about who she is, Vaggie was always sincere about how she felt for Charlie. Vaggie's past may have been a lie, but the things she did for, to, and on behalf of Charlie were very real and held dear in Charlie's heart.

I dont have anything smart to say to conclude this. Sorry, I'm not even sure where I went here. Let's all just appreciate the smile Charlie has on her face when she thinks about Vaggie even when she's under a lot of stress I guess.

[finsplurtz]

Hello, I don't know if you make orders or not, but if so can you make one with Yuji or Izuku aged, Smut please, something like sex while everyone is asleep and Yuji or Midoriya won't stop making noise so they have to be quiet so as not to wake up to others

i’ll hold u tight i love you

might hear — izuku.midoriya

— dom ! male.reader x sub ! Izuku Midoriya

— contents : alcohol mention , u get drunk , u fuck with lots of ppl around , kinda sucks

warnings : none .. inthink

✩°｡ ⋆⸜ 🎧✮

Everyone had gone on a trip during the summer, you and your beloved boyfriend were invited and were happy to join.

the whole trip was fun, it was extremely hot out, you guys walked around the city and got ice cream. there was a small beach area that was owned by…. Yaoyorozu and she was more than happy to let everyone use it to stay the night.

nobody went to sleep early. everyone stayed up drinking and laughing at whatever they could. Izuku was a bit of a lightweight… he knew he couldn’t handle alcohol so he stopped after 2 or 3 cans.

you on the other hand…. you kept drinking and drinking. you weren’t a lightweight, so you drank lots. a bit too much.

It was about 2 in the morning, some of the others had passed out on the couches and floor, others passed out after vomiting all the toxicity out of their systems, and you were swaying as you tried to clean up the place a bit. izuku had you do it.

“‘zzzuku…. should we leave the light on ?” you asked the boy who hummed before turning the lights off in the main room. you blinked and stumbled back, it was pitch black you couldn’t see a thing.

“zu..” you tried walking forward but you felt a hand gently grab yours and pull you towards a room.

“don’t be loud” Izuku whispered as he led you to the dark room, the only source of light being that from the moon, shining through the large window.

The bed was taken, some inflatable mattress’s were unoccupied, some blankets on them.

“did ya drink..?” you whispered. Izuku only gently pulled you down onto the mattress.

“whatz wrong…. are you.. mad at me..?” he was basically ignoring you, it had you a bit confused. you could see his face clearer after your eyes adjusted to the dark.

“…no…let’s try to get some sleep. kay?” he gently stroked your cheek and gave you a small kiss. maybe it was the alcohol but it made you feel all fuzzy and needy.

you guys got under the sheets and you pulled the boy close to you, nice and tight. your chest against his back as you gently rubbed his tummy.

“who elze is in the room..?” you quietly asked.

“ochako n tsu. sero also….” he named the people he saw once he walked in. the rest of them were scattered around the cabin.

“mm….should’ve gotten the bed..” you sigh subtly thrusting your hips into Izuku’s who shuffled getting more comfortable.

.

.

“d’ya have fun..” you asked another question. “yeah. we did a lot today… super tiring” you hum in response. another small thrust, your hand slithering into his shorts. he was quick to grab your wrist and freeze.

“yn…”

“what’s wrong..?” you ask innocently as you gently run your fingers against his entrance.

“d..don’t…” his breath hitched as he tugged at your wrist, his dick slowly hardening.

“nnh.. just let.. me..” you licked and kissed the back of his neck as you rubbed at his cock, switching between his wood and his bottom.

Izuku had to cover his mouth, he was panting heavily and squirming on the mattress.

he kept trying to make you stop but the pleasure was slowly slipping into his mind. his dick was leaking a bunch, you used it as lubricant to ease your fingers into his hole, stretching him gently.

he was biting his fingers, twitching as you massaged his insides. you were a bit sloppy due to the alcohol but it was fine, your wet kisses against his neck and shoulders really had him going.

he was in the mood before he heard uraraka talk in her sleep, he flinched and pulled at your arm harder to get you to stop but you rubbed against his sensitive spot, your fingers poked at it so good. he bit his lip and bent as cum ripped out of him.

“haa…shit..~” he quietly cursed to himself. you were quick to get his shorts and draws off and align your aching cock against his hole.

you slipped an arm under him and placed two fingers in his mouth while you held his hip with the other hand.

“keep quiet… don’t want them to hear..” a smirk could be heard in your words. you slowly pushed into him causing him to arch and roll his eyes back.

his hands scrambled to hold onto you, his walls clenching around your cock.

It was way too quiet in the room, sero’s faint snores were the only thing that could be heard. This was an uncomfortable position, you grabbed Izuku and placed him on top of you. he wrapped his arms around your shoulder as you kept his legs wide open and slid yourself back in.

he tried to hold back any erotic sounds as you were nuzzled deep inside him. you were quick to start bouncing him on your cock, hitting deep making him shake.

“ngh-! mh..!” he brought his shaky hands to cover his mouth, looking around the room paranoid. you started to huff a bit loudly the faster you went, his dick was leaking some more and it made you want to go ferrel.

you felt one of his hands clasp around your mouth to keep you quiet as he panted faster and unevenly.

with just one more thrust, you exploded inside of him. your hot cum coating his warm insides. he let out a small whine as he came all over himself, throwing his head back.

you kissed his chest and slowly got him off of you. he let out another small moan when you re-entered him to keep all the cum inside him.

he heard a bit of shuffling around the room and was quick to fall asleep.

the next morning they woke up a bit late, you were knocked out with your dick still inside him.

“finally awake, midoriya?” sero asked as he cleaned the place up a bit.

“uh- uhm yeah…” he nervously responded. you moved around in your sleep with a groan, Izuku gasping and holding onto the sheets feeling you move around inside him.

“gonna get up?”

“mhm just…give…. me a couple minutes..” Sero smiled before leaving the room, you and Izuku being left alone. he felt you wrap your arms around his waist tightly and fuck into him some more.

strained whimpers leaving the smaller. “stop stop s-stop..!” you let out a small laugh giving him a good morning.

he had a tummy ache the whole ride home

a/n: this is kinda ruff sry will do better xx

[ghost-bxrd]

Been mulling over Titans Tower and it's really interesting to me how it's treated in Fanon as compared to how the events transpired in canon. it's a really fun topic! Honestly, the original writing in canon is DOGSHITE but not for the usual reasons people cite.

Here's what does make sense in canon but is largely ignored (this is using canon characterisations at the time): First, it's all about the whole Titans team, not just Tim. They really downplay his death a lot, did not put up his statue or honour him whatsoever. Plus the hero community tends to victim-blame him a fuckton. Jason is showing that his death could've happened to anyone. Second, Tim and Jason are just two yearish apart—Jay died at 15, Tim becomes Robin at 13—so those Titans are more like his colleagues than anything else; he's not some older guy beating the shit outta them. Third, Tim’s indifference to Jason's comments and his cockiness about being a better Robin are pretty on-brand for his early portrayal as Robin. (I think fanon Tim derives a lot of his characteristics from his Red Robin run, which is valid as well! But here in particular we have Robin Tim... who... was... uh... a bit of an asshole when he was written back then and the HUBRIS on that man? Immaculate.)

What still makes this absolutely dog shit is the dialogue and how Jason is pouring his heart out to someone who he doesn't really care about. Jason... just doesn't operate this way... Why's he trauma dumping on... tim... ???? It makes no sense whatsoever because Jason really is someone who'd keep those vulnerabilities to himself. Why would he open up to... CANON TIM??? He makes scathing remarks when faced with Bruce and Dick because he knows the knife twists then and at he cares about their reaction. But not tim ????? Canon UTRH doesn't even mention Tim ????? ???? So in the end it's still shit imo.

I also find the use of Pit Madness in fanon super interesting, despite it not being canon. It's used to propel the Titan's Tower incident, which fascinates me because it shows how people are willing to work around its flaws to maintain consistent characterization in their works (which is !!! cool !!)

It's so interesting how many other incidents that do occur in canon aren't as well known as this one aren't given much thought. But this one is and it's interesting how people try to work with it regardless of it's flaws originally!

I'd really love to hear your opinions about it and how flexible you are with the Titans tower incident! :) How do you work with your Jason and your Tim? because it's cool to hear your analysis etc etc

Hooo boi okay i was planning on replying to this earlier but this deserves a proper, thought out response (which I’m shite at but I’m trying here. Words are hard.)

For one, I wholeheartedly agree with the whole trauma dumping thing.

Obviously we all have different tastes in media and I know there are quite a few people who enjoyed the confrontation with Tim, which is totally fine, but personally… yeah, not my thing.

I got into the Batman/batfam fandom via fanfic, so my first introduction was some version of Titans Tower I believe. I was super intrigued by the characters and the tidbits of lore sprinkled throughout that I immediately began reading up on them and digging through the internet for more info and background story on them. Which then quickly evolved into the part where my adoration for Jason’s character began and a short phase where I absolutely despised early canon Tim.

Like— all the victim blaming. He seriously couldn’t mention Jason without adding something derogatory about getting himself killed, which sat so, so wrong with me. Not to mention the Titans just accepting a new Robin right off the bat and joining in blaming Jason for his own death. I’m pretty sure that was the point where I swore off comics for a long while and decided to live off fanon 🤣

And then Jason’s part in the Titans Tower incident. I think part of how weird the canon event was is due in part to how the writers fumbled to depict trauma? Or maybe they just outright hated him because I know a lot of people back then despised Jason and his run as Robin.

Whatever the reason, I think I genuinely cringed when he revealed the Walmart Robin costume he was wearing. And then the trauma dumping.

Jason is smart enough to know Tim wouldn’t care about his grievances. I mean- dude just broke into his hideout to attack him, I think Tim’s about as done with Jason as with any other criminals, regardless of his past. And all that is proven by Tim fighting back tooth and nail without pause. He doesn’t even react to the accusation of the missing statue in Jason’s honor. Like, he genuinely doesn’t seem to care. And why would he? They don’t know each other.

And yeah maybe he was trying to beat some sense into Tim (which is still wrong but— vigilantes I guess? Idk) and make him quit Robin, but Jason’s also smart enough to know that Robins don’t quit easily. And then, as soon as Tim is down for the count and can’t keep fighting, Jason leaves. Just like that. No actual murder attempt, no kicking-while-he’s-down (at least as far as I remember).

It makes no sense. What would Jason be gaining from that encounter? Why would he blame the kid that replaced him and not the guy that did the replacing? Hell, it would make more sense for him to go after the Titans than Tim. Not the mention him casually doubting Tim’s talents when he must have done some background checks on him.

It’s why I like the idea of Pit Madness I guess, and that Jason actually went to the tower with the intent to kill. Because that way the entire thing wouldn’t seem so… pointless.

As for how flexible I am with the Titans Tower storyline, it really depends on the route people choose to explore. But I’m a huge sucker for the ��Jason was Tim’s Robin” trope where there’s at least a mild amount of hero worship going on. 👁️ Oh, and happy endings. I can’t deal with tragedies.

But yeah these are my thoughts on it. Obviously no hate to whoever enjoyed the comic mentioned above 💚 we’ve all got different things we resonate with after all~

[throughgoalsandbaskets]

i have an idea i think is cute/cool, feel free to ignore of course!

can i get fluff hcs or a drabble of a yandere solomon w a willing mc who trusts him blindly and trusts no one else?

Super short, I wrote this during class :(

Also super sorry this is crazy late, I've been on a tight schedule and haven't had the time to sit and think about how I'd write this so it's rushed and messy, I may come back to this and edit it to be longer in a few days

Also this is less yandere and more possessive, mainly because I don't see him as a very violent yandere, more just possessive or manipulative

yandere!Solomon x trusting!darling

Brief warning for mentions of body horror to a child (made up story by the slimy bastard /aff)

★—–-

"Mammon tried to make a pact with me. Said it was to keep me safe."

A still pause occurred.

"And did you?" The sorcerer's eyes raked over the room to your curled up form, sat on the bed with a blanket in your lap and book in your hand.

The sigil on the back of your neck burned with the masked fury of the immortal, and you gave a snort despite the discomfort.

"Who do you take me for?" Silence envelopes the room once again as Solomon blinked before smiling eyes narrowing a sliver. He nods in silent approval as he stands from his chair.

A hand ghosts the back of your neck, and the magically tattooed figure on the skin soothed as his anger dissipated. He hummed and cupped it, your head bowing along to accommodate the action.

"My good, adorable apprentice." You shudder softly.

Yes, that's how it'd been for quite some time now. Sure, it was wrong. You weren't stupid. But you merely didn't care.

Chapped lips pressed into. Yours with a thumb tilting your chin, and your eyes shut as you feel the familiar warmth of a spell being cast on you. Solomon never told you what it was. That's how it always was, and how it'd always be.

When the kiss ended, the warmth faded and settled deep into your bones. You'd come to associate this particular warmth with protection.

The sorcerer was all yours, and no amount of prying or pushing from otherworldly beings such as the demons who'd kidnapped you or the angels who were too kind would ever have him slipping away from you.

He certainly wouldn't let you go without a fight, anyways.

- There is no doubt in my mind Solomon would be a casually possessive yandere. He'd thrive if you were so trusting towards him, and would get a power trip if it's only him you seem to trust

- I like to imagine he'd have taken advantage of the immediate mistrust that came with the whole "summoned into another world by stranger demons who claim this and that" to swoop you off your feet. After all, wouldn't you trust the only human around?

- the sigil on the back of your neck is like a pact I like to think, something he has to mark you as his. It burns and warms with his emotion like one, too, so if he's mad it'll get uncomfortably hot and if he's happy, it'll simmer down

- he'd definitely cast magic on you without telling you what it is, though. I picture him doing anything from tracking spells to minor love spells (as needed if needed at all) to wards to get otherworldly beings to back off

- you probably still live at the HoL officially, but you definitely spend your time with him 24/7

- after all, who knows what those rotten demons may do to you if you're not kept safe and sound? You certainly don't trust the people who kidnapped you, and Solomon feeds into that by sharing stories of all the bad things demons have done to him and others

- speaking of, he'd probably not be the kind of yandere to get his hands dirty, I imagine he'd wind up probably being a lot more manipulative and let his magic do the trick

- oh, a demon offered you something that was supposedly human safe, but you didn't take it anyways? Smart choice, has he told you of the time one of those pathetic monsters offered a child candy that melted the poor kid's insides?

- he'd be possessive, manipulative, and would definitely twist stories to keep you relying on the only human around— him

[gemstone-roses]

Christmas fic party request:

Where reader is an fbi tech (post red John) and shoots her shot at Jane at the Xmas party. Smut. Lots of smut. Very comforting because I just imagine him being SO lovely. Age difference mentioned.

Patrick Jane x female reader

Summary: your feeling brave, the man you’ve been pining for is older than you, surely he’s not interested in you, right? Smut. 18+ only,protected sex, praise kink, lots of praise, eye contact , so much praise ugh I’m mad for this man okay! I’m begging people to send in more requests for him 🙏🙏

Warnings: explicit smut, 18 plus ONLY. Smut, protected sex, praise kink x10. Fingering. Pet names, Minors be gone from here!

A:N - I’m super proud of this one. Thankyou for requesting I hope you liked it 🥹🥹please feel free to request more for Patrick Jane too!! ❤️

The wince on your face as you glance around the room is prominent. You only came tonight for one reason. And he’s not here.

Your colleagues are busy getting merry, rigsby and van pelt wearing matching Christmas jumpers and paper hats. The music is so loud you can feel it coursing through you.

Jane had seen your mood dip around the holidays and he had made you promise you would at least show your face. You agreed solely because he said he would accompany you and your heart fluttered at his offer. The small touch he left on your elbow, the reassurance in his face when he said ‘I’ll be with you the whole time’ had you screaming internally.

You weren’t the newest member of the team, but you were quite a bit younger than Jane, and as he is so observant you did your absolute best to keep your crush on him secret.

It had been a long few years.

Fed up of the party, you duck out and find yourself wandering straight into something tall and hard.

Patrick

“Oh shit I’m so- you start, blinking at him as you try and play it off.

“Are you okay?” He asks rubbing your arm soothingly.

It seems your brain has short circuited as you just stare at him, he looks good, so good.

“Hey” he says softly, moving his hand to cup your face.

“Hey Jane” you squeak out, praying he can’t tell how flustered you are.

His brows crease at you, his thumb runs across the curve of your cheek and you cannot take this anymore so you bring your hand up to connect with the hand that’s on your face.

His eyes bore into yours as you wait for him to pull his hand away.

But he doesn’t.

“Jane, I- I need to tell you something I - you whisper closing your eyes as you speak.

“I know” he says lowly

“You what!” You say, horrified, eyes shooting open as heat rises to your face.

You try and turn away but he stops you, hands flying to your waist, gripping tightly.

Your lips part slightly as you take in the man in front of you. He smiles, leans forward and

Runs his thumb across your lip and once again your brain short circuits, you think you might die right there. There’s no way he doesn’t feel the way your pulse starts picking up and your eyes blow wide at his action.

“Jane?” You ask, voice cracking

“Yeah honey?” His voice slightly deeper, it makes your pussy clench and your heart soar.

“I love you” you say, and for a moment you panic thinking he doesn’t feel the same and then he closes his eyes and sighs, before pulling you in closer

“You don’t know how long I’ve waited to hear that” he growls.

He searches your face for any kind of hesitation and you nod, he smiles as he shakes his head.

“Use your words my darling”

“Hurry up and kiss me, please” you whine,

Your breath hitches as he cups your face again and brings his lips to yours. His lips are soft, he presses into you as he deepens the kiss.

You can’t help but let out a moan as he presses into you, it’s comforting, safe, and leaves you wanting more.

“Patrick” you whisper, as he reluctantly breaks the kiss, his hand comes back to cup your face, finger stroking slowly down your cheek.

“You okay?” He checks.

You nod a bit too quickly, and he chuckles.

“Shall we, go somewhere more private?” He whispers as he leans in to place a feather light kiss to your neck.

“God, yes” you mutter. He grabs your hand instantly and leads you up to his room above the office.

“It’s cold in here” you mutter as he shuts the door to his living space, instantly his arms are around you again, catching your lips in a searing kiss he cages you against the wall. One of his arms rest on the wall, the other tracing down to your waist. Your chest heaves as he teases his fingers up and down underneath your shirt.

“Please” you whine and he smirks, dipping his hand beneath the waistband.

“God your dripping” he murmurs rubbing your throbbing pussy through your panties. You clench your thighs together at his actions, and his words.

“Jane” you croak, desperate, needy.

“I love the sound of my name falling from your lips” he breathes, making you look at him before moving your panties and sliding in a finger.

It’s agonisingly slow, and of course Patrick can tell your getting frustrated with his teasing.

He speeds up a bit before adding another finger, your walls flutter around his fingers.

“Mm, Jane fuck” you whisper, he increases the pressure and starts to curl his fingers up as they enter you. His thumb comes to circle your clit and he catches your moan with a kiss.

“D-don’t stop” you moan as he presses his thumb into your clit as he curls his fingers hitting your G spot.

“Oh OH god” you whine

“That’s it honey” he soothes, breaking the kiss as your walls clench around his fingers.

“Jane” you say as you feel your orgasm approaching

“Come for me, that’s it, good girl” he says as he curls his fingers once more and you see stars as your orgasm crashes over you.

He holds you steady, fingers lazily pushing in and out of you as he fingers you through your orgasm.

“You okay”? He whispers placing a gentle kiss to your forehead. You nod and he pulls you into his embrace.

“God that was- incredible” you pant, leaning in to give him a kiss.

He pulls you gently towards his bed.

He pushes you gently and you fall back

“Lie down” he whispers, he’s out of breath and it’s so arousing you can’t help the throb that courses through you.

Patrick unbuttons his suit jacket, hanging it up on the chair he climbs on top of you. Once again you feel safe within his presence.

His arms come to rest on either side of your head, he looks down at you, a soft smile on his face.

“Stop it” you say, trying to turn away from his stare.

“Don’t, don’t do that, your beautiful, let me see you yeah?” he tilts your face to look at him, as if you could love this man any more.

“Would you like to stop?” He asks and his face tells you that he would not mind one bit if you said yes, which just makes your heart pound faster in your chest.

“No, I’d very much like to continue” you say. And Jane runs his hand across your face, smiling.

You can feel Jane’s cock pressing into your leg through his jeans and you shift your hips slightly. He sucks in a breath as you sit up to undo his belt.

You do it slowly, payback. But it doesn’t last long as he ends up pulling it off himself before guiding you to lie back down.

He stands up and removes his pants before coming back and resting his hands at the top of yours.

He waits.

You nod.

He pulls down your pants and can’t help but moan at the wet patch in the middle of your underwear.

Your breath hitches as he leans down and presses his lips into your clothed pussy and hooks his fingers in the line of your panties and pulls them down.

Jane frees his hard cock from his boxers and it springs up against his stomach. A drop of precum glistening on the head.

You clench your thighs at the sight. Jane reaches for the condom under his bed and rolls it down.

He pumps his cock a few times before lining up with your entrance.

You breathe in as you prepare.

Jane’s hand find your clit once more,he watches your face as his fingers circle your clit. You relax slightly as he continues his actions.

“Hey” he says softly

“I’m okay” you say.

“Take a deep breath for me darling” he places one hand on your lower stomach and the other wraps around his cock.

You do, and he slides his cock into you, slowly.

“Good girl, keep breathing for me” he soothes as he pushes his cock all the way in. Your breath catches in your throat as he pushes deeper into you.

“Keep looking at me” he says and you throb around him.

“You’re doing so good for me” he praises as he goes to rub your clit again.

“Patrick” you whisper

“Can you- I need you to go-

“I know, I know” he coos, rubbing your hips with his hand,

“I’ll go slow, I got you” he soothes before thrusting into you slowly. One of his hands is still splayed across your stomach.

“Mmhm” you whine.

“You feel so good around my cock like this” he says, pushing his cock in and out, he feels you clench around him as he speaks.

You close your eyes as he angles himself a little differently, still thrusting slowly, but his cock is hitting your g spot.

“Patrick- fuck” you choke out.

“Mm, you make the prettiest sounds” he breathes, every moan out of you sending him closer to release.

He moves his hand from your stomach as he reaches for your puffy clit, gently applying pressure as he thrusts into you.

“Patrick, I’m-

“Look at me, good girl, come for me, come all over my cock” he encourages as he presses into you again.

You hear him groan just as his cock twitched inside you and your pussy clenches,

Your toes curl and you see stars as your orgasm washes over you. Your ears ring as you hear muffled praise falling from Patrick’s mouth as you come down from your high.

“So good for me, you did so good, you’re incredible my love” he soothes, rubbing gentle circles into your hip.

You whimper underneath him. He places his hands on either side of your face.

“Jane, that was - god that was perfect you say a lazy smile painting your face. A big smile lights up his face, “I love you” he says, placing a gentle kiss to your lips.

“I’ve wanted to say that for a very long time” he admits.

“Me too” you say shy all of a sudden, turning your face from him.

He tuts

“No honey, what did I say about doing that, now, I’ll get you a warm towel and some water and I’ll be back in a moment” he soothes as he gets up.

And you, couldn’t be happier.

[marzipanandminutiae]

ok yeah I'll bite what the fuck was Diane's problem because holy SHIT

What The Fuck WAS Diane's Problem, indeed. I lost contact with her since I quit that hellhole, and I'm not sorry. (Please picture a petite, thin, golden-blonde white woman around age 50 wearing high-end boho/athleisure clothes.) But her Fun Quirks included:

being like. weirdly dedicated to our crappy retail job at a company run by a former real estate bro. we sold fancy stone tableware and got commission, so she would hang around after her shift in case someone she'd talked to earlier came back to buy. to make sure SHE got the commission from the sale. we each had individual passcodes for the register, so she could clock out at the correct time and still get sales credited to her. a few times she got mad at me for "stealing" her sale (read: ringing someone up who she'd previously talked to, like an hour into my shift)

pushiness. EXTREME pushiness. she had amazing sales numbers, probably because she wouldn't take no for an answer. I once saw her chase a man down who had walked away from the shop, because she'd chatted with him but he hadn't bought anything. she chided me for "letting him walk away" afterwards

toxic positivity. I once commented, during a shift change, that the market where we worked seemed slow that day. with a big sweet smile, she told me to NEVER say that because we needed to be giving off positive energy that we'd get lots of sales. um. okay

as previously mentioned, being super-pumped at the idea of our boss taking our stool away and mad when I pointed out that that was, how you say, literally illegal in our state (because "nobody needs to be sitting; it doesn't look welcoming!")

her email was something like DianeLastnameSolutions@gmail.com. very business-y. I asked what her other job was. turns out that was just her personal address; she didn't have a business or a side gig or anything

She let everyone think she was a manager. We didn’t have a manager; just the owner and the salespeople.

She tried to gaslight me into thinking she had been there as long as I had (she hired on a year after me) and therefore had seniority. Again, none of us had power over each other

the stealing from the register thing, which was just bizarre. at 23, working my second post-college job, I was desperately trying not to get in trouble; at 31 I would stand my ground more. In short: the exact amount I’d taken in cash went missing a few hours into my shift, when Diane was hanging around as usual. She knew where we hid the register key when we went to the bathroom, nobody would have looked askance at her rooting around in the stall, and when I called her panicking after mid-shift drawer count, she was ADAMANT that I must have forgotten to take the cash from all three customers who had paid me that way.

To the point where, when I called the boss to report the incident and hesitantly said “I think I might have forgotten-“ she barked at me “NO. YOU KNOW. YOU KNOW THAT’S WHAT HAPPENED. YOU DON’T THINK; YOU KNOW.”

I did not fucking forget to take cash from three separate customers and if this happened today, her response would raise a huge red flag for me

There was no camera on the register area so I could never prove anything. But money went missing from the drawer “overnight” after two other people’s shifts, who hardly seemed like thieving types, and Diane was all too ready to cluck over their alleged crimes. And since she was always gunning for more shifts…I don’t know. It was just very weird.

She ultimately got her wish when almost everyone else quit- and then became burned-out by manning the stall single-handedly. Womp womp.

[elliesspacewalker]

would you write something more on the cuter fluffy side? like baby ellie and reader being friends, maybe reader being supportive of ellie trying to help her somewhat? just them being cuties.

Yess!!

Warnings: pure fluff, mentions of suicide, transgender!Ellie and mentions of gender dysphoria

(p.2)

-

I feel like Ellie would be super emotional about coming out as trans, I think she would think people would think of her differently. Obviously this isn't true, you, Dina, Jesse, cat, and everyone around her loves her so much!

I definitely think she'd cry a lot about it too, you'd definitely catch her crying for "no reason"

"Ellie hey? Why are you crying?" You'd comfort her and hold her as she sobs into your shoulder, moving a comforting hand to rub her shoulder as she sniffles "I don't know" she attempted to calm herself down "Ellie- breathe, please" you put your hand on your chest and breathed in and out, and she starts copying what you're doing "good job, it's okay" she calms down and brushes it off, obviously you weren't happy about it but she did calm down, she was OKAY and that was the point-

I also think she'd spend hours looking up gender dysphoria and thinking there was something wrong with her- that she wasn't normal and there was something severely wrong with her. After months of thinking she calls you over to talk to her, obviously you prepared for the worst because she never usually asked for you to come over and just talk to her because she wanted to kill herself- you could tell by her voice that shes been crying a lot.

It takes you not even 10 minutes to get to hers to see her tear stained cheeks.

"Els? What's wrong baby" you asked her, and she pulls you in for a hug "I think there's something wrong with me" her voice cracks as she holds you tight.

"talk to me Els, what happened?" Your voice is soft, so she knows you're not mad or angry, you're just concerned for her.

"i-i think I'm trans" she mumbles out, now standing in front of you. "Is this all you had to tell me?" You cup her face and wipe away her tears, you almost start crying after seeing her in so much pain "it's okay, I promise" you comfort her

"I thought you'd hate me or something" she sniffles.

"now, why the fuck would you think that?" You chuckle, "I love you for you Ellie and if you want to be a girl then that's who you are babe. no one can tell you different"

After that she came out to everybody except Joel, she's always gone to him for her problems but this felt personal and maybe he would reject her even though she knows he never would.

Until one night Joel misgendered her and she became really insecure about herself.. she barely touched her food and barely talked until Joel asked her what was up and she mumbled 'im trans' and Joel just looked at her, obviously shocked by this but he wasn't mad- Ellie saw this and thought he was mad and immediately broke down crying and Joel comforted her to tell her it was okay, and that he wasn't mad.

"I'm just mad you didn't tell me, I would've called you she if that's what you really wanted... You could've just told me Ellie" he says to her and she wipes away her tears "I'm sorry" she mumbled out "it's okay, I promise" he hugged her tightly..

-

After that, everybody started calling her a she instead of misgendering her and she definitely gained a lot more self confidence from this.

-

A/n: pretty short but I am thinking of making a series about this.... And about my own experiences

[dark-side-blog3]

How would you rank the six Jojo leads from the OG continuity from worst to best to end up with?

I'm gonna take this as an add-on to the would you rather game from before, so the answers will be super self-indulgent, and yandere.

Short answer is I would prefer to end up with none of the yanderes, at least not the jojo's. But in terms of damage, I suppose Jonathan is the safest, and Giorno is the worst. It should be Jolyne because Stone Ocean is more dangerous, but Giorno skeeves me out more. Jolynes only so low because everyone around her would instakill me.

+++++++++++++++++

Jonathan is a milk toast of a man. He's unthreatening, because of his noble code. If I got isekai'd, the worst Johnathan could possibly do to me is just have me associated with him, because Dio would fuck me up just to mess with him. In which case, I'd either have to avoid Jonathan so hard Dio can't target me, or I'd have to glue myself to his side so he could protect me from Dio. Which would be what feeds into his tendencies, but they're not really dangerous, so I suppose I'll just have to suck it up.

Joseph is funny and charming, and in earlier parts, he's cunning and witty. He leans heavily into the bad boy heartbreaker persona, so the idea that he's going to be possessive of his partner wouldn't seem out of the ordinary. And all of these would make him the match if it weren't offset by the cheating. How Suzie didn't kill him, I don't know. Her patience is infinite. I, on the other hand, would kill us both. Until then, he wouldn't be too bad.

Jotaro and I would fight way too much. He only wants to talk about his interests, and I can't shut up about my interests, and there is zero overlap between the two. There are only so many times I can endure a Clint Eastwood marathon, and there are only so many minutes he'll let me talk about pinnipeds or linguistics. I couldn't care less about the actual crimes he commits, but the clash of interests would be what makes him the (second) most unbearable.

Josuke has never faced long-term interpersonal consequences to his actions, which means that he'll be genuinely surprised if I stay mad at him after a fight. He nearly beat Okuyasu to death and they're best friends. He punched a hole through his mom and never got in trouble. So why am I still mad at him a week after a verbal fight that didn't even get violent? The world will never know (I will tell him every day, he just doesn't want to hear it). The only reason I wouldn't try to piss him off too much, like saying I got isekai'd and I can't stay in Morioh, is because I've seen Angelo. I choose to not be a fucked up rock Josuke does shameful things with.

Giorno is fucking creepy if you don't hear his internal monologues; which if isekai'd, I wouldn't be able to. I'm with Abbacchio on this, I don't trust this motherfucker. He just stares as people get injured in front of him, and waits until the last possible second to help them, and he's so obviously scheming behind those eyes. I would avoid him like the plague, even if I somehow got involved with the mafia. He's just so... Weird. And calculating. Giorno isn't the only smart jojo, but he is the most intimidating for his intelligence. The vibes are just so rancid on him... I'm throwing myself into the Tiber before I enter this narrative.

Jolyne is a puzzle. I'm not sure what I'd do if I got isekai'd... Do I avoid her and avoid the ire of Anasui, or get my ass beat by the enemy stand users literally everywhere? Not to mention the regular people who just happen to be in a supermax, who will probably prey on me for being an easy target. I'd be totally lost in terms of what to do. At least with the others, there's a hope of escape, or playing my cards right to utilize them. But I don't think there is a good strategy with Jolyne except carefully slotting myself in the toxic friendzone, and hoping for the best. At least it shouldn't be impossible to do.

[ketterdamskaelishprince]

lenore and the yellow wallpaper (a ramble)

so this is all one entire big and large ramble session from me, so ignore if you want because this has no actual point, and i also haven't touched the yellow wallpaper since i handed it in with my coursework so i'm bound to get things wrong. this is no high-brow analysis, this is just be rambling. i've finally gotten the courage as well to go on the big scary tumblr and speak so be nice please :)

anyways, now we have that out of the way– i bring you my observation.

so i've been rereading nevermore (because i am deep in the trenches of my hyperfixation on it right now and have firmly planted myself there) and i noticed something in episode 21 that i remember noticing the first time.

just for a recap, episode 21 is when they're facing the dementophobia trial, and lenore has gotten herself sucked into a hallucination. through this, we (presumably along with her) are shown parts of her past, and the fallout of her brother dying. in a long scene, we basically see the attic which lenore is forced to 'rest' in.

sorry if this is like an obvious tell, but my little rat brain was vibrating out of my seat to say this.

well, first off, let me just give you a little summary of the yellow wallpaper. we have this nameless woman (who's married) who's also our narrator, her husband: john who's a doctor and we also have john's sister: jennie. jennie isn't too important in the summary but she exists and stuff and there's loads of journals out there probably that could tell you super interesting things about her role in the story.

anyways, i digress. the narrator has been diagnosed with slight nervous tendencies and is given the rest cure therapy as treatment. she ends up slowly going insane in the attic (?) which doubles as a nursery, and there's this fugly yellow wallpaper, which the narrator comments to be basically like a crime to art and to colour in general. anyways, the more she stares at this wallpaper and the longer she stays in the attic, she starts to see a woman behind the wallpaper– and the short story ends with her ripping the wallpaper off and freeing the woman but then also, the story ends essentially with her throwing herself out of the window of the attic and yeah, suicide. there's like allusions to the woman behind the wallpaper and her being one at the end, but WE AREN'T FOCUSSING ON THAT, i've rambled enough.

anyways, how does this all link to nevermore?

THIS PANEL RIGHT HERE.

idk, the act of ripping off the wallpaper just distinctly reminded me of the yellow wallpaper, and i have no idea if the creators drew inspo from the yellow wallpaper for this or if it was one of poe's works (i'm not heavily versed in all of his works, but i have a collection of his stuff i should probably sift through and read). but yeah, thought it was cute.

i know thematically they probably vary, but there is something to be said that both of them are in a situation where society wants so badly to silence them and punishes their defiance with the diagnosis 'madness'.

i dunno, just a nice little thought. there's also the whole rest cure therapy too, and the fact that they're both in the attics of their homes– and i presume lenore is in a secluded countryside place here like the narrator of the yellow wallpaper is. so, you know– other connections!

also, as a side note–

this bad boy right here? ether? well some ether smells sweet, so i thought maybe (as a very dumb end to this ramble) that maybe, lenore associates the sweet smelling scent of what she used to be knocked out with to the sweet scent of flowers– i have no idea if that's why she hates flowers but i thought that was a fun little mention. food for thought, you know?

anyways, if you disagree that is totally ok, i truly don't know what i'm talking about half the time, but this has been bouncing on my tiny brain for the past few days and i decided i needed to let it out before i start plaguing the people i know in real life with my obsession. and also, friends, feel free to correct me if i'm disgustingly wrong on anything– i love to learn <3

and... yeah, that's all folks. gonna go rot now :)

[repairgirl]

michelle || leo valdez x fem!reader songfic

a/n: #2 in songfic series! song: michelle- sir chloe

t/w: alcohol, cursing, substance abuse, mention of vomitting, super smutty and super nsfw

word count: 1.2k

You swayed back and forth to the boom boom boom beat of the music, sipping the raw, bitter alcohol. Travis's party was just what you needed: shots, random boys you didn't care about to grind on and distract yourself with, getting blackout drunk, and basically anything to make you get your mind off of him.

Just thinking about his name made you want to vomit. You were reminded of walking in on him with that other, terrible, Nemesis girl, the half-assed breakup, never getting closure, and endless nights of sobbing and feeling sorry for yourself. Two weeks later, and his words were fresh in your mind like a fresh cut he had just re-opened yesterday. You drank more, feeling dizzy, praying the alcohol would numb your brain.

Fuck him, anyway. You'd show him you could do better. 

"Woah, calm down," a random boy said, approaching you. The darkness and flashing lights of the cabin made it hard to see his face, so you could barely make out his gleaming brown eyes and sepia skin. "You might wanna be careful with that much alcohol."

"You don't know what's best for me," you snapped, your words slurring. The bass pumped in your ears, making your head feel like it was going to explode. 

To your surprise, the boy laughed rather than acting offended. "Okay, I guess you're right. I shouldn't be talking, anyway. I just finished shotgunning this beer,” he answered, showing you his tattered-up Natty Lite can.

Lightheaded and unphased, you allowed yourself to plop on the tattered sofa, the boy crashing next to you. His breath smelled of beer and straight tequila, and you only imagined that yours did too.

"Why?" you asked, inching close to him. His hand rested on his thigh, barely grazing yours under your ripped denim shorts. 

"Why what?"

"Why do you drink? I mean, we all drink for a reason. We're either mad at someone else, or ourselves."

He paused, tapping his leg. 

When you got drunk, you got angry and philosophical. Mad at the world, hyperaware of everything wrong with everyone, the reason why many people couldn't handle you drunk. The reason you usually drank alone. 

The boy leaned back, resting his head against the seat. "I'm lonely. I'm fucking tired of being the seventh wheel, and always feeling like everyone's life is better than mine."

"Hey, I'm lonely too."

"You?" he asked. "Once everyone heard you were single again, they all wanted to get with you. Thought you would even be taken by now."

You scowled. You hated your reputation at camp: the pretty girl who everyone thought they could take advantage of just because she was from Aphrodite. You were tired of being treated like a sex object, especially by your ex, and you wanted to prove them all wrong. "That's exactly the point. All anyone ever wants me for is my body. But apparently even that wasn't good enough for... him."

The boy paused, almost looking sorrowful, and like he regretted saying anything. What was that look he was giving you? Pity? 

"He cheated? I'm sorry... That's rough."

"Yeah, but it's whatever. That's why I drink, anyway," you said, gulping down more of a Coors bottle someone handed you. He looked concerned. 

"You and me, we're opposites. I have to rely on my personality to get me anywhere. All my friends have amazing good looks to rely on.  I have to work for that shit, to even be slightly noticed."

The strobe light shined on him, and you could see his features more clearly this time. Unsure of whether it was you or the alcohol speaking, you noticed his chocolate brown hair, beautiful curls you wanted to pull. 

Most guys repulsed you, especially after the breakup. You wanted them to get their hands off of you, because no one felt right the way your ex did. But every move this boy made, every hungry look he gave you, all of that just made you want him more. He made you feel different. 

"Then we would fit together perfectly," you said, inching towards him. 

He moved his hand to your thigh, rubbing your leg with his thumb. The lights dimmed as the party entered its peak, and the sexual tension between you two increased. 

The boy inched oh-so-slightly to the left so that his hot breath was on your ear, close enough to bite it. "Maybe we would."

Agonizingly slowly, he put one hand on your waist and used another to cup your face. You stared into his eyes, mesmerized by his gaze, your ears and head buzzing from the alcohol. Finally, you both shared a drunken kiss. You didn't even think about what you were doing.

He gripped your waist, and you climbed on his lap. He bit your lip, then sloppily put his tongue in your mouth, not bothering to ask for permission to enter. You kissed back, your tongues swirling together, making out like you were running out of time, running away from the world, running away from your ex, running to each other. 

Once you slowly started grinding on him, he pulled away and whispered in your ear. "Let's take this to a room." 

Once you got to an empty room, the boy twirled you around and pressed me against the wall. He tightened his arms around your waist, and you wrapped your arms around his neck, having to stand on your tiptoes. You pressed your body as close to his as possible, sticking your knee in between his legs for extra friction. 

"Jump," he growled.

You did as you was told and jumped up so you were face to face, straddling him. He connected his lips with yours and squeezed your ass as he held you, making you moan into the kiss. 

You urgently ran your fingers through his hair, feeling his curly locks. You grinded into him, and he moaned into your mouth.

He set you down and pushed you onto the bed, never letting your lips disconnect. 

One you were on the bed, him towering over you and shoving his tongue in your mouth, he finally put his hands under your shirt, feeling and squeezing your tits. He grinded his member against you, and you shivered in delight, running your fingers over his well defined muscles. 

He started trailing kisses down to your neck, trying to find your sweet spot. Once he did, you let out a loud moan which you had been holding in, which of course only encouraged him to suck harder. Once he was done covering your neck in red spots, he pulled back, giving you that lopsided grin, then he finally hungrily kissed you again. 

Whatever you felt- buzzed because of the alcohol, eager to get a rebound to prove your ex wrong, or solely just sexual attraction, you knew it felt right.

He was taking off your shirt after already discarding his on the floor when you stopped him.

"Wait," you panted. "I don't even know your name."

"Leo. Leo Valdez," he responded, and as he did, you watched his lips, wishing they were back on yours. "You?"

"Y/N L/N."

Leo trailed kisses down your chest, seductivley looking up at you with hungry eyes.

"Y/N L/N, you are a monster from hell."

leo valdez taglist: @slytherindaughterofposeidon0​ @persephil​ @mmmelanie-blog1​ @blue-violin​ @goldengoddess​ @dee-zbignuts​ @animes-trash​ @nottherealslimshady​ @cellias​ @lovemss​

[haematoclan]

Raph's sense of responsibility

every time i see a headcanon that Raph was the one to rise his brothers instead of Splinter or that he was forced to grow up and be The Responsible and Careful One since he was a tot i just remember the moment where small Raph took the family heirloom teapot because they couldn't find a ball, yelled to Donnie of all people to "Go long" and chucked it at him with his full strength 😭

or the whole Turtle Tots short where he basically made/encouraged them all to play with dangerous, very real weapons and the moment Splinter was off their hair he did it again!

i don't think he's that anxious and burdened by responsibility... yet, at least. like, I'm pretty sure he had a lot of space to be a kid and have fun, despite their whole situation. i mainly think in the past he just assumed the role of the leader as default due to his oldest status and just liked to take charge while playing and not because he had a deep sense of responsibility since day he was born?

in the short he's not the one to step up against Splinter, and in the flashback he isn't the one to repair the teapot that he shattered, nor to damage control the situation, which kind of shows to me Raph had some growing up to do (which is understandable he's a kid after all!) and it also shows that he's not the only one to take charge, the responsibility is not solely on him! and I don't doubt Raph kept encouraging reckless behavior in himself and his brothers through the years!

like. this boy is an adrenaline junkie and loves roughhousing with his brothers! probably more than they all combined, his Cain Instincts are honestly off the charts!

(and i think it's worth adding he doesn't seem self-conscious about his size and spikes, nor his strength, while playing/attacking them).

seriously, even Mikey isn't free from Raph's roughhousing, he might be overprotective of the youngest but that doesn't mean it will safe Mikey from Raph's wrath!

i do however think that he was forced to grow up in the span of the show very fast. just not that much as a small kid (though just to be clear, that's still tragic, being forced to grow up at the age of 15/16 is still too early). i don't think it was because of Splinter's neglectful parenting. or well, at least not completely directly because of it. as absent as he was, Splinter was still trying to keep his sons away from mystic stuff and dangers of the world.

Mad Dogs started their hero business mostly thanks to a coincidence because Raph saw Mayhem in the first episode.

thanks to that they gained their super cool weapons and saved Mayhem, which probably made Raph feel good about himself (helping other tends to make you feel that way)! not to mention he got to beat up some villain, just like heroes he grew up with! he probably felt confident, powerful, full of adrenaline and happy, which i think instilled in him this idea of becoming a Hero.

and at first he didn't really understand what he was getting himself (and others) into, or even thinking about potential dangers being a Hero could put them all in.

I don't think Raph took the role as family's protector too seriously up until Bug Busters (a.k.a. Leo being thrown off the roof). i think him unlocking his power back then could be kind of symbolic of him "growing up", being forced to really see what could happen to his family because of his idea of becoming Heroes

and then he became more serious about this stuff. (and even then, he still had moments like for example, not showing to Splinter's important mission in Insane in the Mama Train)

(the rest of Mad Dogs kept treating the hero stuff as a side hobby at most though (and honestly why shouldn't they? they were 13-15)).

in conclusion... i get where the headcanon that Raph was responsible and anxious since the very early childhood comes from, Splinter doesn't give off an aura of responsibility or being a very present parent and it seems logical that Raph would pick up Splinter's slack, but I swear we should give Splinter and the rest of Mad Dogs a little more credit! i just (personally) find it more interesting to see Raph's ascend into being the Responsible Leader as a complicated and non-linear, slow journey, because that kind of shows better the growth and character development he had to go through in the show

[sozzledjuja]

Pappy and The Staff: Thoughts on the Twins' Past

Following up on my previous post,

This scene in Lucky Star was super short and not that meaningful, but it was literally the ONLY time in the show where the twins mentioned something about their past or family (if you don't count the time Mephisto got hit in the head by a lobster crystal monster, and started asking "mommy" when they were going to the merry-go-round or whatever)

So they got a special powerful artifact in their family that is only passed down to the men. mmhh

Which could mean nothing, I know. Maybe it has nothing to do with misogyny, and it's simply a "harmless" family tradition. Maybe the female line in their family also has stuff they pass down, and this was just a regular Praxina moment because for once she couldn't have something her brother had. Which is a very sibling thing to do actually. Also, she was definetly jeaulous in this scene. And maybe a bit mad (hurt??) he didn't tell her about it.

Or maybe not. Who knows.

Plus, Mephisto rubbing salt in the wound, you gotta love him.

Still, this moment is definetly giving "Whoever Pappy was, he liked Mephisto better, and Prax is still bitter about it" vibes.

I think I heard somewhere that Pappy was their uncle (did he just visit sometimes?? did he live with them??? who knows) and if he has the staff, he's probably their mother's brother, or their father's older brother, who didn't have sons. That would make Mephisto the heir of the staff.

Totally unrelated to the original point of this post but that man was definetly the fun uncle (he was a court jester, c'mon) and he DEFINETLY preferred Mephisto over Praxina. Like, 1) the boy was gonna get the staff from him so it's obvious he would want to teach him and spend more time would him, 2) as a court jester, I'm assuming he preferred Mephisto's more bumbling personality, and 3) homegirl Praxina was not happy at all when Mephisto talked about the staff's origins, and she spoke about the man with a lot of disdain (mostly because of his position. which could also be her rejecting her family's "lower" or "unbecoming" status). also she was clearly jeaulous. So definetly not a big fan of him.

We know she's "always been an overachiever", as Mephisto put it in Home Pt1, while being yeeted into the stratosphere by Amaru, so i imagine she was already pretty good at magic when she was younger (good for her age, and better than Mephisto, at the time). And I headcanon she also wanted Pappy's approval at some point, and he... well- didn't care for her that much/as much as Mephisto.

To be fair, Praxina definetly strikes me as being that one child that works really hard to be impressive, but the adults around her are just like "Eh- that's nice. Anyways look at the other one who just did a cartweel and fell face flat into the concrete, omg awwwwww, so adorable and fun".

I don't think she was ever very "socially adept", I mean we saw Forget You!Praxina, and she was a social disaster. Maybe she didn't really know how to connect with people very well or people found her to be too abrasive or difficult to get along with, so she just- convinced herself she didn't need anyone else anyways.

Nothing too dramatic, but it can really shape a child.

And then Gramorr came along and their family went POOF somehow, and suddenly magical ability was all that mattered and not how "likable" or "sociable" you were, and it made her feel validated in a way. Maybe that's why she seems more interested in taking over Ephidea than Mephisto.

Maybe deep down she thinks that she's just naturally "unlikable", so it's easier to be "evil" on purpose, because then at least people have a reason to dislike her. She doesn't want to acknowledge the fear that if she did ever try to be nice, or to genuinely be herself without filters, she isn't sure she would ever good at it or accepted.

Or maybe this is just cause she gives me Azula vibes and I'm trying to project my Azula obssession onto her but whatever. MOMMY ISSUES. And UNCLE ISSUES. FUCK YEAH.

And the opposite goes for Mephisto, who Gramorr seems to have less patience for, despite him seemingly being at an even magical level with his sister.

Because while I think Praxina's struggles and insecurities come from a difficulty in forming connections, I think Mephisto's own issues also stem from comparing or being compared to her in terms of magical ability, cunning and ruthlessness. Which could've come from the parents (though we don't know anything about them or what the family dynamic was like while they were alive), or just one of them, or only started with Gramorr himself.

Honestly, the twins' backstory has got to be one of the most well kept secrets this show has.

Welp- that's it for today, i'm all out of brain power. Super interested to learn more about Ephidea and the twinss

[she-posts-nerdy-stuff]

Literally not a single soul asked for more information about my idea for a Florence + the Machine jukebox musical of Shakespeare’s Othello (because, well, why would they?) but I have a lot of time on my hands so buckle up because you’re getting more information

(If you want to be able to better picture my mad rambling, I'd recommend playing the songs so you know what parts I'm referring to)

Opening number: 100 Years (from High As Hope)

We open on an almost empty stage with Desdemona slowly stepping into the spotlight as she sings the first few lines (I believe in you and in/our hearts we know the truth/And I believe in love and the/darker it gets the more I do); if we want to get super specific she’s wearing a white dress that’s a similar shape to the one Florence wears on the album art because just yes yes yes and also angel imagery for the win and ALSO over the course of the production her dress becomes pale pink or grey and then very gradually gets darker but in fact the nightdress she wears when she dies is back to white again. She does not bleed, people, she is the only character that dies without bleeding (!!!!!!!) and I will never shut up about that. Anyway, she sings up to the repetition of “and never, and never turn to night” with orchestral accompaniment and then when the “Then it’s just too much” line hits and the beat comes in things change. More lights come on and the chorus (wearing all black) move slowly into the stage; they’re tap dancing, creating the beat/ rhythm of the song. As they’re moving in Desdemona seems to show some level of fear towards them, constantly switching focus to see them approaching her on all sides; they represent the inescapability of her being the tragic hero. Notable: Desdemona is performing ballet and maybe some lyrical but I’m kind of imagining her en pointe for a lot of this; the chorus is performing tap. At natural breaks in the music and rhythm the tap dancers freeze in place for Desdemona to dance whilst she sings the next lines. On the second rendition of “then it’s just too much” vocal accompaniment to Desdemona’s melody begins and members of the chorus grab Desdemona’s shoulders and arms to pull her backwards, as she continues to sing she tries to break away from them and they follow her/she falls into other chorus members. They close in on her and she is completely covered until the rise in the music on the next rendition of “And then it’s just too much” when she reaches upwards and is lifted above the group, set down on the same line. The chorus continue to seemingly fight her through the next two lines. Then entrance of Othello comes on “I let him sleep, and as he does”. He does not sing yet. What we’re seeing here is more about Desdemona’s thoughts than it is actual events; Othello enters and takes Desdemona’s hand to briefly dance together, including him lowering her almost to the floor and then snatching her back to her feet again on “my heart bends and breaks so many, many times”. They stand opposite each other for “And is born again with each sunrise” and Desdemona reaches to touch his cheek. Othello catches her hand in the air and holds it so she walks with him as he begins to exit (he is walking backwards) and he sings the repeat of the line, but as they approach the wing he turns and exits alone, abandoning Desdemona on stage to be taken hold of by the chorus again in the following instrumental. For the final verse the chorus join Desdemona in singing but she is still the only main character on stage

Othello and Desdemona Duet: I’m Not Calling You A Liar (I should mention I’m not listing these in any particular order and also I do not have a copy of Othello with me rn to double check that I've got order right so I won't be trying just in case I get mixed up)

Gonna be so honest I feel like if you know the song then this one is self-explanatory, but I would also really love a quiet, sad, short reprise of it in the last scene with Desdemona on the bed reaching up to cup Othello's cheek and whispering "And I love you so much/I'm gonna let you kill me" before she dies

Emilia and Iago Duet: Back In Town

Iago and Emilia are alone on stage. The song begins after the exit of Desdemona at stage left and Emilia, who followed her almost to the wings, is subsequently standing alone at down or centre stage left and does not immediately know that Iago is standing somewhere behind her upstage right. Emilia steps slowly away from where she was been watching Desdemona leave and slowly starts to approach the audience as the music begins, and sings the first two lines believing she is still alone - Never really been alive before/I always lived in my head. Iago steps forward from the shadows and sings the next two lines (And sometimes it was easier/Hungover and half dead) taking Emilia by surprise, as though he is simply stating fact to her and she is forced to nod along and accept them . At this point Iago takes over the song and from now on sings most of it as a solo. He approaches Emilia across the stage and takes hold of her - notably by the wrist, not by the hand, to pull her in as he sings “I’m back in town why don’t we go out?” and on “spin” of the next line twirls her across the stage and straight into him so she falls against his chest and he is holding her up. The choreography continues in a relatively similar fashion as the song goes on; it is a slow dance, they are constantly close together, it is not entirely believable that Emilia wants to be there. To a casual eye it may appear that they are simply dancing together, but when you actually watch them you can see that her movements are always half a beat behind his, and always in the direction that he moves her. He never lets go of her for long, and in the brief moments of freedom that she catches she tries to move away as though it is part of the dance, as though she thinks she can hide her true intent beneath fluid motions that mimic his own, but every time he notices and forces her back. This is both a metaphor for their entire relationship and foreshadowing of her death. By the time he’s sing “And if you get spat on that’s just your big city baptism, you’re the star of the show” it is plainly evident that he is trying to convince her to do something for him. On this line Emilia finds herself with her back pressed against Iago’s chest as they both face out to the audience, his hand raised as though showing her a name is glowing lights, and she follows the movement of his hand with her head and with awe, eagerness, and the slightest edge of terror in her eyes. From here, as the lines continue, Iago turns and dips her slowly towards the floor. Emilia’s leg extends and he reaches his free arm to force her raised foot into pointe/demipointe; she is not committed to this dance, but he will force her to be. On the final lines Iago lifts her back to standing and pulls her close to him, moving her hands so she is clasping them together and he is clasping hers to his chest. He lifts her chin with his fingers so she is forced to look up at him as he sings “‘cause it’s always the same”. Still holding her chin, he looks out to the audience when he sings “I came for the pleasure but I stayed,” and it is Emilia who sings the echo “Yes, I stayed,” not at first looking at the audience but directly up to where his hand is now retracting from where he moved her to. She slowly turns her face towards the audience as they harmonise together for the final words: For the pain. On the final, low beats of the music Iago paces away and Emilia stumbles as she realises that he truly was the only thing holding her up. He exits stage right and Emilia sinks to her knees, watching him - a direct reflection of her watching Desdemona leave just three or four minutes ago on the other side.

Emilia Song 1: What Kind of Man

This will immediately follow on from the one above, thus beginning with Emilia knelt on the stage alone somewhere near centrestage right, looking out into the wings. She will sing the very opening lines exactly where she is, I envision only a very brief pause between these songs, and then slowly begin to stand and brush herself off so that she is ready to start walking towards centrestage by the time she is singing “I’d already had a sip, so I reasoned I was drunk enough to deal with it”. She sings alone at first; the stage is dark but for a spotlight on her, the orchestral accompaniment is relatively low to add emphasis to quite how complete her loneliness is in this moment - she is not safe, she does not know what to do, and the one person she can usually confide in and trust (Desdemona) is not only not here but also the very subject of the terrifying questions Emilia must now grapple with. On the higher background notes surrounding the line “and with one kiss” Emilia raises her hands and thrusts them towards her chest as though there is a blade between them, as though these hands belong to someone other than herself. She is both foreshadowing her own death with this movement, in the very pattern that her husband will commit it, and also presenting the image of her very first kiss with Iago being the thing that sealed her fate rather than anything within the content of the play: Emilia was doomed from the start, perhaps arguably doomed by the narrative, because her marriage is not one that she would have ever been able to survive. On that note I would really like to emphasise the youth of these characters so I would probably change “a fire of devotion that lasted 20 years” to “the fire of devotion that’s lasted all these years” so that we don’t get confused and tangled in the numbers of it. On this line (You inspired the fire of devotion/That’s lasted all these years) Emilia looks towards the wing where Iago exited with longing in her expression, but as she turns away her face hardens and her voice gains new vigour for the disgust and outrage with which she spits “What kind of man loves like this?”. And now we get the beat dropppppp. The music swells and gets louder; the lighting change is remarkable - lines spotlights running up and down stage, overlapping each other in places, and through them we can see the chorus moving into place. The slow, balletic movements of Emilia that have been the remnants of the control Iago instilled in her during Back In Town are abandoned completely in favour Contemporary as she paces backwards and the lights settle to illuminate the entire stage. The chorus are two lines of people all in black and Emilia, dressed in either red or grey I haven’t quite decided yet (maybe she is in grey and Bianca is in red??), is at the centre of the front line. The take up various positions with arms raised at strange angles and on the low notes of the background music turn their wrists until the beat hits - when they stamp their feet and snap their wrists into position. (Pls note I am not looking a score of anything I’m just listening to spotify so I might be badly screwing up musical terminology/details but I’m hoping you can gather which parts I mean) All participate in this until the lyrics begin. The “oohs” are sung by the chorus. When the lyrics begin Emilia steps forward to sing them, maintaining the same energy, and the chorus continue the same choreography until the repetition of “What kind of man” begins. As the repetition of these lines begins Emilia paces backwards and the two lines of chorus morph into a crowd that semi-circle close around her back. They grab Emilia on each beat, releasing her in between, and pull her in different directions as she sings (+the chorus are providing vocal accompaniment).At first it doesn’t particularly appear that she’s fighting them but as we exit the chorus to approach “You’re a holy fool all coloured blue” she does; she throws herself forwards on this line and the chorus are forced to relinquish her. She spreads her arms and the chorus are thrown backwards

Damn I just reached text block maximum whoops

The chorus are thrown backwards and spiral out to create a larger curve. Two chorus members take hold of Emilia’s arms to lift her and carry her a short distance upstage as she sings, raising and lowering her within the confines of the line “You do such damage how do you manage?” At the end of which Emilia is briefly lost in the crowd before she appears trying to force her way between two chorus members who are creating a wall in front of her, reaching out towards the audience as she sings “trynna crawl in back for more”. She gives in at the end of this line and sways sidewards as though fainting, caught by chorus members and lowered to her knees as she sings the repetition of the “and with one kiss” refrain. This time she remains on her knees for the first “What kind of man loves like this?” and then bound to her feet and continues to dance for the following. The chorus sing the following lines as Emilia dances I don’t have super specific moves in mind for this but continuing the same energy and the same style, I want everything about this to both vastly contrast and deeply reflect who she was in the previous song. Emilia begins to sing again for “But I can’t beat you/Cause I’m still with you” and the following verse, for which the chorus continue to provide vocal accompaniment. The chorus join her again when the What Kind Of Man chorus begins again. The dance and choreography continue in a similar fashion until the very last line; the chorus exit in a whirlwind and leave Emilia alone on stage as the music dies down to sing much quieter “What kind of man?” She has fallen still, her hands clutched closer to her stomach as though she is already holding the wound that will kill her

Ensemble song with Othello and other solos (maybe even to close act 1??): Howl

Starts with the stage empty except for Othello. The chorus slowly move in, all wearing flowy white costumes. The dance is one of slow, consistent movements during the intro music but on the accented notes they make sharper hand or leg motions before continues the same smooth line much slower as the music relaxes. Othello is mostly still during this but he does pace slowly into centre stage. Desdemona also slowly walks in during the intro, having returned to a long white dress instead of the pink or grey or something like that that she'll have been wearing in her previous scene. She moves very much like the chorus do, whilst Othello moves just as he usually does. Othello takes Desdemona's hands and pulls her in to dance with him as he sings the opening lines "If you could only see the beast you've made of me/I held it in but now it seems you've set it running free". It is very much that Othello is controlling the dance and Desdeoma is following him, an eerie parallel to Iago and Emilia during Back In Town. He spins her beneath his arm on the lines "Screaming in the dark/I howl when we're apart" and she leans back with her weight on one demi-pointe and in the arm he has around her, the othr leg extended. Othello sings "Drag my teeth across your chest to taste your beating heart" and leans into her, his other arm wrapping around her so the audience can barely see her. Desdemona drops into him and to her knees, now facing the audience kneeling directly in front of Othello, who takes tight hold of her shoulders and leans down towards her ear as he sings "my fingers claw your skin/try to tear my way in/you are the moon that breaks at night for which I have to howl". For most of this the chorus have been in pairs mimicking a similar dance to Othello and Desdemona, but now they have turned and are watching them, moving slowly closer. When Othello repeats the last two lines his voice is more desperate, clinging to Desdemona whilst she stares blankly out at the audience, barely seeming to notice his presence. On the rising repeat of "howl" the chorus closes in around them and pull the pair in opposite directions. Othello and the entire ensemble sing the word "howl" together. The following two lines are a repeat of this word, during which the dance becomes more rhythmic and Othello and Desdemona are moved to face each other on opposite sides of the stage. Though the chorus still appear to be attempting to separate them, they sing to each other across a gap that has formed down centrestage and are fighting to reach other. They exchange lines of the next verse as follows:

Desdemona: There's no holding back

Othello: I'm making to attack

Desdemona: My blood is singing with your voice

Othello: I want to pour it out

Desdemona: The Saints can't help me now, the ropes have been unbound

Othello: I hunt for you with bloodied feet across the hallowed ground

During this exchange they break free and meet in centre stage, taking up a dramatic dance that is mostly in hold. However, Desdemona pulls away from hold on her "The Saints can't help me now" line, and Othello draws her back in on his. Desdemona steps forwards, as though telling the audience, when she sings "like some child possessed, the beast howls in my veins". Othello grabs her by the shoulders and pulls her in, leaning over her almost as though he would go to kiss her neck as he sings "I want to find you, tear out all your tenderness". Desdemona throws herself free as both of them sing the repeated "howl" lines, joined again by the chorus, but this time Desdemona's voice can distinctly be heard differently from the rest because she is not singing from any kind of power or passion but from genuine terror. By the end of this chorus Othello and Desdemon are in an almost violent dance together, half in hold and half out, big sweeping arm movements and I'm imagining that Desdemona's skirt would unpin to fan out and show a gorgeous wide black or dark red skirt that would properly like swish around whilst they were dancing and stuff (does that make sense???). They continue to dance without singing whilst the chorus, who are back in their pairs and dancing faster, more intense dances than before but none quite to the extent of the main couple, sing "Be careful of the curse that falls on young lovers/Starts so soft and sweet and/turns them to hunters". I'm imagining that the chorus' skirts could also unpin in the same way so either Desdemona's would turn black and all of theirs would turn red or vice versa, but I want to kind of see some variety in the chorus outfits maybe (??) instead of them all being identical so I might have to put a bit of thought into that. Anyway the point is that after this line we get a big rhythmic chorus dancing moment and it looks super cool, they're singing the low "hunters" "howl into your heart" repetitions and moving their swishy skirts and dancing and then they part to show Othello and Desdemona again and Desdemona is now dressed in a super dramatic dress that is entirely the colour that was hidden inside her skirt and the skirt of this new dress is insane and Othello all but carries her to the front centre stage and he is all over her as he sings "the fabric of your flesh, pure as a wedding dress/Until I wrap myself inside your arms I cannot rest/The Saints can't help me now" and everything kinda continues in a similar style with some gorgeous choreography. I'm kind of imagining there being a table on stage by the end because I want Othello to lift Desdemona onto it and her to lay down on it, don't ask me how the table got there I don't know, but this happens with the massive dramatic flowing over the sides of the table and onto the ground whilst the chorus sings "A man who's pure of heart and says his prayers by night/May still become a wolf when the autumn moon is bright" and I'm picturing that they would sing these lines like they were a Church choir gathered around Othello and Desdemona, and they continue to sing the closing lines of the song as Desdemona stands up and Othello climbs onto to the table after her. He unpins the skirt and the fabric all falls away (removed from the stage by chorus members) like a waterfall so that he and Desdemona (who will be wearing trousers/leggings/a leoptard) beneath the skirt) can dance together on the table top whilst the chorus continue to sing, moving away from the choir-imagery and back to the earlier style. This continues right up until the very last line ("I hunt for you with bloodied feet across the hallowed ground") where Othello drops to his knees and clasps his arms around Desdemona's legs on the word "ground" and the curtain falls.

I am wondering if this would work for the act 1 closer????? But I'm not 100% sure where the interval would be

Emilia Song 2: Which Witch

If this isn't Emilia questioning herself for "betraying" Desdemona and whether or not she should give Iago the handkerchief then I don't know what is. I don't have loads to say about this one but the most potent lyrics for it in my opinion are these ones:

And it's my whole heart/deemed and delivered a crime/I'm on trial

Who's a heretic now/ am I making sense?

I'm miles away/He's on mind/I'm getting tired of crawling all the way

I'm not beaten by this yet/You can't tell me to regret/Been in the dark since the day we met/Fire help me to forget

And it's my whole heart/while tried and tested, it's mine

And it's my whole heart/burned but not buried this time

We'd have all of these lines (ie most of the song) whilst she's weighing up what she ought to do and she'd feeling really strong but then there's a small musical interlude where Iago comes on stage without her expecting him to, they speak briefly and she hands the handkerchief over; he walks away as she tries to ask him what he intends to do with it, chasing after him until he physically shoves her off and keeps walking. Emilia falls to the ground and as the music sweels again she sings the closing lines "Chained and shackles, oh/I'll unravel, oh/It's a pity, oh" [she gets to her feet] "Never to return/But I never learn/It's a pity, oh" and then repeats it with particular emphasis on the transition from "Never to return" to "Say I won't return". By the time she finishes the final rendition of "it's a pity, oh" the orchestra has almost completely died out and she wanders alone offstage humming the final few notes to herself

I could keep going...

Maybe I will at some point but I'm tired now

[ao3usermelancholyhues]

Fanfic Writer Interview

tagged by the delightful @itcanbepalped 💚

What fandoms do you write in?

bandom rpf was my stomping ground for many, many years but while i still potter around there, my inspiration lies heavily in stranger things these days! occasionally another tv show does sneak its way in but it's a rare occurrence.

How many words did you publish in 2024?

43,194! i was scared to check; definitely not as much as i could've written, i had killer writer's block for the last 6 months of the year.

What are your top three fics you wrote last year?

dirty with harmony alex gaskarth/collin patrick walsh (of all time low & grayscale respectively). E. 3k words. filthy, filthy ass-eating based on two different songs. it was my first fic of 2024 and i'm still very proud of it. treasure finder steve harrington/billy hargrove. E. 6.2k words. canon divergent billy's journey from childhood to adulthood growing up with a foot fetish, and the shame that comes with feeling like there's something wrong with him. the feedback i got for this one made me genuinely emotional, and i intend to complete a couple of sequels for it this year! touch so soft (but where's the kill?) steve harrington/eddie munson. E. 13k words. steve's a cecaelia and eddie graduates to monsterfucker status after becoming enamoured with his tentacles. this one nearly didn't get finished and posted in time so it deserves the mention.

What was your biggest pit of despair moment?

when i finished that fucking tentacle fic with not even 48 hours to spare, in the middle of the night when i had work the next day, and for whatever reason on this occasion... the formatting didn't save when i tried to post it. so i had to comb back through the entire fic the next day to make sure it was all formatted correctly and i was about CRYINGGGGG.

What have you learned?

that writing for tv show characters rather than rpf is sooooo much more intimidating. so it takes more work to try and block out the insecurity in writing and posting because people have extremely strong opinions about how to interpret canon and how a character should behave. it's rough honestly and i struggle with getting the 'voices' right the way i want them but i'm getting there, i think.

Did you beta any fics last year? Any faves you want to shout out?

i am super anal and i love beta reading; i did comb through a portion of a friend's fic and help them with a couple of little plot-hole errors but it was very minimal and their fic is far from being done so i can't even shout it out. i don't really have the time to beta read these days!

What three fics from last year did you love?

THIS IS HARD AS FUCK BRO. when the bones are good by @un-buttoned steve harrington/billy hargrove. E. 28.4k words. beautiful canon steve character study that expertly weaves billy into it and gives them a happy ending. the stancy of it all was highlighted perfectly and it's just... so good. a good few years old now but i only read it last year and i'm so glad i did! this author does harringrove so perfectly. double by @itcanbepalped steve harrington/eddie munson. E. 4.8k words. it was soooooo hard to pick just one of mads' fics because i read a lot of them in 2024 and they're all excellent but so many of them were absolutely stellar to me personally. i had to go with this one though because scoops!steve, the double penetration IN PUBLICCCCC, the gagging... stunning work. and trans eddie just hits. excerpt from my comment on the fic if you're not sold on reading it yet: also your tag "unrealistic sex" made me laugh. what do you MEAN it's unrealistic to double-slam your best totally platonic bro's hairy hole with your straps selected specifically to remind you of him in public sugar hiccup by 02tilt steve harrington/eddie munson. E. 9.1k words (chaptered, completed). i don't know this lovely author's tumblr so i can't tag them but this short chaptered fic is a fucking delight. i love their writing style, their eddie voice is perfect to me, it's funny, it's smutty, steve is portrayed wonderfully through eddie's eyes. i think it's a fucking sin this fic doesn't have more comments, i love it so much. easy but lovely read.

What ideas are percolating for this year?

many! but most pressingly, i would like to participate in femslash february this year, as well as @subeddieweek, and maybe later in the year, kinktober. i would also like to complete a sequel to treasure finder!

tagging, but no pressure: @ao3userwalkingonfirex @griefabyss69 @zombiethingy + any other writer who sees this and thinks it would be fun!

[utilitycaster]

What would you say are the CR cast's individual weaknesses? I'm always trying to improve for my own games and also curious to see if I can spot them in the episodes.

Hi anon,

This is super subjective, heavily biased towards my own personal likes and dislikes, etc, so I don't think you should per se use this as your own metric, and also a lot of these are not mechanical but more broadly about structure or acting.

Travis: bias immediately begins here; I think he's one of the strongest actors and one of the strongest people mechanically at the table. He also really knows what he wants and likes to do, which, spoilers, is essentially my biggest criticism of almost anyone else; and I think as part of that he addressed what would have been my biggest criticism in the past (namely, a hesitancy towards emotional roleplay which was present in C1 and was very much part of what he proceeded to push his boundaries on with Fjord and in some ways even more so with Chetney). Anyway I think my current main critique is that I would like to see him play a character who really isn't good with melee/is a full caster and I think he's been more hesitant on that, but also, it's valid to have a strong preference for one type of build so like. he can keep doing what he's doing and I will not be mad.

Marisha: I've talked about this before but I think she really needs to do more involved backstory planning that dives into motivations more, or, failing that, simply have very goal-oriented characters. I think that even when there's been vagueness in the backstories of her other characters (basically everyone but Keyleth) their motivations were enough to carry them through, but this has been a campaign-long struggle for Laudna. I will also admit that I find her acting choices as Laudna specifically to be rather overwrought in a way that doesn't particularly, work for me but I have a really strong personal bias towards naturalistic styles. She's also capable of much subtler work, and both Bee and Patia I think showed that off.

Sam: Kind of a weird in-between situation in comparison to the above. I think Sam knows his sweet spot and capacity for humor and so he rarely goes as dark as say, Oscar Grimm, but he is absolutely killing it already over there. In general I think Sam needs to be more willing to leave his comfort zone and push himself more because he can play it a bit safe. I think he does have a sharp learning curve re: complex mechanics (this is why early FCG was rough) exacerbated by the fact that I think he really tends to assume what he can do is way more limited than it is, and I suspect the much simpler Candela system is working to his favor, but like, he does eventually get there and, should we get a campaign 4, I'm going to tape "BE PATIENT WITH SAM, HE ALWAYS GETS THERE" on my laptop to remind me.

Ashley: Bit like Sam actually! I think she can and should go harder on mechanics (and for the most part has been; I think she underestimates herself a lot), and I also think she needs to make wilder choices. Fearne has been a delight in this regard but I want to echo the cast at one of the recent convention Q&As: please push the red button more, please go absolute as hard as you want. Will say her acting is maybe my favorite in the cast.

Laura: ABSOLUTELY NEEDS TO PUSH MORE BIG RED BUTTONS. Like...man. I feel this mindset; I don't really play video games other than stupid phone games but I'm That Person who's like "I only have 100 erasers in Two Dots, I must ration them". But I think she's doing a fantastic job with Imogen and my one criticism would truly be Go Bigger And Weirder And Harder. This is why I mentioned her; she was willing to take such massive risks as Arlo, and I think part of that was because it was a short campaign and she didn't feel that need to hold back but like, please, press buttons and take more risks. Her RP is always stellar though. Like, truly, I think Laura, Ashley, and Travis often appeal to my personal taste in acting choices and themes the most, and I just want Laura and Ashley to make similarly wild choices to Travis sometimes.

Liam: This is 100% purely a very me thing; I find he acts like a stage actor (which he is!) when there is a camera like 10 feet from his face and it can at times be a bit much for me, a person who is annoying re: subtlety. When he hits, he fucking hits though. Vax sometimes got a little overwrought for me but when he went quieter it was top notch; Caleb was fantastic because I think he counteracted this tendency; and there's been a couple moments with Orym I haven't loved but so many that I have. Mechanically he is great and while I'm a noted Rogue Disliker, Wizard/Fighter/Cleric are all flawless and much as I'd like to see him play other classes he is valid for his core four choice.

Taliesin: Here is the thing. I think whereas Laura takes a somewhat hesitant, afraid to let her character die stance, Taliesin does in fact have sort of a parallel issue of taking huge risks and then being very pikachu face when his character does die. Big swing of the pendulum in the other direction. However, Taliesin tends to hit on themes I find fascinating, consistently, and has a truly impressive breadth of mechanical skill. Even when I don't like his characters (only happened once) I absolutely respect what he's doing, and perhaps most importantly, he truly does not care what I or others in the fandom think, which makes me respect him more. Like, you know what? Molly isn't for me, and that's valid! Anyway. I hesitate to suggest more caution bc episodes 3x77-78 were so good and I loved all the wild shit Percy got up to (I also loved Caduceus but he was a much more laid-back character by design) but I do think that lack of caution is his weakness.

Matt: Judging more on the basis of being a DM than a player here just for sheer quantity but I think that his two greatest weaknesses are first, communicating highly specific risks (the main ones being the Iron Shepherds and the Otohan fight; you can't do that in pitched combat my man); and for lack of a better way to put it, I do still think he needed more firmness in the character creation stage of c3 and then looser reins during the campaign itself. I've been thinking about this a lot because I think that when I have frustrations with Aabria's style it's weirdly sort of...needs slightly looser reins but in a totally different way, and like, when Matt needs to loosen up, RP moments fall by the wayside and plot is fine, whereas when Aabria needs to loosen up, RP is still stellar but plot suffers.

[m4iya]

ᝰ.ᐟ✮⋆˙ Matchup #8 @rinaland˙⋆✮ᐟ.ᝰ

Hello! Once more I’m trying to regain motivation for writing! That might be the reason why these have been coming out so slowly… lol

After a while, deciding and ‘analysing’ I’ve decided to match you to Oikawa Toru!

Let’s begin with the hobbies c: I don’t think we know a lot about his hobbies in specific (other than volleyball obv) but he seems like the type to play video games in his free time, or just do random things in general. I think the two of you might play video games together, linking with each other in games and playing over call, or in person. Maybe something cozy, or an RPG or maybe even a shooter game where the two of you are in a call and he gets mad, insisting the people are ‘hacking’. He’d either suddenly go quiet and stop speaking out of annoyance, or become so frustrated that he yells at the console. He might even mutter the occasional “Ppft, whatever. I’d probably beat them in volleyball anyways.”

In a similar fashion, I can see the two of you wearing matching jewellery; something you made or something he bought. Maybe even matching lock screens, or his would be a candid photo of you. 

Since you mentioned keeping your interests to yourself until you get close to someone, I think he’d be the type to find someone like you pretty interesting. At times, he's either an open book, or super hard to read, so if he met someone like you, who (I might be wrong here, ignore if me if I am) is quiet and reserved yet still polite, open up and become flowery, beaming with a bunch of different interests and hobbies, might really keep his attention focused on you. 

One thing we (kinda) do know about Oikawa is the way he struggles with his perception of himself and his skills. He might find solace in venting his worries to you, noticing how you listen and provide an environment that makes it easy for someone to feel understood. 

He might tell you something, worrying and expecting to be scolded, but get the exact opposite. Maintaining a level-headed perspective on his issues, you might point out his wrongs but in a way that’s easier to digest than a lecturing session. To listen, but not be ready to attack at any moment. Because of that, I can see him being the type to ring you up at random times of the day, (mainly late night) and tell you about his day even when he had no issues or complaints. 

He’d ring you just when you were about to sleep, whining that the bread shop near his house was all out of his favourite milk bread. 

“…and get this, I had to get red bean bread instead.”

“Couldn’t this have waited until tomorrow?”

“Nope, I felt like you should know right now.”

Soon, it turned from venting worries to sharing the smallest details about his day. You’d smile and listen, and he’d feel understood. 

Here is a short story I wrote regarding outfits, gift giving and what not:

At last, he was free from practice for at least a day and you were able to spend some time together. Even if all the two of you were doing was laying on his bed, chatting and watching videos.

“This is so cute, isn’t it?” Turning the screen towards him, he squints.

“I mean, it’s okay.” His attention shifts back to his phone as he scrolls through training videos.

“I’m gonna check it out.” Pressing a link which led to the website, you search for where the store is located “It’s close by, wanna come?”

“Can’t we just stay here?” He groans.

“Come on, it’ll be fun!”

Slipping your shoes on, you step outside his house. Joining you after closing the door, the two of you walk there with your arms linked. On the way there, he stops by a juice bar, buying something for the both of you to drink. Even though he placed the order, after trying yours he repeatedly hinted at ‘how much nicer it was than his’ until you gave in and swapped your drink with his.

Once you reached the store, you began browsing, looking for the dress you saw online. Once you found it, you took it along with a few other things to a changing room to try on. Instructing him to wait on a seat nearby, you told him that he’d be the judge. With a sigh, he gave in, assuring you that he’d ‘do his job properly’

Outfits upon outfits, he’d give you ratings. Not on how you looked, but on how the outfit itself looked. After a while, he tapped on the door and told you that he’d be right back, and to wait for him before trying on the next outfit.

A few minutes passed, and another knock sounded on your door. Cracking the door open, you peeked your head through. In his hand was a satin, pearly light pink dress. The hem flowed down to the floor, and it adorned an asymmetric, one collar design with a pleated bottom.

“I thought you weren’t really into this.”

“Well, I did say I’d do my job properly.” He smugly replied. Taking the dress from his hand, you slipped it on with ease. Looks like he knew your size pretty well. Maybe all these shopping trips eventually paid off..

The changing room had spare heels situated near the mirror, so you used them to boost your height so that the dress didn’t drag behind you.

Stepping outside, you held the side of the skirt with a hand, flourishing the dress design.

“What do you think?” Truth be told, you loved it. The way it hugged your waist, but wasn't too tight, and the elegant feel of it made you wonder how you hadn’t noticed it on the clothing racks before.

“Well..” He tapped his chin in thought. “The dress is.. alright.”

Crossing your arms, you shot him a glare. “Hey, I’m not done yet!” He chuckled, throwing his hands up in defence.

“The dress is alright, sure, but it looks better with you in it.”

Ignoring the warmth flushing your cheeks, you gushed. “Oh, come on!”

“I’m being serious! Like, it went from a 5 to a 10.”

“I take it you’ll be paying then?”

“Sure, sure.” He sighed. He secretly didn’t mind spoiling you from time to time.

The two of you left the store with the dress as well as the outfit you saw earlier on your phone. Though, he made you to promise to wear that specific dress the next time the two of you went to dinner together.

The pink dress is kind of what i was trying to describe. The rest of the pics are things I imagined as the aesthetic!