#not tagging it as one of my in-depth rambles because I do not want it to show up for that tag

[daisybell-on-a-carousel]

Being someone who read Under The Red Hood and came out with the firm belief that, for Jason, it's not about killing Joker, it's about Jason wanting proof Batman would choose him over the Joker (bc shelia chose the joker). Makes seeing any other media where it's all about just wanting the Joker dead is a teeny bit frustrating. to be honest

Jason could've killed the Joker himself, really, really easily. Jason kidnaps the Joker before the confrontation. I can't open my comic for a reference right now, but it felt like he had the Joker for quite a bit before the confrontation. He had him. He beat him up with a crowbar. He had every single opportunity to kill the Joker himself, but he didn't because that wasn't his goal. Make no mistake, he did plan for the Joker to be dead by the end of it, but do you see what im trying to say here

Edit: If I knew this post was gonna get 1000+ notes I would've tried to word it better or something, this was a rant I made on the way to the grocery store 😭

It's not about making Batman kill either. When Batman says he won't kill, Jason adjusts and goes, 'Let ME kill the Joker or kill me to stop me' instead. The test is all about Batman choosing him. The whole final confrontation is Jason's first death again. The parent, The Joker, and the explosives. It even ends with Jason unable to move as a bomb goes off right next to him again because the parent didn't choose Jason. And instead tried finding an option that'd benefit them and (consequencely) letting the Joker walk, again, lol, lmao <-in agony

[acheronist]

giving myself a solid B+ grade overall for this month's apprentice tattooing event...... i did more last-minute appointments this time so instead of my scheduled 15, i ended up doing about 18 tattoos in total over three afternoons, and i only started getting clumsy and really mean to myself during the last three appointments on the last day. so that's pretty good i think????

[dangoulains-devotion]

yuffie has many interesting elements to her but people refuse to move past "i find energetic kids annoying" and it makes me sad

[anarcho-masochist]

I need to finally admit that I only have so much time to write and thus need to decide & commit to writing one particular thing instead of researching everything forever in the hopes that I will one day have time to write All the things. You have no idea how nuanced my internal discussions on the topic have gotten at this point, though. The next post will be a poll on what to write or post about first.

[tails-is-cool]

Friendly reminder that this applies in situations where you have a choice. I think this could reach some people in the wrong way.

If, say, your communication partner constantly makes themself the victim (e.g. "you always blame me," "so it's my fault?", refusing to elaborate on their side of the story just to make things difficult (it can be valid depending on the situation, like if it's an emotional subject, since they also have their boundaries), etc.)

Or: makes you feel bad every time you try to communicate (e.g. yells, stomps, slams doors, talks about how stupid or not understandable you are very loudly where they know you can hear, etc.),

Or: they've had a history of (trying to) hurt people when they attempt to reason with them, you are not obligated to do so.

You are not obligated to do anything that could potentially be harmful to your mental or physical health.

(Unfortunately, dealing with children or teenagers can also result in some of these occurrences. In my personal experience, all of these behaviors came from an adult who really should have known better.)

However, avoiding communication isn't healthy, and communication is important. Both sides need to be addressed, and misunderstandings can happen. The important thing is to try, be respectful, be respected, and just get it over with as efficiently and thoroughly as possible.

Lack of communication can hurt your relationships so, so much. It can build up over the years and eventually fester into something worse. Maybe you might be the one aggressively saying things about someone who doesn't deserve it because of miscommunication. Maybe you will be an abuser. Maybe you won't be. Maybe you will communicate well and learn and get better, and maybe you will have good and healthy relationships.

But that doesn't happen if no one tries. It might as well start with you.

Your "non-confrontational" choices not to communicate hurt the people you don't confront btw. You're not a martyr for keeping everything inside and then running away when other people don't know what's going on with you. You just decided avoiding rejection and sparing your own feelings was easier than being honest and giving them the agency to respond and make their own decisions. You chose to hurt them so they didn't hurt you. You think your feelings are realer and more important than their own care and love for you. You were always just waiting for a sign to run.

"If they cared about me they would have–" did you tell them that? Did you let them know how you feel? How much importance you place on those requirements they don't know they have to meet? This secret criteria and secret signs for your secret feelings? Or are you making them play a game they don't know even exists?

Your choice not to communicate isn't cute. You didn't run because they didn't feel the same for you. You ran so you wouldn't have to risk rejection. You chose to prioritise your own self-protection over their trust in and love for you. At least own that.

[unma]

Uh, mentions of suicide (not attempted, but considered) and suicidal ideation under the cut I guess. And lots of talk about my depression. And a bit of oversharing. Did I say this blog wasn't for venting? Well, I'm unpacking these things as I write them so please be kind with me, okay?

Still thinking about my memory and how it's gone from me being proud of remembering the most specific stuff to barely being able to remember anything past a certain point save for really specific mostly intensely painful (usually mental) periods of my life.

I don't think it's memory issues (or at least the kind where I'm simply incapable of actually recalling things or putting moments into long term memory). I just think that there isn't much for me to remember in my day to day life outside of the internet.

I spend most of my time moping around, looking forward to the day where I'll be free of everything that has plagued me. The optimism younger me had about leaving this life behind and becoming a new me is gone, replaced with a me that has accepted the reality that it would be a long struggle to get to that day that I'm happy. I already had to pull myself out of the pit that was wanting to actively end it all, and now I wallow in despair wondering if it'll happen anyway.

it was only weeks ago (or perhaps months? Time has begun to blur for me since forever ago) that I found out I had friends who were glad I wasn't dead. IRL friends, in specific, as I wasn't too open about my struggles online, for obvious reasons. I mean, I was also gone from this blog for a year or 2 due to related matters, so obviously no one online would know about any of this since I wasn't here.

Back on track, I had a classmate of mine call to see if I was still okay and doing fine. I wouldn't call him that close of a friend—he's the type of person who's an asshole on purpose but friendly enough, so you can tell when he's taking a piss and when he's being genuine, but he doesn't pull it off nearly as well as a much closer friend of mine—but he was one of the few I'd let know that I wanted to die. Even though I'd made it clear ages ago that I wouldn't ever pick up a knife, he was still glad to know I was okay. And upon mentioning that to others who knew about my woes, they all responded that they too were glad that I was doing okay. It felt nice to be cared for.

So it's a shame that the only way I can talk to any of these people is online.

There isn't much for me to look forward to offline. My family's awful, as you can probably tell from today's posts, I hate most of the people I know in church (not to mention that being agnostic and having a horrid experience with the church growing up makes that place a living hell to be in) and there's nowhere for me to go outside. Not to mention it's way too hot. No really, I tried to go for a walk outside today and didn't even make it an intersection before the sun made me turn back. And I'm the one who used to wear hoodies in the blaring sun before I moved. It's way too hot here in the summer.

Every time I try to improve something about myself, be it my posture or not spending all my time in my room, I'm reminded ever so swiftly of why I'm like this now. At some point I resolved to sit in the living room often, but every evening my dad would come home and yell about something that had gone wrong, and because I was the only one nearby I'd be the only one subject to that yelling. And then I remember the reason I never left my room was because child me realized that greeting my mom when she came home from work was never worth it because she would 100% send us to do chores. And she wondered why no one ever greeted her when she came home anymore.

There's a lot of things the internet has done to me that would make me wish I got on here when I was older. But it pales in comparison to how much good it's done for my life. How much it's shaped me into a much better.

And the fact that I'm still alive, I guess.

I think often about how my dad once told me he knew me better than I knew myself. Back then I thought "Do you know your son doesn't want to live anymore?" I still wonder if he'll ever find out. If he'll ever realize that the pressure he and my mom placed on me to get better academically, even as I was one of the best performing students and simultaneously already struggling to keep up with the stress from maintaining those scores. I wonder if they'll ever understand that the hate I feel for them is not childish rage at not getting my way—not a rage that will fade as I grow older and wiser in life—but a deep hatred that will never fade until I'm free of them forever.

I wonder if they'll ever realize that they were horrible parents. Even now they're constantly blindsided by the effects of their own bad parenting. Effects that I, the oldest child, continued to point out to them when they first showed up. Things that I very clearly told them needed to be corrected.

Perhaps the fact that I had to point out that they were failing at being proper parents to my younger sister constantly as I grew up is just another sign of my shitty upbringing. One in which I was forced to learn to be mature at a young age. To be the smart one. Above breaking the rules, above being playful and immature. Perhaps it's no wonder in the end that I simply stopped caring, when fun was something I continually had to fight for, and stress was simply the norm. Even now, as I think back on my past, most of what I remember was the time and effort I spent. How proud I was to pull an all-nighter to finish handwriting my Business Studies notes, as if my rides to school were not already spent frantically catching up on my CRS notes.

My school-assigned advisor once told me that I had to deprioritize writing to spend more time focusing on school-related work. I wonder what he'd think if he found out that writing was perhaps the main reason I decided there was still a point to life. I wonder what my mom would think when she agreed with him.

Oh well, it's not like there's a point in dwelling on that.

Point is, well, there really isn't much for me to look forward to or do, other than eat and sleep. Not to mention that most of the things I can do suck or actively make my mental health worse, which is fun.

As for the point of explaining that? Well, I think the reason I can't remember anything is because there isn't anything to remember, or at least anything good. What's the point of actually remembering things if all there is to remember is enraging conversations and anxious waits for things I dread? Perhaps the reason I don't remember much about my life is simply because I stopped having things to be happy about. Outside of the internet, anyway.

If I have any consolation, it's that I can still vividly remember a lot of my time online, where I had fun and made friends and learned to be myself. And when I put it like that, it feels pointless that I've even slightly worried that I spend too much time online, when there's no reason for me to reduce my time online.

That's all my pondering for now, I guess. Really long post, yeah, but today's event made me think about... a lot of things, I guess.

[volfoss]

i cant even like post about the horrors that are going on currently because im gonna get too mad but oh my god. like i would give her really good credit for writing a character like marius that has 0 self awareness about his insanely disgusting behavior bc like. that CAN work. you can make the reader feel disgust and see things through the eyes of someone who is horrible while not romanticizing the behavior. clearly anne did not get the memo for this one.

[gremlingottoosilly]

I met a guy in the Summer (dilf!Konig x fem!Reader)

Your boyfriend is an asshole. Luckily, his hot dad just returned from deployment. CW and Tags: Cheating, dub-con, size kink, daddy kink, age gap(reader in 20s, Konig is early 40s), Konig is a pervert, slightly obsessive Konig, love(and lust) at first sight, fingering, dom!Konig Word count: 3713 AO3

“Just one more game, babe, don’t be a buzzkill. I don’t want to end at a loss.” You didn’t want to be a buzzkill, of course. You simply wanted to be a good girlfriend, have some domestically cozy date, and for your boyfriend to at least try to put an effort into being with you. It wasn’t much to ask for, really. You hoped so, at least. You didn’t want to be an annoying, nagging girlfriend who only ever waits for another reason to yell at him, but your patience started to run thin. 

You spend the past three hours either listening to his apathetic rambling about the shows he watched – really, you wanted to invest in stuff he liked, but an abnormally large amount of animes he talked about had 1000-year-old girls who looked like they were 10, wearing inappropriate outfits, and you started to raise the alarm. 

You also watched him play – and also listened to his rage quitting and angry voice messages to his team that, honestly, made you slightly anxious. You never liked loud people, people who were so easy to rage about something as silly as some colorful video game with too many characters to look after. 

So, like a good girlfriend would – you wanted to be a good girlfriend, he was such a nice guy before you started dating, and you need something to think about besides the tremendous amount of study work you are doing for college – you decided to go and look for snacks. Maybe bring something for him as well. 

— I’ll find something to eat, alright? 

He didn’t respond at first, so you shook his shoulder. Your boyfriend took off his headphones with annoying look on his face, half-turning to look at you. You gulped, suddenly feeling like a child in front of the principal – not a feeling that you were supposed to feel around your partner, but with him, you somehow constantly felt like you were being judged. 

— Nah, stay here. I don’t want my father to see you. 

— Ah…your father is at home? 

You never heard anyone else being at the house – big house, you must admit, and it’s embarrassing almost how you never thought about his family. He lives with his dad, apparently, and the depth of your relationships can only be judged by the fact you literally didn’t know what his father’s name was. 

— Returned from his fucking deployment. He’d ask too many questions about you. 

— You didn’t tell him about me? 

Ah, now you’re hurt a little bit. You knew it wasn’t anything serious or too committed yet, but you intended to make this work. To try and fix all the problems you can without ending things abruptly. 

— He never asked. Not like he cares too much, but…

An apathetic dad, huh. 

You started to slowly piece together the puzzle that was your boyfriend’s horrible boyfriend skills. Now, you want to meet the man who conceived him and kick him in the nuts for creating such an unlovable human being who somehow captivated your chronically lonely heart. 

— If you don’t want me to come and meet him, I can go home. 

He doesn’t answer because his queue is finally coming to another match – you simply nod, knowing everything you need to. You can grab a little snack for yourself, fuck off to your dorm and rethink your life choices while your roommate is getting pounded by some gruss British bloke with an accent that makes your ears bleed. 

You have dignity, and right now, it has asked you to get some snacks from the kitchen. 

*** Now, the only thing König wanted after returning from deployment was to take as many hot showers as he could, shut his bastard of a son up, and get some delicious food waiting for him in the freezer. He was already home for a few days, but adjusting is always hard when you basically fucking hate living at your own house. Of-fucking-course, his son was watching the house while he was away – and now he can’t even think of a good excuse to set him off to his mother. Too old to do this, and split custody never really worked when not even one part of the relationship wanted to take care of the kid. 

König closes the door of the refrigerator – of course, his son took every good thing that he stashed for himself. With a groan, the colonel fights the urge to finally throw him out of the house – a thing he needed to do a few years ago, just when he celebrated his 18th, but some sentimental part of his heart instead promised to help with finding a place close to the college. No good deed goes unpunished. 

With a groan, he takes a few steps from the fridge – and then he almost stumbles across an angel. 

Scheisse

Now, König never thought of himself as a predator who prefers running after college girls who might as well be his daughters. He never thought of himself as a gut who liked them young – his wife, god forsake her name, was his age when they started dating, and he hardly had any sexual encounters with a person under 25 in the past few years. Well, not like he had any sexual encounters in the past years, but…

The thing is – he never thought he liked girls with wide eyes, pouty faces, and trembling hands who were holding a bag of his cookies that he carefully stashed away from his son. 

You are wearing something cute, a nice skirt and an adorable pink cardigan that looks so cozy and warm and soft, and he fights the urge to grab your skirt and simply lift it, You’re dressed up for a cute coffee date, and König has to double check if he isn’t dreaming and no one has decided to play a prank on him and send him a cute callgirl. 

— Oh! Sorry. It’s yours, isn’t it? 

You give him his cookies back – but not before your fingers fished another salty caramel goodness out of the bag, and you bit it. He looks at your teeth, at your lips, and glimpses of your tongue – god, he is an old, dirty bastard because even his baggy pants aren’t enough to hide his boner. You have no right to look this pretty for a man who hasn’t seen a woman in three months and hasn’t had sex in the past few years. 

You lick the crumbs from your fingers – it’s such a deliberate action that he can’t believe he actually sees it, and it’s not even something from porn he used to like. 

— Ja. You can have it. 

He would give you the code to his bank account if you asked for it. 

— Thank you, sir. I’m…well, I assume if Paul didn’t introduce me to you…I’m his girlfriend. Nice to meet you. 

You lick your lips and take a step back, pressed against the counter. He looks at the sway of your hips, a bit of crumbs on your shirt, and almost brushes it away with his hands. It would be a good excuse to touch your chest – but he can’t be like this, he has to keep his urges under control, or else his son will never forgive him. 

Yeah, like he needs a better reason to throw his useless son from his home. 

— Girlfriend? He never spoke about you. 

You look sad, and he immediately curses under his breath. For a moment, you look too fragile – too real. He can’t handle this look on a woman, especially as pretty and young as you are. You bat your eyelashes, even involuntarily, and he already prepares to give you the keys to his home just so you’d stop with such miserable expressions. He has a spare bedroom. 

He has his bedroom with a bed that would be enough for both of you. 

— Ah. Um. We’re…I guess we’re not at this stage yet. 

— Knowing him, you’ll never be, Schatz. 

You look at him immediately – you’re offended, angry, and sad at the same time. There is a certain stubbornness in your eyes that immediately makes him want to simply scoop you in his arms, lift you, and drag you straight to the altar – and here he thought that his impulses over getting married would be over after his first divorce. 

— What do you mean by this, sir? 

You look uncertain now, he can see this in your eyes – and really, knowing his asshole of a child, he is almost sure that Paul never once got you off, either physically or emotionally. 

Now, König never once considered himself to be a good man. He has killed countless people, overthrown many governments, and made shitty jobs for shitty people way more than saving hostages to help the good guys – and in the romantic field, it’s even worse. Wife, unsatisfied with his controlling tendencies and inability to feel normal love for a human being – and a son who hates him because, in fact, he never once wanted to have a kid. 

He looks at you and sees a pretty young thing, still in college or freshly out of, probably without a stable job and normal social standing – a good girl won’t be with his son if she isn’t stupid or extremely desperate for a relationship. 

The thing is, König is also extremely desperate for another warm body next to his, to feel a woman beside him, to love and obsess over someone – he looks at your pouty lips and shaky hands, at the way you bite the corner of your glossy mouth, and he almost wants to drop you on this very table and fuck you until you’re crying under him. He can’t do just that, of course. It would probably make you extremely uncomfortable and scared, but…well, quite frankly, his son doesn’t deserve you. 

König is. 

— I won’t sugarcoat it, Schatz. My son is a Scheiß Arschloch…fucking asshole, that is. I’m surprised he brought home someone as cute as you. 

You feel embarrassment collecting in your body. Paul’s dad is a…interesting man. 

Tall, broad, very muscular – even his baggy house clothes aren’t really concealing his extremely interesting physique from your eyes. He looks yummy and tasty, and you fight the urge to eye the bulge in his pants because you’re a good girl, you don’t look at your boyfriend’s dad like this. 

König has greying ginger hair, locks already curling slightly at the lack of cutting, and you fight the urge to sit on the counter and get your palm in his scalp, massage his head gently, and pull him closer for a kiss. You feel like a dirty, horrible woman – your boyfriend is in his room, probably enjoying his time on your “date” while you’re lusting over his father. 

Then again, this date already felt like a disaster. This relationship, too. 

— Paul isn’t all that bad, sir. 

“He at least has a nice dick,” you wanted to add but stopped yourself. Paul is tall and somewhat strong – if he weren’t sitting at his computer all day, you would call him even muscular. And he has a nice dick, yes, even though he had no idea how to use it. You liked the idea of laying with him, of spraying your jaw trying to fit all of this in your mouth, but his kinks and his sex skills being directly taken from porn…not really your thing. 

You look at König and wonder if they are similar in all of the places. He is his father, after all. 

König catches your gaze locked on his bulge and smirks. 

God, if he knew his son had such a cute girl, he would ask her to come earlier. He is two weeks off deployment and probably won’t take another long contract for a few months because they just upped his retirement payings, and he can afford to slack off a little bit, only visiting the home base for some training and instructions for rookies. 

He can afford to retire and never worry about money again – but he needs someone to make his days less boring, right? 

You look like a good candidate. 

�� I’m sure my son was convincing, but I know him better than anyone. He doesn’t deserve you, Schatz. 

He is shitty at flirting, it’s not his forte – he can flaunt his money, maybe, show you in his wallet and bank account face first. He can just straight up ask you to be his sugar baby and suck his cock instead of doing your studies, but he can’t flirt and manipulate to save his life. Lying isn’t something he is good for, this is why his wife has left. 

— I…not sure we should be having this conversation here. 

You’re a good girl, and it’s infuriating. He knows that having someone in his bed shouldn’t be the end goal for his leave, but he wants you, and by the look on your face, you aren’t opposed to the idea. König doesn’t understand if he likes that you’re so reserved about it or if he wants you to be a bit more slutty – but he captures you in the space between the kitchen counter and presses you with his body. 

— You want to see the bedroom then?

Pushes you so close his knee gets between your legs – it might look involuntary like he didn’t exactly want for it to be placed here, but you aren’t dumb, you know what he wants from you. Like a good fucking girl, you’re too shy to give it to him right about now. God, sometimes he hates being so nice to people around him. 

— Sir, this is very…

He got you caged in his hands, body trapped in his embrace – you jerk your head upwards a little bit, staring at him like a small bird in the hands of a predator. He isn’t a strong man in regard of morals, he doesn’t see anything wrong with fucking his son’s girlfriend – if the girl is up to it. And if she isn’t…well, he better make sure she is. 

— What is it, Schatz? Paul won’t hear us in his headphones.

You know just how wrong it is, and you almost want to escape – his dick grinds on your pelvis through his pants, and you’re horrified to see how big it is. Excited too, of course, he is bigger than your boyfriend ever could be, and you don’t want to be a slut, but, oh well, not like you were in a committed and serious relationship anyway. 

Paul was seeing your friends more than you ever saw them – it’s probably a sign that you should settle for someone older. You did enjoy Lana Del Rey's songs, after all. 

— I don’t want to break his heart. 

— He doesn’t have one. 

You’re lost when he pushes his lips to kiss you over and over again – a surprisingly good kisser, and you give in because it was the first time in forever a kiss made you feel this good. His lips are sending electricity down your spine, you want to moan just from his knee, pushing on the softness of your cunt through that adorable skirt you liked so much – you feel so small like this, so tiny in his hands, you…

God, you feel like a slut, and you like it. 

Soon enough, you answered the kiss, your lips meeting his in a dance that made you feel hot, that made you feel like your boyfriend never could. Never thinking of yourself as someone who can fall so easily into the hands of an older man, now you know that he got you right where he wanted. 

You push your hand on his pants, trying to get the control back – but he stops you, a giant hand enveloping your wrist and pushing you back. With a surprise on your face, König just wants to kiss you all over. God, you’re adorable, and he knows that you deserve way more than being fucked on the rough kitchen counter while your so-called boyfriend is too busy dickriding his friends in some useless online game. 

— Not now, princess. You deserve better than being fucked on the kitchen counter, ja? It can come later. 

“Later” sounds like a promise, and you bite back your moan when he keeps pushing his knee against your cunt, making you throb and clench on nothing. He is such a gentleman, you can’t help but compare him to his son – and his fabulous ability to make you feel dirty after fucking you in the backseat of his car and tossing you to your dorm with your pussy still wet and messy after you didn’t cum. 

You sob, not from sadness, but from pleasure mixed with some weird, unnatural for you emotions – you feel weird, strained here like this, but you hug his neck and whisper something in his ear. Something, dangerously sounding just like “daddy, please” 

König is blushing, and he looks fucking adorable. 

— Daddy, ja? God, you’re dangerous, liebling. Going to get me in trouble with my son later. 

He laughs when he kisses you again, his hand slipping in your panties only to find them completely soaked – he knows you deserve a nice pillow and soft sheets under your body, and he pushes you up so you can hug his waist with your legs. You rely on him like a cute pet, and you’re so perfect in his hands he curses himself for not seeing you before. 

He is going to ruin you for anyone but him. Put so much cum in you, it will make your tummy bulge – make you his precious sugar baby, pay for your dumb college and make you move to his bedroom instead of some shitty dorm you probably share with four other people. 

He can be good for you – but he will ruin you for anyone else, anyone appropriate, every guy your age who clearly doesn’t know how to treat a lady right. 

— So wet for me…such a filthy thing, I didn’t know my son dated a whore. 

— N…not a whore, please…

He kisses you on your forehead, silently apologizing. You feel his crooked, scarred smile, and you push your face up to kiss him – you want to touch him so badly it makes you feel stupid. 

— Sorry, Schatzen. Not a whore, a good girl for her daddy, ja? So nice for me, too fucking young…

— W…we really shouldn’t… — Tshhh, don’t think about it. Thinking will only hurt your pretty dumb head. — I’m not…

— Quiet, little one. Let daddy handle everything.

He kisses you over and over, his fingers playing with your pussy – meaty digits digging in your hole, making you whimper from sudden intrusion. He is big, bigger than anyone else, just two of his fingers are enough to spread you as much as normal cock would, and even though you’re used to taking Paul’s size, you just know that his dad would be much, much bigger. He is going to split you open, and you will love every fucking second. 

It feels so wrong, you still aren’t sure if you want him to touch you like this. 

It feels so right, he is experienced and eager, pushing every button to make you squirm in his grasp. Your orgasm comes embarrassingly quick – maybe because you haven’t gotten off in ages, only miserable masturbation sessions and poor attempts at faking your orgasm made it feel real. Paul never cared enough to actually get you off – but now…

You aren’t ready for him. You squirm in his grasp when the pressure becomes too much, and he soothes you, two fingers still buried in your soaked cunt. You feel so dirty, so wrong right now – you are cumming on the fingers of your boyfriend’s absent father, and you love every second of it. 

Post-orgasm clarity makes you whiny and sobby, and you whimper in his shoulder when he gently lifts you in his hands. God, you’re adorable, and he knows that he just scrambled your brain with that orgasm – it’s good, really, he might just want to keep your pretty head nice and empty for him. Not like you would ever need to think in his presence, the colonel can handle everything in- and out- of bed. 

König holds you close, not allowing you to scramble away no matter how embarrassed you are. You are his precious thing, with a pouty face, and he will do everything in his power to make you squirm on his fingers again and again before he makes you his wife for good. 

So impulsive, maybe this is why his son is such an asshole – taking the worst traits of his father. 

— Don’t cry, Schatzen. You’re okay, it felt good, didn’t it? 

— W…we shouldn’t have. Shit. I’m sorry, it was a m…god, I need to tell Paul. 

— I’ll tell him. 

— No! — I will tell my asshole of a son that you’re my girl now, ja? And then I will take you to the bedroom, so we can fuck. 

— I need to return to my dorm. 

— And then I will dine you properly, okay? Sorry, Liebling, I know I should court you before all of this…but we can afford to go a bit off board, ja? 

He is smiling, so smitten and obsessed over just having you cum on his fingers once – you don’t have the heart to say no. Never did. You’re a good, proper girl, and Paul was never treating you right anyway. You feel dirty, yes, but somehow, it is almost right. 

He peppers your face with kisses, like a dog lapping its tongue all over your skin – you’re so concentrated on the warmth of his strong, seasoned body that you don’t even look in the direction of the doorway to the kitchen. 

Paul, however, looks straight at you, disheartened and shocked. 

— W…what the fuck, dad?! König laughs, kissing you once again – deep, hot, with tongue and loud, sloppy sounds of your mouth pressing into one another. You’re stuck in place, still caged in his arms like a precious little pet you are. 

— She’ll make a good step mom, ja? 

You don’t even register his hands slowly caressing your fingers as if he already tries to check the ring sizes. 

[angelic--kitty]

dilf arlecchino stretching out a virgin reader on her fat cock

dom!dilf arlecchino x sub!fem reader

warnings: smut (minors/ageless blogs dni), wlw content, transfem!arlecchino, virgin!reader, age-gap (arle is in her late 30s, reader is in her early 20s), size kink, fingering, penetration, handjob

a/n: tagging my favorite silly @myfriendscallmebun who i hope enjoys this ♡ this is so long

she first hired you merely as a form of entertainment for her children. someone eager to please who wouldn't require such a large salary. someone who, at least, would never ask someone like her for more than she offered.

it's a surprising decision, on her end, to select a college girl to watch over her precious children. though, you presented yourself so nicely at the interview, and your references and resume did you well.

besides, it might be nice for the children to be around someone closer to their age for a change. they often spent time with arlecchino herself and occasionally her coworkers.

and, you had grown on her.

it's been nearly two months since you started working for her, and a few weeks since you began passing flirtatious remarks to one another.

the thing that finally melted her heart was an evening she worked late. she was already irritated her children would be asleep when she got home, but she felt guilty making you stay hours late at her home.

much to her surprise (and inner delight), when she came home, she found the children tucked into their beds, and you standing so sweetly at the door.

you had slipped her jacket off, hanging it up and tugging her into the kitchen. sure enough, you had saved her a plate of the spaghetti you made, along with a glass of her favorite red wine.

that was the day when she finally asked you to accompany her on a proper date.

and, now, here you are, standing in front of your mirror, fussing with your dress and jewelry. the dress she had bought for you special for tonight. it was black, falling just below your knees- rather classy for someone so young.

20 minutes. in 20 minutes she was picking you up.

nervous as you were, you couldn't believe you were going on a date with her. especially to somewhere so expensive and exclusive.

it was some sort of upscale bar with expensive alcohol and food. somewhere arlecchino claimed to frequent often when she needed alone time.

you almost broke out into laughter when she admitted she hired childe, her younger coworker, for the evening to watch her children.

"oh, i'm not concerned for my childrens' safety. if anything, he should be afraid for his own." was her reply, a small smirk on her lips that you nearly missed.

she lead you into the restaurant with confidence, turning heads, eliciting whispers as she kept her hand on the small of your back while the waiter brought you to your table.

"what do you think so far?" she asked, her wine glass already being filled, no need to speak her order.

"it's...definitely different than what i'm used to. but it's really nice. i like having an excuse to dress up a little." you smile at her and she raises her glass to her lips.

"i want to spoil you for the evening. for not only treating my children so well, but because you are an exceptional woman. i only hope my gestures come off as genuine as i intend." she sips her wine, setting it down to begin rambling to you about the menu.

but you're not quite listening, distracted by her hands, her lips, her eyes. how could someone be so perfect?

she's quite a bit older than you, probably much more experienced. does she truly feel the same way you do? and-

"sweetheart?" she breaks you from your thoughts and you stiffen up.

"i'm sorry- i'm listening!" you squeak, but she sees right through you.

although, she finds it rather cute. she's noticed before, obviously. your wandering eyes, the way you bite your lip when she picks up something heavy like it's nothing, or how your thighs press together when she takes a stern tone.

she simply wants to know the depths of your affection for her. after all, she has similar thoughts of you.

"which dish would you like then?" she asks pointedly, allowing you to hold the menu with shaky hands.

"ah...um..." the words blur together, not registering. "what do you recommend?"

she tilts her head, taking the menu back. "allow me to order for you then."

you like when she takes control. she knows what she wants, and she will have it. you wish it a quality you embodied more, though she fascinates you. it is almost natural to her.

dinner goes rather smoothly, and you get to taste test a few different wines, but not nearly enough to get you even remotely tipsy.

"i much prefer coherent company." her lips quirk up as she says this, and you laugh behind your hand.

she's funny, you admit. her dry humor is one of your favorite things about her.

it's a shame when dinner comes to an end, but you two mutually draw it out as long as you can. you share a dessert, and plenty of good conversation about yourselves. you learn things about her you never would've thought, and likewise for her.

the ride back to your place is just as pleasant, though you feel nervous inside. you want to make a move. you want to ask her to come inside. to stay...

but you couldn't possibly. that would be absurd... right?

regardless, she walks you in, ensuring you get into your place safely. she's a gentleman in how she holds your bags and all the doors at every stop.

the little bit of wine in your system has you feeling bold, stopping her in her tracks before she could put her shoes back on. "wait! why... don't you stay for a little? i could make us some tea. herbal! so you won't...uh... be awake all night."

she merely tilts her head, nodding either way. she listens to your rambling about the tea and the coffee mugs you have, her eyes wandering your walls when she sees familiar art.

"did the children draw these?" she interrupts, taking one off the wall.

it's a rather rudimentary stick-figure drawing, but she can tell who each one represents. this is one of lynette's drawings. she's drawn herself with pretty blue bows, along with her brothers, and, of course, their father.

and you.

there you are, standing on the other side as if you were the mother to complete their family portrait.

"oh- those? yeah, the kids drew them for me... i thought they were really cute, so i kept them." you smile and her heart flutters.

she skims her fingers over the papers, pausing when she sees one from freminet. he's drawn a flower field of green scribbles and rainbow dots, the children playing on a swingset while you and arlecchino watch.

with the words 'mom' and 'dad' written above your heads.

she can hear you nervously talking to fill the silence, and she turns to you. "they really do seem to enjoy having you around." she murmurs. "as do i."

you look up at her, feeling her lean in, gently holding your waist. "am i being too forward?" she asks, breath fanning over the side of your face as you shiver.

"not at all-" you breathe out, trembling as she lifts your chin gently. she can see your anticipation.

"you're not phased by our gap in experience?" she asks. "it's inevitable. i cannot change it, but i do not want you to feel forced."

"i actually like it. i really like it." you blurt, catching her off guard.

"oh?" her voice is low, sultry as she cups your jaw. "is this alright with you, then?"

"please-" and that's all she needs to connect your lips, kissing you so softly at first. her tongue gently prods for entrance, and she can instantly tell you truly are inexperienced.

she pulls away, gently swiping a thumb over your cheek. "is this your first time?"

"you could tell?" you groan, and she nearly melts.

"it is not shameful to wait. i only want you to be sure this is what you want." she explains, stroking your cheek as your eyes flutter shut.

"i want you. please? i want you to take it." you leave it open for interpretation, but she knows exactly what you're referring to.

"if you're certain, then i'd be honored, sweetheart." she says so gently you'd think she was someone else.

you bring her to your room, cringing at the mess. "i know it isn't what you're used to but mmph-!" you whimper when she kisses you, pulling you onto her lap on the bed.

she trails kisses down your neck, watching you tilt your head back instinctively. you pant, overwhelmed so quickly she almost feels guilty.

keyword: almost.

instead, it makes her twitch within the confines of her expensive suit slacks.

her hand tangles into the back of your hair, tugging you firmly so she can nip at your jaw. she takes it slow, easing you into things until you're practically begging her to go further.

your dress slides off slowly, a treat waiting when she sees the pretty matching lingerie set beneath. it's white and lacy, delicate, something she could easily tear right off, and it drives her mad.

"aren't you full of surprises? naughty ones at that." she tuts, squeezing your jaw as you gasp.

she unclips the bra, her gently squeezing your breasts as you moan for her.

she teases your nipples until they go pert, wrapping her tongue around them as you arch up into her.

you're being vulnerable with her; she knows this much. she holds you steady, ensuring you feel safe on her lap before pulling away with a soft 'pop.'

she unbuttons her shirt, tugging it off to match you. she watches your eyes go wide, eager yet embarrassed as she tosses her bra aside with the shirt.

"you're so...pretty." you gasp quietly, eyes wide.

"you can touch me, sweetheart." she pulls your hand to her chest, allowing you to explore. your fingers clumsily rub her nipples and she grunts, guiding them into place.

"does it feel good?" you ask her so hesitantly, and she kisses the top of your head.

"you're doing well." she watches your gaze slide down, eyeing the growing bulge in her pants. she dryly grunts, lifting your chin up. "something catch your eye?"

"i... i'm sorry- i didn't mean to stare-" your words are mumbled, your face hot as your mouth goes dry.

"you're curious. that's alright." she brushes a thumb over your lips, coaxing you to open up.

she slides her thumb over your tongue, gently easing it a little further until you gag, keeping you just like that. your eyes are so wide and pretty, glazed over with untapped lust.

she hums thoughtfully before withdrawing, using the thumb to brush over the front of your panties. you gasp, thighs snapping shut as she pushes them back apart.

she lightly smacks your thigh. "keep them open." she rubs gentle circles on your clothed clit, your body clearly unsure how to react. she can see it doesn't take much to bring you to the edge, and she lightens her touch, able to control her own desires with ease.

her hand comes back to your lips, sliding your wetness over your tongue while her free hand slides your panties to the side.

something you've missed before, but she's filed her nails down on this hand. just for you, though only she knew that.

she gently slides her fingers through your folds, hearing you whimper and squirm on her lap. she tucks your head under her chin while she eases a finger into you, feeling you squeeze so tight around just one digit.

she gives you time to adjust, feeling you clutch her wrist. you're such an angel, aren't you? holding so tightly to her, so cute, all while you fidget right above her confined cock, inevitably making her grow harder.

her second finger slides in slowly, with an intent to stretch you out enough to take her cock more comfortably. she curls them inside of you, hearing you whine loudly into her neck.

"ah- that feels-!" you squeal when she brushes against your g-spot. her finger pads rub into it, and you tremble, thighs clamping down on her hand.

"relax." she reminds you, pumping her fingers in and out, slick sounds filling the air. she stretches you out every so often, spreading her fingers slightly and hearing you whimper so sweetly.

your hand clumsily rests on her bulge and her fingers still as she inhales sharply.

"i... want to- try and make you feel good too..." you whisper, looking up at her.

and who is she to deny such a sweet girl?

she pops open the button, unzipping her pants and freeing her cock, allowing you to see her.

your eyes go comically wide, shocked by the size. "that's... i-"

she can feel your walls fluttering around her fingers and she nearly moans. "it's alright. don't be nervous." she practically reads your mind, soothing your concerns as her free hand unwraps itself from your body, collecting some of the messy slick from your thighs, sliding it over herself.

"you haven't done this before, i presume?" she's met with a shake of your head. she proceeds to guide your hand in wrapping around her cock. she hisses through her teeth. "archons-" she groans lowly, her fingers resuming their gentle in and out motions while she guides you to stroke her cock.

"tighter." she tells you, feeling your hand grip more firmly, her pre-cum oozing over your hand, spreading across her cock. "good girl-" she praises and you clench around her fingers once more.

she says nothing, but she knows exactly how her words affect you. such a sweet little thing you are, curled up on her lap, fingers stuffed inside of you while your hand wraps around her cock.

her hand covers yours still, dwarfing your hand and guiding you into her preferred rhythm. "that's it. you're doing well-" she tips her head back, hips grinding into your hand as she lets go.

she allows you to move your hand on your own, finger-fucking you faster. she knows you're losing focus, too overwhelmed by your own need to cum, though she doesn't mind too much. you're just so sweet with how your moans pick up in volume, your eyes closing as your hips chase her hand.

"go on." she tells you, her voice stern as you release around her digits like such a good girl for her.

she slides her fingers out, admiring the webbed slick coating them, cleaning them in her own mouth as you shyly hide in her chest.

she pulls you away, laying you on the bed. "wait! you didn't get to..."

she shakes her head, pushing her hair back. "hush." she simply says, spreading your thighs, pushing them up to your chest. it exposes you perfectly, allowing you to feel shy, yet unable to cover yourself as she studies your twitchy cunt.

arlecchino uses one hand to guide herself through your slick, sensitive folds, gathering the remnants of your orgasm. she is gentle when she slides into you for the first time, a thumb on your stiff, swollen clit to ease the stretch.

she watches your eyebrows furrow, nose crinkling as she stretches you out. "so big-" you whine, chest arching up against her own.

your moans are melodies to her, feeling you flutter around her was like heaven. she lifts you up to sit on her lap while she leans back, guiding you to slowly take more of her in.

"too much!" you whine, looking down.

"you haven't taken all of me yet." she hushes you, easing you down to swallow her all in your pussy until you're mewling incoherently.

"full-" your head falls back and she grabs your hips, her nails leaving sharp little indents as she guides you to shallowly fuck yourself on her cock.

"such a pretty little thing." she coos, slowly growing more harsh, grinding up into you.

and, oh, you sing for her the rougher she gets. you urge her to grow bolder, now using your body as a toy while you desperately try to match her tempo.

you're inexperienced, but oh, so eager to please, aren't you? what a good girl.

she grabs your ass, fucking you on her cock while you keep a vice grip, your tits bouncing with each thrust. "oh- archons!" you squeal.

arlecchino picks you up like you weigh nothing at all, settling you beneath her instead, fucking into you with boundless energy.

she knows the right spots to fuck, where and how to grind herself into a woman, she knows exactly when to speed up and slow down. yet it seems you don't even know your own body fully.

and the thought of helping you explore with her is enough to have her twitching inside of you.

your incessant mewling and moaning of her name is driving her mad for you. her hand wraps around your throat, earning her breathless gasps as she urges you to cum for her.

"be a good little pet and cum." she orders, slick sounds penetrating the air, the smell of sex coating you both. "cum for me."

she rubs your clit harshly, watching you shake as you do cum, tightening up around her cock, sending her eyes rolling back into her head.

the moment you loosen up, she pulls out, cumming onto your tummy, creating a filthy mess as she moans deeply for you.

"fuck..." she sighs, squeezing her cock to ease the rest of her cum onto your skin.

you pant, looking up at her. your eyes are blown wide, but you look exhausted as you lay limply beneath her.

and, well, you'll soon learn her cock may need time to recover, but her mouth and fingers certainly don't...

[zorosnavigator]

Timebomb fics rec

A lot of timebomb fics are hiding through a lot of CaitVi/JayVik tagged works on ao3 (while many are also CV orJV centric) so i made this rec post for everyone who dont want to spent 1 hour scrolling or missing some of them bc you're filtering other ships!! (sorry for the short summaries/ i didnt write my thoughts as thoughtfully as i would have liked because.yk.time and all. update chapter count/add of new fics every week)

AU/crossovers fics

Je t'aime (Je t'attends) 3 chapter, WIP.

Hunger games x Timebomb/Arcane, the way the system of the games from the og novels are mixed in the Arcane universe is really masterful, the writer dont lose too much time explaining it but you understand the dynamics of the 2 cities and the characters perfectly anyway.

Where would you be now ? by enaven 5/6 chapters, WIP.

family/modern AU, timebomb feels, Ekko and Jinx are Isha's parents, CaitVi are just silly aunts and i'll never stop recommending this fic

you're the best thing to ever happen to me (but also the worst thing to ever happen to me) by grey_toiletpaper ( @greytoiletpaper ) 3/8 chapters, WIP. Rated T.

Timebomb inspired by 10 things i hate about you.

We Moved Into a Real House (a Wild Field Behind it) by smokesatellite 3/10 chapters. WIP. Rated T.

Modern AU, Timebomb roommates/friends to lovers, Isha is a foster kid...you know where this is going .. (Ekko as a nurse is not something i expected but its surprisingly good. Also the in law feud between Jinx and Cait is very funny)

s1 fics

Silco is less of an asshole

The Heart of Zaun by 1ts_Br1tney_B1tch 8/ chapters. WIP.

or: Silco try to rally the Firelights to his cause (in this case, Zaun - he's much more involved in doing better for his city than in the show) but of course they're bound to have some..tension between them, since they hate him - and Shimmer. (it has the good parent Silco tag so i'd say that all in all, this Silco is a little less...Silco than in Arcane, but manage to keep some of the bite he has in canon...) i only read 2 chapters, and what i can say is that it does a good job with the general cast, the interactions between Silco/Ekko-Firelights are believable, i think the one thing that could have weird me out is the way Silco is said to be 'proud' of the Firelights in the summary (for me 'pride' is something he'd reserve for Jinx yk?? anyway i stop the rambling) . The Timebomb relationship has more or less the same push and pull as in the show, with Ekko thinking about the girl Jinx used to be/ Ekko being a link to the past before Jinx and all that entail...so yeah, i'm loving it!

Powder doesnt become Jinx

The Alpha Command by typewriter_in_galaxy 13 chapters. WIP. Rated E.

ABO/Reverse AU where Powder doesnt become Jinx and is raised by Viktor, Ekko is taken in by Silco. btw i dont read a lot of abo fic (im very nickpick) but this one does every characters justice, and actually dwelve in depth in the abo universe.. (everything by typewriter is good to be honest, but my favorite thing is how they write Powder, who even when she doesnt become Jinx, is still shaped by a very violent world/trauma and it shows through her mental health issues and very, very low self worth/need to prove herself. )

everything's better with a friend by typerwriter_in_galaxy 7chapters. Completed. Rated E.

Timebomb centric rewrite of Arcane, Jinx is Powder, she doesnt fall under Silco's hand (or in his arms precisely), Ekko is Ekko, and 1, i need to hug Powder, 2 she deserves the world and 3 the characterization of everyone, everyone is so brillantly written and the timebomb relationship (damn even the CaitVi one too) oh, the timebomb of it all... they feel so, so real and it hurts, Powder's insecurities, her mental illness, her guilt, her need to prove herself but in same time she doesnt feel herself worth of anything (or anyone) good... just.read it. read it, because i just did, after like 2 years of not doing that and. im like mad bc why didnt i??? but in same time so grateful to just discover it now, taking my sweet little time reading it; it rewinded my brain its amazing, (like this work in another fandom, the first time i read this rebelcaptain's fic A Love song by skitzofreak - did i just linked it for you to read even tho its a timebomb rec post??? yes. yes i did. thats how much i love, adore, worship this one guys - so everything's better made me think a lot of this TB fic, and also of RC (the abandonment issues, thinking that you have to leave first before everyone leave you, Jyn and Powder damn).

Shattered Web by Firewolf2132 1 chapter. WIP. Rated M.

you know how everyone make the comparaison between Ekko and Miles?? well, the author found a way for Ekko transform into a spiderman that feels right in the arcane verse (end of act1) and damn its so good. Ekko slowly morphing and gaining his powers while everyone still have some focus on them (mostly Powder), but it still manages to keep the suspense of the fate of other characters. fabulous. author note: [I have seen so many comparisons between Ekko and Miles and a lot of fanart. So it felt that I had to do this. I can't promise future chapters right now (busy), but I am eager to see if this inspires any stories with a similar premise.]

S2 fanfics

fics covering Timebomb moments between ep 8 Ekko saving her /they painted each other and ep9

Go Back For Her by A_Lily_In_The_Moonlight 3/3 chapters. Completed. Rated E.

Ekko's pov -i only read 1 chapter - we see his thought's process on his relationship with Powder AU/ Jinx, and how he came to the conclusion he must go back to her. the moment where he help Jinx with his Z-drive comes a little differently than in ep8 (well, the aftermath) aaand another fic where Jinx's grief over Isha's death shatters me, the pain and the self loathing/blaming from Jinx really devastating.

I dont believe in God, but i believe you're my savior by mquesterminds One shot. Rated T

[summary: every time Ekko has to rewind time to stop Jinx it cuts to a different moment from throughout their love story because I'm allergic to happiness the moments covering their shared past really make their present 10 times sadder.]

I'm sure we're taller in another dimension by hallwayheart One shot. Rated M. i have nothing to say because i'm still processing what i just read.ty.

Fires That Were Set by ilophilia ( @ilophilia on tumblr) 1 chapter. WIP.

the conversation after Ekko helped Jinx in episode 8. Loved the banter, the emotions (the grief is there and its important to feel it but damn i want to hug them so bad). They tell each other what happened when Ekko was gone, and you feel the distance/the closeness, near intimacy building again and its beautiful..

Hope is a winged beast by Grey_ Unicorn 4 chapters. WIP. Rated E.

prepare you tissues because i was myself not ready for chapter 3 and the emotional wreck of Jinx processing her grief. but here we are.

fics from AU Powder pov/exchange between Jinx and AU Powder

what we left behind by re_dragon_rising 3/3 chapters. Completed. Rated T.

Powder traverses to the og arcane universe 1 year after Ekko's visit. (the insight into her life after Ekko leaves is wholesome and also give the reader a glimpse of the Mylo/Claggor/Powder siblings dynamics + the impact of Vi's death on them. really great. a little sad too.)

The other Ekko by GrammarThyEnemy Oneshot. General audience.

Powder knows this Ekko is not her Ekko.

memento vivere by fuwaaa 1/2. WIP. General audience.

covering the AU episode, Powder knows something's up with Ekko.

See Ya On The Other Side by moth_dust 3/5 chapters, WIP. Rated T.

Powder also travel to the og universe.

these forgotten faces by whippindippin ( @whippindippin on tumblr too!) 6 chapters, WIP. Rated T.

Jinx and Powder body swap and its both the worst and best thing that could ever happen to either of them. great reading and their reaction on point.

Isha is alive

Astrantia by AelinCreativ ( @aelincreativ they're on tumblr too!) 5 chapters, WIP. Rated T.

canon divergence where Ekko saves Isha. a lot of angst. but also a lot of happiness. so we can cry while smiling along with them. great. ty author!!

Ankle-Biter by darkfire1220 8/9 chapters, WIP. Rated M.

Isha is Jinx's biological daughter, Silco is a not so bad (grand) father, and their mother/daughter bond is one a the greatest thing ever. (very slowburn timebomb). Also Vi. i love you Vi.

post s2

we made our peace with weariness (and let it be) by The_FlamingTiger 3/3 chapters. Completed. Rated M.

Ekko and Jinx reconnect in Bilgewater..(and Jinx goes to therapy. that too. its nice)

I don't believe in God (But I believe that you're my savior) by yeonatsu Oneshot, general audience.

Ekko is mourning.

this hunger for love won’t disappear by Amuria Oneshot, rated T.

Months after the battle for Piltover, Ekko begins to dream of Powder. He thinks it’s his grief playing tricks on him. She has different theory.

Francesca (Do You Think I'd Give Up?) by PoetProlific 2 chapters. WIP.

Ekko tries searching for Jinx...(with the help of Caitlyn, yep. and its well done, because I think Cait would help, for Vi. And i love how Ekko-Cait's dynamics might evolve because of this..)

So I met him there and told him I believe by ijustwanttoreadinpeace 3 chapters, WIP. Rated T.

Jinx begins a new life in Bilgewater but is forced to come back... (edit: be warned, this is now an orphan account so idk if there will be more chapters.)

all the 6 timebomb one shot by atabex (the other fics are not timebomb) they're all rated E and oh boy is it worth it. most of these oneshot are gut wrenching and do smut + characters so well... the most recent one is just Ekko and AU Powder ahem doing the boombayah on the rooftop, but yk, with bits of sad and tragedy here and there.

i'm a little ashamed i'm only adding it now but every TB os fics by @shroomystar is 🤌 nothing else to add because each one of them are good. so. (if you want the explicit one-shots it's here and if you prefer without, it's here )

[xmads-omensx]

Part 4

Word Count: 1,729

Pairing: Noah Sebastian X Reader

Content Warnings: fake dating, swearing, vague mentions of alcohol, argument, vague slut-shaming

Tags: @shayeanna-ashlie @alwaysfightforwhoyouare @supersquirrel1996 @dontwantthemoney @tosoundlessdarkistare @collisionofyourkissmakesitsohard @klutzy-kay24 @heyyoplayer @lacy1986 @collidewiththesav @kenjipepsi1 @follow-me-down-to-wonderland @chey-h @amelia-acero @thisbicc @dominuslunae @enemiestolovershoe @xxkatsatwatwafflexx @thisbicc @fadingangelwisp @cheyyyyr @littlebear423 @dsireland86 @missduffsblog @overmydeadbodysblog @dominuslunae

“What the fuck are you doing here?” Noah asked, angry at the fact that she had showed up, uninvited once again.

“Because I don’t want you seeing other women.” She shouted back.

“Other women?” I intervened, sensing Noah’s discomfort. “He’s my fucking boyfriend.”

“Oh wow. So you’re fucking this slut now?” She shrieked.

“Shut the fuck up!” Matt called form the hallway, saving us from the perpetual hell we had found ourselves in. “Seriously, can we just enjoy the party?”

Grace huffed and walked away, clearly not wanting to be kicked out of the party just yet, but I’m sure that was where the night would be heading.

Noah’s demeanour had visibly changed since we had exited his bedroom. He seemed angry, tired and sad all at once.

Placing my hand on his arm, I offered him a comforting squeeze. The bare skin of his tattooed forearm was warm. I could feel the hairs stand up as my hand caressed his arm.

“We can just ditch the party if you’re not up for it and just watch some anime instead? I’m sure that Jesse and the others wouldn’t mind.” I suggested gently.

“No. I can’t just let her win like that. Besides I have a girlfriend and I think she wants to have a good time tonight.” Noah said with a sigh, winking at me when he said ‘girlfriend’ as if he and I were in on a little scandalous secret together, which we were in fairness.

I laughed softly at his reply, my eyes briefly flitting to his lips that were extraordinarily close to my own.

“I think she does too.” I smiled up at him before gently taking his large hand in mine and walking back towards the stairs.

The party downstairs was lively. Jesse was animatedly talking to Davis about something that, based on his hand gestures, seemed to have been very exciting.

JT and Clint were chatting with Folio and Bryan in one corner, hiding from the rest of the party.

Grace snarled at me from the kitchen, furious that I had apparently stolen Noah from her. Good. The bitch deserved to hurt.

My phone buzzed in my back pocket, quickly checking it I saw that it was a text message from Gabi on our trio group chat from work checking in about how the party was going. I shot back a quick reply telling her that it was good so far, but Noah’s ex was here. I knew that I would want to vent to her about it later in the week.

She shot back a quick reply letting e know that she was anxiously awaiting the debrief next time we were at work.

Noah walked over to where Matt stood talking to Orie. They were the three quieter men, so they tended to huddle together at events like these to avoid any unnecessary social interactions.

Jesse, however, was the complete opposite and rushed over to me, gushing about the latest book he had read, filling my ears with his excited ramblings as he detailed the plot, the characters, the ending, everything.

I always admired how passionate Jesse was about reading. Sure, it was only a simple hobby, but the depth in which he took his perceptions of every single detail were truly remarkable. It was no wonder to be that he was so good at songwriting.

The way that his eyes lit up as he talked about his favourite scenes and characters made me smile.

Noah walked over to us after about ten minutes and snaked his arm around my shoulders, pulling me close, before placing a gentle kiss on the top of my head, clearly conscious of the glares that I had been receiving from Grace.

He was very good at putting this act on.

Over the past few weeks of this, I began to resent moments like these.

The way his body was warm against mine. The way I could the vibrations in his chest with every single word that he spoke. The way that I could feel my own heart begin to quicken as he neared me.

Part of me wished that I had never made up the stupid lie in the first place.

Wished that I had never kissed Noah in that car park.

Wished that I wasn’t stood in his arms at a party, pretending.

Wished that I wasn’t pretending to love him.

I hated it.

Luckily for Noah and I, the party flew by with no further interference from Grace.

Part of me was put one edge by this fact since, well from what I had heard at least, she was bound to cause some drama at some point. But the smile on Noah’s face as he talked to his friends put me at ease.

Until it was getting towards the time people started to leave.

Matt, JT and Clint left together, followed by many other partygoers, leaving the people who lived in the house, me and Grace.

Fuck.

Getting her to leave might prove difficult.

She was very obviously drunk. Her slender figure swaying to and fro as she walked towards Noah, Jesse and I.

Jolly was stood by the front door, frustrated, as he held it open for Grace, who hadn’t seemed to have taken the hint.

Apparently she realised that was her queue to leave as Jesse pulled up the Uber app on his phone to book a cab to take Grace home. She leant against the wall with a shaky hand as she guided herself towards Jolly’s open hand and the open front door.

“You know, Y/N?” She slurred. “You’re just like me.”

The four of us, besides Grace of course, looked at eachother with a confused expression plastered across our faces.

We were nothing alike.

“What do you mean?” It was Jesse who spoke up.

“Using Noah like she is.” Grace slurred. The room went silent.

“I’m not using Noah.” I defended.

“Yes you are. You slut. You saw a handsome man who was already obsessed with you, and dove right into his bed. I don’t blame you though, he’s reeeaallly fucking good.” She giggled, looking at Noah who shifted uncomfortably, his eyes darting straight down to his shoes as Grace looked him up and down with suggestive eyes.

“Leave Noah out of this and go home.” I said, frustrated.

“Why would I leave Noah out of this, you’re screwing HIM over.” She yelled.

“No I’m not.” I defended.

“You so are, you slut, you’ll fuck him and get him hooked on you because he’s already in love with you, then you’ll leave him in the dirt.” She screamed.

“Who the fuck do you think you are, coming into my boyfriend’s house unannounced, then yelling at me.” I snarled back at her.

“I just want what’s best for Noah. And that definitely isn’t a slut like you.” She finished with a laugh, just as Jolly gently grabbed her elbow and escorted her outside to the uber we had called for her.

The room descended into a deafening silence.

Jesse said nothing.

I said nothing.

Noah said nothing.

After all, Grace was right, I was using Noah. I was using him to scare off my boss. Granted, he was using me too, but the principle still stood.

“She’s wrong, Y/N.” Jesse started, just as Noah began to walk towards the kitchen, past me. “You’re not a slut.”

“I know that.” I mumbled.

Noah didn’t say anything.

Why didn’t he say anything?

If he was supposed to be my boyfriend, why didn’t he defend me? Stand up for me?

Sure, having Jesse comfort me was nice, but it wasn’t what I wanted.

I wanted Noah.

I wanted him to tell me that everything was okay, because I would believe him.

I would always believe him.

“Noah, she’s lying.” I said calmly. There was no way that he could possibly believe her. Grace was quite literally the least trustworthy person on the planet, yet her words had sent Noah into silence.

“Noah say something to her man.” Jesse said.

Noah opened his mouth as if to speak, but no words came out. Instead he sighed and looked at his shoes before retreating upstairs, presumably to his bedroom.

“What’s his deal.” I said. I intended it to be a question, but it came out a lot more frustrated than I meant it to be.

“Do you want me to go talk to him?” Jesse asked.

“No, just leave him to it.” I said, sitting down on the sofa with a defeated sigh.

“Are you doing okay?” Jesse asked. “She said some seriously fucked up stuff.”

“I’ll get over it.” I shrugged. “But I’m not sure Noah will.”

“What do you mean?” He asked, tilting his head.

Jolly came in and joined us on the other sofa.

“Well, he’s not exactly going to want to keep doing this with someone who is just using him and will leave him when they’re done with him.” I said with a sarcastic laugh.

“What do you mean? That’s not what’s going to happen.” Jolly asked with a laugh of disbelief.

“No, Jolly, that’s exactly what’s going to happen.” I started with a dejected sigh. “Noah and I are using eachother. That’s the point of this arrangement. I use him to get rid of Stephen. He uses me to get rid of Grace. Then we’re done.”

Another silence enveloped the room. This time more painful than the last.

“Just like that?” Jesse asked with a slightly sceptical tone.

“Yep.” I said bluntly.

“But that can’t just be it.” Jolly said, leaning forwards in his seat, resting his elbows on his knees.

“Except it is, Jolly. It is over. Just like that. Noah and I made an agreement and we’re sticking to it.” I said with an accidental edge to my voice.

“Y/N stop.” Jesse said calmly, placing a hand on my shoulder. “It’s not his fault.”

“Well it’s not my fault either!” I yelled, standing up and shoving Jesse’s hand off of me.

“What’s not your fault, Y/N?” Jolly asked with a concerned look on his face.

“It’s not my fucking fault that I’m in love with him okay!” I yelled.

Silence returned into the room.

The sound of my heart beating rapidly filled my ears as realisation seeped into my mind.

Oh no.

Oh no.

What had I just done?

[royboyfanpage]

Do it. Ramble. I adore when people go in depth in the tags. It’s my absolute favorite thing and I read them all happily 💕💕💕💕💕

Ah fuck lads I've been perceived

Right okay no Roy and Connor's 90s dynamic is one of my favourite things ever (currently writing a brothers fic about that exact period) and it's so underdeveloped but there's SO MUCH potential for it. Both of them have this need to be Ollie's son in a way that neither of them can be. Roy's the most vocal about his feelings especially in the scene you posted, and there are so many instances in other comics where you can see his need to be Ollie's son, or his need for the approval of a dead man. When Roy was a kid, before he ever met Ollie, he used to imagine Ollie was his real dad, and his greatest desire is Ollie offering him his legacy, even if he knew he'd turn it down. And to Roy, Connor's everything Roy wants to be. Ollie IS his "real" dad, and Connor DID get Ollie's legacy after Ollie died, but what's so interesting is that Connor doesn't feel the satisfaction Roy thinks he should. Obviously Roy cuts him off so we don't get to actually hear his thoughts, but it's clear that biology doesn't mean anything to Connor. In his eyes, Roy is Ollie's "real" son, Roy got everything Connor wanted- a father who was actually present in his life. Connor only knew Ollie for a very short while before his death, and most of that Ollie wasn't even aware that Connor was his son. I don't know if you've read the issue where Ollie confronts Connor about not telling him he's his son, I believe it's Green Arrow (1988) #97, but needless to say he did NOT react well. (Which I am blaming Chuck Dixon for more than Ollie himself, but I digress, it's still what happened.) And in the Arsenal #3 Roy points out that Connor's a better martial artist than he is an archer which is SO important to me in relation to this, because unlike Roy Connor didn't grow up around Ollie, he wasn't really trained by Ollie, so his fighting style is different but he's still aiming for that Ollieness because he feels like he needs to in order to continue the legacy of a father he never knew and. Good god. Have I ever mentioned I love these brothers? Okay I'm done now

[steviewashere]

🪱🪱Worm Wednesday!!!!!🪱🪱

I was tagged by the lovely @hotluncheddie! Hello, I'm sorry for the rambling mess this is going to be. But I know I missed this like two weeks ago, so bear with me.

Okay, I'm going to try and be normal here. I have, honestly, so many worms in my brain. They're dancing and stomping and I'm just going fucking nuts with how much is in my brain at the moment. And also I took excedrin this morning for my migraine and that had caffeine in it and it's more caffeine than I would normally have—anyway.

Y'all already know one of my brain worms, the whole omega verse sensitive nips omega Steve thing. Which, I will plug the post here because I don't have the energy (yes, I do, but I don't want to echo myself) to share all the craziness about that in one post.

I'm also thinking about young Steve Harrington, which is kudos to this post and lots of people's tweets over on the twitter. I won't go into it, same reasons as the omega verse thing so just...again, bear with me.

But! But the actual brain worms I'm having currently, in this very moment, also have to do with another post I made on here. I want to go more in-depth with, though. So, some days ago, I came across an Instagram Reel that was a clip from the YouTube video interview between Jon Bernthal and Dungeon Master Deborah Ann Woll.

So, brief brief summary of this video is basically: Jon Bernthal says that he wants to play D&D, Deborah Ann Woll then gives him a scenario of walking through the woods and while he's walking he hears snap of twigs, and then she basically prompts him with "What do you do?" And he responds, now I can't remember exactly what he says, but I believe it had something to do with investigating the source of the snapped twigs.

Anyway, the video is excellent and you all should check it out. She basically explains D&D in a way that would make sense to anybody, in the matters of asking a player or a potential player what they'd do in certain scenarios, then bringing in the "rougher" elements such as the History checks or Perception checks in the game.

And I want to write something along the lines of Steve approaching Eddie about D&D. Maybe he wants to play because Dustin keeps bugging him about it, but he's too nervous to accept. Maybe he just wants to know what it's like. Maybe he even wants to be a substitute player one of these days just in case somebody can't show up. Something, y'know, where he's approaching Eddie. But he's really, really confused about where to even begin. He's got a character sheet, he's looking at the manuals loaned to him or he even bought himself, he's looking at all these stats and all these options and he just doesn't know where to begin.

Also, brief intervene here, I would be basing this off of 5e rules because that's what I play and frequently toy with. So...don't be mad at me if I get something "inaccurate for the time". I, first of all, honestly don't care. And second, I was not alive in like 1977 when the game first came out. And there's nobody in my life who played it then or possibly has played it ever outside of 5e. Moving on.

So, he tries to explain his character sheet to Eddie, obviously getting a bit overwhelmed in the process. But Eddie stops him. Says something like, "Hold on, okay? Let's just take a baby step here. I'm going to give you a scenario and then I want you to tell me what you'd do."

And he lays out that same, or even just something similar, to what Deborah Ann Woll gave. (I'm going to base this off of the video. Very original, I am.) So it's something like:

"Okay, you've got a small dagger attached to your belt, it's concealed within a hilt. And on your back, there's a bow and a quiver—or a pouch—of arrows. You're walking through the woods. It's dark, heavy clouds hanging overhead, moon obstructed, you can barely see your surroundings. There's leaves under your feet, gravel, sticks. But then, before you can step your foot down next, something crunches in the distance on your left. What do you do?"

There's a pause. A long moment where Steve is considering his options.

"It's a far away sound, right?" Steve checks and Eddie nods. There's a little hmph from Steve as he continues to think. "Can I tell how far away it is? Is there a way to distinct the length of it?"

Eddie maybe smirks, eyes already glowing. "Give a perception check." And at Steve's befuddled expression, leaning in and brows furrowed, Eddie continues on. "So, you're going to roll one of those dice that you always see the kids with. The D20, that's the one you'd use right now. 20 is the highest you can get"—

"The best I can get. And 1 is obviously the lowest, so the worst."

"Right! So...let's say you were to pick up a D20 right now and roll it. You get a...a fourteen. And your perception, one of those skills on the top of your paper"—and Eddie would grab Steve's character sheet, to point out the number he already placed there—"this one right here. And on your paper, it looks to be pretty high. A sixteen is what you have. So...I'm going to ask you to add three more to your dice roll."

Steve squints at the paper. He doesn't take long to do the math, muttering a little under his breath. "Okay...I'd have a seventeen for my perception check." And he looks up to Eddie for confirmation, in which he gets. "And if it's possible out of twenty...that means I can probably figure it out well, right?"

Eddie nods with a smug hum. "You're already a natural." He leans back a little from Steve. Eyes away in thought. Goes on, "So, I'll know right away, based on that number you give me that you're extremely perceptive. I tell you...okay, the sound you hear is roughly ten feet away on your left."

"That's really close," Steve murmurs. "I think I'll...I'll ready that bow on my back. Take it off, grab for one of my arrows. Poise it."

"Mmm...And as soon as you get your bow in the right position, you begin to make out what seems like a pair of eyes. From the darkness between the trees, those eyes emerge closer and closer, revealing the large figure of a sixteen foot owlbear. Its feathers are spread wide, splaying defensively. Eyes glowing, it seems, yellow and bright. The body girth of a bear, but the head and mannerisms of an owl. It trills and squawks in your face. What do you do?"

Anyway, it would go from there. Tried to figure out a monster that wasn't an owlbear because that's what was used in the video. But uh...my brain is not being original right now, so that's basically the whole example from the video. But I just adore that video so much, the simple, yet impactful way she taught the basics. And I think it could translate so well to Eddie and Steve messing with D&D together.

Sorry for a long ass post lmao

Tagging (no pressure): @puppy-steve @scoops-aboy86 @ataliagold @marvel-ous-m @pearynice

@wheneverfeasible @rogueddie @sidekick-hero

[antialiasis]

The Good, the Bad and the Ugly: all of my thoughts (part 1)

All right, this is me, watching my way through my current obsession The Good, the Bad and the Ugly for the umpteenth time and rambling about everything that comes to mind as I go, which ended up with me typing over thirty thousand words because I am incapable of shutting up. Because that is truly excessive, I will be posting my thoughts in three parts; this is part one (covering roughly the first hour and thirteen minutes of the Extended Cut, up through the end of the desert/carriage sequence), and I'll probably post part two in a few days to a week, pending editing and such and some of the other things I should be doing.

Because that's a lot of reading to commit to without knowing what you're getting into, especially if you're here from the tag, here's what to expect in brief:

This is all of my thoughts, simply whatever comes to mind, but my thoughts on fiction tend to be heavy on in-depth analysis of characters, their motivations and how they tick, so a lot of this falls into that general category.

In particular, there will be a whole lot of thoughts on Tuco, Blondie, and their evolving character dynamic, which is my favorite part of the movie. I will not be looking at it through a shippy lens, for what it's worth (romantic shipping is not generally how I personally engage with fiction), but I hope anyone who finds their dynamic compelling in whatever way might still enjoy some of my thoughts on them!

In between, there's also a bunch of other commentary on stuff like the narrative function of scenes (especially on the scenes that were cut in the International Cut of the film and whether the film is better with or without them), directorial or editing or production design or storytelling choices, acting choices, foreshadowing and parallels, as well as some lighter commentary on bits that amuse me or bug me or that I particularly enjoy.

Sometimes I will just be making observations about random things I didn't necessarily notice or pick up on on my first viewing; many of them are probably kind of obvious, but if I didn't pick them up seeing it once, probably there's at least a chance they might be interesting for other people who have only seen it once.

This is not a recap of the movie, but I do try to quote lines or explain bits that I'm commenting on, so hopefully you can follow along if you've seen the movie at all. I don't know how coherent this would be if you haven't seen the movie, but if you choose to read a post like this about a movie you haven't seen anyway, godspeed to you.

Tuco's introduction

The opening scene sure is a microcosm of Sergio Leone's directorial style. Slow, silent close-ups, wide shots, unclear exactly where the scene is going initially, these unnamed characters eventually converge on a saloon -- and then instead of following them inside, Tuco comes crashing through the window and we freeze-frame. It's very drawn out (I had a bit of an "Is the whole movie going to be like this" moment watching it for the first time), but the comic timing of Tuco and the freeze-frame is great; instantly we go from this super slow, dramatic buildup to this fun, humorous subversion that really sets a tone. All that buildup was actually for introducing this guy.

In the process, we learn that 1) Tuco is someone at least three different people want to kill, 2) he's someone skilled and resourceful enough to manage to shoot them first and then make his escape through the window even after being caught unawares during a meal by three people working together, and 3) even in the process of doing that he brings his food with him -- probably actually pretty revealing about his background of poverty, not wanting to waste food when he has it. We'll of course see him introduced further a little later, but this really says a lot for only actually containing about ten silent seconds of him, and also benefits from being funny.

It's kind of amusing how bloodless most gun deaths are in this movie, considering it doesn't shy away from blood in other parts. The surviving bounty hunter does have some blood on his hand as he tries to shoot after Tuco, probably to convey that he's injured despite still being alive, but the others are just cleanly lying there with no signs of damage. Maybe it's paying homage to what other Westerns looked like -- the actual cowboy gunslinging specifically is very idealized, sanitized and almost cartoonish, compared to a lot of the other violence in the film. I remember being a kid and hearing about the trope of people in old Westerns getting shot and dramatically going flying as a result, despite that normal bullets are far too small for their momentum to send a person flying anywhere -- you don't actually see too much of that in modern movies, where everything tends to look much more realistic, but this movie definitely has a lot of very dramatic flailing and spinning around when people get shot in a way that looks pretty distinctly silly and cartoony today. Ultimately it meshes pretty well with the overall tone of the film, though; this movie is gritty in many respects, but it does not aspire to realism.

Angel Eyes' introduction

The way Angel Eyes just silently waltzes into Stevens' home and helps himself to some of his food while maintaining eye contact the whole time is so weird and uncomfortable, it's delightful. What an entrance.

Stevens has a limp. People who have fought in the war tend to be visibly scarred by it in this movie -- truly something that just permeates every background detail, that you don't really think about on a first viewing when you think the Civil War is just a setting backdrop.

There is zero dialogue in this film until more than ten and a half minutes in (though the first three minutes of that are the opening credits, so it's seven and a half minutes of actual movie with no dialogue). I think this is a very fun choice which contributes to the viewer really feeling how unbearable the silence is for Stevens by the time he starts asking Angel Eyes if Baker sent him - half of that silence wasn't even technically part of this scene, but it really intensifies it by making the silence here feel even longer than it is.

When Stevens says, "I know nothing at all about that case of coins!", Angel Eyes looks up with interest from where he'd been casually looking at his food. Evidently he had had no idea there was any case of coins involved, only that he was meant to collect a name, but once Stevens mentions it, his interest is piqued.

Angel Eyes casually offers, "Well, Jackson was here, or Baker's got it all wrong," while cutting off and eating a piece of bread with a large knife, sort of implicitly daring Stevens to try to say Baker's got it all wrong and see what happens. When he's got Tuco captured later, Angel Eyes does a similar thing of staying friendly-threatening as he casually asks questions, but once Tuco actually refuses to talk of his own accord, out come the claws. This time, though, Stevens does not take the bait, probably sensing that that would lead nowhere good for him.

He says, "Maybe Baker would like to know just what you and Jackson had to say about the cash box" -- this isn't the info he came for, but maybe Baker would be interested. Really it's Angel Eyes himself who is intrigued -- he'll go on to tell Baker that that's my bit. But he doesn't really bother pushing Stevens for it, instead moving on to admitting he's being paid for the name specifically. Probably he figures once he gets the name, he'll have all the info he needs to track him down anyway by his usual means (which it turns out he does).

The casual, grinning confidence of Angel Eyes' assertion that if Jackson weren't going by an alias he would've found him already, "That's why they pay me," really makes you believe it, doesn't it. It's exposition about what Angel Eyes does, but is also executed to work as a nice character-establishing moment about his competence.

Christopher Frayling's otherwise fun and informative commentary on the film talked about how Angel Eyes' missing fingertip was provided by a hand double in the final truel -- but you can see in this scene that Lee van Cleef's own right hand is definitely missing that fingertip (though I did not notice it at all until I thought to specifically look for it). Very curious where the notion of a hand double came from -- he even named a specific guy.

Angel Eyes casually announces that when he's paid, he always sees the job through, even though that's just going to make Stevens desperate -- Angel Eyes knows he can shoot first, no big deal.

He shoots Stevens through the table and the food, even. How does he aim.

Angel Eyes grabs his gun and turns around to shoot Stevens' son before he actually comes into view (specifically, we see him start to react to something about ten frames before we can first see the tip of the son's rifle). Presumably, in-universe, he heard him coming, but we don't hear him coming at all over the blaring background chord, so it feels like Angel Eyes just knows he's coming by some sixth sense. Very effective at making him seem even more threatening, especially since there's also generally a conscious decision in this movie to act as if the characters can't see anything that's out of frame for the viewer -- Blondie and Tuco get caught out by that rule a couple of times in amusing ways, but Angel Eyes actively defies the auditory equivalent.

(It's neat how the family photo, used for Angel Eyes obliquely threatening Stevens' family, also serves as foreshadowing for the fact he also has this second, older son we hadn't seen yet at that point.)

The fact Angel Eyes sneaks into Baker's bedroom when he's sleeping to report back is so extra. A normal person would just arrange to meet him the next morning, but no, Angel Eyes does the creepy stalker thing. Probably makes the murdering him in his bed bit a little easier, though, which also suggests he was definitely intending on that bit the whole time and didn't just "almost forget".

Baker's brow furrows and his eyes shift uncomfortably when Angel Eyes mentions the cash box; clearly he was hoping Angel Eyes would never find out about that bit (very reasonably, given what happens next).

All in all, Angel Eyes' introduction is super striking. The casual veneer and smug grins painted over a deeply tense sense of threat; the absolute deadly confidence; the fact he shoots Stevens' son too so easily and presciently, almost as a footnote to it all; casually walking out with the money that Stevens offered him for sparing his life; and then, on the ostensible basis that when he's paid he always sees the job through, casually killing Baker too.

Although he explains the murder of Baker as simply seeing the job through, though, Stevens didn't actually ask him to kill Baker; all he ever suggested he wanted was to be left alone, and all he said about the money was that it's a thousand dollars, after asking what Angel Eyes was being paid for murdering him. I expect Angel Eyes simply chooses to take it as payment for the 'job' of killing Baker for motivated reasons; that way, he can act as if the money is still 'payment' for him even though he rejected Stevens' attempt to bribe him, and it's much easier to go after the cash box himself if Baker's out of the picture, after all.

This creates an interesting ironic sense that while Angel Eyes effectively presents his own introduction as being all about his unassailable professional principles about always performing the job he's been paid for, and I took him at his word on my first viewing, he's not really all about those principles at all -- and as the movie goes on, indeed, he's simply pursuing the cash box for his own reasons rather than because anyone's paying him for it. His 'professional principles' don't come up again, because that's not really what this intro was telling us at all.

Which isn't to say he doesn't always see a job through after being paid (I can definitely believe that; if he has a reputation for getting the job done no matter what, that makes people more likely to pay him in the future, and he sure has no qualms about completing any job), just that that's not at all the main thing driving his character, as you might initially assume. The thing his intro is really telling us about him is that he's ruthless, terrifying, extremely competent, very interested in this cash box, and has absolutely no trouble casually murdering whoever might be standing in the way of accomplishing what he wants. And I think it's very effective at showing that.

Blondie's introduction

This scene opens with Tuco on a galloping horse in a way that naturally invites the viewer to assume this is following directly from when he flees from the saloon in his intro, and that's what I assumed on my first viewing -- but nah, not only does he not have the food and drink, he's wearing different clothing. Given the surviving bounty hunter from the intro will be appearing later and indicating that was eight months ago, and this is decidedly the most obvious place for the bulk of the timeskip to be happening, probably this is actually several months later. This film is not at all big on time indicators -- for the most part, we have no idea how much time is passing, everything feels like it's happening pretty much in sequence, and we can only vaguely infer that there must be longer gaps between particular events.

The straight-up photograph on Tuco's wanted poster is pretty hilarious. There's even a scene later with a little gag about the long exposure times for photographs at the time. Probably this is just a funny prop for two scenes to make it very obvious to the viewer that it is absolutely him on the wanted poster even as he adamantly denies it, but it's also very funny to imagine Tuco patiently posing for his own wanted poster.

Framing through it, all three of the bounty hunters surrounding Tuco when Blondie comes along are in fact going for their guns when Blondie shoots them, which makes sense -- for all that Blondie is not much of a noble hero, he generally does not tend to shoot people until they're at least starting to draw on him. (There's one notable exception, which will come up in part two.)

I enjoy Tuco's weird little nervous, disbelieving grin as he realizes this stranger just shot the bounty hunters but is sparing him. Tuco's own worldview, as shaped by his background, is dominated by self-interest; it's every man for himself, and it's up to him to do whatever it takes, tell whatever lies, betray whoever he has to, to get ahead. And yet, there's this endearing naïveté to him, where he's not really suspicious of other people's motives accordingly -- he's surprised Blondie would save him, but his brain doesn't immediately go to this guy just wants to be the one to collect my bounty. We see this a lot throughout the film.

We cut (with great comic timing) from Blondie sticking a cigar in Tuco's mouth to Tuco spitting out a cigar while tied up on his horse as Blondie takes him into town -- an edit that suggests continuity, like only a short time has passed and it's the same cigar that he just hadn't had the chance to spit out yet (sort of dubious if you really think about it, since surely it would've taken a bit for Blondie to tie him up and get him onto his horse). This reinforces our initial assumptions about what's happening, where Blondie would just have tied him up before riding straight into town, but given the con they turn out to be running, there must have actually been an offscreen conversation about it and the cigar is there as a bit of cheeky misdirection for the audience.

(It probably makes sense that when Blondie put the cigar in his mouth, he was actually about to propose they run this bounty scheme together -- as the movie proceeds, we see that Blondie generally shares cigars in more of a friendly sort of way, after all.)

"I hope you end up in a graveyard!" yells Tuco. They sure do all end up in a graveyard! This is some very cheeky foreshadowing and I love it.

Tuco yelling ineffectual threats about how Blondie can still save himself by letting him go, while actually tied up and completely at his mercy, is just extremely Tuco.

Then he shifts tack very abruptly to saying he feels sick and needs water, only to then spit in Blondie's face. Later he furiously calls the deputy a bastard just for walking out of a building, only to then immediately shift to saying he's just an honest farmer who didn't do anything wrong. Tuco often does this, shifting from one approach to the next in a way that makes it really obvious he's bullshitting, but he keeps doing this, just throwing shit at the wall to see if anything sticks, even when this is counterproductive to the whole effort. He is presumably playing it up a bit here, but it's still in its own way pretty representative of who he is and what he's actually like. He's so characterful.

"Who says so? You can't even read!" says Tuco about whether it's him on the wanted poster, which is some delightful nonsense hypocrisy/projection given we will later see that Tuco himself can only barely read. I love him. (And why would reading even have anything to do with it; he's obviously looking at the plain actual photograph of him right there. Love Tuco's absolute nonsense.)

Another absurd change of tactics: "Hey, everybody, look, look! He's giving him the filthy money!" - as if he's going to rally onlookers against the sheriff and Blondie somehow on the basis that money is exchanging hands, isn't that suspicious.

Tuco calls Blondie Judas for accepting the money (referencing the thirty pieces of silver, of course), which will get a fun echo later.

"You're the son of a thousand fathers, all bastards like you!" I love that Tuco has invented compounding recursive bastardry just for Blondie. Not only is he a bastard, all one thousand men his mother slept with were also bastards. Glorious. (You can see Blondie's amused by this one; he actually smiles a little bit before throwing a match at him.)

I wonder if Blondie actively encouraged him to go quite this hard on the insults, to make them look less associated, or if he just did this. One would think it would be risky, on Tuco's end, to be this over the top in literally spitting in the face of the guy who could just let him hang if he happened to change his mind -- but then again, Tuco genuinely doesn't expect Blondie to double-cross him.

Tuco's crimes, as of this first hanging, are: murder; armed robbery of citizens, state banks and post offices; the theft of sacred objects; arson in a state prison; perjury; bigamy; deserting his wife and children; inciting prostitution; kidnapping; extortion; receiving stolen goods; selling stolen goods; passing counterfeit money; and, contrary to the laws of this state, the condemned is guilty of using marked cards and loaded dice! All this paints a picture of a pretty colorful backstory, but most of it is relatively petty; other than the murder (possibly of people like the bounty hunters we saw him dispose of in the opening), we can gather he's been scrounging up money through anything from cheating at cards up to armed robbery and kidnapping, he lied under oath (checks out), he set a prison on fire (presumably to escape), he ran off from his wife and kids and then married someone else he presumably also ran off from, and then there's "inciting prostitution" which I'm guessing means offering someone not previously engaged in sex work money for sex.

It obviously checks out that he'd do anything for money, and bigamy and deserting his wife and children rhyme with his off-hand mention at the monastery later that he's had lots of wives here and there; in general, it tracks that he would make big commitments and then just break them. So all in all, these seem like probably a bunch of genuine crimes that he actually committed. (He also nods somewhat smugly at the marked cards and loaded dice bit.)

Blondie's MO seems to be to first shoot the whip out of the hand of the guy who's meant to be setting the horse off and then shoot the actual rope (and then random attendees' hats, for good measure). Better hope that first shot doesn't spook the horse.

It really is very reasonable of Tuco to want a bigger cut for being the one running the risks; you wouldn't generally want to do a job with a significant chance of getting you killed without being very well compensated for that. Unfortunately, Blondie doing the cutting means he's the one with all the power here -- if he's dissatisfied with his share, he can just pocket all the money and let Tuco die -- which puts him at the advantage in the negotiation, and he knows it.

I enjoy how in the middle of "If we cut down my percentage, it's liable to interfere with my aim," Blondie offers Tuco a cigar, this casual friendly move in the middle of what is effectively a threat.

Tuco does a little understated, "Hmm," of acknowledgement that makes it feel like this was genuinely unexpected. But then he just returns the threat: "But if you miss, you had better miss very well. Whoever double-crosses me and leaves me alive, he understands nothing about Tuco." Which sets up his quest for revenge on Blondie after the double-cross, obviously, but is also fun to recall during the final scene: Tuco actively advised Blondie not to leave him alive if he was going to double-cross him.

Tuco why are you eating the cigar

Next time he's in the noose, it's for a whole new list of crimes that ends with, "For all these crimes, the accused has made a full, spontaneous confession." Yeah, he probably just went off spewing confessions to a string of colorful invented offenses as Blondie brought him in, didn't he, maybe hoping it would raise the bounty. (At the cinematic screening where I saw it for the first time, I missed the spontaneous confession thing due to no subtitles and spent half the movie experiencing some jarring mental dissonance over Tuco's growing goofy likability versus the offhandedly having been convicted of multiple rapes near the start thing. But it's actually pretty strongly telegraphed that the new crimes here are simply bullshit; a spontaneous confession to a variety of new things that were decidedly not on the earlier list, that he could not possibly have done in the implied presumably not very long timespan between the first and second hanging, mostly distinctly more dramatic crimes than the original set, all sounds strongly like a Tuco throwing shit at the wall thing.)

Tuco looks a lot more restless during the second hanging, where for the first one he was pretty calm -- probably a little bit nervous about Blondie's "liable to interfere with my aim" remark, even though they'd presumably come to an agreement to stick with the 50/50 split.

He notices a woman being scandalized, seems sort of put out for a second, but then growls at her to scare her more. What a Tuco.

Another minor character presumably disabled in the war: Angel Eyes' incidentally legless informant. (Whom he calls Shorty, like the guy Blondie teams up with later, who is definitely a different guy because that guy has legs -- sort of a funny aversion of the usual one Steve limit. Genuinely a bit puzzled by why they did that -- is it like that in the Italian version or just the English dub?) I wonder if the bit where he moves around by holding a couple of bricks and using them to walk on is something inspired by a real person or people at the time.

Calling him a 'half-soldier' is pretty rude, Angel Eyes.

Look, I'll accept that we're calling Blondie Blondie, sounds like that's what you'd call him in Italy, but there's really no excuse for "A golden-haired angel watches over him." The man's hair is brown. It's not even a light brown. What are you talking about, Angel Eyes.

But to not get too distracted by that part of the line: Angel Eyes obviously recognizes the con they're running. I think that's probably because he knows of Blondie and that this is a thing he does (he's presumably done it with others before), so when he notices Blondie's around at a hanging, he's like ah, yes, there's him doing his thing, guess he's running with Tuco now. My own feeling is Blondie and Angel Eyes basically only know of each other, though -- no direct evidence they're not more familiar or anything, but they don't really act like they have a personal history, I think, compared to Tuco and Angel Eyes who obviously do.

After the threat about a pay cut being liable to interfere with his aim, I originally figured Blondie missing the rope (or rather, it seems to have grazed but not severed it) might have been deliberate, meant to scare Tuco a bit and make him think twice about proposing that again. But ultimately, on a closer look, I'm pretty sure he really did just miss, both because his expressions and body language feel more in line with that and because Tuco's rant after they escape indicates that Blondie's explanation to him was that anyone can miss a shot -- if it was meant as a warning, probably he wouldn't then go on to actively make it sound like he'd just happened to miss.

(That line also indicates it probably wasn't that he did hit it dead-on but the rope was just sturdier than expected -- if Blondie said anyone can miss a shot, that sounds like he at least believes it's because he missed, and I don't see any sensible reason he would lie about that here.)

That said, I think it's fun to imagine that the reason for the miss was that that discussion really did interfere with his aim -- that little bit of tension with Tuco led to him being a little careless this time, even though he didn't mean to miss and thought he had it.

The thing that actually prompts Blondie to stop and leave Tuco is Tuco's rant about how nobody misses when I'm at the end of the rope and When that rope starts to pull tight, you can feel the devil bite your ass. For all that he explains it as being about how there's no future in this with a guy who'll never be worth more than $3000, there's a specific point where he stops his horse and decides to ditch him, and it's when Tuco's complaining turns into guilting him about missing and the experience of being on the other end. Blondie will not be guilted and does not want or need this; just going to ditch him and wash his hands of him and find somebody else. I get the sense that Blondie doesn't really want to think about that miss too hard, at this point, and Tuco won't leave him alone about it, and so he leaves him.

More echoes in Blondie and Tuco's relationship: Blondie specifically says, "Adios," when leaving Tuco in the desert, which Tuco will say back to him at the inn.

Tuco's reaction, once again throwing shit at the wall, goes from insults to angrily ordering him to cut the rope off and get off the horse (as if he has any power to make him do anything, standing there unarmed with his hands tied), to a series of hilariously off-the-wall threats ("I'll hang you up by your thumbs!"), to disbelief/desperation: "Wait a minute, this is only a trick! You wouldn't leave me here! Come back! Wait! Blondie! Listen, Blondie!" before the final ¡Hijo de una gran putaaaa! The last couple stages once again get echoed in the final scene. I enjoy the "You wouldn't" - Blondie's supposed to be better than this, even after he'd threatened his aim might suffer if he got less money. They were supposed to be friends, damn it! (Tuco really wants to believe that people actually like him, and often chooses to live in the world in which they do.)

I truly love the fact Blondie gets the freeze-frame and onscreen caption of "the good" just after ironically admonishing Tuco for his ingratitude after Blondie has double-crossed him, taken the money they were going to split, and left him in the desert with this hands tied. As I wrote in the post with my initial impressions on the movie, this is the most uncalled for, mean-spirited thing he does in the entire movie, and getting the caption right here makes it really drip with irony, which is exactly the right thing to do with it, compared to if they'd put it earlier when it might have looked like it was meant to be played straight. There's no gallant hero here, only this guy, who is kind of a bastard. Blondie genuinely grows to deserve the title more as we go on, and that's one of the fun things about the movie, but we have established that the base point is low.

Blondie's intro tells us a number of things: he's a very good shot, casually confident, silent and stoic and unruffled by most anything, happy to be a conman ripping off bounties by bringing in criminals and then freeing them again to repeat the same scheme elsewhere, willing to make oblique threats to get his way and to shoot first when anyone seems about to pull a gun on him, and enough of a bastard to leave Tuco behind in the desert. But he's definitely the most enigmatic of the three main characters; he doesn't talk or emote much, leaving exactly what's going on in his head pretty vague and open to interpretation, even as some of his actions are pretty striking and interesting. This has nerdsniped me, because I enjoy thinking about what's going on in characters' heads; please be prepared for an excessive amount of analysis of what might be going through his mind in almost every scene he's in.

Angel Eyes and Maria

The choice to open this scene with Maria getting thrown off a carriage with a bunch of drunk Confederates and the choked-up yell of "You filthy rats!" after them is probably largely just to get across the suggestion that she's a prostitute, making it easier to connect that she's the one Angel Eyes' informant told him about. But I appreciate that it gives her a little bit of a tragic existence outside the confines of the plot and makes her sympathetic even before Angel Eyes starts beating on her. (A secondary purpose for this is also probably to show some Confederate soldiers just being assholes; the film makes a point of featuring both sympathetic and asshole moments from both sides of the Civil War.)

Like with Stevens, while Angel Eyes makes his presence very threatening, he starts off nonviolently (well, relatively; the way he pulls her inside is not exactly gentle), just telling her to go on talking about Bill Carson -- but when she refuses to volunteer any information and just says she doesn't know him, the claws come out instantly. There's none of the veneer of casual friendliness he had with Stevens, though, just an intensely scary stare and threatening demands. (The scare chord playing in the background doesn't help.) All in all, Angel Eyes was already terrifying but he is even more so in this scene.

I do also appreciate that while the interrogation is brutal and deeply uncomfortable and thick with the danger of sexual violence, it does not go there -- he's physically but not sexually violent, he's only interested in the information, and once he has it, we see him just leave. This is a completely sexless film, and I think we're all very lucky for that; it's one reason The Good, the Bad and the Ugly has aged relatively well, compared to for instance some of Sergio Leone's other films. (That's not to say I have anything against portrayals of sexuality or even sexual violence in media in principle, but I've gotten the sense that back in the sixties, media that did portray it tended to be profoundly weird about it.)

Tuco returns to town

We don't get to see Tuco suffering in the desert, only making his way across the rope bridge and then stumbling toward the well and finally indulging, but I think it does get across that this was an ordeal for him, and that becomes easier to appreciate on a rewatch, after seeing Blondie go through it later. Tuco's skin has fared a lot better than Blondie's, but his lips are pretty cracked.

The gun seller looks so proud of his little selection of revolvers and is so eager to please him by showing him more. It's painful how long he keeps trying to be helpful in selling him a gun even when Tuco just grabs the bottle of wine out of his hands and dismantles half of his guns to put together a custom revolver. And then Tuco just uses the gun, with a cartridge the owner gave him, to rob him of the money he has in the till, oof.

Man, those targets just casually in the shape of Native Americans.

Sergio Leone just has a thing for characters shoving something in somebody else's mouth unbidden, doesn't he. Blondie sticks his cigar in Tuco's mouth during his intro, then Tuco puts the sign in the shopkeeper's mouth, and then it happens very memorably in Once Upon a Time in the West as well. I forget if it's in A Fistful of Dollars or For a Few Dollars More, but at this point I wouldn't be surprised.

The gun store scene is theoretically skippable (Christopher Frayling's commentary indicated it was cut in British prints of the film, though I gather it survived in the US cut), but it's pretty fun in its audacity, and is also doing some good setup work for Tuco's character. So far, apart from his intro suggesting some degree of scrappy ability to shoot before he gets shot, he's been shown in a pretty ineffectual light, getting ambushed and captured and raging helplessly with his hands tied. But here we get to see that Tuco really knows his way around guns and has implausible trick-shooting skills to rival Blondie's -- and, of course, that he really is an unrepentant bandit who thinks nothing of doing this when he wants a gun and some money, lest we were left too sympathetic to him when Blondie left him.

The cave

Tuco presumably bought the chicken with some of the $200 he robbed from the gun store; he presents it like having a single chicken by itself is amazing riches. Does say a lot.

I enjoy his very blatant talking to himself about how oh, he's so lonely, but he's rich, wonder where his friends are now. He clearly figures that Pedro/Chico/Ramon are there listening and just avoiding him. He talks like they were such great friends, but somehow the fact they don't come out until he starts loudly talking about how if only they were there he'd give them $1000 each doesn't make it seem like they ever had a relationship that went much beyond assisting each other in committing crimes to their mutual advantage -- and Tuco clearly in fact knows this, since he knows exactly what line to go for to lure them out. (But no, Tuco definitely has great friends, because he is a cool and well-liked dude who has definitely made good choices in life.)

I've seen people online suggesting that Blondie and Tuco ran their scam a lot more often than the two times we actually see, but this scene seems to make it explicit that they only did it exactly those two times: Tuco specifically indicates Blondie has $4000, which is simply equal to half of the first $2000 bounty that they split plus the entire $3000 bounty for the second time that he kept for himself.

This is one of the scenes added in the Extended Cut, despite having been cut even from the Italian version of the movie after its original Rome premiere. The primary ostensible purpose of it is just to establish where Pedro/Chico/Ramon came from (the featurette on the restoration makes it explicit that the guy overseeing the Extended Cut, John Kirk, just thought it was a plot hole and decided to reinsert the scene when he discovered it existed because of that, despite Sergio Leone himself having decided to cut it for pacing reasons). It is true I think I would probably ask myself some questions about Tuco's buddies if I'd seen a cut without it; Tuco's seemed like a lone wolf so far, and without it there's no indication at all of who these guys are or why they're working for/with him for this.

On the other hand, the scene kind of sets them up as if they're a lot more important than they are, and its internal coherence feels a little off: them only coming out when Tuco tempts them with money, despite that Tuco's been there for a bit talking at them about what good friends they were, actively suggests they don't actually like or trust him (which makes good sense!), but then it also has this dialogue about how they thought he'd been killed, which feels as if it's randomly offering up an unnecessary and somewhat contradictory second explanation for why we haven't seen them with him up to this point. The bit about them thinking he was dead doesn't actually connect to anything and seems to give undue weight and improperly conserved detail to Tuco's relationship with these guys, who are ultimately just some throwaway goons that exist in one scene before dying and never being mentioned again. I think probably the movie is actually better off without this scene, as Sergio Leone apparently concluded himself.

The inn

More of the war in the background -- this time with the innkeeper privately opining about how those rebels are cowards and it'll be better when the Yankees have beaten them as the Confederate army retreats out of the town, only to then yell "Hurray for Dixie!" as they're passing by. Not the only character in this movie who just pretends to support whichever army he's currently looking at. (We see more injured soldiers in the background here.)

Love the tension of the buildup here. Blondie's gun lying dismantled on the table at the start, the brothers approaching in the midst of all the noise, the close-up of Blondie's hand freezing and eyes narrowing at the clink in the sudden silence, straining to hear as there's nothing (the fact it stopped when the army did actively suggests someone's trying to be sneaky), then frantically loading the revolver with a second-third-fourth bullet as the background noise restarts and then juuuust managing to finish and shoot the three of them in rapid succession as they burst in. These silent close-up shots of his hands and eyes also deliver a rare moment of tangible alarm from Blondie; he's legitimately scared for a bit there and you can feel it, which is greatly appreciated from a character who spends most of the movie being stoic and enigmatic.

Enjoy Blondie choosing to explain how he knew they were coming by going, "Your spurs," just before firing the final shot (just giving this guy a little tip about where he messed up before killing him, as you do), but also I deeply enjoy that him firing that last smug bullet, which he probably didn't really need to when the guy was collapsing anyway, leaves him defenseless when Tuco draws attention to himself at the window. Blondie is very smart and competent, we've just watched him survive three people sneaking up on him while he's cleaning his gun because he managed to notice the tiny sound of a clinking spur and put together what it meant and load his gun in time, but then he makes this near-fatal mistake by getting a little too cocky about it, and that's definitely tastier than if he'd obviously needed all his bullets there.

I have seen it suggested that Tuco intentionally used the brothers as cannon fodder here, but I'm not sure the movie necessarily suggests that; presumably the idea was for them to successfully sneak up on Blondie and catch him completely unawares without the unexpected silence exposing the rogue spur clink, which wouldn't have had to involve any of them getting killed (heck, if they'd happened to be just a little earlier, Blondie would've still been in the middle of cleaning his gun). Tuco and the others had clearly talked about their approach ahead of time, so they were perfectly aware that they'd be going up there by the door and Tuco would be coming in by the window and presumably thought that sounded like a good plan. And we have no idea exactly at what point Tuco managed to make his way in, so we don't have any indication either way on whether he theoretically could have intervened to save them in some manner -- my first assumption would be he got in after Blondie had stood up, which is after he shot them. Sneaking up on him from two different directions makes sense either way. I wouldn't necessarily put it past Tuco to figure the brothers will probably get killed and do it anyway, but I don't think we can say that for sure.

Either way, I enjoy Tuco doing his quick little sign of the cross when he says "Those that come in by the door." He did in fact just get them killed by bringing them here, and while he's not going to say anything about that to Blondie, it shows him acknowledging it in a small way. Tuco's religiosity is a great little character trait that has no impact on the plot but just adds more color and dimension to him as a character -- it adds a really fun bit of visual irony to punctuate some of his various decidedly un-Christian actions, and it has a rich sense of being rooted in his background given his family was presumably religious.

Blondie's shrugging, "It's empty," feels like he's initially kind of expecting them to just talk: he takes Tuco wanting him to remove the pistol belt as a practical thing, just telling him to remove his weapon so he can put his away, and so Blondie removes it but tells him that's not really necessary because he can't shoot him anyway. Tuco could have shot him already if he were here to kill him, right? He probably expects, initially, that Tuco is just here to get his half of the money, or possibly all of it.

Instead, Tuco responds with, "Mine isn't" -- he's deadly serious and he's not putting his gun away at all.

"Even when Judas hanged himself there was a storm, too." There's Judas again! Tuco originally called Blondie that while playing it up for the scam, but as far as he's concerned now, it's true actually. Love the furious energy of him sitting there having found this Biblical parallel and decided this is the specific revenge he wants on this guy and bringing a noose to arrange that. Blondie's never had a rope around his neck, never felt the devil bite his ass? Well, now he will. And he'll make him do it himself, because Judas hanged himself.

Blondie warily (and correctly) suggests the 'storm' is actually cannon fire -- because he decidedly does not want to be anywhere near the war, and by the time cannons are getting fired in the vicinity, he thinks they should probably be getting the hell out of there, and if Tuco agrees, then perhaps pointing that out is a ticket out of this pretty alarming situation he has found himself in. But Tuco, of course, is not really interested in entertaining that just when he has Blondie right where he wants him. He's going to hang him right here if it's the last thing he does.

Blondie goes along with it, slowly, silently, looking kind of wary and skeptical more than anything. When I was first watching this movie, I kept expecting him to do something, to distract him in some clever way and then lunge at him to disarm him or something, like you'd usually expect the main character to do in an action movie. But the thing is that's just not how Blondie operates. He doesn't do bold risky action-hero feats. He can absolutely shoot a gun with the best of them, but he has no particular physical skills, never even throws a punch in this whole movie unless you count the backhand slap on the tied-up Tuco earlier; when unarmed, all he's really got is his brains. Blondie gets by on being smart and careful and analytical. When Blondie finds a gun pointed at him, and has no leverage over the other guy, he will do what he's told, make no sudden movements, and wait until he sees some kind of actual opening, because otherwise he's just going to get shot. He buys what little time he can going along with the hanging while his brain silently whirs away evaluating his options for how he can get out of this, and that's about it for what he can do.

What are his options? He doesn't have a lot. Tuco is standing too far away to reach before he shoots but too close to realistically miss, never takes his eyes off him for more than a second, keeps his gun pointed squarely at him. It wouldn't be hard for him to get out of the noose -- it's a big noose, he's barely in it, his hands are free. But if he did, Tuco would presumably just shoot him instead. Probably his best chance, once Tuco says he's going to shoot the legs off the stool, is to try to make a move just when he fires, slip out of the noose and then probably make some kind of last-ditch attempt to overpower him before he's ready to shoot again, and I imagine Blondie was getting ready to attempt just that before they were interrupted. But even then, it's very questionable whether he could have actually escaped like that. All in all, things are looing pretty dicey for him by the time the rogue cannonball comes to his rescue -- but once it does, he's out of there fast, grabbing his chance now he's got it.

Either way, as little as he gives away as it's happening, Blondie's genuinely staring death in the face here for this whole sequence, and this experience clearly left enough of an impression on him for him to make a point of turning this specifically back on Tuco in the final scene, even though Tuco's going to torment him in a much more extended and agonizing way in the desert, so I'm enjoying the quiet implication there.

The cannonball is kind of interesting because this is absolutely a textbook deus ex machina. Usually I like the rule that a contrived coincidence can get the characters into a situation but ideally not out of it. This is definitely getting Blondie out of a situation, and definitely has that sense of being a little unsatisfying as the answer to how's he going to get out of this one. And yet, the fact Blondie really was helpless to do much about it is kind of the point here. If Blondie had actually won out in this encounter, it wouldn't have nearly the same meaning when he finally ends up turning the situation around in the desert, nor when he tells Tuco to get in the noose at the end -- narratively, we need this to be an instance of Tuco beating out Blondie and then toying with him for it to have the right impact, and hence, since he can't actually die here, he needs to get out without winning.

(It does also help a bit that the ongoing cannon fire was already set up and established, even if it just happening to hit the building is purely coincidental.)

Being saved by a cannonball, of course, is again the constant insistent presence of the war in the background, now coming into the characters' lives just a bit more directly.

Meanwhile, Tuco in this scene, man. He is finally the one in the position of power, just relishing having control and being able to order Blondie to do things and have him actually do them and the grim sense of justice in seeing him be the one in a noose for once. Cheerful lines like, "It's too big for your neck, huh? We fix that right away." Grinning as he explains that he'll shoot the legs off the stool. But then when it comes to actually doing it… he takes an extra breath, with this kind of hesitant expression on his face, before echoing Blondie's "Adios." As he points the gun, it's shaking a bit. Tuco doesn't feel totally right here and I love it a lot.

Tuco does absolutely want to see Blondie suffer right now -- we're about to see him chase him down again so he can torture him in an even more drawn-out and awful way, after all. But once he actually kills him it'll all be over, and he just goes back to his usual shitty bandit life, one more person that he'd once thought was a friend gone. This has been a couple of minutes of mildly satisfying catharsis, but not totally satisfying, too brief, too easy -- and there's probably some basic squirm of empathy there, when he's been in that position, can vividly remember the squeeze of the rope -- but the bastard deserves this for betraying him, so he's doing it anyway.

All in all, this is possibly the scene I have rewatched the most. This is significantly because I happen to have a big dopamine whump button in my brain labeled 'HANGINGS', but it's also just a sequence of masterful tension leading up to this delightfully twisted, tense and thoroughly loaded character interaction following on the previous scenes between Tuco and Blondie in fun specific ways that build up to even more fun things later. What a character dynamic.

The fort

I don't have too much to say about this one. It's a very impressive set, the war is brutal, the sarcasm of the Confederate captain Angel Eyes talks to and the ease of bribing him with some booze is nice foreshadowing and a parallel for the poor Union captain Blondie and Tuco will meet, but ultimately this scene is mostly about filling in how Angel Eyes learns about Batterville. (Or is it Betterville? The subtitles say Batterville and that's what it sounds like everyone's saying, but Christopher Frayling and the subtitles on him say Betterville.) This is a restored scene in the Extended Cut, which exists in the Italian version but was cut from the International Cut.

Angel Eyes pauses and swallows looking at the injured soldiers and later lets the captain keep the booze he brought, vaguely suggesting a glimmer of sympathy for their plight, which is sort of interesting but also a little divorced from the rest of the movie. Villains having different sides to them is neat, but I don't think we get a great sense of why Angel Eyes would be sympathetic to these men but also treat the prisoners at Batterville -- who are soldiers from the Confederate army just like these ones -- how he does later with zero remorse, so I'm not sure this is actually doing much for the movie on a character level in the end, and if anything may be a little counterproductive to the kind of extremely cold-blooded villain that Angel Eyes is otherwise set up to be.

I suppose the idea might be that Angel Eyes is theoretically capable of sympathy, but also capable of simply discarding it the moment it's useful to him. Alternatively, the idea could be that at the moment he feels in some sense that if the war catches up with him he could be in these soldiers' place, but then he goes on to enlist with the Union army to get into Batterville, at which point he's on the winning side so who cares. Angel Eyes does display nerves later at the truel, once he's in a situation he's not in control of where he might very well die, so maybe it checks out that while he feels not totally secure in not winding up like these men himself, their grim conditions get to him a bit.

I do think it is kind of nice to have this scene in terms of keeping Angel Eyes' storyline going and maintaining the sense that he's still out there looking for Carson, even aside from the added plot clarity; without it, he'd just kind of not exist for a very significant chunk of the film.

I've also seen it argued that it brings out the horrors of the war too early, given the film's slow progression from the war as simply backdrop for the plot to eventually spending the leadup to the climax with it in stark focus. I think that's a legitimately interesting point, but also that it didn't stop me absorbing that progression just fine when first seeing the film as the Extended Cut -- soldiers are injured here, yes, but they aren't truly lingered on, and all in all it felt mostly just like a logical part of the established war-as-backdrop at this stage.

All in all, I have some mixed feelings on this scene and what it contributes, but I'm tempted to conclude the film might be better without it overall.

The desert

Tuco tracking down Blondie by finding his cigars at every campfire is pretty hilarious. Imagine what Blondie could have avoided if he just stopped smoking like a chimney.

(It's sort of surprising Blondie got so far ahead of Tuco to begin with -- he wouldn't have had long to get downstairs and to his horse while Tuco was recovering from the fall and getting out of the rubble, so one would've thought Tuco could've been basically right on his heels. I guess Tuco went in the wrong direction initially and had to catch up.)

Tuco forbidding Blondie to shoot down Shorty, oof. Once again Tuco is fundamentally out for himself, and right now he wants to deny Blondie this more than to let this stranger live, so down he goes. (Nonetheless, he flinches watching it, again bit of instinctive empathy despite that he mostly suppresses it -- it hits pretty close to home.)

Blondie continues to comply with the orders of the guy who's pointing a gun at him, but he clearly doesn't feel great about this, apologizing, gaze lingering on Shorty even as he's preparing to stand up. Clearly his moral line lies somewhere between leaving Tuco to fend for himself (where he might die, but sometime later in the desert where Blondie would never know) and letting Shorty hang, dying right in front of him when he was expecting a rescue. Perhaps Blondie didn't even know he had this line until now.

A moment of silence for Blondie's original horse, whom he probably rode out here, but who is presumably just left behind as Tuco takes him away and never seen again. This movie does not really give a damn about individual horses -- the characters' horses repeatedly disappear and go unmentioned only for them to later manage to get a different horse somewhere without comment -- but as a former horse girl this is the sort of thing I notice and wonder about.

Blondie presumably initially figures Tuco's just taking him somewhere a short distance away to try to make him hang himself again or something. But then Tuco shoots the canteen out of his hands, and the hat off his head for good measure (love Tuco casually replicating Blondie's little hat-shooting trick just to rub it in), and it starts to sink in that no, that's not it, is it. Where are they going? On a nice walk of a hundred miles through desert. "What was it you told me the last time? Ah, 'If you save your breath, I feel a man like you would manage it.'" Tuco's not taking him anywhere; this is just torture, once again a very specific torture. Blondie made Tuco walk seventy miles through the desert? Tuco'll make him walk a hundred miles, or however long it takes before he dies a slow and agonizing death, and that'll show him. I deeply enjoy how in this movie, between the two of them, it's never just generic revenge, but always this hyperspecific replication of the other's previous cruelties.

Tuco's cute pink parasol is such a choice.

He's so utterly gleeful watching Blondie helplessly stumbling until he faceplants in the sand. Tuco relishes power and control when he can get it, not only for the Blondie-specific reasons (Blondie had all the power from beginning to end in their bounty scheme, and exercised it to leave Tuco helpless) but probably also because of his background -- poverty sure is a way to feel perpetually helpless and subject to external whims, and escaping it through banditry probably represented a sense of freedom from all that, where he can just go out and take what he wants and other people can be subject to his whims for once.

In the sequence added in the Extended Cut, the collapsed and dehydrated Blondie looks at Tuco's boot right beside his face, swallows, tenses for a heave of effort -- and then grabs the boot, only for it to just be the empty boot, Tuco cheerfully bathing his feet a short distance away. (Blondie is definitely suffering from the "characters can't see anything out of frame" thing here, but I kind of enjoy the literal implication that his eyes can just barely even focus and the boot manages to be all he can make out in his field of vision, even if it stretches plausibility a bit.) I do quite like this bit, not least because this is the one time we actually properly see Blondie attempting resistance. He silently went along with the hanging and he silently goes along with the desert walk, too -- which makes sense, because he's being ordered to at gunpoint, and as I went into earlier, he doesn't have action hero armor that'd let him do much to fight back in these situations without just getting shot, and he's generally too careful to try under the circumstances. But it means that he feels very passive in these sequences, and seeing this moment where he finally does think he has a chance to strike back, and the hate in his eyes and how painstakingly he gathers all of the energy he can muster to grab it, helps a lot to contextualize the rest and make him more tangibly an active character who cares what's happening to him for this. With this bit, it's easy to extrapolate that he has been waiting for any chance to take him down this whole time, and this is the one time he (seemingly) finds one. Without it, his character just has no sense of agency at all the entire time he's being tortured, which would mute the whole thing a bit.

(Well, okay: a little before this, there is this wide shot, where we can see Tuco stationary on his horse and Blondie walking towards him -- then stopping, extending his foot a little further forward and sort of pathetically lunging for that last step, at which point Tuco's horse just moves further away, and Tuco laughs. This might be, and is on closer examination probably meant to be, Blondie making some form of stumbling attempt to sneak up on him. But it's a wide shot so you can barely see him, it goes by in seconds, and it's hard to tell what he's actually doing -- he could just be trying to catch up to Tuco, which is how I think I'd mostly been taking it before I started squinting at this -- which makes it not really serve the same purpose.)

(I gather the script had a bit, which was filmed and possibly in a version of the Italian release in 1966 but lost today apart from a small fragment, where Blondie slides down a hill into an animal skeleton lying there and grabs a bone that he could use as a weapon, but Tuco shoots it out of his hand and warns him not to try that again. That would have also provided that bit of agency, but given that was cut, the boot scene was all that was left, and I do maintain that cutting that too is bad for the movie.)

After he realizes it's just the boot, and of course Tuco's not letting him get close, and he has no hope of getting one over on Tuco at this point, Blondie sort of slumps in defeat for a moment, and then looks up, and then starts to crawl towards the water. It's pretty painful to watch; the utter helpless humiliation of being so thirsty and drained of defiance that he would drink the water Tuco just washed his feet in is its own grotesque flavor of torture, and then Tuco won't even let him have that.

After that, Blondie manages to push himself onto all fours, looks at Tuco for a moment -- probably realizing that even if he tried to rush him right now it would accomplish absolutely nothing other than entertaining Tuco more -- and then just crawls away, finally going somewhere of his own volition. He's not going to make it far at this point, and if it looked like he might Tuco would just shoot him, but maybe he can at least die somewhere a bit further away from him.

Tuco stands up and initially reaches for his gun as Blondie crawls off, but then he just laughs, seeing that there's absolutely no danger of Blondie making it very far or shaking him off -- he can just casually pack up his stuff and then follow him at a leisurely pace.

In the Italian/Extended Cut, Blondie rolling down the hill is continuing from this, whereas in the International Cut, Tuco had just gotten off his horse to approach him after he initially collapsed, suggesting that collapse wasn't quite as bad and that he was just sort of continuing but on all fours -- gives it a little bit of a different air.

I do appreciate just how pathetic Blondie's crawl/roll down the hill is. He sort of picks himself up again after the initial stumble but then just collapses on his back, admitting defeat. He's going to die here and he doesn't have the energy to do anything about it. Tuco lets that bottle roll down and come to a stop by his head and he doesn't even react.

Tuco spends a moment just looking at him down there before bringing out his gun to put him out of his misery. Probably less out of desire to actually put him out of his misery and more out of seeing he's not going to be able to make Blondie walk anywhere further right now, and he's not going to sit around waiting, and definitely not leaving him alive.

Blondie barely moves as Tuco points the gun at him, just closing his eyes again and swallowing and accepting that this is it. At the inn he had a chance but this time is a full-on definitely thought he was going to die here and was powerless to stop it, and this is also something that Blondie turns back on Tuco at the end.

(And yet Tuco keeps pointing his gun to kill him and taking a while to actually fire it, doesn't he. Part of this is just the movie doing dramatic timing but part of it is a genuine slight hesitation on his part, as shown more obviously at the inn.)

But then comes runaway carriage ex machina, just in time! Tuco not just shooting him first before checking on it is another notable moment of hesitation on his part. Once again, we actually need a deus ex machina, because Blondie needs to have been totally helpless here or it would completely change the implications for what's being set up.

This is another good scene that I enjoy a lot, particularly Blondie getting ready to grab the boot, although I'm also just a big fan of exhausted, dehydrated men stumbling around deserts. It's very merciless and ugly (gotta love the energy of getting Clint Eastwood at his handsomest for your movie and then absolutely fucking up his face with the gnarliest-looking sunburn makeup), really thoroughly parses as torture where the hanging scene was more quiet buildup, and Tuco's absolute cruelty here versus Blondie's exhausted helplessness is very important in viscerally setting up why Blondie does what he does at the end. But I also enjoy how strongly Tuco's actions here are still rooted in the specifics of how Blondie treated him. I just really love the twisted, fucked-up way the whole chain of revenge is built up between the two of them, and how interestingly their relationship then develops with all that hanging over it.

The carriage

I appreciate that we see Blondie juuust prop himself up to look as Tuco goes to intercept it -- he goes on to discreetly crawl all the way to it during the sequence that follows while we're focused on Tuco, and briefly seeing that he takes an interest and has mustered a tiny bit of energy again helps set that up.

More of Tuco's religiosity as he does the sign of the cross multiple times over the corpse of the soldier who initially falls out… and then immediately loots the corpse. Oh, Tuco.

I remembered the amputee informant's description of how Bill Carson was missing an eye, so as soon as we saw one of the apparently-dead soldiers in the carriage wearing an eyepatch I was like ohhhhh!! The storylines are connecting!! (And we're more than an hour into the Extended Cut when it happens. This movie very slow-paced compared to a modern film and yet so thoroughly enjoyable.)

You can juuust see Carson starting to blink a bit as Tuco searches him.

Tuco standing there glancing to the right out of the corner of his eye when he hears a noise from the wagon, while by the rules of the movie he can't actually see anything over there, is very funny. He even waits a bit before turning around to point his gun, as if knowing whoever is there can't see him either until he turns.

Tuco interrogating Carson about the $200,000 while the latter begs for water is another truly painful scene; Tuco's only invested in the dollars and anti-invested in saving Carson's life ("Don't die until later!"), straining to get him to talk first for as long as he possibly can, until he figures the guy is going to straight-up croak before talking, at which point of course he switches tack. Presumably he thinks if he actually gives him water Carson's liable to change his mind about telling him anything, so he has to get it out of him first if at all possible.

I also enjoy his annoyance with Carson telling him about his name and having been Jackson before but now Carson; the audience needs him to say his name, and it's probably also helpful to mention he used to be Jackson, but to Tuco it's just a waste of time. "Carson, Carson, yeah, yeah. Glad to meet you, Carson. I'm Lincoln's grandfather. What was that you said about the dollars?"

Tuco repeats the name of the cemetery near the very end of the exchange with Carson: "Sad Hill Cemetery, okay. In the grave, okay. But it must have a name or a number on it, huh? There must be a thousand, five thousand!" - which means that, since Blondie doesn't know the name of the cemetery (unless Blondie did know it the whole time and just pretended not to, which I guess we can't really rule out), he can't have been listening in by this point. Directly after this, Tuco tells Carson not to die and goes to get water. So Blondie pretty much can't have caught any of the stuff about the cash when Carson said it originally, and can't have known the full strategic significance of talking to him beforehand.

Instead, Blondie probably quietly crawled after Tuco with the aim of maybe being able to get the jump on him while he's distracted with whatever this is, and he only got close enough just at the end to see Tuco talking to Carson and telling him to not die. Then, as Tuco ran off for the water, Blondie obviously could not follow him back there, but instead crawled the rest of the way to the back of the wagon to see who Tuco's so desperate to keep alive, where Carson managed to gasp out something about a grave marked 'Unknown', next to Arch Stanton, and that it had money in it (Blondie does definitely learn there's money, since he then knows to use that as leverage). This is supported by how Blondie just refers very nonspecifically to having been told a name on a grave. He's really pulling a bit of a bluff here since he doesn't (presumably) know what cemetery this grave is in, so if Tuco hadn't happened to have learned that bit (which Blondie can't know), this information would not actually be that useful to either of them. But so long as he can make it sound like he can lead Tuco to riches right now, he has an actual shot at surviving.

I enjoy the way Blondie manages the tiniest wisp of a victorious smile to Tuco's "What name?!" just before passing out. The moment he sees Tuco's furious desperation to learn the name he's talking about, he knows he's won and that Tuco's going to do whatever he can to ensure his survival. He can pass out in peace.

Tuco's shifty eyes and expressions as he has to reevaluate everything are great. Eli Wallach really, really just makes this movie with his performance. I love Blondie and all, and Clint Eastwood in his thirties is very attractive, but I think it's criminal that I had heard about this movie and about Clint Eastwood being in it but had never heard Eli Wallach's name. He's so good and singlehandedly makes Tuco the best thing about it. I love him.

And there comes the Tuco tack-switch! He's not just invested in keeping Blondie alive for the money; he's his friend! As if this is somehow going to be persuasive to the man he's just spent hours torturing and toying with.

I love this absolutely bonkers goddamn character dynamic. First Blondie saves Tuco from the bounty hunters, then he apparently turns him in for the bounty, then you learn actually they're running a scam together, then Blondie screws over Tuco in a way that makes you kind of root for Tuco to get back at him, then Tuco painstakingly, cruelly labors to punish him for it in the most specific twisted ways until you're anxious for how Blondie's going to get out of this, then this happens… and because Tuco is the character he is, of course it works. He is already the guy who switches tack on a dime when it seems to serve him in the moment. We've just spent this whole carriage scene building up how singlemindedly fixated he is on this money once he hears about it. There are already so many striking layers going on in the interplay between these two guys and it makes it delicious to realize we've just added yet another layer and the rest of the movie is going to involve them having to work together after all this. And because it's the cash box from the Angel Eyes storyline, we're following up on that too in the process, with the also-delicious implicit promise that that's how they're going to bump into him. This is just such a gleefully fun and satisfying moment where everything comes together and I love it.

(Continued in part two! Thanks for reading if you got this far.)

[vgtrackbracket]

Video Game Track Bracket Round 4

The Ultimate Show from Super Paper Mario

vs.

The Days When My Mother Was There from Persona 5

Propaganda under the cut. If you want your propaganda reblogged and added to future polls, please tag it as propaganda or otherwise indicate this!

Note: The propaganda contains spoilers for Persona 5.

The Ultimate Show:

HOW COULD I LOSE WITH THE POWER OF LUIGI?? Jokes aside this is a VERY fitting final battle theme for an AMAZING game. Seriously if you haven't played this game do it now!!!!

the best thing in the game and it's not even close. and super paper mario is one of my favorite games ever.

The Days When My Mother Was There:

GUT. PUNCH.

Warning!! Heavy spoilers for Persona 5!!! Mentions of death and suicide! OKAY. I'm going to try to word this as best as I can in my Very Tired state. The reason why this song hits so hard for Persona fans (or, at least people who've played Persona 5) is because The Days When My Mother Was There plays in Futaba's Palace, which was created because of the psychological trauma and repressed memories caused after her mother's death (the government made a false suicide note that blamed her as the reason her mom died). She became a hermit (or in Japanese terms, a Hikikomori) and blamed herself to the point where she believed that the house she lived in (the same house our guardian, Sojiro Sakura, lives and takes care of her in) would be her tomb. Instead of fighting Futaba's Shadow, Futaba's Shadow causes her to awaken to her Persona (I feel it's important to say the Futaba asked for us to steal her heart, and Futaba's Shadow kind of helped us as we went through her Palace), and we fight Futaba's cognition of her mother, which is angry and constantly blames Futaba for her death, even though it wasn't her fault. This ENTIRE Palace hits differently than the other Palaces we'd seen so far, considering the other Palaces had been made by adults who prey on the weak. Futaba blamed herself for something she didn't do so badly she created a Palace. Futaba's Palace is filled with grief, melancholy, and feelings of self-hate and desperation for some sort of end, and The Days When My Mother Was There fits the Palace wonderfully, hitting those same feelings spot on. Persona 5 fans can't help but feel sad every time they hear this song. I have to stop this ramble before I say too much and accidentally spoil the entire game myself but if you want to learn more about Futaba or her Palace I PROMISE there are so many in-depth videos that psychoanalyze her and the other Persona 5 characters but I will leave this video because it explains her character in Japanese Context (which is VERY different when applying context from other places):

This video DOES spoil the game so don't watch if you don't want to be spoiled further.

[wannab-urs]

The Spreadsheet Digest - Fic Recs | Vol 11

Hi friends!!

I've really outdone myself this week, folks. I read TWENTY SEVEN new fics (including three very long series) + a bunch of updates to WIPs I was already reading. That being said, I'm gonna sort these by character for you because it's a lot to scroll through.

If you're new here, these are all the fics I read this week (except series updates and unnamed drabbles) and my unhinged/unedited ramblings about them :)

You can find the full spreadsheet here, and you're always welcome to tag me in your fics <3

Fic recs below the Pedro <3

Din Djarin

Wherever You Stray, I Follow a one shot by @beskarandblasters

This is one of those fics that makes me genuinely pissed I'm not living in the Star Wars universe. Why can't I run away from an arranged marriage with my bodyguard who just so happens to be a very very handsome man in a suit of pure beskar? It's not fair.

Beskar Doll a series by @justagalwhowrites

Okay so I read 40+ chapters of this in TWO days. The story is so engaging?! Also we all know I love me some angst and the angst in this is so well done. It's believable, it's painful, it's excellent. I'm always hype for reader characters/FMC/OFC that are strong and capable (not that I have an issue with the damsel in distress fics either but...) I am obsessed with the reader/MC in this. She's so fucking cool and strong and AGH!!! There was no part of this where I was bored or wondered why the story went in a certain direction - it always made sense to me and I was completely engaged the whole time. That's pretty impressive for a long ass fic like this. I usually fall off after 20 or so chapters. Everyone should read this, tbh.

Significant a one shot by @softlyspector

AHHHH okay first of all, you gotta read the drabble first so you get a feel for the relationship. This was SO CUTE. I support every choice made in this fic. I don't want to spoil anything, but just know that I love the characterization and dialogue in this. I love how quickly I got sucked into the story and believed their relationship despite it only being 5k. I could kind of imagine a full series around this. It was sooooo cute UGH. (Look at me reading fluff, what's goin on).

Fix it a one shot by @jksprincess10

I love how you've barely written Din before (1 fic) and then you produce this. It's so fucking good. We get helmetless!Din without a fuckton of buildup and like I get that it's not the most realistic, but sometimes you just want Din Djarin to eat you out without 20 chapters of wondering what his face looks like or having to be in the dark. And the tattoos... nad... you gave him tattoos.... I'll pass out and die on the floor right now.

a little attention a one shot by @luckbealincoln

Din has a rough day (haha get it?) and reader knows just how to get rid of his pissy ass attitude. I love love love dom!Din so fucking much this is so hot PLEASE

Best Kept Secret a series by @lincolndjarin

Bodyguard!Din and princess!reader!!!!!!!!!!!! I love this trope so much. I expected the fic to be a little kitschy because I mean... it's a kitschy trope. And I love kitschy shit that's why I clicked on it... but guys! guys!! it's not!! This fic has so much depth, so much emotion. The little glimpses of Din's backstory, the depictions of mental health, that bastard Kodo, my beloved Elaine and Lysa... just... there's so much in this story that I adore. It feels fresh and interesting and it's heart wrenching and wonderful and sexy and....yeah read this one thanks.

Who do you belong to? a one shot by @beskarandblasters

HOT!!!!!!! Possessive!Din is so fucking hot. The smut is.... oh my lordt it is good.

Joel Miller

i can be your pretty girl a series by @walkintotheriveranddisappear

A little innocent reader/manipulative dbf!joel never hurt anyone, right? I fucking love this. And the subsequent part is... even better (worse? more depraved?).

Epiphany a one shot by @jksprincess10

This story hurts. It hits you right in the chest and takes the breath out of you. Worth the pain though. It's gorgeously done <3

I'll Do Anything a one shot by @beskarandblasters

I feel like I've seen some fics that are this trope but in reverse, where Joel is the one making reader pay with sex. I think I like this better tbh. Desperate, needy Joel is everything.

Seven a one shot by @proxima-writes

Starting with the dream was so fucking good! And I really like the choice to not make it a 1 to 1 direct recreation of the actual scene with Sarah. I loved the early interactions with Joel and reader so much. The library scene AHHH!!!! And then fast forwarding through the reallly good smut, the dream that's not a nightmare???? Are you kidding me??? genius. Reader still believing in beautiful things and making joel believe he deserves good things and oh my god just shoot me now this was adorable.

sensational a series by @sinsofsummers

I guess I was on an innocent reader kick this week idk. I love the buildup of the reader's background in this though. She feels like a real person and not just a vessel for actual reader to pretend we're virgins and Joel Miller is teaching us about sex. Like she is that, don't get me wrong, and I love it. But!! She's a real person, with feelings and a backstory and I am a slut for a good story with my smut. Okay and also Joel doesn't feel like a creep in this, which is a little hard to achieve given the premise. I really liked this and I hope we get more. (there's a part two, but like I'd read 10 parts of this are you kidding)

Desire a series by @toxic-seduction

Good ol' depraved smut. I haven't read one like this before!! And the follow up is just as yummy. Highly recommend if you're feeling a little freaky :)

Gimme What I Want a series by @atticrissfinch

Oh my god oh my GOD oh my god. This was so fucking hot?! And the little moments of humor too?! I love the format for this so much. And the attention to detail with the timestamps and everything!! And then part two... I was not prepared. God it was so hot. (and the lil bonus of Joel being awkward and adorable ughhhh). The blend of sexy and funny and a tad bit depraved and a tiny bit sweet... perfect.

Lavender a series by @justagalwhowrites

Hey, it's not nice to break people's hearts repeatedly. There are barely even words to describe this fic. The nanny trope to start out with, meaning that you get really really attached to Sarah and pre-outbreak Joel and you build up all these hopes and dreams for the two of them.... and then... (trying not to spoil things) Joel being a moron and then the outbreak of course and... I always want to know what happens in that 20 years between outbreak and Joel meeting Ellie. I really adore the way that canon content was blended with original content in a way that seems to make Joel's actions make even more sense than they do in canon. Doc is such a cool character also??? And oh my GOD Andrew and Jess... I seriously cannot explain how fucking perfect this is. I could read it forever. Like I hope you carry it on through season two when that comes out, it's that good. I would read 500 chapters of this.

Mine a one shot by @the-scandalorian

How does one write Porn Without Plot, anal at that, and make it profound? Apparently this way. How dare you make me feel anything but a little ashamed and lot horny about an ANAL FIC?! Are you a fucking WIZARD?! Anyway yeah y'all should read this one.

Stay here, honey a one shot by @swiftispunk

This is just porn but I was having that kind of day. dbf!joel + really high chance of getting caught PWP. Wonderful <3

What I need a one shot by @swiftispunk

knife kink knife kink knife kink knife kink knife kink knife kink knife kink knife kink knife kink knife kink knife kink knife kink knife kink knife kink knife kink knife kink knife kink knife kink knife kink knife kink knife kink knife kink knife kink knife kink knife kink knife kink knife kink knife kink knife kink knife kink knife kink knife kink knife kink knife kink. Oh and also a lil bit of sweetness at the end. Yes please

Your Summer Dream a series by @swiftispunk

Look I've only read chapter one and I'm already in love. The set up is so good. Joel seems so sweet and charming and cool and HOT?!? Reader is about to win the rebound Jackpot for real. I'd be jealous if I wasn't,,,, ya know,,, the reader.

exile a one shot by @tieronecrush

Oh hey cool, thanks for hurting my feelings... just kidding you know I love angst. This was so gorgeously written. I love all the descriptions a lot. And also... I read a lot of joel/reader breakups where she just immediately crumbles and takes him back because like wouldn't we all? But I really like how you had her hesitate even though she's clearly miserable. At least one of us is emotionally mature enough to not dive headfirst back into a toxic relationship (couldn't be me).

Javier Peña

a pile of cards a one shot by @undercoverpena

There are very few things I love more than fluffy, soft!Javi Peña. That man has the capacity to be so sweet and caring and kind and loving and AHHHHHH. I really love the way this story is told. A story in birthdays for your birthday celebration... that's so fucking creative I love it. I just... I can't say enough about this fic. Read it!!

not here, not now a one shot by @gracieispunk

Reader gets in trouble with Javi and handcuffs are involved... I feel like I do not need to say more.

(Re)union with Elvis a one shot by @tieronecrush

I've read a lot of these lil accidental marriage fics, and this is one of my favorites so far. I loved getting to see them meet up sober, go through the whole night, experience the silly wedding, the mind blowing sex, and then the wakeup scene is actually so cute? I rarely see one of these without a defcon level freak out about the fact they got married. Imagine telling this story at your wedding? Like oh yeah we've actually already divorced each other and it was before we ever started dating.

Pero Tovar

Xìngjiāo a one shot by @absurdthirst

I finally watched The Great Wall and my literal first move after finishing it was to see if absurdthirst wrote a sex pollen fic for Tovar and she FUCKING DID!!!!! Gods I love sex pollen.

Pero Tovar and his Guerrera a series by @prolix-yuy

This lil loose fit series makes my heart sing. Pero being an idiot? Reader being a badass? Silly arrangement to be able to stay near each other without having to admit feelings? Finally admitting feelings??? Wrap me up in this story and bury me in it, thanks.

Dave York

Stormy Secrets a one shot by @absurdthirst

Kinda randomly got in the mood to read something fucked up and stumbled on this lovely Dave York fic. Murder daddy didn't let me down, this was EXCELLENT. Pretty much checked every box on the list of what I would kill to have Dave York do to me.

Just Your Average Suburban Couple a one shot by @absurdthirst

What if Murder Daddy had a Murder Wife? I know it's a hot take, but I love the fake dating trope so this is so fun for me. Add in badass reader, infidelity, murder, Dave York being soft (in his own way), domestic Dave, and possessive/jealous!Dave? Oh and of course delicious smut. I LOVE THIS SO MUCH

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Do y'all prefer it sorted like this or was it fine the old way? This takes a little extra work, but it's not that bad.

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Happy Reading!