#not the best when my brain is also think other stuff

[heartlesscorpse]

Life w/ Mr Crawling!

A QUICK WARNING BEFORE YOU READ: This is following after the Blissful Love Life ending, if you don’t want spoilers I suggest scrolling! — Anyways moving on from that, I FINALLY got the fucking motivation to put something out after how many months, (yay!) Starting off with my new horror game fixation :)))) Finally got my brain juices going, and I thank Homicipher for this. This is probably going to be me posting abt it for a while. BUT it gave me the motivation to write stuff at least. If you also noticed I changed the formatting a little with my hcs and I think I like it better this way w/o the bulleted list, so Imma def keep this.

⭑.ᐟ — Ever since you’ve escaped the other world with Mr. Crawling, you had some small difficulties in getting back in the swing of things. You no longer had to worry about your safety, check over the shoulders for any monsters, you had your normal life back now.

⭑.ᐟ — And this time you had Mr Crawling to share it with! :D

⭑.ᐟ — When you first brought Mr Crawling home with you, man was absolutely ecstatic and he immediately went exploring around the house while you fixed him some food to eat.

⭑.ᐟ — Mr Crawling really liked your place, it felt cozy and warm, it had you too of course, and it was so much more welcoming and nicer in appearance compared to his world. Plus there was a lot of new stuff he hasn’t seen before.

⭑.ᐟ — It was a nice change not having the house to yourself anymore, Mr Crawling made the place a little more lively with his presence, following you around the house like a lost puppy, occasionally asking a few questions.

⭑.ᐟ — You showed him many things, movies, books, and lots of other things. He even had his first shower too!

⭑.ᐟ — You even tried teaching him basic words in your language such as “hello”, “goodbye”, “thank you��, or “please”. While Mr Crawling was having a hard time getting a gist of them, he still tried his best. <3

⭑.ᐟ — With your old life back it also meant you had to pick up your job/college again too.

⭑.ᐟ — Mr Crawling was never fond when you left the house for this long, so he mostly sat around at the front door waiting for your return.

⭑.ᐟ — Then upon your arrival it’s extra cuddles tonight to make up for loss time. He’s sad that you left him alone for this long :((

⭑.ᐟ — On the bright side however he likes going on grocery runs with you! Since nobody else could see him, it wouldn’t bring any unwanted attention. Of course with Mr Crawling’s babbling as he followed you into the aisles, you brought headphones/airpods with you so people didn’t think you were insane for talking to yourself.

⭑.ᐟ — Mr Crawling in general is very happy you let him tag along with you leaving his world, he couldn’t be any happier getting to stay by your side. And his love for you grew as well! :)

⭑.ᐟ — The first time he tried saying something in your language was “I love you” to show his gratitude. Though it sounded a bit butchered for a first attempt, the sentiment still meant a lot to you and it was a step towards somewhere to say the least.

[recurring-polynya]

In one of my other fanfics, I made an allusion to a story from Rukia and Renji's youth where she got nervous about the size of her chest and made Renji give an opinion on the matter. I was always very charmed by the idea of it, and earlier this week, I felt like writing it, so I did. Originally, I didn't intend to post it, because it skirts a little close to underage sex stuff, but a) they're immortal ghosts and they live on their own and become child soldiers like two years later, and b) it's really nothing. Teens, even human teens, can see a boob. It's fine. Don't read it if it bothers you. Also, if this bears resemblance to multiple stories I have written in the past, it's because I think Rukia is just like that. This will probably not be the last one, either.

Rated a hearty PG-13 for cussing, partial nudity, and some adolescent sexual awakening

| read on ao3 |

"Renji," said Rukia. "I need your opinion on something."

Renji had been breaking up sticks to dry out for firewood around the backside of the broken-down squat he and the gang had been trying to get into shape for their winter digs. He wiped the sweat off his forehead with the back of his arm. "My opinion?" he grumbled. "Is everyone else off somewhere?" It suddenly occurred to him that he hadn't heard anyone else's voice in a while.

"Well, yes," Rukia mumbled. "They went into the woods to try and set some traps and maybe do some foraging. But I'm not asking because you're the only one around. I was waiting to ask you until everyone was busy."

That got Renji's attention. This was not the first time Rukia had cornered him like this. He assumed she did this to the other guys, too, but he didn't actually know for certain. Renji tossed the stick in his hand back onto the pile and turned to give Rukia his full attention. She was standing in a funny way, her arms crossed awkwardly over her chest. She looked almost like she was cold, except that it was early September and still sweltering.

"What's up?" he asked.

"You're going to wonder why I am asking you this," she said, her eyes fixed somewhere off to one side, "and it's because I'm trusting you not to be weird about it. Everyone else would try, but then they would be weird about it, and I know you won't be."

Renji continued to regard her silently. She wasn't asking anything particular of him, just stating what she expected. Renji decided he liked the idea of being a guy who wasn't weird about stuff, and decided he would do his best to uphold that trust. He was also prepared for whatever she was going to say next to be spectacularly weird. This was Rukia, after all.

"Also," she said, "you go around with your shirt off all the time. You're the least self-conscious person I know about. You know. Body stuff."

An alarm signal went zinging through Renji's nervous system. It was true that he wasn't all that concerned about bodies, his own or other people's. A long time ago, he'd had to make a decision about Rukia's body, which he sometimes had to touch and slept next to at night and had seen naked more than a few times. She'd become a little secretive about that recently, and he'd taken care to respect that decision and avert his eyes when he needed to and made sure all the other guys did too. The decision he had made was that Rukia's body was exactly like Fujimaru's and Mameji's and Kosaburou's, which was to say, it was a thing that existed but was none of his business, unless say, she needed an injury patched up or something like that.

"Something wrong?" he asked gruffly.

"Not-- well, I don't know. That's what--that's what the opinion is for."

Renji rubbed the back of his neck. "I'm really not sure I'm the right person to ask. I know the old herb lady is pretty deep in her own brain most the time, but if you catch her on a good day, she knows a lot of stuff about--"

"Oh, for fuck's sake, Renji, I just want to know if my boobs are good or not!"

Renji stared at her. Rukia's face was beet red now.

"Uh…what?"

Rukia made a little huffing noise. "Look. I know you know I've been binding my chest for a while now."

Renji shrugged noncommittally. Rukia hadn't been particularly shy about letting them see her in her chest wrap. A lot of girls in Inuzuri did. Usually, it was a safety measure.

"I think they might be done growing. I'm worried they're…well, they're kinda small."

Renji ran his fingers through his hair and tried not to look at her. "Seems like that would make them easier to bind, no?"

"Well…yes, that's true."

"It's not like it's something you can control. You shouldn't worry about it."

"I just don't know! Maybe they're fine actually! I'm the only one who gets to see them and I think I may have gotten too wrapped around my own axle about it and I just wanted a second opinion, okay?"

Renji sighed. "Okay. Sure. If it'll make you feel better."

Rukia took a deep breath and then lowered her arms. Nervously, she tugged at her yukata below the sash to get it adjusted properly.

There was now the slightest curve in the fabric between her shoulders and her waist. Renji wasn't sure he even would have noticed it if she were just some girl he saw on the street. But that curve was there, and it was doing something weird to the pit of his stomach.

Cleavage was no rare sight in Inuzuri. Both in the streets and the gambling halls, plenty of women kept theirs on display for, uh, business reasons. Renji could tell the difference between the more and less attractive sets, but he'd never been quite as excited by the prospect of a hearty set of tits as some of his peers. He didn't think this constituted any kind of moral high ground. The fact was, he was just mostly into dudes. A pair of well-muscled forearms or a particularly sharp jawline was usually more likely to do him in. But there was something about that mysterious curve, the suggestion of tits, of Rukia's tits…

"They look fine to me," he announced.

Rukia looked down at them and frowned thoughtfully.

A strange, slightly foreign thought, possibly a stray memory from his human life, popped into Renji's brain. "Isn't there even--like with fancy kimono--aren't you supposed to make a smooth profile? Maybe you've just got a fancy-lady figure."

Some of the color had receded from Rukia's cheeks. "Why do you always know these things? Also--fat lot of good that's going to do me."

Renji shrugged. "What kinda good were you hoping they were gonna do you, anyway? I mean, you wouldn't wanna-- that is--" He grimaced, thinking about business reasons again.

"I might like to kiss someone, someday!" Rukia declared, cheeks going hot once more. "I'd like…to be worth looking at. You're going to be ten feet tall and have shoulders for days and you've already got that hair, so I realize that's something you've probably never once thought about."

Renji stared at her uncomprehendingly. "You think I'm good-looking?"

Rukia seemed to be staring at something over her shoulder. "You're certainly striking."

Renji had honestly never thought about himself in that way before. Mostly, he thought he'd stuck out in a way that was mostly pretty inconvenient, given their skulking and pickpocketing lifestyle.

"You have an interesting voice," he pointed out, drawing the words out as he tried to think of more things a theoretical person who was not him might find attractive about Rukia. "And you're good at a lot of things." She also had a pretty face, maybe the prettiest face he'd ever seen in Inuzuri, with big blue eyes that you could just fall into. He couldn't say all that shit, though. It would just embarrass both of them, plus she would think he was lying to make her feel better. He wasn't. It wasn't even, like, his opinion, it was just the objective truth.

Rukia huffed again, clearly unsatisfied.

Renji threw up his arms. "They're under your clothes! Wouldn't you rather kiss someone who likes you because you're cool, rather than because you've got a nice pair of knockers? Which isn't even to say they aren't nice! You just can't tell! They could be great under there. That's it's own kind of allure. The-- the, uh, mystery." He regretted saying it the moment it was out of his mouth. This always happened with Rukia, though. He was always telling on himself.

Rukia stared at him for a long moment. Then she hooked her finger over the closure of her yukata and pulled it away, staring down into the depths.

"Are we done?" Renji asked, trying to sound bored and failing when his voice wavered on the last word.

Rukia looked back up at him. "You've never even see a naked girl-tit, have you, Abarai?"

Renji wrinkled his nose. "Not…not really, no. Not…head-on."

Rukia set her jaw. "Okay. We're doing this."

"What--" stammered Renji. "What are we doing? We don't need to--"

Rukia pulled her yukata wide and shimmied her shoulders loose.

Renji swallowed thickly.

He had changed his mind. He did, in fact, like girls. Fuck, did he like girls.

Rukia's breasts were small, that was just a fact. They were also gorgeous. Smooth and straight on top, ending in a sharp, rosy nipple. They curved gently on the underside back to where they rejoined her body, like two ripe, blushing pears. Renji could imagine cupping one in his hand, the way it would fit in his palm perfectly. He squeezed his hands into fists, reminding himself that they were dirty and covered in small bits of bark from breaking the sticks. He absolutely could not reach out and touch them, even beyond the possibility that Rukia would murder him if he did (would she, though? He wondered). It turned out this was a mistake, because now he was thinking about kissing Rukia's breasts, about the way they would taste, how he could take nearly the whole of one in his mouth. He squeezed his eyes shut. "Fuck, Rukia, put your shirt back on!"

"They can't be that bad," Rukia grumbled.

"They're not, they're really good! Surprisingly good! You should save them for whoever it is you want to kiss! Please put your shirt back on!"

"You're so weird," Rukia laughed, and he was glad to hear the ring of relief in her voice.

There was a long pause with a few rustles of fabric being adjusted. Renji chanced to unsqueeze one eye to see if she was dressed again. He was just in time to see her cross the second side of her yukata over the first, catching a last glimpse of a pretty little tit before the fabric settled over it. A secret once again, but no longer a mystery. Fuck.

"You can open your eyes now, you big baby," Rukia announced, reknotting her sash. Evidently she hadn't noticed him peeking. She wasn't even blushing anymore. "Thank you."

"I don't know why you asked me," Renji mumbled. "You know I'm no good at being reassuring and shit like that."

"I didn't want you to be reassuring," she replied, looking up and favoring him with a brilliant smile. "I wanted you to be honest. Which…clearly you were. I don't know what else that could possibly have been."

"Shut up," said Renji.

Rukia snorted softly. "Do you wanna go find the others and fix their snares for them? I'm sure they've set them up wrong."

"I wanna finish dealing with these sticks first," Renji replied. It took his entire strength of will to unclench his hands and pick up a stick, a long, heavy one. He winced when it broke much more easily than he had expected it to. The sound of it was deafening.

"I can help," Rukia said cheerfully, picking up another stick and snapping the side branches off it expertly, humming while she worked.

Renji picked up another stick, and suddenly wished the pile was bigger than it actually was.

"Hey, Renji?"

"What now?"

"They really are--?"

"Yes. Don't ask me again."

Rukia gave a little chuckle, and so softly that he almost didn't hear it, added, "Huh. Who knew?"

[scootingaround12]

To go with my idea of Brad being an augmented human and his hiding it from star fleet;

So it’s pretty clear Williams going to be a villain this season and it got me thinking about a scenario where the days saved the rifts are closed etc and William is arrested for his crimes.

William who just like Brad is an augmented human and before had reason to keep this hidden but now it’s definitely something he’d tell Starfleet about to get Brad also discharged and arrested. Definitely a if I’m going down I’m taking you with me scenario.

Also I’m thinking about Brad celebrating with everyone of the Cerritos after everything when a bunch of high ranking starfleet members come up and immediately arrest Brad in front of everyone stating his crime as being an augmented human who hid his identity in order to join starfleet.

Everyone’s pretty much ready to riot and throw down then and there, except for Brad himself who while definitely upset also looks calm and resolute almost.

He tells it’s true that he’s an augmented human that hid it all these years and that he’s sorry he’s lied to everyone. He always figured he’d be found out one day and yeah no way was William gonna keep their secret after everything, still it was nice while it lasted.

Cue a whole drama where Brad has a trial, all sorts of people are brought in as character witnesses and the Cerritos fights tooth and nail to get Brad free and back into starfleet.

Also Mariner is 100% freaking out about the idea of Brad in jail by himself (the others are also freaked out but mariner extra so) and thinks he’s probably been sold for a pack of cigarettes already.

Brad is actually having an ok time though, like he’s definitely not thrilled but compared to some of the missions and alien jails they’ve been to earth prison is pretty chill.

So Brad gets released and is reinstated as a junior lieutenant and a the rule stating that augmented humans can’t join starfleet is removed.

Brad and the gang expect everything to just go back to normal on the ship, but there’s definitely some stigma around augmented humans and the fact he kept it hidden for so long that affects peoples opinions on him.

Some of its mild like Jack Ransom asking him if he has any cool augmented stuff like extra strength, endurance and brain power (he doesn’t). He even makes a few comments on missions about Brad being built differently and using those augmented abilities to help them (it’s annoying at best and offensive at worst)

Doctor T’ana now that she has access to brads actual genetic code and health is kinda horrified by what she finds, since his DNA is constantly falling apart and fixing itself resulting in all kind of health problems. She starts him a strict regime of supplements and vitamins etc and asks him all sorts of questions about past health stuff and doctors (she looked ready to kill someone when Brad mentioned he didn’t really ever go to the doctor as a kid since his parents where worried about his illegal augment status being found out).

There’s also a number of starfleet officers who almost seem to be scared of Brad, whispering about how you can’t trust augmented humans that Brad must be hiding his true self like William was and that one day he’ll just snap.

There’s also a more vocal angry group who spew all sorts of hateful things about how brads an unnatural freak and that he and other augmented humans don’t belong in starfleet to anyone that will listen.

[strange-lamp-stranger]

OKOK this is just pasted in from my notes app so apologies if the formatting is weird! it's very much so just the way i spat it all out of my brain and onto the page, lol. i also started actually planning out plot beats n stuff in case i was gonna write a whole fic but i don't think that's gonna happen anytime soon, so i'll throw those in too! it's all under the cut because. long.

Modern AU Kyana-centric. Takes place in Canada because i said so.

She's studying business administration in uni and feeling really stuck in life. She rents a tiny basement apartment, and while she gets along with most of her classmates, she's not close with any of them (but she is closest with Ione, who has a crush on Kyana). Not to mention, the department head, Dr. Rose Sephrum, who is incidentally Kyana's great-aunt and closest living relative, is bitter and overly strict. While Kyana is actually pretty good at most of the stuff in her classes, she's struggling to keep up because she isn't receiving any supports for her (undiscovered & undiagnosed) ADHD.

Kyana's backstory: grew up in foster care after her parents died when she was a toddler. She never got adopted and bounced around a lot of different homes. Dr. Sephrum could have adopted her, but refused. When Kyana turned 18, she entered into a government program supporting young adults coming out of the foster care/child welfare system. She basically gets a government stipend every month. It pays her rent and groceries and not much else, but between those payments and gov't student loans/grants, she's able to comfortably support herself. She volunteers at a local animal shelter every other weekend WITH IONE!!

Dani's backstory: She grew up with her cousins Roy (4 years older than her) and Egan (1 year older than her, but 100% the baby of the family) under the care of her Uncle Oto. (The three of them nicknamed their backyard and make-do play area "the Heap" because it was. well. a big heap of junk that Oto could never be bothered to clean up). Oto was one of those father figures that is definitely shitty, but also definitely cares and is always doing what he thinks is best for the kids, even if it's incredibly misguided. In highschool, Dani's only good grades were in math and tech/construction classes, but she had a reputation for doing dangerous and impulsive things in her tech classes without her teachers' permission. She got an apprenticeship as a mechanic at a local appliance repair shop right out of highschool. DANI IS AUTISTIC. IT SHOWS. KYANA'S TOO POLITE TO ASK ABOUT IT SO FOR A GOOD WHILE SHE JUST THINKS DANI'S WEIRD FOR NO REASON. (Dani got diagnosed in middle school because social differences were really starting to show and she was getting kind of bullied, and the school psychologist saw her and was like "hmmm i have a suspicion".)

Fic begins when Kyana's roommate moves out mid-semester (they were apparently on academic probation and got their last strike), leaving Kyana stranded and needing a last-minute roommate. She put out an ad and the first person to respond was Dani. Dani the appliance technician apprentice. Dani with her wild blue hair and adorably annoying cat, Plug. Dani's passion for life rubs off on Kyana, who begins to feel inspired again.

Eventually, Ione moves in with Kyana and Dani [she DOESN'T get together with Kyana, who is Very Aroace. Actually, when she learned that her feelings weren't and never would be reciprocated, Ione decided, in her self-destructive ways, that the best way to deal with it would be to completely break off her friendship with Kyana so that Ione's feelings might fade. After a year or so, her romantic feelings DO fade, but she still feels a gaping, Kyana-shaped hole in her life. Ione's convinced it's because she's not actually over her feelings for Kyana yet, but really it's because—regardless of the type of attraction she feels—she's in love with Kyana and has developed a similarly strong "squish" (platonic crush). Kyana, after some prodding from Dani, decides to try to reconnect with Ione, and that's when they become friends again, and move in together and eventually become platonic life partners.]

Plot beats (UNFINISHED):

- Dani moves in. Background exposition on why Kyana needed a new roommate. Kyana instantly falls in love with Plug. Kyana is clearly burnt out from school.

- Kyana goes to class. We meet Professor Sephrum and Ione. Kyana and Ione study together. Kyana laments how much she dislikes the program they're in, and Ione agrees but says that she herself feels like she just needs to suck it up until she graduates. she thinks it'd be a waste of her athletic scholarship otherwise (Ione is a lightweight wrestler. Kyana was on the highschool wrestling team with her but dropped it after highschool). Kyana thinks that is a really sad outlook to have.

- Kyana fails one of her courses because she couldn't keep up with the courseload. She desolately contemplates dropping out. Dani learns about Kyana having failed that class and gets Kyana her favourite flavour of gum (she'd seen Kyana chewing it while doing chores around the house) and gives Kyana an awkward pep talk. Plug is a cute little asshole. Dani tries to steer Kyana in a positive direction and asks what course(s) she did best in. Kyana says she got a 78 in her kinesiology elective. [warblingly like, yknow, someone who was just crying really hard a few minutes ago] "I wish I'd done better, honestly. It's the one class I actually looked forward to."

- Semester 2 reading week—Kyana and Ione finally catch a break and Dani invites them to come with her on the roadtrip she's been planning on taking to go visit Roy and Egan. (Incidentally, Kyana has been taking another kinesiology elective and really enjoying it also. She's considering declaring it as her minor.) The three of them (and Plug. he has a cat backpack) pile into Dani's old little 2008 Volkswagen (golf?). on the way down, Dani and Ione learn that Kyana's never been to an amusement park. There's a big one in the city that Roy and Egan live in, and so the five of them (plus Roy's fwb, Cressida) spend a day at the amusement park. Kyana turns out to be a total adrenaline junkie and goes on all the huge rides with Dani. They convince Ione to go on the biggest rollercoaster with them. She's scared out of her mind the whole time but Kyana is happy so it's worth it, Ione thinks. when they get back to Roy and Egan's place, Plug is smugly napping in a pile of upturned potted plants.

- [SOMEHOW, THEY RETURN HOME.]

- Dani's been helping Kyana with her homework whenever she can. Kyana has to take a statistics class and Dani is like "fuck yeah, math, something i actually understand!" Because of this, Kyana managed to do pretty well on her midterms. Kyana mentions she's considering declaring a kinesiology minor. Dani's straight up like "why just a minor? don't you like it way more than business or whatever-the-fuck? you can still change your major, yeah?" Kyana's like "huh, i think i can? i don't know yet though. Business is more... there's more job opportunities, i guess?" Dani says Kyana could keep business as a minor then, since she's probably already got like half the required courses for it. Kyana thinks about it.

- Kyana is walking to her one evening class from the animal shelter. Her and Ione were helping out with a vaccination clinic the shelter was holding. she couldn't help with the vaccinations, obviously, but she helped with, like, client intake and stuff. Ione was really good with the nervous animals. anyways, before class she stops in to see the kinesiology department head, Dr. Enoch. She wants to know what switching majors would be like. Enoch notes that her grades are pretty lackluster and that she'd probably need to bring her grades up a bit before the administration would let her declare a new major. Enoch offers his help, pointing Kyana to resources around campus, etc. He asks about what Kyana feels like she struggles with the most, and when she explains, he's like "oooohhh, okokok i've heard that one before. go to the uni's medical centre, tell them exactly what you told me, and say that your advisor(s) have recommended you get an educational psych assessment focusing on adhd. your uni health insurance plus provincial student funding should cover any costs. alright?"

- Kyana's working part-time (25ish hours a week) over the summer at a local café (Wild Springs Café & Bistro) to save for when her funding cuts off. Her bosses are Finbar and Elyse, who were Dani's neighbors growing up. Dani frequently stops at the café for coffee runs for her work, even though it's a 10 minute drive. She says that it's cause the coffee's better here than any Tim's or McD's and also the longer drive gives her more of a break, but really it's mostly because she likes annoying Finbar. Kyana learns the absolutely wild lore behind Finbar and Elyse's relationship. Ione picks Kyana up after her shift and confesses her romantic feelings. Kyana has a hard time reacting and tries her best to turn Ione down ("you're my best friend, and i love you. i love you so much. but—i don't really think i love you in the same way you love me? i don't think i can love anybody that way. i... never have. i can't really imagine it, if that makes sense? i'm sorry.") Ione cries, Kyana offers a hug, Ione refuses and says goodnight.

- Kyana is leaving the doctor's office, adhd diagnosis in hand (figuratively speaking). [NOTE THAT THE DIAGNOSTIC CLINIC HAD TO CONTACT DR. SEPHRUM SINCE SHE'S THE ONLY PERSON WHO KNEW KYANA AS A CHILD. DR. SEPHRUM WAS NOT EXACTLY THRILLED.] She's in a mix of shock and relief and happiness and when she gets home she collapses on the floor to pet Plug. Dani asks how it went and when Kyana tells her, Dani fist bumps her like "hell yeah, brain buddies!" this is how Kyana learns that Dani is autistic. Kyana has barely heard from Ione in a month and a half, now, (Ione's even been volunteering at the shelter on opposite weekends from Kyana) and asks if Dani knows what she's up to. Dani says she doesn't, but she'll reach out. Meanwhile, Kyana needs to contact her school's accessibility office in order to get the accomodations she needs, which is a whole other hurdle. She wishes she had Ione to support her.

- Dani contacts Ione. As soon as she brings up Kyana, Ione gets very weird about it. She tries to change the subject and is generally very cagey. Dani gives up and tells Kyana about it. Dani asks about what even happened between the two of them. Kyana explains and is generally very distraught, says she thinks it's her fault but she doesn't know what else she could've done. Dani is very matter-of-fact and is like "you did exactly what you thought was best and let her down easy, the rest of this is Ione's shit to figure out". Kyana sees her point but doesn't feel much better.

- Kyana and Ione start their second year of uni. Kyana's grades go up significantly and she is able to switch majors. she keeps business as a minor because she basically already has all the credits she needs for it. However, this means that Kyana and Ione don't have nearly as many classes together. In their one business class together, Ione acts very standoffish and avoids Kyana. Until one day, they end up in a group/partner project together (Kyana was away sick the day it was assigned, and Ione hadn't found a group, so they end up having to partner up) for their final assignment in that class. Incidentally, Ione's been performing very well in her wrestling matches, but she looks run ragged and frequently complains about being really sore.

- After a very awkward evening of working on the assignment together at the school library, Ione needs to get home. However, it's completely dark out and Kyana knows she's not keen on walking home alone when it's dark out. Also Ione generally looks like shit and Kyana wants to try and do something nice for her. So Kyana asks if Ione wants her to walk her home, and Ione's like "I... yeah. I'd appreciate that." At the end of the walk, before Ione goes inside, Kyana says something along the lines of "You know I don't resent you or anything, right? I still wanna be friends. I really, really want to." Ione is like "not right now you don't. i'm sure. not until i stop... wanting you. you can pretend it doesn't make things weird but i know it does." Kyana tries to impress upon the fact that it really doesn't but Ione doesn't really believe her. they agree on a time and date to finish the assignment and then say bye.

and uhhhhhh that's the last beat i'd written down. which is not the best place to leave off, huh. but!! i also wrote down what i called "the killscreen/end conditions" for the story, which are as follows:

- Kyana and Ione in QPR, Dani is their best friend (if Ione was a middle aged man she'd call Dani "wife #2")

- Kyana has her kinesiology degree and becomes a certified physiotherapy assistant

- Ione drops out of university and goes to college to get her veterinary technician diploma

- Dani starts her own appliance repair business (?)

OUAUGH i forgot how much i like this AU... i really wanna actually figure out how it ends one of these days,,

hello I have recently been made aware that a bad situation I am in is much worse than I thought, and I really could use some fluffy (or honestly angsty too) rwd thoughts or headcanons

[nightyraven-art]

I hate dealing with anxiety and anger issues

One second I'd be worried and then I get angry because anxiety makes me impatient and usually I'm often calm and patient but anxiety makes look like I'm the opposite and it's frightening to just be patient when I'm anxious-

Then it's a mix of embarrassment and anxiety because I make myself a fool...

[bacchuschucklefuck]

pygmalion and galatea for aroace people

you should tell your friends what I look like, riz gukgak.

[lady-harrowhark]

lol not me crying because someone from my program texted me to ask how i was doing and that they hadn't seen me around in a while

[wavesoutbeingtossed]

Screaming from the crypt (or how the past haunts the present on Midnights)

I know it's been discussed so much since Midnights came out but just.

I love how there is such a clear narrative throughout the album (and perhaps especially on the 3am/Vault tracks). About questioning and regret and choices and coming to terms with all of it. It is one long story about how we're all a mosaic of the choices we make, each one taking something from us and leaving something else in its place.

(And now a disclaimer: I'm looking at this mostly through a narrator/subject lens, and trying not to dive too deeply into real-life events or speculation except for in a general sense. For this purpose I like to look at the body of work as art, like literature, because I find it makes it easier to see the common threads in the different songs and cohesion in the narrative.)

In looking at the 3am+ tracks in particular, it's fascinating how some turns of phrases or themes repeat themselves in different songs, in different contexts. (I'm only focusing on the non-standard tracks because there are too many songs and I'd be here all day but I bet I could do a part two lol.) I know many people have pointed out the parallels throughout her discography already and I’m not saying anything groundbreaking by writing this, but I love how these parallels run through in the same album, because it makes it seem like it's one long story, or at least, one long rumination on many different stories that are coalescing into a single narrative.

Battle (let’s go)

For instance, the one that jumped out at me when I started writing this post the other week was, "Tore your banners down, took the battle underground," in The Great War and "If clarity's in death, then why won't this die? Years of tearing down our banners, you and I," in Would've, Could've Should've. It's a story about staying stuck in the same cycle of reliving trauma and coping mechanisms and bad habits over and over again and fantasizing about how taking the “antagonist” out and gaining the upper hand for good would bring closure (WCS), but the truth is that nothing ever will. All that cycle does, though, is repeat itself in other situations, and in this case pushes someone away the narrator cares for (TGW). The difference is that the imagined battle in WCS is a two-way street in her mind (that is ultimately unwinnable because it was never a fair fight), but in TGW it's one-sided -- she's the one fighting dirty, taking shots, the way she'd been doing in her imagination (or nightmares) all these years. But the person in front of her isn't fighting back the way the person in her mind in WCS would, because their intentions are honourable instead of exploitative.

And that's paralleled in another pair of lyrics from the two songs, "And maybe it's the past talking, screaming from the crypt, telling me to punish you for things you never did," (in TGW) and "The tomb won't close, I fight with you in my sleep," (in WCS). In both cases, the funeral imagery makes it seem like this past event should be dead and buried in WCS, but it keeps rising from the dead, haunting her no matter what she does and in TGW, another (or perhaps the same?) tomb that won't close keeps unleashing new ways to hurt her and in turn the new person in her life. In other words, the trauma from the past continues to bleed into the present.

(Again from a literary point of view, I'm not saying the events of the two songs are linked IRL, but they're fascinating textual parallels on the album as a string of chapters, which is why Dear Reader is so compelling, but that's a whole other essay.)

To keep the battle motif going, there’s yet another parallel, this time between TGW’s "[You were a] soldier down on that icy ground, looked up at me with honor and truth," and You’re Losing Me’s "All I did was bleed as I tried to be the bravest soldier, fighting in only your army.” In the former, the subject is laying down his armour in the war she’s projecting onto him, waving the white flag, and she realizes that she’s about to destroy something if she doesn’t put her sword down too. By the time we get to YLM, the roles are almost reversed; at the very least they’re supposed to be on the same team, but in this case she’s doing all the heavy lifting, fighting for their relationship in contrast to his apathy killing it. It’s also pretty interesting (if not outright intentional) that one of the 3am+ editions of the albums starts with The Great War, where they find themselves in conflict (even if it’s in her head) that ends in a truce, and ends with You’re Losing Me signalling the end of the relationship, evidence that the resolution in the first song wasn’t an ending but merely a ceasefire before the last battle.

Putting the rest under a cut because this is waaaaay too long now ⤵️

(There’s also another metaphor there in The Great War with its battle imagery: World War I, aka The Great War, was supposed to be the war to end all wars, because loss on its scale was never seen before and when it ended, most thought never again would the world embroil itself in such battle, the horrors and implications were so devastating. Two decades later, the world found itself in WWII, with an even larger scope and more horrific consequences, the intervening time between the two a period of festering conflicts and resentment leading to some of the worst acts the world would see. Bringing real life into it for a second, there’s something a little poetic, though sad, about The Great War the song being about a fight that could have ended the relationship that they ultimately resolved and was meant to be evidence of the strength of their love, but so too did it end up being a period of détente, the greater battle coming for them years later. But that is not the point of this post.)

If one thing had been different

Another major theme in these editions is pondering the "what ifs?" of life, but I think it takes on even more significance in the broader context of the album in the lyrics of "I'm never gonna meet what could've been, would've been, should've been you," in Bigger than the Whole Sky and the repetition of would've/could've in Would've, Could've, Should've (I would've looked away at the first glance, I would've stayed on my knees, I would've gone along with the righteous, I could've gone on as I was, would've could've should've if I'd only played it safe, etc.) In both songs, the narrator is mourning an alternate course their life could have taken* and questioning what they could have done differently, in the aftermath of trauma and loss, and the regret that comes with that loss, and with the loss of agency in the situation because ultimately it was never in their hands. In an album full of questions, wondering about the path not taken, or the forks in the road that have led to a different version of your life, it's digging deeper into the contrast of choice vs. fate, action vs. reaction, dwelling on the past vs. moving on. When you're supposed to let go of the past, what do you do when it is holding your future hostage?

(*I know there are different interpretations/speculation about BTTWS which I am not getting into on main. I'm just saying that whatever the song is about, it's grieving something that never came to be. The literal origin of the song is less important to the album than the sense of loss it portrays. Whatever the inspiration is, it's crafted to tell part of the story of Midnights of ruminating over how, to borrow from her previous work, if one thing had been different, would everything be different?)

(Also I was today years old when I realized that the words are inverted in the two songs. Apparently I've been hearing BTTWS wrong this whole time.)

There's also an interesting tangent in the role of faith in both songs: in WCS, the events of the story cause her to lose her faith (e.g. "All I used to do was pray," "you're a crisis of my faith,") and question all the things she felt had been unquestionable until that point in her life (e.g. "I could have gone along with the righteous"), whereas in BTTWS, she questions whether that very lack of faith is to blame for the loss in that song ("did some force take you because I didn't pray? [...] It's not meant to be, so I'll say words I don't believe"). It's like pinpointing the moment her life changed and upended her beliefs (WCS), but as a result then leaving her unmoored in times of crisis because ultimately there's no explanation or comfort to be taken from what she used to hold true before that (BTTWS). The words she once relied upon to guide her have long since lost their meaning, but in times of trouble it leaves her wondering if that faith she once held then lost could have prevented this pain.

(Shoutout to WCS for being Catholic guilt personified lol.)

To keep on with the vaguely faith-y notions, an obvious parallel is the line in Would’ve Could’ve Should’ve about, “I damn sure never would've danced with the devil at nineteen,” and, "When you aim at the devil, make sure you don't miss," in Dear Reader. All of WCS is about her fighting with an antagonist who haunts her, with whom she wholly regrets ever becoming involved. DR could be seen as a reflection on that fall from grace, warning the audience that if you choose to go after the person (or thing) haunting you, make sure you do so clearheaded enough to be decisive. Again, these “devils” may not be related in real life: the IRL devil in DR could be speaking about her naysayers, or Kim*ye, or Scott & Scooter B, etc., meaning not to cross your enemies until you know you can win. But taking real life out of it and looking at it textually, I am intrigued by the link between WCS and DR, so that’s what I’m going with here. And perhaps that’s even the point in a wider sense; there will be multiple “devils” in your life, or threats to your well-being. If you’re going to commit to taking them down — whether it’s an actual person, or the demons inside you that refuse to let you go — make sure you have the right ammo so that they can no longer hurt you. (Of course, one lesson from these experiences is that sometimes you can’t win, and you have to live with the fallout.)

(Sidebar: I know that “dancing with the devil” is a turn of phrase that means being led into temptation and engaging in risky behaviour, as opposed to describing the actual person. Given the religious metaphors in the song, that could very well be/is the intention, particularly when it’s preceded by, “I would have stayed on my knees” as in she would have continued to follow her faith — in whatever sense that means ��� had she never met this person, which could also be a more eloquent way of saying she would have continued to be live her life in a way that was righteous (even naive) and seen the world in black and white. Either way, it’s a force she wholly rejects. Like I said, multiple devils, same fight.)

Regret comes up too: in WCS, she says, "I regret you all the time," obviously directed at the person who manipulated her and led to her perceived downfall, citing him as the one impulse she wished she'd never followed, because it won't leave her no matter how hard she’s tried. In High Infidelity, she tells the person to, "put on your records and regret me," and on the surface, it’s like she’s turning the tables, painting herself as the one now causing the regret in someone else, the one inflicting the pain this time. Yet the verse preceding it and the lines following it in the chorus depict a partner who is also emotionally manipulative and vindictive like in WCS (“you said I was freeloading, I didn’t know you were keeping count,” “put on your headphones and burn my city,”). It’s not so much that she’s intentionally harming the person (the way the person in WCS does to her), but rather that the venom in the subject’s feelings towards her seeps through; she’s imagining the way he’s going to feel about her when she leaves, hating her just for by being who she is. (There could be another tangent about how in both songs she’s there to be a “token” in a game for both of the men, who play her for their own purposes.) The regret is dripping with disdain. It’s as though she’s picturing how the person is going to hate her for doing what she’s thinking of doing the way she hates the person who first hurt her.

Sadness, unsurprisingly, shows up in a few lyrics. In BTTWS, “Everything I touch becomes sick with sadness,” sets the scene of a person so overcome with grief that it permeates everything around them; they cannot see their way out of it and feel like the fog will never lift. In Hits Different, it’s, “My sadness is contagious,” the result of a breakup where the person’s grief again touches everything and everyone around them, pushing them further in their despair and loneliness. The reason behind the grief in either case may vary, but regardless of the source, the feeling is overpowering and isolating. They may be different chapters in the story, but the devastation is hauntingly familiar. (As is a recurring theme in Midnights as a whole: there are situations and feelings that present themselves at different points in her journey and colour in the lines in different ways along the road. Like revisiting an old vice and realizing the hit isn’t quite the same as it was in the past.)

Death by a thousand cuts

She also writes about wounds on this album, which isn't surprising I suppose given that the whole conceit is that these are things that have kept her up at night over the years. WCS is perhaps the driving narrative on this never ending hurt when she sings, “The wound won't close, I keep on waiting for a sign, I regret you all the time,” suggesting that no matter what she does, the pain of this experience has permeated everything she’s done afterwards. (Not unlike the overwhelming grief in BTTWS, for instance.) Elsewhere, in High Infidelity she sings, "Lock broken, slur spoken, wound open, game token," and in Hits Different, "Make it make some sense why the wound is still bleeding.” Again I'm not suggesting they're about the same events; the line in HI is about a situation where a partner crosses a boundary, hits below the belt, picks at an insecurity (or creates a new one) and treats the relationship like it's transactional, opening the floodgates in turn. In HD, the wound seems to be more self-inflicted, where she's pushed the person away. (Over a situation real or imagined she feels she needs distance from.) But again, something has picked at her like a raw nerve, and just like in the past, she's hurting, even in a different time and place and person. Almost like the wounds of the past break open over and over again to create new scars. If one were to extrapolate further, it wouldn’t be the biggest leap to wonder if the wound open in WCS, then torn apart in HI makes the one in HD hurt even more.

(I once wrote a post about how I think as time goes on, WCS is going to turn into one of those songs that will be found to drive so much of her work, because it’s just… kind of the unsaid thesis statement of so much of her songwriting.)

Another repeated theme is that of the empty home and loneliness. In High Infidelity, she sings, "At the house lonely, good money I'd pay if you just know me, seemed like the right thing at the time," painting a picture of someone who may have everything they'd want to the outside world, but in reality feels metaphorically trapped in their home (or at least alone amidst abundance), a symbol of a relationship gone sour and a failure to build connection. She just wants someone to understand her, want her for her, but as she's written earlier in the song, she's just a pawn in the game, a trophy from the hunt. Home, in this case, is lonely, isolated, an emblem of her fears. In Dear Reader, she continues this thread, then singing, "You wouldn't take my word for it if you knew who was talking, if you knew where I was walking, to a house not a home, all alone 'cause nobody's there, where I pace in my pen and my friends found friends who care, no one sees you lose when you're playing solitaire." It's the same idea, admitting to listeners that the gilded cage she lived in kept her distanced from her loved ones and real connection, keeping her struggles close to the vest but feeling desperately lonely amidst her crowning success. She's pushed people away and it may have felt like the right thing at the time, but in the end maybe felt like she was trapped. And when you push people away, eventually they take you at your word and stop pushing back; you’re a victim of your own success at isolating yourself. What starts out of self-preservation then further perpetuates the underlying problems.

(There's another interesting link about "home" also feeling unsafe with HI's "Your picket fence is sharp as knives," which further leads into the theme of marriage/domesticity feeling dangerous, which is a whole other thing I won't get into here because it's another discussion and may derail this already gargantuan word salad.)

In a slightly similar vein, we have the metaphor of bad weather for a rocky road or unstable relationship, in High Infidelity again with, "Storm coming, good husband, bad omen, dragged my feet right down the aisle" and You’re Losing Me’s "every morning I glared at you with storms in my eyes.” They aren’t speaking of the same situation or even same kind of breakdown, but it is pretty interesting how the idea of clouds/storms/floods/etc. play such a role in Taylor’s music to signal depression, apprehension, fear, uncertainty, etc. In HI, I think the “storm” coming is the looming threat of commitment to a partner who makes the narrator uneasy (if not fearful). In this case, the idea of making a life with this person is not one that incites joy or comfort, but instead makes the narrator feel that dark times are ahead if she continues down this path. Perhaps in some way, the “storms” in YLM have made good on the threat in HI in a different way; it’s a different home, a different relationship, but the clouds have settled in regardless, and some of her fears have come to fruition in ways she did not expect. The person she once trusted no longer sees her or her struggles (or worse, doesn’t care), and the resentment and pain build with each passing day.

Coming back to heartbreak, one of the obvious "full circle" moments is the beginning of a relationship in Paris, where she says that, "I'm so in love that I might stop breathing," clearly enthralled in a new love that allows her to shut the world out and grow in private, capturing the all-encompassing nature of the relationship. This infatuation has consumed her in the most wonderful way (in contrast to the sorrow of some of the previous songs), and it feels like a life-altering (or even life-sustaining?) force that is so strong she may forget what it’s like to breathe. (Metaphorically speaking, of course.) By the end of the album, though, in You're Losing Me, that heart-stopping love has become a threat: "my heart won't start anymore for you." In the former, her racing heart is full of excitement, but by the latter, her heart has given out completely under the weight of the pain she bears. (YLM is full of death/illness imagery which I already wrote about awhile ago so I won't hear, but needless to say that song deserves its own essay for so many reasons.) She's gone from the unbridled joy of the beginnings of a relationship to the unrelenting sorrow of its end, two sides of the same coin.

Love as death appears elsewhere in the music too, for instance, in High Infidelity’s, “You know there's many different ways that you can kill the one you love, the slowest way is never loving them enough" and You’re Losing Me’s “How can you say that you love someone you can't tell is dying? […] My face was gray, but you wouldn't admit that we were sick.” Though not completely analogous situations, they both tell the tale of one partner’s apathy (or at least denial) destroying the other. In the former, the partner’s actions (or inaction) are more insidious, if not sinister; in the latter, the lack of momentum (or admission of a problem) is passive. In both cases, the end result is the narrator’s demise; it’s a drawn out affair that chips away at her morale and her health and her sense of self. (Breaking my own rule about bringing in alleged actual events into the discussion, but the idea that the relationship in High Infidelity, which was obviously fraught with unease and even fear, ended in a similarly excruciatingly slow and hurtful death by a thousand cuts as the relationship in You’re Losing Me almost did at that time must have been so painful. It almost feels like YLM is wondering why what used to be a source of light in her life was mirroring a situation that caused her such pain in the past.)

From the same little breaks in your soul

I said early on that part of what is so compelling about Midnights is that it feels like an album about ruminating — on choices, on events, on people — and the two final “bonus” tracks of the album depict that as well. In Hits Different, she sings that, “they say if it’s right, you know,” an ode to the confusion of a breakup and struggling with the aftermath of calling it quits. It’s a line that has always intrigued me, because the typical use of the phrase is in the sense of, “you’ll know when you meet the one,” but here it seems to have a double meaning, a reassurance perhaps from the friends (who later on tell her that "love is a lie") that she’ll know if she’s made the right decision in calling it off, but could also be her wondering if the relationship is right, she’ll know, and want to reconcile. In the final bonus track, You’re Losing Me, she sings, “now I just sit in the dark and wonder if it’s time,” this time leaving no doubt about the dilemma she faces, though it’s no less fraught. She’s wondering, perhaps for the last time, if now is finally the moment to end the relationship for good. They say that if it’s right she’ll know, and now she’s wondering if that feeling inside her (that once told her her partner was the one, which is why it hit differently), is telling her that it’s time to go for good. Wait Alexa play “It’s Time To Go.” These are not only the things that keep her up at night, but the things that play over in her mind like a film reel in her waking hours.

Midnights as a whole is a deeply personal album, as is most of Taylor's work, but the 3am+ edition tracks seem to dig even deeper to a lot of the issues raised on the standard album. Almost like the standard tracks are the things she wonders about on sleepless nights, but the bonus tracks are the things that haunt her in the aftermath. The regret, anger, sadness, grief, relief, even joy— they’re the price she pays for the memories she keeps reliving. Midnights might be the most cohesive narrative of all her albums, and really does feel like we’re watching someone work through her journal over time, stopping short of outright naming those giant fears and intrusive thoughts (except for when she does) but making them plain as day when you connect the songs together, and perhaps never more clearly than in the expanded album. It’s incredible how the songs stand on their own to relay a specific moment in time, but that they are also self-referential to each other (whether thematically or overtly) to weave a larger web over the entire work. We’re so lucky as fans to have these stories and to keep peeling back these layers as time passes. (And my literature-analysis-loving ass loves her even more for it.)

This is obviously by no means an exhaustive list, and I know there are more parallels and probably even stronger links (particularly when you add the standard version into the mix), but these were the ones that particularly struck me and I’m just glad I’ve had a chance to sit with this and think it through. ❤️

[imavikingo]

Everytime I look at Tumblr and see the tl I remember why I hate endgame with a passion you couldn't understand.

They fucked up Steve and Bucky so bad (yes, Bucky too bc suddenly he doesn't matter/isn't even a secondary character that deserves to be near Steve)

It's so funny to me (not) bc they talked about gay characters being in the movie at panels and interviews and even talked about Stucky at some point (basically queerbaiting) for then... Steve not even acknowledging Bucky. An awkward and impersonal hug doesn't cut it.

And Steve suddenly yearning and talking about Peggy? When he didn't even mourned her that bad and already had let her go ages ago? They knew they fucked up in CATWS with Steve and Buckys relationship, so they tried to distance them and then inserted Peggy bc ofc

(they possibly didn't have the time for a new character and they already had fucked up pairing Nat and Bruce and Wanda and Vision). Steve didn't have anyone else he cared about so they couldn't give him a new girlfriend. So they used Peggy AGAIN.

I'm not mad bc "Stucky not canon grr"

No.

I'm fucking pissed off because they did the worst character assassination and friendship assassination possible. Every movie of Cap America revolved around Steve saving Bucky at some point and him caring about him above all else, and you want me to believe that Steven Grant Rogers didn't care about him when Bucky died in front of his eyes? AGAIN? That Peggy's death was more important and impactful for him? If that was the case then why the fuck did he crash the plane then? If he cared so much about Peggy since forever?

No, that was just lazy writing and a way to reinforce Steve's sexuality "He can't be gay and you can't say that bc he LOVES PEGGY"(even tho he only kissed her once, even tho he crashed the plane and didn’t give her the coordinates, he didn't really care that much after all) they could have paired him with Nat in later movies, but they didn't.

That's why I only raise my eyebrows a lil when people say that x character will be gay canonically in a marvel movie/series. Is more than possible they won't. And if they are they're Deadpool, a secondary character no one cares about (obscure in lore too, so they can cut them off) or is plain queerbaiting again (because yes, even if you don’t see Steve and Bucky’s relationship as romantic, they DID QUEERBAIT IT)

Steve and Buckys relationship wasn't even written in a romantic way (you can ship them or not), but they tried so hard to rectify Steve's heterosexuality in endgame, that they fucked up their character arcs on purpose. And now they will always feel hollow and inconclusive. A bad taste in the mouth, a painful reminder of what it was and a what? 11 year long? characterization.

Idk man, I know I've talked about this more than three times, but omfg Tumblr reminds me why I hate that fucking movie!!! It's not my fault!!!

I know I'm going to end up writing something out of spite bc I can't take it shdkdjjcif

"It's been more than 4 years get over it" NEVER

Also the bit with Johnny Storm in Deadpool and Wolverine was also a dig (a fuck you if you will) to the fans bc Deadpool explicitly calls him Cap. And it implies that Steve as a character (not that old Steve nonsense) won't be back.

It's funny they've remade over and over again some movies (Fantastic 4, Spiderman) changed actors for characters (James/war machine, Bruce) and they include them in the multiverse/plot, but they won't do the same to some movies and some characters when they fuck up their stories, because they know if they do, they will have to acknowledge WHY they did it. Like with James/war machine changing actors.

So yeah, that's one of the reasons I don't care about Marvel anymore.

**I mean remake the movies ((Also they Can't remake Cap America bc that would mean they need to remake every important movie. And they don't have the time, the money nor the need. So that's why they decided to fuck their character arcs))

or include some characters in multiverse (they're going to do that with Tony/RDJ/Dr Doom after all, no?) and they also won't remake Cap bc the movies are amazing.

But the point stands. Steve couldn't be in DaW bc that would imply he's an alternative one or that Old!Steve was an alternative one or wasn't even Steve to begin with. But they couldn't do that ofc, no, bc that would give the fans hope in seeing Steve and Bucky together once again. So they did a dig at the fans bc "haha you thought it was Steve, but it's Johnny!"

Idk if I'm making sense at this point I'm tired af, need to sleep.

The thing is that they fucked up Steve Rogers's arc on purpose (Bucky's too, and others charas too tbh) and now they expect the fans to accept everything they give us with open arms. And imho I won't accept shit.

"Deadpool saved the MCU" how? If the other og characters are DEAD or they fucked them up too? Or are the butt of the joke now? Don't make me laugh. Most people don't gaf bout the new charas bc they only are presented in series not everyone watches (only available in one place) or are presented with characters that are dead now or as a replacement for the og characters. They aren't interesting on their own (not really, at least in mcu) and that's why most of the new stuff isn't liked as much. If they wanted to present more characters the opportunity passed already.

Also now if you want to watch and really understand 1 movie (if you don't read the comics too) you need to watch like 20 other movies and 5 shows. it's fucking exhausting.

[13eyond13]

actually stunned by how gay The Beatles has been all this time and I just never knew

[lilowoof]

ngl gamers, I think I'm gonna inevitably lose to the hormones and depression in the near future XD

Can't bring myself to be active cause I'm using a lot of energy to not vent post all the time. But fuck it, into the tags I go!

[b-blushes]

also wish i had a better way to describe it than 'migraine that makes me stupid' as a shorthand. i guess i don't really understand what's going on nor can i pinpoint exactly what's going on any more specifically than 'the stuff that makes me understand stuff is broken currently' but it's *more* than that. i can feel the widespread process happening in my brain but only through the impacts of it, i can't, like, put my finger on it at its source i'm just like 'huh i can't spell? or i'm substituting letters?' but it's NOT like i suddenly FORGET how to do this is that's wires are being crossed while i'm doing actions and the outputs are odd but the actions aren't just isolated to 'typing', it's 'anything that flows through my brain'. which is why i'm also more prone to doing things like 'touch a burning hot pan that i just safely got out of the oven one second after doing so with bare hands' when i have a migraine.

i guess 'migraine that crosses all the wires in my brain' works pretty well. maybe i'll use that because i don't like to say stupid even if i'm saying it in a 'neutral descriptor of my current situation' way.

[whump-n-comfort]

when you read a fic that gives you a hyper-specific whump scenario that you know would either A.) take forever to find in another story or B.) hasn't been written at all so the obvious conclusion is that you have to write it yourself

[keeps-ache]

gonna keep it shmoovin man

[numbaoneflaya]

@summer-solemnly-swears sometimes yeah :/ I’ll imagine or write cute little scenes and shit but eventually again I’m like hmm.. well what if she was going through the horrors again . Anime monologue in the tags as usual

[deoidesign]

For my birthday... read my webcomic! It's literally free! (Unless you want books. Those are not free)

It's beautiful, it's gentle, it's funny, they're canonically t4t and gay... And it's about time traveling vampires solving supernatural mysteries!

I've spent thousands of hours writing and drawing it, and it's really good! I'm not biased!

It's on hiatus right now and coming back in 2 months, so it's the perfect time to get caught up