#pick a motif and stick with it

[unlimitedsupplies]

this comp itself looks fun but i do kinda hate that they called it "ainsleyland" and then kept the candyland art theme. if you're forcing us to remember Ainsley is a thing at least make this cyber-themed

[kyaruun]

people who manage to make their blog aesthetic are everything to me because i love love love navigating through something with a set vibe <3

it is then i also remember i am unable to keep a set aesthetic in any of my blogs/accounts anywhere but i love seeing everyone else's

[avocado-writing]

home

pairing: 14th doctor x reader & 10th doctor x reader

rating: E

notes: no gender or age given for reader, just that you last saw the doctor fifteen years ago. thank you to @mcganns for being my beta!!

This too shall pass.

It was a sentiment that you had to cling onto when he left, because fuck knows it was the most painful thing you’d ever felt. And you’d run away from actual explosions before. Big ones, in space! Supernovas which could eat entire planets while you hung onto the side of a little blue box. 

And yet none of it even begins to compare to when he fucking left you. 

He said it wouldn’t be forever. Well, he shouted it at you as you fell out of the TARDIS. There was a time explosion, and you got rocketed back to your little flat in the middle of Hackney, on Earth only a few days from when he’d picked you up — but in your reality months of adventure had passed. 

You’d not really settled back in, certain that he was going to come and rescue you. But then days turned into weeks into months and you finally accepted that the Doctor had abandoned you. 

So you went back to it all. Your mundane little existence before a mad, brilliant man had whisked you away. Your boss was a bit miffed that you’d gone AWOL but you were their best employee so they couldn’t afford to let you go, all you got was a slap on the wrist and a command not to let it happen again. The people you loved didn’t really seem to notice your absence that much, which stung; you couldn’t blame them though. You’d probably not miss you much either. 

The Doctor. He made you feel special in a way nobody had before. Like you were the centre of a whole, giant, fantastic universe, and he adored you for it. 

Still. 

No point mulling that over again, is there?

Fifteen years. Things did get better. You moved on eventually. But you still find your thoughts drifting back to him every once in a while, and that fragment of time you spent totally utterly in love with each other. When you think about the way he kissed you, without realising it you end up touching your lips.

No. No. Stop. 

The singing of the kettle snaps you back into reality, and you pour yourself a hot cuppa. Ah, tea. The antidote to everything. You go to turn the radio on for some company as you shift into your morning routine when you hear a knock at the door. 

Probably the postie. He’s a bit early today, you think, but make no more of it as you undo the latch and open the door. 

Your heart stops. 

Because there he is, of course. 

Older. Weathered. Not the young man you once knew but a grownup version of him, as exhausted by life as you are. 

You drop your mug. Quick as a flash the Doctor grabs it out of midair. The tea sloshes onto the floor but at least nothing gets shattered. 

He goes to look up at you, but his attention is drawn back to his hand. 

“I bought you this mug years ago,” he says, utterly amazed. 

You shut the door in his face. 

Well, you try to, anyway. But he sticks a foot in between the door and the frame, with one of those stupid Converse he always wears.

“I know you’re angry, I know. But please let me come in.”

It’s such an absurd statement you find yourself laughing, a high and desperate noise. 

“Absolutely not!” Actually, no. That’s not enough. “How dare you. Why are you even here?!”

“Because I wanted— I needed to see you.”

You still want to slam the door on him, but there’s a desperation to his voice that gives you pause. And when he looks at you with those sad, puppy-dog eyes? Those eyes as lined with age as you are?

Fuck. You’re so weak. 

So that’s how you find the Doctor sitting at your kitchen table with a cup of tea in front of him. You lean against the counter, defences still up, eyeing him from over the top of your mug. He drums his fingers against the tablecloth. 

“I like your house. Your calendar is nice, I enjoy the kitten motif.”

“Don’t,” you spit, slamming the mug down and sloshing tea onto the floor, “don’t you dare. You don’t get to waltz back here and start telling me ‘oh, I enjoy your furnishings, haven’t you made a nice little life for yourself since I abandoned you!’ I let you in to speak your piece, though god knows why. Say it and be done.”

The Doctor looks deflated. His shoulders sag, mouth falls. You take a moment to properly look at him. He seems… tired. Tired in a way you never knew him to be when you went on your adventures. Part of you wants to offer comfort, but the other part of you wants to withhold it maliciously. Anything to make him feel the way you felt. 

“I looked for you,” is what he settles on, heavily. You didn’t expect that, and it knocks you. 

“What?”

“I did. After the explosion, I tried searching all over the galaxy for you. I didn’t know where - when - you’d ended up. I scanned and scanned but something stopped you from appearing on the TARDIS’s sensors. I think… the amount of artron energy emitted during the blast somehow cloaked you.”

You say nothing, your silence an invitation for him to continue his explanation. 

“It took years. Literal years, for me. Every spare moment I had, I dedicated to looking for you. Head buried in the circuitry of the TARDIS, trying to fix whatever was hiding you, gave myself a couple of nasty shocks too. And, when I finally tracked you down, I’d regenerated.”

You blink. Right. Yes. He’d explained that, but you’d never seen it with your own eyes. The same person, a different face. 

“I didn’t know if you’d want to see me if I didn’t look like me. But I had to try anyway, didn’t I? So I came here. To your house. I got myself all ready for it, knocked on your door… and found that you were married.”

Your fingers grip the counter. 

“Oh.”

“He seemed nice. Loved you a lot, as you deserved. And I couldn’t tell you I was back, could I? I saw you pottering around in the kitchen, making the tea - you were always the best at making tea - and you were happy. How could I ask you to leave that all, uproot the life you’d made for yourself, just to jump back in the TARDIS with me? How could I be so cruel? I couldn’t, could I. So I left again. Tried to move on. Like you did.”

You’re crying now. You can feel hot tears slide down your face and soak into your jumper. 

“Oh, Doctor,” you manage. You want to tell him so much. It feels like it might burst out of you. But instead you settle on:

“Why now?”

He smiles thinly. 

“Because somehow I got this face back, and I wanted to see you. I wanted to be selfish for once.”

You find yourself at the table, on the wonky chair opposite him, sliding your hand over to cover his. It’s rough and warm. Just like you remember. He says your name with reverence, but like it pains him. 

“I never stopped loving you. Ever. Through it all, every adventure, I knew it wasn’t complete because you weren’t there. It just wasn’t the same without wonderful, brilliant you,” he admits. He sounds defeated. It breaks your heart — or, actually, it might just put it back together again. 

A beat passes. His confession lingers in the air, heavy, thick and choking like smoke from an untameable fire. 

“His name was Simon. He was a baker. He was lovely, actually… and we got divorced two years ago.”

The Doctor’s brow furrows. 

“You… what… why?”

“Because he knew there was someone else I never really let go of. Someone else who, despite everything, I still loved.”

He looks you in the eyes, and you see something glimmer there that you long since gave up on. 

Hope. 

And then, suddenly, you’re kissing. 

It’s like nothing has changed. His lips are still rough and searching on yours, a hint of tongue giving away into more the deeper you entangle. He sits you up on the table and steps into the space left by your spread legs, and between each kiss he says your name. It’s full of adoration but lined with desperation, too. 

Like the kisses he gave you the first night you laid together, on a bed in his spaceship floating across the galaxy. When he buried himself inside you and you felt his two hearts beat in rhythm with your own. 

“Doctor…” you manage. 

Fuck. You need him. You didn’t realise how badly you needed him. You didn’t realise a piece of your soul has been missing this whole time, fucking torn out of you and leaving a jagged hole in its wake. And him, back, telling you he loves you and always has? You’re patched together like kintsugi. 

Your Doctor is the molten gold you need. 

“Please. I need to…” he’s so desperate he can barely get the words out, but you nod; he’s undoing the belt buckle of your jeans and pulling them off like they’re silk. When his thin waist meets yours you cross your ankles behind him and lock him into place, and his hands - a little fumbling, a little nervous to be mapping out the plain of you again - begin to trace your chest. You lean into his touch to let him know yes. This is okay. I want this. Make me whole again. 

His warm, rough palms slide under the hem of your shirt and lift it easily over your head, the only break in a while you take from your kiss. You let yourself grab his tie to bring him closer. He’s fully dressed still and you’re almost naked; you remember how he used to like that, enjoy feeling a bit more put together than you. Cheeky blighter. Still though, as his suit scratches your skin, you can’t say you don’t agree. 

However. In this instance he has far too many clothes. 

You tug at his jacket and he knows what you need, letting it fall to the floor with his tie and waistcoat following it. He ruts against you as he unbuttons his shirt a bit, not the whole way, but just enough for you to feel the warmth of his chest. He’s so skinny. You’ve always been a bit worried that, on one of your rougher days, you might snap him in half. You still are now, actually. 

Cupping his face in your hands you let your thumbs caress his cheekbones. Your Doctor. Older but the same. Just like you. 

You can feel him more than half-hard against your leg. No more time wasting. You need him. You need him, you need him, you need him. 

It doesn’t take long to undo his fly and have him in your hand. You’ll always be glad he chose this human anatomy. Though you’d love him no matter how he looks, there’s something wonderful about his cock as it is here. He lets his head fall forward onto your shoulder with a moan if your name. 

“Oh… you’re…”

“Mmm hmm,” you agree, a genuine smile passing your face for the first time in god knows how long. He’s just the right length and on the thick side, and you know what a delicious stretch he is when he pushes inside of you. You can’t wait to feel it again. A couple of pumps and he’s ready, dripping precome and a ruddy red. Another time you’d bend down and taste him, remind yourself what a Time Lord’s cock is like. But now today. Well, not now. 

You lay back, readjusting yourself so he can push your underwear to the side and find your entrance. A couple of fingers - those long, delicate, clever and cunning fingers - press inside you and test you out. You’re ready for him. He makes a choked noise in the back of his throat as he realises and you laugh, properly, throwing your head back. 

“Come on, Doctor. Show me that you’ve missed me.”

He used to never shut up. And now he’s stunned into a desperate silence, lining up with you and pushing in as he does his best to make you feel what he’s been feeling too. 

A loneliness is fixed. He slides home inside you and your hips meet, the both of you letting out a long and ragged breath. You sit there for a moment, locked in the most intimate embrace, and just feel each other. You fist your hands in his shirt. He’s here. He’s real. You feel him trace his palm up your back as if you assure himself of the same thing. 

Slowly he begins to move. It is a long and lovely drag, his cock hitting all the points you missed being touched, and when he feels you gasp he goes harder. The Doctor nuzzles into the skin of your neck, nestling to the warmth of you there, and you hear him repeat a mantra both of your name and “I love you”.

Over and over. As if the two phrases are inextricably linked. 

You’re so full. You’re so light. Everything feels perfect in this moment. And when he reaches between your bodies to touch your sex, push you to the edge, you know you’ll climax for him embarrassingly fast. 

When you come you see stars light up behind your eyes. The sky, the unfiltered and untamed sky takes you over. The Doctor says your name one final fine and releases inside you, his hips riding it out as if to savour every second in the sweet grip of you. 

He can’t look at your face when he asks you. He says it from the safety of your shoulder where his face is buried, because if you say no you know his heart will shatter. 

“Come with me, in the TARDIS again. I know I shouldn’t ask you to leave your home but… you complete me, you know. Always have.”

“Leave my home?! Doctor, don’t be daft. This is just a house in bloody Hackney. You’re my home.”

You pull back to meet his gaze. He’s tired, but bright. His eyes twinkle. And there’s the Doctor you know. 

“And of course,” you continue. And, as the smile engulfs his face and he lights up, “it’s not like I’m doing anything else, am I?”

This time, when you go AWOL from your job, you never come back. 

[starry-bi-sky]

i've mentioned in a few past posts about an au where Danny is a variant of Jason Todd. I haven't made a post about it yet because I need a good rhythm flowing however i've been listening to Gladiator by Jann and I have been having thoughts.

but first, let me set the au:

Danny Fenton is Jason Todd, or at least, a variant of him. A him from a universe separate to the major Batman timeline - but still Jason Todd, down to the structure of his face and his name itself. The only thing that changes, is who picks him up - and, that he follows old Batman canon, and was an orphan. Jason Todd steals the tires off the batmobile and wallops Batman with his tirejack, and then runs off. Shortly after, he gets picked up by the Fentons.

(Customary line break,,,, word count check: 5k)

And his name changes from Jason Todd to Danny Fenton. He doesn't care much for the new name change, it stems from his mute refusal to share his name to the people that picked him up; an attempt to make him untraceable should he get away from them, and to keep something of his to himself. So they name him something new. He grows to like it enough as he acclimates to his new family.

(He hangs onto the name Jason Todd like a secret - he may be 'Danny Fenton' now, but he'll never forget his time on Gotham's streets. He'll always be Jason Todd.)

(Jazz is the only one who he tells his name to in the family - she affectionately calls him Jay whenever she wants.)

He becomes friends with Sam and Tucker and deals with Dash and his bullying. And when Danny steps in during a fight between Dash and another student, Dash gives him a bleeding nose and mockingly says, "Do you think you're Robin just because you're from Gotham, Fenton?"

Jason looks him in the eyes and he bares his teeth, "Why not?" he asks, spitting blood, "being Robin gives me magic."

The nickname sticks. It's supposed to be an insult; Daniel Fenton is not Robin, he'll never be Robin. Not now, not in a million years. Jason Todd has always wanted to be Robin, so he takes the insult and wears it proudly. He buys a school varsity jacket and painstakingly undos the stitching of all the school's motif on it. On the breast of it, he embroiders in a black circle with the Boy Wonder "R" on it instead. It's not good stitching, but the next day Danny wears it down to breakfast and into school.

In normal au canon, Daniel Jason Todd-Fenton (its a mouthful, just call him Danny) only meets the Waynes after he becomes Phantom - an event that leans more towards Daniel Fenton's accident than Jason Todd's death, but traumatizes him all the same. (Is it too much to want to be mourned? His best friends like to deny that he died - and Danny - Jason? - wishes they wouldn't, even if he did come back.)

(The accident embitters him, even more when his parents don't seem to pick up on it. He stops calling himself Danny Fenton - he's always been Jason Todd. It shows itself in his ghostly form. He doesn't want to wear the thing he died in, not in something that belongs to the Fentons, and his suit reflects that.)

In this timeline, Daniel Jason Todd-Fenton, aged 13, meets Dick Grayson and Bruce Wayne after a mishap with magic on the other end of the reality sends the three of them careening through time and space, and spat back out on the other end, in a world not their own. And together.

Danny is paired with a very confused Bruce Wayne and Richard Grayson. Luckily, there's a few heroes there to help them. Danny can hardly comprehend the idea that he's in another universe - he doesn't know why Dick Grayson and Bruce Wayne are seemingly handling it well.

On their way to a secondary base with the heroes, Danny turns to Bruce Wayne and asks, "So, is it part of rich-person training that you're just totally chill with being sent into another universe, or are you just weird?"

Bruce Wayne huffs at him, rather than get offended, and he smiles that dumb lopsided billionaire smile that Danny's seen on every vogue magazine he's been in. "I'm not so worried with these skilled heroes here to help us get home."

Danny silently concludes that he's just weird. At least Dick Grayson is biting back a smile behind him. "Riiiight..." He says, dragging the vowel out dryly.

When they get to that secondary location -- a safehouse that one of the heroes had set up -- the three of them are sat in a living room-like room while one hero, Zatanna, goes and calls someone from the Justice League. The other two heroes stay with the three of them.

Within a few hours, Danny is face to face with Batman - someone who he hasn't seen since he whacked him in the stomach with a tire iron - and Nightwing. For a moment, Danny swears that the both of them look almost spooked by him.

Batman stares at him for a moment when he enters, and then he goes to speak with Bruce Wayne. Danny doesn't care enough to hear what they're talking about, he pulls out his phone as Nightwing goes to speak with Dick Grayson.

"Are you a fan of Robin, little man?" Someone says, and when Danny looks up he locks eyes with Dick Grayson -- who is leaning around Nightwing to talk to him, the both of them are smiling. And considering who Nightwing was, Danny finds himself turning pink to the ears.

But he will not hide his jacket. He forces a grin through his embarrassment, "Hell yeah, man, Robin's cool." He says, and pushes his arms down to pull out the hem of his letterman, showing off the emblem. "I made it m'self out of a school varsity after the A-Listers started callin' me Robin."

"A-Listers?"

"Popular kids," Danny corrects, loosing his hold on the hem and brushing invisible wrinkles out of the embroidery. "They didn't like that I kept stepping in when they were bullying. Dash asked me if i thought I was Robin because I was from Gotham."

Dick Grayson looks intrigued -- and concerned, and he leans forward onto his knees and raises an eyebrow. "What did you say?"

And Danny grins a shark-like thing, straightening back his shoulders with a burning sort of smug pride and all the sharpness of broken glass left in Crime Alley. "I told him being Robin gave me magic, and then I punched him."

Dick Grayson's smile widens, splitting into showing teeth as he leans back into his seat. Danny isn't sure why he's so delighted - but Nightwing looks incredibly amused, and he suddenly remembers that the Robin himself was there in front of him.

Danny's face burns anew and his arms fold themselves in front of him once again.

"I don't think I ever caught your name, Robin." Dick Grayson goes, his voice thick with laughter, and Nightwing steps off to the side as Batman and Bruce Wayne walk over to join them both. They're just close enough that Danny can see Bruce Wayne raise an eyebrow at them both.

"It's Jason." Danny says before he can think about it, and barely stops himself from frowning at himself for the slip. He amends himself, glancing over at Batman and Bruce as they get closer. "But everyone calls me Danny."

Dick Grayson's head recoils slightly, and he looks a little surprised. "Why Danny?" He asks.

"Why Dick?" He shoots back, and Bruce and Dick both smile at him, with Dick Grayson shrugging with an expression that looks like 'you've got a point.'

In the end, the three of them - yes, three - get sent to this world's Wayne Manor, and Danny is bewildered by that decision to include himself -- he's not a Wayne. Why not just send him to the Fentons?

Batman tells him that the Fentons don't exist in this world, and Danny falls silent. "Oh." He says quietly, a pit growing in his stomach with an ill-kind of dread. He can't keep Batman's gaze, looking away with unease.

No Fentons in this world. No Fentons. Where was he then, in the grand scheme of things? Where was he in this world? What happened to Jason Todd? Was he even alive? He can't keep the worry off his face, and he jumps when a hand lands on his shoulder. When he looks up, Dick Grayson squeezes him gently.

Dick Grayson is steadily beginning to remind him of his sister.

-

They end up driving back in the Batmobile. It's such a shock to Danny that he momentarily forgets the lack of Fentons. He makes a laugh sound, actually, and immediately he covers his hand with his mouth and stares at the car -- tank? with his teeth sunk into his lower lip.

"Jason?" Dick says, and hearing his name being spoken feels like someone touched him with a livewire. It's weird, it's foreign - he hates, in some way, that it's foreign - and it's so nice. Yes, that's me.

He drops his hand immediately. "Sorry." He says, realizing he'd stopped in his tracks, "I -uh, was just surprised."

"It's not every day someone sees the Batmobile." Dick agrees. Nightwing has his back to them but Danny swears he sees his shoulders shaking a little.

"Yeah," Danny nods slowly, dragging his eyes over the batmobile as Batman opens the driver's side and gets in. He thinks for a moment, of what he should say next - whether to admit that he's seen it before, or to pretend that he's seeing it for the first time. Snd as Nightwing opens the door for him, Bruce, and Dick, he chooses the funnier option; "The last time I saw it, I was stealing its tires."

To his surprise and unsurprise, Danny only gets two pairs of eyes on him. Nightwing gets into the passenger seat as both Bruce and Dick turn their gaze onto him; Dick's eyes big like they were going to bulge out of his head.

"You what!?"

So Danny tells an amazed Dick Grayson that he hit Batman with a tire iron after he stole his tires - something he is very proud about and also incredibly embarrassed about when he retells what happened in the backseat of the batmobile, with Batman and Nightwing listening in from the front seat.

(Bruce Wayne doesn't ever tell Dick shit, he's going to lord this over Bruce's head the moment they are alone.)

"Please tell me this didn't happen in this world." Danny groans behind his palms as he sinks into his seat. Dick Grayson is killing himself laughing on his left, and he saw Bruce Wayne stifling a smile before he obscured his vision with his hands.

Much to his luck, its Batman himself who speaks next, (Danny was being mostly rhetorical). "It did." He says, and his voice sounds like the rumble of the earth before a stampede. It will never not throw Danny off every time he hears it. "It takes quite a lot of spunk to steal the tires off the batmobile."

He can't believe it. Batman is making fun of him. Fucking, Batman.

He wants to die with embarrassment. He groans even louder as Dick Grayson's laughter crescendoes. Danny risks a peak through his fingers, he doesn't know whether to regret it or not because he can just barely see Batman smirk very faintly from his position in the middle.

(His world axis tilts five degree leftways seeing it; like someone dunked a bucket of ice water on him.)

"He ended up being adopted by the Bruce Wayne of this world."

Danny's hands drop with his jaw into his lap. Dick Grayson on his left chokes on his laughter and careens into a coughing fit. Bruce Wayne on his right chokes on air, and quickly recovers himself with a cough behind a closed fist.

"What?" Danny croaks.

-

Apparently, Bruce Wayne's family is much larger in this world than it is in his. Danny can barely wrap his head around the idea that he ends up adopted by the man, but now he has to learn that Wayne had several children in this world?

He's still not wrapped his head around it when the three of them wind up at Wayne Manor, finally, or even when he's standing in front of him himself. For his effort, Bruce Wayne does a good job at looking unruffled by it.

God, he's weird. Danny's starting to quite like it, actually. How human of him.

He still can't wrap his head around it when he meets the rest of Bruce Wayne's children, all of whom are already aware of the three of them. Danny thinks that someone from the Justice League might've alerted them before they got here.

It makes sense, he supposes.

It helps that they are just as weirded out as he is. A boy named Tim Drake sees him for the first time and blurts out; "Oh wow, you're tiny." In a tone like he's just seen a two-headed snake burst out of the ground.

Danny is still offended. He's still growing. It's not his fault he spent twelve years of his life malnourished. "I'm gonna be taller than you," he tells him seriously, "and when I do I'm gonna kick your ass."

Tim snorts at him.

The other Bruce Wayne -- Mr. Wayne's -- youngest looks at him up and down with a face of carefully controlled judgement. His name is Damian, he's Bruce Wayne's only biological son. Danny can't believe that there's only one.

If anything, Bruce Wayne himself looks surprised too.

"Todd, yes?" Damian says, his green eyes narrowed at him.

Danny feels like the specimen under his parents' microscope, he feels like he's standing on a platform that's being slowly spun by scientists. He looks over at Bruce Wayne in confusion, and then back at Damian. "I- yes?"

Damian Wayne nods, and then leaves.

Danny does not once see himself. That is unsettling in and of itself - surely Jason Todd would have been told about another version of himself in this world, wouldn't he? How old is he here? An adult, probably. Danny doesn't know if he wants to see him. What does he look like when he's grown up? He pulls his Robin jacket around him a little tighter, like a cocoon, like a shield.

"It's weird to hear them call me Jason Todd." He says aloud to himself, and it leaves a weight behind in his chest that shouldn't hurt the way it does. It shouldn't be weird to be called your name. It shouldn't cobweb up your throat to hear your name being said. It was his name. It was his.

-

Danny acclimates to the manor slowly. The house is big, massive. He's never been in a house so large before, he feels like a stray cat being taken in for the first time, again. He and Bruce and Dick Grayson are all given their own separate rooms - one of many inside this mansion - and the sheer size of his bedroom is bigger than his living room and kitchen combined.

it's daunting. Danny sits outside on the balcony and stares at the stars he can see - Wayne Manor is far enough away from Gotham that its light pollution doesn't obscure the sky here like it did in the heart of it.

Danny finds the constellations he can find and wishes he had his books with him. He finds the library the next day and buries himself in the back, curling up into a comfy armchair next and inhaling each book he can get his hands on.

Tim Drake wanders past him at some point, Danny would have missed him if it weren't for the fact that Drake stared at him strangely when he saw him. He walks away when he realizes Danny was staring back.

It's a rinse and repeat for the next few days. Danny doesn't go to meals, he sneaks food from the kitchen afterwards, and then buries himself in hundreds of books in the library.

Dick Grayson, the one from his world, goes and finds him three days later. Danny's eyes hurt with strain by then, but he is furiously halfway through a Jane Austen novel when Dick sits down across from him.

"Have you been here all day?" Dick asks, he drapes himself across the side of his chair, contorting himself into a position that Danny doesn't think is comfortable when he looks up at him.

Not that he looks up at him long - he hums absently and goes back to reading. Frowning when he realizes he lost his place on the page.

Dick Grayson raises an eyebrow, "Have you at least eaten anything?"

Danny hums. No, he hasn't, and he hadn't thought about eating all day. Until now that is, his frown ever deepening as his stomach pangs with a deep hunger.

"That's not healthy."

"Mhm."

"Are you going to eat something?"

"Mhhh."

And this gets Dick to frown. He straightens himself up, propping onto his elbows to stare at Danny. "Jason." He says strongly. And it's that that gets Danny to finally look up from his page, jumping like he'd again been poked with a live wire as he stares at Dick with wide eyes.

"Yes?"

"Put the book down." Dick orders, gesturing towards the side table next to Danny with a nod. "And come eat something." There's very little room for argument in his voice, he sounds like Jazz when she's trying to parent him, but instead he actually sounds authoritative. Not bossy.

Danny still frowns at him. "You're not the boss of me." He says, sinking back into his chair with a thumb bookmarking his page.

Dick gives him a look and makes a decisive noise, swaggling his head side to side while he does. "I'm pretty sure that for as long as we're here, me and B actually are the boss of you."

He's never really liked authority figures, not ones that tried to boss him around, that is. Danny doubles down, his lips curling into a shadow of a scowl. "Just because you're my brother in another world doesn't mean you can act like it."

"That's not what I mean and you know it."

"I don't want to go eat."

"It's not good for you to skip meals."

"Quit talking like Jazz."

"Danny."

Danny sinks his teeth into his lip and scowls darkly at him, shrinking into the back of his armchair in hopes that it'll swallow him whole. The idea of going into that large fucking dining room fills him with a dread that makes him completely forget his appetite.

"Your fucking- dining room is- it's too big." He grits out, finally closing his book and hugging it tightly to his chest.

Dick blinks at him. "What?"

"You heard me! It's too big. This whole place is too big. It's- what do you even do with this much space? I don't know how this- other me ever lived here."

Dick Grayson surprises him, and his expression softens. "Oh," he says, "I get it."

"You do?" The tension bleeds slowly out of Danny's shoulders

"Yeah, I felt the same way when I first moved in with Bruce. I lived with the circus for most of my life, but I slept in a trailer." He says. And he talks more.

The end result of their conversation ends with Dick Grayson offering to let Danny sit across or next to him during mealtimes, and that he can talk to him if he starts getting uneasy. But he can't keep skipping meals - it was making them all worried.

Danny agrees, and Dick takes him down to the kitchens for food.

"They look at me weirdly too." He grumbles as they leave the library, Danny's book returned to the shelf where it belonged. When Dick looks at him curiously, he scrunches his nose up. "The - your other siblings. They look at me like I'm- I'm someone else. S'weird."

"Isn't that a good thing?" Dick asks, "You are someone else."

Dany shrugs, staring at the ground with a heavy frown. "I don't know."

-

Danny seeks out Dick more after that. And vice versa. Dick reminds Danny of Jazz, and he latches onto the familiarity like a leech. If Dick is bothered by it, he doesn't show it, whether he's talking to his other world's self, to the Bruce's, or to one of the other Wayne kids.

Damian Wayne seems particularly keen to seek him out, Danny finds. He thinks it means that they're close in this world, and that Damian wants to see more of what a young Dick is like. That's what he would do, at least.

He takes up on Dick's offer of seating near him during dinner, and finds an open spot across from him. Unless he has something to show him, then he sits next to him.

("You can call me Jason." He tells him one day when they're in the Wayne's massive, fuck-off gym and they're both climbing over the jungle gym. Dick's showing him how to be more flexible. It's the most Danny's worked out ever, he likes the burn it gives him.

Dick looks at him in surprise, "Really?" he's doing a handstand on the bars and Danny's more than a little jealous at his balance.

"Yeah, dipshit," he says, rolling his eyes, "I'll even let you call me Jay, it's my nickname."

Dick happily takes him up on that offer, and much to Danny's embarrassment, starts calling him Jaybird. All because of his stupid Robin jacket.)

Danny has yet to meet his other self still, it's scaring him a little. Where was he? And matter of fact, how long until he could go back to his home dimension? The three of them hadn't gotten any updates since they arrived.

Speaking of, he was starting to talk to Bruce more, it was just... strange. Even stranger than talking to Dick. Bruce Wayne in another life would have been his adoptive father, Danny can't wrap his head around it for the life of him.

Whatever did Bruce Wayne see in Jason Todd that made him worth adopting? He's too afraid of the answer to ask. They start talking more after they run into each other late at night. Danny had been hit with a bout of insomnia and was going to the library.

He ran into Bruce on the way. He was just.. staring, out the window, with a faraway look in his eye. He didn't even look startled to see Danny standing there.

Danny asks him if he wants to go to the library with him. It was out of panic. He isn't expecting Bruce Wayne to agree, and they walk there in suffocating silence. Danny keeps looking at him from the corner of his eye.

("You're staring?" Bruce doesn't sound upset, Danny jumps anyway.

"Yeah, sorry." his voice sounds stilted, "it's just..." his jaw wires itself shut for a spell, "...you looked like you were about to disappear."

"Ah.")

When they reach the library, Danny leads Bruce Wayne into the science section and takes out books upon books about stars. He leads him over to the armchair and fire and they both sit down on the ground.

"When I lived in Gotham I would stargaze." Danny says, it's the first thing he can think of. Bruce Wayne looks at him quizzically. "Well, I would try to. The sky's too polluted for that. Mostly I would just watch the skyline and try and spot Batman and Robin, was the same thing."

That cracks a smile out of Bruce. It's a small one, barely there. "I hardly think the two are comparable."

Danny is still serious. "Not to me."

He goes on, talking about how after he was adopted he got his hands on every star book he could find. He loves english and he loves to read, but something about the stars drew him in like a song. He rambles about every star fact he knows with Bruce Wayne.

Bruce Wayne surprises him by telling him facts he didn't know. Danny soaks it up like a sponge, listening intently to him speak. And when they run out of star books to talk about, Danny tells Bruce that it was his turn to find something for them to talk about.

Bruce Wayne smiles again at him, a sly little thing like Danny's challenged him, and gets up. He comes back with a stack of film books, and they spend the next few hours going through them. Bruce Wayne rattles off every single movie fun fact he knows, and there is so much that he knows.

Danny is in awe, and moves to press against Bruce's side to see the stuff he points at in his books.

"You're smarter than people give you credit for." He says at some point, when his eyes hurt from being open for too long and his head leans against Bruce's arm for support. It follows with a jaw-cracking yawn that he tries and fails to stifle.

"Thank you, Danny." Bruce says, his voice soft and soothing and not helping with Danny's weighing exhaustion. His eyes drift, and then jerk open. "Do you want to go back to your room? You look tired, chum."

He bites back a smile at the nickname, and fails to keep it bitten. "No, no, I'm awake." He mumbles, shaking his head slowly. "I wanna hear-" he yawns again, "-hear you talking."

Danny swears he can hear the smile in Bruce's voice as he speaks; "Alright. Now, where was I?"

In the end, Danny falls asleep on the floor of the library next to Bruce Wayne. He doesn't even realize it until he wakes up the next morning. But it's not to worry, Bruce Wayne fell asleep too, an arm thrown around Danny protectively like he was his own kid.

This becomes a thing for them soon enough. When neither of them can sleep, they go to the library and talk and talk about whatever comes to mind.

There comes the dreaded night after they've finished whatever book they were looking at when Bruce, the little shit, turns to Danny and goes; "You never mentioned what happened after you hit Batman with a tire iron."

Danny groans, big and dramatic, burying his head in his arms, and ignores the low chuckle. "I thought he was gonna chase me down for sure." He complains, his voice muffled by his arms.

"Why did you hit him with a tire iron?"

The look Bruce gets is one of pure disbelief. "If Mothman suddenly showed up behind you while you were taking the wheels off his ride, you'd hit him too!"

"Last time I checked, Mothman isn't real." Bruce told him amusedly, and Danny flops over onto his back to stare him down. His arms sprawl out like a starfish, intentionally hitting Bruce in the shoulder.

"You don't know that, Batman's a cryptid and he's real."

Bruce roars with laughter, and Danny preens like a bird.

That next morning when Bruce passes by him for breakfast, he reaches over and ruffles his hair. It's the same thing he does for Dick every morning. It's the first of many, and it gets many stares from the surrounding family.

Bruce has a newspaper tucked under his arm, and when he sits down Danny stands up and skedaddles over to him, leaning over the side of his chair to peer at the paper.

"Any cryptids spotted, Buzz?" He asks, getting a startled laugh out of Bruce, who looks up at him.

"Buzz?"

"Well, yeah," and Danny states it as matter-of-fact. He gestures his head at Dick Grayson. "Dick calls you 'B', and B is for bees, and I can't just call you Bees, that's dumb. So; Buzz."

He grins triumphantly when Bruce laughs quietly, his shoulders shaking imperceptibly. "I know," he tilts his head up proudly, "I'm a genius."

Now he's actually laughing, dropping his head into one of his hands and trying to quiet himself as much as possible. Danny is positively beaming, ignoring the stares of the other Waynes as he flounces back to his seat just as the other Mister Wayne enters the room.

-

When Jason Daniel Fenton Todd meets Jason Todd for the first time, they both just stare at each other.

Danny recognizes himself immediately in the library, and he freezes up. His tongue ties to the roof of his mouth, and he's unsure of what to say.

He doesn't need to say anything at all, because when Jason Todd looks up and they lock eyes, they both just stare. And stare. Jason Todd is a large, hulk of a man, built like a brick shithouse, with a tired, traumatized look in his eyes and a white streak in his black curls. The same black curls that Danny himself has.

He has no idea what to say. Or if he should turn back around and leave.

Jason Todd sighs at him, "I know they told me you and another world's Bruce and Dickie were here," he says, but it sounds like he's talking to himself. Even moreso when he mutters half-heartedly, "-but I was hoping I wouldn't run into you."

Danny feels small next to him. He doesn't know why. "Sorry." He says lamely, his one foot skips back, "I can leave if you want." It's unlike him to be meek, he thinks. Not after years of Gotham living and dealing with the likes of Dash and his Jerk Jocks.

But this also isn't the streets, and this isn't other kids being dicks. Jason Todd shakes his head, and gestures with one large arm for Danny to come over. "You don't need to do that, you were coming to read, right?"

He nods, and tentatively makes his way over. When Jason looks at him, he sees him cast his eyes over his Robin jacket - he wears it everyday. Danny sees him narrow his eyes, just slightly. But he says nothing.

It's... a strange conversation. Interaction. Jason Todd doesn't talk to him much, and if he does it's stilted and awkward, like he doesn't know how to treat him. Like he's holding him at arm's length.

Jason's getting tired of being treated like a ghost.

They talk about their books. They compare lives. Jason Todd was picked up a few days after he stole the wheels of the batmobile. He wasn't an orphan, he lived with his mom and his stepdad before he lived with Bruce. They both like to read, only Danny has an interest in the stars.

("What do your adoptive parents do?" Jason Todd asks him, one arm slung over the back of the armchair, he looks relaxed. He looks tense. Danny feels like he's back in Crime Alley again.

"They're 'ectologists'." He says, making air quotes over the word. He rolls his eyes, "Ghost hunters. They study the dead and all things afterlife."

Jason Todd makes a dry laugh huff, a sarcastic half-smile on his face. He doesn't explain why he does, Danny doesn't ask why. It doesn't seem like his business.)

Danny wants to ask him where he got that white streak in his hair. It doesn't feel right. It feels like his parents' lab, and that isn't right. Nothing ever feels like his parents' lab.

Jason Todd leaves first after giving him a few book recommendations. Danny isn't sure how to rate the experience. Being in Jason Todd's presence was like standing in a liminal space. An empty parking lot at night. When he leaves it feels like much the same thing.

He struggles to read his books afterwards, unable to shake the feeling of being haunted.

[mcondance]

pretty brown eyes (quit breakin’ my heart); s14 spencer reid x fem!reader

fingering, in his lap in his driver’s seat, softdom!spence (it’s canon idc), i have only seen one ep of criminal minds so years of crushing on spence through edits and stuff are working overtime ☆ this was supposed to be just a quick thing just abt spencer’s puppy eyes but it turned into this whole thing so enjoy. mcon writing more than like 250 words? the spencer reid effect is crazy. ☆ title from pretty brown eyes by mint condition and i tweaked it a little to fit a motif in here okayokay enjoy

spencer’s eyes, wide and beautifully brown, are his key. he knows what he’s doing when he flashes them, makes them a thousand times more expressive than they usually are. 

he begs you with them, begs to have his favorite thing for dinner, begs you for a million kisses, and anything else you can think of. he’s dangerous.

but he’s even more dangerous when he’s using them to make you do something.

two fingers deep inside you, perched in his lap in the leaned-back driver’s seat of his car, you swear you could explode. his hands are practiced and precise and patient in their conquest.

your hand clamps around his wrist, trying futilely to do something, anything to control the shocks and waves building incessantly inside you. he’s too strong and you’re too weak and your hand only serves as something else to fuel him, to urge him to plunge his fingers ever deeper and rock his palm against your clit. his palm dampens with your wetness, joining his thighs beneath you and the expanse of your thighs too. 

“ah-” you borderline heave.

“mhm,” he hums, his chest rumbling under you. 

the car’s silence sets a perfect backdrop for your runaway whines and whimpers, “i can’t” and “spence” and “uh uh, please” flowing from your lips like the water threatening to fall from your eyes. his fingers disappearing inside you make their own disgusting noise, too. 

spencer takes it all in, into that calculating mind of his, eyes moving from where his hand works between your legs to the hand you have clamped around his over your stomach, and resting on your face that holds a multitude of sensations and thoughts and feelings. 

you squirm a little, too strung out to move more than a couple centimeters but of course, he picks it up. brown eyes find yours as you feel his head turn and yours turns to him, and you’re fucked. so fucked.

“can you take it for me? hmm?” he’s making you. you couldn’t say no to those eyes even if you had the strength to. he’s cunning and you both know what he’s doing, but his eyes plead for you to let him play with you and your body cries yes and it’s sealed, you’re sealed and signed and delivered. 

“yeah,” you nod and keen, and his eyes soften ever more, snapping nerves through your body, and you tighten around his fingers, pulling another hum from his chest. 

he needs to kiss you, so he does. awkward angle and all, he leans and takes your lips into a kiss. he’s breathtaking and shit, his kiss has you as fucked up as his hand between your thighs, the focused and fluid motions of his fingers and palm melting your body onto his. 

sweat has you sticking to him, too, soaking through your shirt and his, and if you were more sober you’d thank him for not making it where you’d have to suffer through soaked underwear and shorts on the ride home. 

intoxicated, though, you squeeze your eyes shut and lean your head onto his shoulder, finally giving into the pleasure he’d spend lifetimes just giving to you. 

“good.” he states, abundantly pleased at the tension leaving your body. he hums again, drawing closer to your neck so he’s watching the view from where you bear witness. 

“you feelin’ good, baby? now that you’re all sweet f’me?”

“mhm-hmm,” you keen. you’d be a lie if you said it didn’t send heat and a thousand butterflies rising up through you, and even if you could lie, your body gives you away. again you dig your nails into his arm and the other finds his face, cupping his cheek and rubbing through his stubble, and it calms you down by proxy. he could crack a smile, now, and he does, a little grin spreading across his stupidly gorgeous face, a tease and poison and pleasure all in one methodical, pretty, dazzling genius.

again, your ears focus on the sound. and, damningly, his do too, you can feel it in the quickening of his hand and the deep rolling in his chest when his fingers and your cunt grow louder, ricocheting off his windows and bouncing back to grace two pairs of ears. it's vulgar and disgusting, but you both indulge in it like the purest water on earth.

it feels good to let spencer work you how he knows you like, to be the only thing he has going on in that brain of his.

the sparks that have been growing in you since spencer first laid his hands on you are starting to glide into fireworks, and you can’t run from it. it’s the opposite of what you want to do. now, laid bare and pathetic in spencer’s arms, you just want to cum for him, and everything that comes with it.

spencer knows, and he does nothing differently. consistency brings you to the edge and your head falls back to find his eyes, devout and resolute, clear in what he wants from you. you’re swimming in them, floating lazily through and he nods demandingly slow, and his request is fulfilled, his eyes are too beautiful and expressive and wanting for you to not cum.

cradled in his arms, you shiver with the pleasure of it, whines and sobs validated by spencer’s soft hum as he watches you unfold. shuddering, it flows through you and obeys the movements of spencer’s hand while he follows your bursting with parted lips and wondering eyes. 

as your breath returns to you, and the stars behind your eyes take their place back in the sky, your chest still heaves softly, sense and brains returning to you slowly. you open your eyes to find spencer’s staring right at you, soft with adoration and amused contentment.

[localicecreambiter]

beware the yappening

if you saw me post this, no you didnt

I hate tumblr mobile

IF IT WASNT CLEAR BY THE SPIKE IN FOUR SWORDS CONTENT ITS BEEN ON MY MIND LATELY!!! so obviously that means the obligatory redesigns >:) I tried not to play too far into the stereotypes (not that there's anything wrong in indulging in those!!... i did throw in headcanons tho, like heightened and dulled senses... ill explain dw)

we'll start with shadow since I kinda forgot to draw him initially, lol. sorry buddy 😥 I gave him a shard of the mirror as a means of being able to exist. he can still float around and slip into the shadows and all, but he's not as powerful as he was when the mirror was full. (his ego definitely still is big though) he's not fond of chainmail despite the rest of the four and Link wearing it. his tunic mirrors what links would've looked like. any triforce motifs appearing upside-down and little swirl on his belt backward since he's from the Dark World and all that jazz. silly stuff. I kept it relatively simple since I doubt Link is very over the top, and Shadow has no sense of bodily autonomy at that point (he would so have an over the top outfit, let's be real) Obviously he gets along well with Vio, but he and Blue banter quite a bit. Sure, both mistakenly get offended sometimes but it's all in good fun! His hair looks a little more rounded here, but it's usually more flowey and sticks up every which way. unruly hair for an unruly boy. shadow loves quality time!!! what could be better than hanging out with those you love and burning down towns??? okay, void the town burning.

Red's design is also fairly simple: longer skirt, exposed chainmail, sleeved tunic, and a rounded collar. he has a rounder shape language (not that I paid too much attention to it, obviously) his hat curls up where the elemental stone is at. no one understands how it does this. Red thinks it's some knick knack he stored in there. UNNATURALLT WARM. like. concerningly warm. He's their magic user, preferring to use his magic rod over his sword (honestly, probably could wipe the floor with the other three if given a good magic item, but don't tell them that)(and yes im calling it a magic rod cuz it shoots fire and ice) Poor Red got the short end of the stick with poor hearing but great taste buds. He's a foodie at heart and it's obvious why. His hair is a lot fluffier and rounder than the other three, matching his soft and bubbly personality. Not a pant wearer. Obviously he has the magic rod and slingshot, but i also gave him the Bombos medallion since its an item in the FSA game. Green suggested they split the loot evenly. No. He's not allowed to use it. Yes, he's accidentally blown up a lot of things with it. That's why hes not allowed to use it. definitely a physical touch kinda love language guy. you know exactly why. impulsive spender. has quite a few burn scars from learning to use the fire rod. most of his tunics are a little singed, but he keeps some neat

ah, Green, the resident insomniac. usually that's Vio's role, but you cannot tell me this guy didn't get Link's terrible sleeping habits. he constatly looks sleep deprived in some compacity, but he's getting better! sure, it usually means someone has to hold him down until he sleeps but hey! better than nothing! his tunic matches most Links with the sleeved overtunic and collared undershirt. he uses he sword quite often, having the most finesse with the weapon out of the group. occasionally he'll bust out the boomerang. sort of the unofficial leader, keeping the group on track, but is always open to suggestions from the rest of the Colors. I gave him the Pegasus boots, since I'd assume they all don't get the loot they would've picked up along the way. His element is wind, so it felt the most fitting he had them. his hair is a little messy, and sure he sometimes has a stick in there, but he does his best to keep it combed. Despite his drowsiness, he's got sharp eyes (the best in the group, as a matter-of-fact!) Unfortunately, his sense of smell is lacking (but clearly he has it a lot better than Red does. I mean, seriously, id take hawkeyes over tasteaholic any day). Hes a little shit when playing Ispy; typically picking really tiny things and reveling in the fact no one can guess it. his elemental stone is attatched to his belt even though its a place it can get easily lost. somehow he has yet to lose it. the back problems arise from Link, mostly, though his isnt as bad as Vio's (maybe because hes not slouched over a desk half the time, but i digress) Typically level headed and focused, keeping the group moral high with Red (aka, keeping Vio and Blue's moral high because they tend to be more pessimistic) (well, Vio considers himself a realist and Blue is Blue)

since i dont consider Shadow that much of an idiot, Vio probably had to actually stab Green to make it look convincing. While the scar isn't big, there's once on his lower abdomen from the Four Sword. They didn't have any health potions, so they had to go back down the mountain to get him help. Green holds no resentment, knowing Vio did what had to be done to gain the enemies trust. the cheek scar is from the pyramid cuz there aint no way he got out of that unscathed fighting against Valenzuela. more of a words of affirmation guy, but enjoys quality time like the rest of them.

Vio is obviously their whittier member. honestly, if he were to be described in DnD stats, he'd have a high intelligence and a medium wisdom because man is this man stupid sometimes. he's not as outwardly arrogant as Blue, at least, not as loud with it. his clothes are usually wrinkled, being more focused on bookwork than much else (this pisses Blue off to no end, being the neat freak he is) despite this, his room is the definition of organized chaos. he knows where everything is, and if you move something, he will not be happy. also not a pant wearer, his tunic has a longer skirt than the others and his sleeves are a lot looser. his hair tends to droop into his eyes and somehow this has yet to get in the way. he prefers to pick off enemies from afar as the team's bowsman. amazing aim and a very steady hand. while he doesn't have as big of a magic reserve as Red, he can still use elemental arrows (probably in the same way as in WindWaker) strangely bad at math (simply because i find it amusing) and is pissed that Blue is good at is (again, because i find it amusing. it freaks Blue out) Vio is more of an acts of service kind of guy, but like everyone else enjoys quality time. especially when it's quiet quality time. impuslive spender, mostly on books. everyone else insists he uses the library, but he argues its different when you own the book. impecible hearing, cannot taste shit. it makes eating rations easier, but sadly cannot enjoy the nicer foods in life, so he tends to choose things based on texture. Got the brunt of the back pain, but makes it worse with how he sits and for how long he does. honestly has a weird complex where he thinks of himself as superior to the rest in a way, yet also manages to struggle to fit in and hates himself for it. not explicitly touch avoident, but hes not one to seek out physical affection often and tends to be one of the first to push Red off (other than Blue) his stone is pined to his bow holster since he tends to always have it on him, he wont lose it that way. the fact that the rest have theirs in such irresponsible spots upsets him. refuses to sleep until he's done something he considers productive.

last but not least: Blue! my favorite guy!! god what a prick, i hate him. his design is a lot more knightly with more chainmail and a brutish sort of look. he's intimidating alright, even at his 4'11 stature. look. hylians are short. his hair is spikey like his personality and his hat is more angular (mostly cuz he folds it everynight. theres permanent crease marks in it) ends up with the most scaring thanks to his irrisponsible sparing and little use of healing potions (yet despite this, he's the group medic) the nick in his ear was from some random enemy camp that he just ignored for a while. I never said he was a responsible medic when it came to himself. hes mean, sure, but hes trying. just a little blunt. okay, very blunt. very blunt and very angry. hear me out: mom friend. if that mom was divorced and had anger issues. he knows the others are fully capible of handling themselves, cuz if he survives, why shouldn't they? despite that, he still worries. I know that it says his left eye is blind, but he can still see some color, its just reaaal blurry. does anyone know that? only red. will he tell anyone else? not unless he has to. does he run into shit when hes not paying attention. sometimes, yeah. to top it off, he - like red - got the short stick with shit vision but a heightened sense of smell. he can smell a monster camp from up to a mile away. impressive, right? dont tell him that. this boy has a lot of injury issues, being as reckless as he is. the knee injury was from a particularly nasty moblin (possibly the same as where the eye scar came from. who knows? he wont tell) and got worse as it got ignored. look, when you're the medic, you gotta make sure everyone else is okay before you. at least, thats how Blue sees it. not to even mention the nerve damage from being frozen for god knows how long. I don't know about you, but (assuming it was a Wizrobe) being magically frozen has its side effects. so what hes a walking icepack (exaggerating, but he's cold enough outwardly that you can feel it) and so what his hair grows in a few shades lighter than everyone elses? they don't gotta know why or when or how or even that it happens. the hair dye is stashed under his bed and he will die if anyone finds out. it reeeally fucked with his magic, seeing as hes associated with the water element.. do green and vio know about any of this? nope. red was sworn (read: threatened) to silence. probably the most physically fit when split, and makes sure to take good care of his body. he likes to push himself, hence the ankle weights. always has to be doing something productive. hes their financial guy, somehow having the least impuslive spending habits. will typically only spend on necessary things. gets mad at the others for buying egregiously expensive recreational shit. (that umbrella shadow has? yeah. expensive as hell. he was not happy) the most touch avoident of the bunch. unexpectedly, blue is a gift giving guy. he gets embarassed about it when you question it, or even when hes giving it to you, but yeah. he likes giving things to people and then will throw insults at their face. not in a mean way. in a "im embarassed and you suck so shut up" way. quality time is something he enjoys as well, liking to spar with his brothers often. can easily master a lot of melee weapons, its impressive, but cannot for the life of him make anything else work. his stone was made into an earring, and despite vio's complaints, he usually knows when its missing.

[raven-at-the-writing-desk]

rabbit costume + luxe couture miss raven

Because I love the Alice in Wonderland aesthetic and White Rabbit Fest is running in EN right now… 😭 I decided to make a Rabbit Costume for my OC! Figured I’d also do the same for the event running in JP at the same time, Tapis Rouge in the Shaftlands.

Special thanks goes to @peripheralsanity for the super adorable bonus drawing of Miss Raven in her Rabbit Costume 😭 I wanna cram that bunny into my mouth like an Easter marshmallow…

My own doodles are below the cut, along with various design notes 📝

First up, the Rabbit Costume!

It takes a lot of inspiration from Alice herself: the bow in her hair, the dress, the apron. Miss Raven’s Heartslabyul dorm uniform design also pulls inspiration from Alice, so I tried very hard to make this look unique from that!

There’s a lot more bows, frills, and huge, goofy-looking accessories—like the rabbit ears + tail plus the shoes. The outfit also features a lot of pastel checkerboard pattern and shimmery makeup, like what is featured in Deuce’s Rabbit Costume. Upon closer inspection, there’s even more intricacies! Raven’s apron has heart-shaped pockets, the apron’s top has card motifs stitched into it, and the corset belt has a rabbit slowly dressing and then taking up a bugle to play. The transition demonstrates her own adaption to living among non-animals 😅

The rabbit on her skirt, chain, prize ribbon, and earring aren’t the White Rabbit but a cobbled together rabbit that’s missing an eye. The XO Rabbit poses as and stillinvokes the image of the White Rabbit, especially when it’s right next to a pocket watch. It fits Raven, who is someone not “organically” in the world of TWST (since she’s an OC).

I think my favorite part of this design is the super wacky and big hair. You may recognize it from the Hatsune Miku x Cinnamoroll campaign that was popular a while back. The shape reminded me of bunny ears, so I thought it would be nice to incorporate into Raven’s Rabbit Costume.

There’s so many strange things in clock town to observe! Miss Raven would have a fun time hopping around and seeing the sights… documenting them with Ortho, picking out clocks and other souvenirs with Silver, chomping through the local specialties with Epel. Ah, and as for Deuce 🤔 “Your son is trying very hard in his studies, ma’am,” she’d tell Dylla very seriously. “I commend him for his efforts.” (She very tactfully focuses on his improvements and personal growth over the actual numbers he produces.) Students of 1-A gotta look out for each other, right? Deuce fist bumps her behind her back or something to signal his thanks.

Miss Raven isn’t the athletic type, so I don’t think she would run in the relay race with them. (It would be hard to run in that dress anyway.) She can stick on the sidelines and cheer for them…!

Next is the Luxe Couture!

I actually made two variants. One is more inspired by the Fairest Queen’s raven and the other is similar to the SR and R boys’ huntsman-inspired designs.

The first has more of an old-fashioned movie star feel to it… which isn’t really what Vil invited the other students for so it falls outside of canon 😂 I just thought it would be cool to have a more personalized, glamorous fit for Raven.

She has much darker and more excessive eye makeup in this version. A bold, more confident look outside of her usual wheelhouse. Her hair is also curled into her face to resemble feathers, and her bun also has strands spiked up to look like feathers too. The dress itself is also very feathery, forming a train behind her wherever she stomps in her heels. The top of the dress also acts as a feather boa, making her appear larger and more intimidating than she actually is.

If you’re wondering why tiny skull earrings, it’s because the Evil Queen’s raven falls into a skull at one point in the movie 💀 since it’s so taken aback by what it is witnessing… That “wow!” but also somewhat scared feeling is very similar to how Raven feels entering Fairest City, so I wanted to include a skull in some way. If I made the motif too big or too obvious, then it might clash with the whole ensemble so I chose to go with an understated accessory instead.

This look is definitely the most “different” of the group, but I tried to keep some elements in common with the others. For example, Raven still has the lace curtain which appears from where her dress is slit. She also has sheer gloves that have been studded with little white rhinestones. The jewels aren’t as big or colorful as Vil’s, but that’s the point: to not outshine the star. Miss Raven is nothing more than the shadow that clings to its queen 😌

The more group-cohesive outfit is last!

It’s a similar double-breasted beige coat as Jamil’s, but it fans out into a dress + slacks at the bottom and has different sleeves. The puffiness of the sleeves at the shoulder and wrists make her seem large and in-charge! The buttons on her coat are large pearls.

I tried to maintain the huntsman’s color scheme throughout the outfit. Because of this, Raven’s belt is red and the lace in her dress is green. Her boots are similar to hiking boots (just picture them fancier in your head OTL I’m not great at drawing footwear).

We get her forehead in this design!! Her hair is pulled back into a “fancier than usual” ponytail, with her hair bunched into one loop before resuming as a normal ponytail. The clasp she uses is similar to the one Vil wears in his school uniform. Originally, I thought of just shoving an arrow through instead but decided against it since it makes the huntsman theme too obvious. The same reasoning came up when I considered giving Raven a small cocktail hat that looks similar to what the huntsman wore. Her head just looks so naked without something there 😂 but in the end I managed to refrain, and I think that helped the outfit look more clean and elegant.

Raven would be excited to visit Fairest City—it’s the capital of the entertainment industry! Though her main medium is quite different than that of films, she’s always wanted to visit for educational purposes. (Maybe she can learn from the scriptwriters there!) “At least one of you cares to learn,” Vil would tut. The trip’s a little stressful, trapped between Jamil and Azul’s petty remarks at one another and Ace teasing her for being the “odd one out” of the group—but hey, it’s all worth it for the experiences made there! I’d imagine that Raven loves all the pampering they get and all the important people they meet, it makes her feel like a real princess. Everywhere she looks, the streets and stores are shining too! Her raven blood is soaring. “I didn’t realize you had such excitable juniors, Vil,” Eric would chuckle. (“Waaaah, so cool! Like a prince!!” Raven would gush, earning eye rolls from her classmates and a groan from Ace.)

Walking on the red carpet wouldn’t interest her that much; she doesn’t like the attention so she tries hard to just fade behind the others and play support as best she can. Carrying Vil’s things or helping him with his makeup is no problem, just don’t thrust her under the spotlight and all the flashing cameras!

[sunderingstars]

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✩ ‧₊˚ ⌞ OUTFIT & DESIGN MOTIFS ⌝

sampo analysis m.list

— what the stars reveal: half-character-study, half-analysis, waxing poetic, elation!sampo

— word count: 3.1k

— overview: (as of 2.2) a look at sampo’s outfit and design, as well as how it may link to an identity closely connected with the elation.

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For the sake of my own sanity, I’ll be splitting this analysis into clear-cut sections:

Snake Motifs

Binding Chains

Weapon

Hair

Color Palette

Shoes & Walking

Layers

Exposed Skin

Here’s his splash art for reference, although I’ll also be including other photos of his outfit:

✩ ‧₊˚ ⌞ SNAKE MOTIFS ⌝

One of the biggest aspects of Sampo’s outfit design are the snake bones littered across his clothing. From the scaled chain behind him to the shoulder guard that has a protrusion reminiscent of venom-dipped fangs, there is a lot of snake imagery present. Not just snake, however, but dead snake. It’s important to note that none of these pieces have skin or lively color — they’re all bones, bleached and picked clean. For me, this implies Sampo to be a skeleton character, a whisper of a dead or dying thing that still carries a last bit of venom in its fangs. Whether that “thing” is a metaphorical emotional state (centering themes of disillusionment and fatigue), a literal identity (centering themes of lessening power and lowering status), or a combination of both is up for interpretation. Either way, something inside him is decaying.

The snake — the living, hunting predator — is past its prime, stripping away over the years into something that barely resembles itself, the bones of an ancient and powerful thing. Emanator!Sampo may find himself slowly drawing away from the compulsive Elation first bestowed upon him, while Aha!Sampo may find Themself rotting into Their own mortal shell, the remains of what used to be a superficial avatar sticking to Their bones and sucking them clean; alternatively, the restrictions placed upon this mortal form of Sampo may cause Aha to be whittled down, only an echo of Their full strength. In another case, the silhouette behind the masks, the bones behind the meat, may have found himself steadily falling out of orbit with his larger mind, eventually ending up as nothing but a shadow of his former power as an Aeon — a skeleton, removed from the body when it was no longer needed. Or, perhaps, he is trying to keep the venom in.

(Note: His eyes are also snake-shaped like Baizhu’s from Genshin Impact!)

✩ ‧₊˚ ⌞ BINDING CHAINS ⌝

When looking at Sampo in a 360-degree view through the camera, something became apparent to me — the snake motifs (the spine and scales especially) seem to wrap around him tightly. In the splash art, this is a little difficult to tell (as the spine is flared out behind him), but here, they are tightly wrapped around multiple parts of his body:

Here, we see a fairly small part — a cuff wrapped around his upper forearm. This sticks out to me because it seems similar to a handcuff, or some kind of article of containment. It fits snugly, pressing in on his skin. There is also a similar wrapping around his thigh, showing that this is not a one-off design decision. There are multiple tight wrappings of containment around his body, which then implies a something in containment. Additionally, there’s the bone chains on his back:

They wrap around to the front, resting in the hollow of his neck. There are also two latches fastened to his back, giving the idea of the bones almost “hugging” him. Now, we are beginning to get a dual picture: a snake, slowly choking and constricting its prey, and a binding chain of bones, something meant to keep danger contained. We can see this even more clearly once the full picture comes together from different angles:

(These wrappings are even reminiscent of the symbol for Ouroboros, an ancient Gnostic and Alchemical symbol that represents the constant cycle of life, death, and rebirth, as well as the unity of all things material and spiritual. As I’ll discuss in its own dedicated analysis, this presence of the snake as a symbol of rebirth and unity may speak to a constant cycle of different emotions or consciousnesses within him — a loop he seemingly can’t escape. He is trying to live, but death ever looms in the background. Additionally, this points towards him trying to reconcile multiple facets of his being.)

The snake does not want to leave. It is cloying, constricting, containing at every waking moment, unwilling to relinquish the meat inside it. I believe the snake and the chains are one and the same: at the same time Sampo is being hurt and constricted, he is also being contained. The snake bones may represent Aha as a separate entity, the Elation as a addiction-filled Path, self-imposed rules from a more powerful past self, or even the “restrictions” placed on higher beings by virtue of existence.

An Emanator!Sampo may be constantly choked by the chains of his status, the realization that this Path isn’t the one he wants — disillusionment is hard to hold on to when surrounded by those who move from sorrow to joy at the drop of a hat. The gaze of an Aeon may constantly weigh on his shoulders like venom-tipped fangs waiting to strike, waiting to strip everything away from him once he becomes no longer “interesting.” Or perhaps that interest is the binding itself, the consuming, compulsive need to laugh, to operate on impulse, to push all feelings of doubt out before they can even be felt; the want to so desperately escape from Elation despite it clinging to him like a specter, regardless of his wants or needs. Emanator!Sampo may also be contained in his power, the same disillusionment that drives him to stray forcing him to hold back his true power, the truth that he could ruin everything he cares for with a single mistake. He doesn’t know what to do when the Elation grows ever tighter, ever higher, the bones of a rotting thing turning him rotten as well. He wants to escape but doesn’t know how.

(Perhaps, this desperation has rotted into hate which has rotted into vengeance, a dedication to using his life to push out the last of his venom, if only to stain an Aeon with Their own blood before falling away.)

Alternatively, an Aha!Sampo may find Themself now restricted by flesh and blood, feeling Themself to be a shadow, a dead skeleton of what They once were. For whatever reason, Their mortal form is forced to have restrictions, perhaps the same ones They face in Aeonic form. But it’s small. Too small. Ten thousand sizes too small, as it always is, and now They’re trapped for a longer time, forced by a looming threat to operate in the shadows, slowly hollowing out with the distance of consciousness and time. 

Who are They, if not the masks? Who are They, if not an Aeon? Perhaps this is not even mask-related at all, but rather a silhouette who grew tired, determined to carve his own path when the stench of decay became too much. The Original, The Progenitor, far outlasted by feelings that grew too strong for his body to handle. He is not an Aeon, not a mortal, but somewhere between a bleached skull and a mouth full of venom. How can he spit out what is rightfully inside him? How can he cut the binds that tie him to an eldritch being he was never meant to be? 

He does not want Elation, but Elation has always wanted him. How can he escape something so dedicated to swallowing him whole? How can he escape something so natural to his being? There is no clear answer besides one: if he does not find a way to escape, the only thing left of him will be bone.

✩ ‧₊˚ ⌞ WEAPON ⌝

Anyway! Haha! Isn’t he so silly? Let’s look at his weapon next:

It seems to continue the snake theme, with both sides of the blades marked with the same bright purple of the “fangs” on his shoulder guard. I don’t think it’s a mistake that these are the brightest colors of the outfit, but I’ll save that for later. For now, let’s focus on the dual nature of his weapon. Besides carrying on the snake theme, these are dual blades, able to be split apart and combined at a moment’s notice. To me, this seems like an indication of two “sides” to Sampo, two different personas that can be separated, combined, or interchanged at will. This could be an Emanator form, an Aeonic form, or simply another personality or “deeper” emotion behind the con-man persona. 

I find this choice of weapon very fitting for him, as it capitalizes on the dexterity of both his personality and fighting style. It’s something that is easily able to be tossed from a distance, allowing him to damage enemies over time without getting too close to danger. There is also an inversion to its form, and while that could just be so he doesn’t scratch himself when throwing it, I also see its connection to the “inversion” of Sampo’s E6 and Aha’s splash art silhouette. There is an implication of inversion, mirroring, and duality with this weapon. Whatever power or consciousness he may be holding, there’s a good chance there are multiple dimensions to it, the kind of dimensions that exceed mortal standards.

✩ ‧₊˚ ⌞ HAIR ⌝

Something of note is the grey in his hair, a color often attributed to older and more powerful characters (Welt has a (albeit dyed) strand of grey hair and Acheron has grey strands as well). They are, however, at the bottom of his hair, like the (perhaps also dyed?) blue is trying to override it. This could speak to an attempt to find his own identity, to cast aside the bleached white of decaying bones and find some vibrance to live for. There’s also a lot of it compared to other characters. It’s not just one or two strands, it’s entire parts of his hairtips, with the implication even more may be white behind the blue. This would line up with what he says about being an “old timer,” most likely downplaying his own status to “just an old guy” when he is vastly more powerful than others realize.

Additionally, his hair obscures one of his eyes, always casting half of his face behind blue. 

I feel this speaks to the idea of “multiple” sides, since one part of him is literally hidden from view. There’s the laughing, joking con-man we see, sure, but we don’t see the “hate” festering beneath, the potential despising of one’s own power and being. We don’t see the silhouette behind the masks. It wants to be free, most likely, of the chains that bind it, wants to step into the open with the clarity of rage, but it is not allowed. And so it stays, hidden behind blue. It stays, allowing the turquoise eye of a red-tinted mask to operate beyond, leaving itself to fester and rot into itself. Would we see an eye, if we pulled back that hair? Would we see something besides a wink here, a crease there? Would we find a matching color, or would we find blood red, a space infested with angry maggots? Would we perhaps find a hole? The blank, staring Nothing of Nihility? Only time will tell.

✩ ‧₊˚ ⌞ COLOR PALETTE ⌝

An interesting thing I noted while staring at pictures of this man’s splash art for way too long is the clash between colors. When dealing with the visible light spectrum, red and blue are on opposite ends. Red and blue are also popularized opponents, despite them not being true opposites on the color wheel. They can clash very jarringly, although the muted reds and blues (bordering on purples) used in Sampo’s outfit compliment each other better than in other combinations. Still, they stick out against each other, chafe against the backdrop of muted grays and blacks of dying bone. The red, often associated with blood, is also associated with Aha’s masks in this case, since most masks have a combination of white and red or red and orange to them (especially in Aha’s splash art). Additionally, blue is often associated with water and calm, which ties back to Sampo’s name “Koski” which means water rapids in Finnish. There is a clear conflict between these colors in Sampo’s outfit, the starkness of drying blood mingling with the attempted free-flowing blue of a new identity. The blue that is so strong in his hair, his mind, is slowly beginning to peek from beyond the red of the rest of his body —  a solitary flower, perhaps, watered by the rain and allowed to cautiously, timidly, lean into the doorway of his being. Still, it is a battle. The red will not give up. The pain, the addictive nature of being consumed by the snake, has been there for so long it naturally attempts to obscure whatever new healing the blue brings. But the blue is persistent. And so, it stays.

All the while, the grey hangs in the background, shadow-like. The monochrome, the static, has been there longer than both the red and the blue, so ingrained into him that it’s easily overlooked for the war between blood and water. But it’s there. The bones of that ancient beast will never fade, stagnant as they are. That’s the thing about bones — they last. Even when the blood runs out and the water stops flowing, bones take the longest to decay. They symbolize longevity, perhaps too much of it. An immortality, perhaps, granted by Emanator or Aeon status, that refuses to disperse even as the mind begins to wither. Thus, the red and the blue arrive. They attempt to revitalize the dying bones, the winding snake, putting just enough contrast between them to create a spark, a single flicker of life — a turquoise of bright running water in the eyes, enough to see the world in better clarity.

(And then there is the glowing purple of the fangs, the looming threat, the contained power. Beyond everything else, the venom is still there. It has always been there, waiting to strike.)

✩ ‧₊˚ ⌞ SHOES & WALKING ⌝

The only thing I want to talk about here is the lack of footprints Sampo leaves behind (I just wanted a dedicated section for it). We can see clearly in the splash art that Sampo has regular soles that should make indents in the snow, yet his character never leaves footprints when walking through Belobog. To me, this indicates an otherworldly nature of being, or a lack of being there in the first place. This can fracture into several different theories, some of which being that it’s intentional on his part and he can manipulate his body and surroundings in a structural way; that it’s simply a byproduct of a higher being taking mortal form (and thus not fully “conforming” to all minutae of human bodies); and that it’s because he is a projection or puppet of some sort that was never really there to begin with. Whatever the case, this seems to be a strong indicator of higher status, whether that be Emanator, Aeonic, or something different. After all, no regular, unassuming guy would be able to so casually and effortlessly defy gravity to not leave footprints.

✩ ‧₊˚ ⌞ LAYERS ⌝

Man, this guy’s outfit is confusing. Sorry, I just had to get that off my chest. I’m just still not entirely sure what’s going on in his chest region, there seems to be a lot of straps and buckles and zigzags and windows. I’d like to say this still speaks to the idea of “containment,” as many layers like that would certainly feel constricting, but I also feel like it’s meant to be a “look” as a whole. The bottom layers being black and gray, then blossoming out into blue and red almost makes me think of a decaying animal, with the blood being exposed as well as some of the bone beneath. I also feel like it ties back into his “layered” personality, in which he has different feelings and personas he chooses to either show or hide at any given moment. His neck and hands are also covered (with the red gloves dipping below the black), perhaps further speaking to concealment. The snake motifs are also present on multiple layers, giving the feeling that this is a constriction that runs deep.

✩ ‧₊˚ ⌞ EXPOSED SKIN ⌝

I will say it: this man’s outfit is sluttyyy (affectionate). Despite the heavy themes of constriction and concealment, the encroachment of the colors and layers do not affect his forearms and hips. He very much has his “V” out to show the world, and I for one am not complaining. To me, this exposed skin feels like a breath of fresh air, something beyond the rotting, constricted animal for once. This seems to really be Sampo — the flesh and blood Sampo, the mortal, the guy who likes striking poses and probably gives great hugs. Yes, it is still strategic (probably trying to ramp up flirt appeal for when he tries to scam people) but it also seems genuine. Sincere. If the rest of his outfit is a constraining, dying bloodbath, then these pockets of skin are the eye of the storm, the places that seem to be untouched by the onslaught. Here, we see a human being. Not an Emanator or an Aeon or a byproduct of compulsive Elation, but a man. Just a man. Breathing, like everyone else. It’s nice.

My main takeaways from this outfit are:

The bones of an Aeon, with mortal and “Primum Mobile” restrictions combining to constrain.

The bones of an Emanator, slowly whittled away with time and the weathering of longevity bestowed by Elation.

The general themes of rot, decay, snakes, venom, constraint, and being suffocated.

Ouroboros, constant cycles, prey caught in a trap of potentially its own making.

Any combination of these!

(I also wrote this piece before really getting into the Doll!Sampo theory, but there is definitely an interpretation to be had regarding Sampo as a creation of Aha! The decaying animal and contradictory colors could represent the fight between Sampo’s “purpose” and who he really wants to be, as well as the chains of Elation choking his freedom of self-expression and want to be his own person. The consistency of constricting and containing bones could also speak to him being a “shadow” of Aha, the echo of a greater being while still powerful himself. If he was created in Aha’s own likeness, he would probably feel the pressure of always being in the shadow of his creator.

Additionally, many other parts of this analysis can still apply to Doll!Sampo, as I see him as at least Emanator status. Longevity would take even more of a toll on him here, since he would have lived so long being disregarded by others as a “toy.” I’ll probably elaborate more on this when I do a dedicated breakdown of my Doll!Sampo theory!)

A note I couldn’t find a good place for earlier: snake bones also imply shed skin, some siphoning off of a greater part of oneself to be reborn anew. Perhaps he is the dead and dying snake, preparing to molt into something even greater. That’s all!

The End! Overall, I feel like I realized a lot of potential things about Sampo going through the parts of his outfit one-by-one. I’m definitely more on board with the idea of being simultaneously constricted and constrained now! Ties that bind, and all that. I also didn’t realize just how much of a battle his outfit feels like until I really looked at it, and now I feel bad for the poor guy. Whatever his endgame identity is, he is not having a good time. I want to give him a hug :((

Also, I want to include this bonus concept art since it shows the snake motifs were a big aspect from the beginning:

Anyways, that’s all!

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.𖥔 ݁ ˖ જ⁀➴ thanks for reading to the end!

(volume warning)

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© analysis by sunderingstars. do not copy, repost, translate, modify, or claim my work as your own.

[tequiilasunriise]

Possible nicknames Lenore called Annabel in life go:

"Anniebell": Sometimes the smallest changes are the cutest, okay? Anniebell Lee sounds adorable as hell and I'll stick by it. Imagine Annabel trying to admonish Lenore for saying some wild shit at a Rich Persons Gala™️ or smth but she keeps breaking out into giggles like, "You- you can't just say that pet!" and Lenore playfully replying, "Oh whatever do you mean, Anniebell Lee?" like UGH I hate them somebody throw hammers at em already 💥💥🔨🔨🔨

“My moon”: in relation to the Annabel Lee poem (‘for the moon never beams/Without bringing me dreams/Of the wonderful Annabel Lee’) and also there’s smth so flavorful of the character with a color palette more akin to the Sun (long shiny blonde hair, warm colored eyes, seemingly more outwardly personality, etc) being called the moon like I loveee contrasting design choices‼️‼️

“Angel”: Also a reference to the poem (but like, worse because it was the angels that separated em) and can be easily pulled from Annabel’s name

“Petal”: Or some other variation of a flower based nickname because imma sad, sad bisexual who loves ✨flower motifs✨ just a bit too much

Anything in Dutch: This can be like common ones like “liefje” (darling) or the previous entries but in Dutch idk go crazy go stupid

“Locket”: An unconventional pick pulled from Annabel’s last name Whitlock + lockets containing pieces of hair from your other half being T H E romantic gesture of the century back then, so, like. Idk. Hear me out like okay I think Lenore could be the unconventional route (I mean girly already faked her death via arson and pulled a Mulan to get the girl soooo you see what I’m putting down?) and like like LIKKEEE⁉️⁉️⁉️ Imagine with me Lenore telling her girl, “You’re the locket I keep nearest to my heart” (many necklaces back then had a chain just long enough for the locket to rest above the wearer’s heart) and it evolves to Lenore calling Annabel smth like “my dearest, my locket” LIKE YOU HAVE TO IMAGINE WITH ME!!! GUYS MY VISION IS VISIONING!!! 🦅🗣️🌈🗣️🗣️🦅🦅🌈🗣️🦅🦅

@incorrect-nevermore cmere and witness my madness

[writingwithfolklore]

How to Read with Intention

                Often you hear advice to read, read, READ!!! And while I absolutely agree with that, I think there’s a way to read effectively to learn from it, and make sure you gain the most you can from it.

                Reading intentionally looks like paying attention to and taking note of the technique, skill, and choices the author makes. Start with identifying the basics: motifs, theme, genre, through-lines. Essentially anything your English teacher wanted you to pick out of school readings (turns out those classes were actually worth something)!

                As you’re going through the story, record any questions, strong emotions, or other things that stick out to you. Try to be specific with page number and chapter so later you can see how the emotional narrative develops throughout the story. A note might look like, “I wonder what’s going to happen to Anna now that her mother is back in town” or “Josh losing his journal is ending my life”.

                Note what you really enjoy about the story, and also what you would change or do differently. Things that make you uncomfortable, in both good or bad ways, or that inspire you. I copy down quotes of lines or passages that I find particularly well written. Sometimes, I try to capture a character I particularly like through finding the quotes that speaks closely to them.

                Pay attention to every word. Writers make a million choices, what does using “sprint” rather than “run” change? Why does the scene in the school yard follow the scene at the tomb?

                What do we know about our main character? How do we know that? We could ask a million questions about a story, and with every one, we’re learning a little bit more on how to write one ourselves.

                Pay special attention to the ending. What insight does it give us to the rest of the story?

                Good luck!

[drill-teeth-art]

I have no idea how to ask but here goes…

How do you shape your characters and your designs so good??? The shapes of them are soo good! Big, slim, sharp, round, etc! They’re all so good, how do you design them so well??

I could write an entire book on character design and how it's changed over the years and how open ended it is and what I think are good principles and what commonly shared rules are honestly a bit too overly restricted because I'm crazy about character design but! Shape work. Let's stick to that for now.

Now of course for bodies and body types my number one recommendation is: For the love of god look at real people of different body types look at actual photos of fat people and skinny people with different bodies different distributions of their weight look at disabled bodies look at trans bodies look at people of all different races and draw them and learn PLEASE.

Additionally...

Here's a little design principle I like to work with that I find very helpful for spicing up my designs. I find the common character design advice of "simplify your design to ONE major shape motif! circles for friendly characters. squares for stubborn characters. and triangles for villains." to be overly restrictive. And of course the pros giving you that advice aren't trying to say you have to do every design in that framework every time. But they're not really going into detail on how you can use more shapes to add more layers and interest to your character design. Also tbh I think that the "circles for friendly characters and etc" piece of advice is stupid actually. You can easily make a villain character that is all circles and a hero that is all triangles. Plenty exist already in media.

I see a lot of people trying to diversify their body types fall into this trap of drawing all their fat characters with the same fat body type. And even if it is an accurate way fat distributes, it's still not representative of the diversity in fat bodies. Something that helped me (along with looking at references) was introducing secondary shapes. An additional shape motif. As you can see on Toxi here, he's mainly circles and round shapes. But I also added a crescent motif! To broaden his shoulders more and give a pointy and sharp edge to him.

Your primary shape for a fat character doesn't even need to be a circle. Tempos is square heavy with roundness as the supporting shape to emphasize how unassuming and soft he deliberately tries to look. And you can apply this to characters who are slimmer too. Conductus is composed of longer rectangles supported by triangles to emphasize its speed and electrical theme.

Viperos' major rounded shapes are supported by triangles to emphasize their flexibility and power. Gaz's square shapes are pushed with round shapes to make him look stronger and more agile. Mesmeris' crescent heavy design is supported with squares to help her look sturdy and imposing. And it's all about context too.

Squares can read as sturdy and trustworthy or rigid and intimidating. Circles can be soft and friendly or flexible and slippery. Triangles can be speed and cunning but also power and mystery. It's not about saying "circles are always friendly!". You can make villains who are round and imposing. It's more about "I want my character to come across as (blank)" and picking what major and minor shapes you want to use to support that. And (blank) shouldn't be just one word. "I want my character to come across as fast and agile while also being large and round" is a much more clear goal for your design than "I want my character to come across as fast".

And again as always please use references of real people too. You can study my art, and I highly encourage you to study the art of other artists you like and how they design characters. And I highly encourage you to get a solid foundation of "what different bodies look like irl" so you can also be respectful and accurate in your depictions. And remember that creativity doesn't occur in a vacuum. Please take the time to also sit down and watch movies or look at animals or read books or look at videos of machines working or whatever. Look at tons of media. Creative designs don't just spawn from my brain. Toxi's look is partially inspired by centipedes that crawl on ceilings I saw a video of. Viperos' look was inspired by snakes and also roadrunners. I was inspired by that Virus Ghost from Scooby Doo And The Cyberchase for Conductus' look. Please remember research is ALSO part of the design process. So I appreciate you asking me how I do things because asking questions is part of good research!

Anyway! Long ramble! Hope all this helps you in your design endeavors.

[isan0rt]

Fuckin. In addition to being like ten feet long, the color work on the back of houses! Dedue's scarf is clearly both 1) a different scale completely than the motif visible at the front and also 2) the whole thing is slanted up at a 45° angle.

-cries in fingering-weight yarn- Dedue's scarf is enormous why did I do this to myself.

[focsle]

have you written anything about tattoos? is that relevant? don't know how your niche lines up with generic "sailor" tradition, but wikipedia simply says on knuckle tats that deckhands may get "HOLD / FAST" as a charm to support their grip on rigging, and i thought that was kind of cute.

I haven't written anything myself, mostly cos if you throw a stick out in the internet you'll find any number of articles about the symbolism of sailor tattoos, like hold fast and pigs and roosters and swallows and all that!

In my narrow window (the middle decades of the 19th century), I don't see tattoos mentioned all too often, compared to late 19th and throughout the 20th century where they became more common. For instance, this register of seaman's protection certificates (which are admittedly limited in the scope of things, since they're only from a few specific ports) from 1796-1871 rarely list tattoos as distinguishing marks, beyond the odd mention of being marked with an inked anchor, eagle, or letters here or there. Here's a neat jstor article (if you have any more of your 100 free monthly articles to read with a google account) that goes into late 18th-early 19th c tattoos that has some tables and visuals. The research was also done using seaman's protection certificates, with the following stat:

"The SPC-A records start in 1796 and include tattooed men born as early as 1746. There were 979 tattooed men out of a total of 9,772 men whose records survive from 1796 through 1818.26 These men were marked with a total of about 2,354 separate designs."

So, not a large number, but also 10% isn't insignificant. The protection certificates while a reliable source, also only describe the man in one specific moment. I'm sure a few of those men who just have their moles and scars and crooked fingers listed eventually picked up a tattoo or two in their time. Most journal keepers perhaps didn't think it important to mention who had tattoos or what of, though the typical motifs of anchors, nautical stars, girls, religious & patriotic imagery, etc. were certainly a part of the visual language at this point. Whaler William Abbe who sailed in the 1850s, devoted considerable attention to describing the physical appearance of some of his shipmates. In one instance, he wrote about the tattoos of one 'Johnny Come Lately' or 'Jack Marlinspike' (Real name, John Hewes of Buffalo NY)

'from beneath this cap his face looms out - while beneath supporting his comical head is a bare neck and breast — hairy + brown —the upper timbers to a stout hull of a boat that boast a pair of arms all covered with India ink tattooings — the figure of American Liberty — Christ on the cross — an American Tar holding a star spangled banner in one hand + a coil of rope in the other — a fancy girl — + anchors, rings, crosses, knots, stars all over his wrists + hands — the memorials of different ports he has visited — for Jack has been in all kinds of vessels from a man of war to a blubber hunter — + has consequently been to many ports.'

From the logbook of another whaler who sailed in the early 1840s, James Moore Ritchie, he had a page of his drawings with prices included. This potentially may have been a tattoo flash sheet for his shipmates:

American whalers also noted the tattoos of indigenous people who had signed on to whaling vessels, particularly in the South Pacific. William B. Whitecar, whaling in the 1850s wrote: "Several New Zealanders in the respective crews of these vessels attracted my attention from the tattooing on their bodies" making mention of "figures on their face and breast".

I'm too sleepy to have a conclusion lol. Tattoos! They existed! Though perhaps not as ubiquitously as the pop culture sailor designs would imply, at least prior to the late 19th c.

[utilitycaster]

Who has your favorite build in each campaign? I love seeing you talk about those kinds of reasonings bc personally i have a really hard time with leveraging dnd mechanics when I play and I wonder who did it best

Hi anon!

Some thoughts at the end re: build philosophies here, but to answer the question:

Campaign 1 is tough because I usually like to give this to a build that's something thoughtful, mechanically optimized [note: does not need to be optimized for combat], with clear choices made that are informed by and themselves inform the narrative. I respect the hell out of Vax's multiclass into paladin. Narratively, it shakes out great. The mechanics, however, are less than stellar. So my choice here is Percy. It's true that his subclass is broken as hell but that's not what I like. I think Taliesin makes good use of how fighters have a zillion ASIs and not only maxes out Percy's intelligence when that becomes important, but also takes Magic Initiate to hint at Orthax's influence, with thoughtful choices of spells to go with it. Fighter is a strong class and it's worth taking it the whole way through, and he does.

Campaign 2 is, on the other hand, easy, and I've talked about Fjord's build at length before so I don't want to go into it in detail, but suffice it to say: his paladin multiclass was exceptionally well-earned in the narrative while also being, famously, one of the best multiclass builds in D&D (the hexadin). But before that, his invocations (mask of many faces, gift of the depths, sculptor of flesh) tell a story of the kind of person he is: a sailor who almost drowned and won't let it happen again. A person trying to find his true identity amid a sea (pun intended) of expectations and potential models and bullying. Even his racial traits like relentless endurance, and the fact that he came in with more CON than CHA explain how he survived a brutal childhood. I think all of the Mighty Nein's casters did a particularly strong job of choosing the spells they used and flavoring them to their personality and Fjord was no exception, and as someone who remembers the speculation of paladin class, a homebrew one really was the only way to go.

Campaign 3 surprised me, because I have had my frustrations with it, but the more I think about it, it's Fearne. Her base subclass is one of the best out there, it's true, and she leans into the fire motifs adeptly, but I actually, after being somewhat critical of it, have really come around on the choice to multiclass into an arcane trickster. Why wouldn't she be a rogue if she likes to steal? Why wouldn't she, while trying to figure out what her relationship with her parents should be, try on her mother's subclass? Ashley picked some extremely good spells as well; Disguise Self, Identify, and Shield either protect her (she's not terribly squishy, but as someone who doesn't usually wildshape for combat, not a tank either) or fit niches that the party really doesn't have otherwise. And again, why wouldn't someone who loves to collect things perhaps try to learn what those things are? Yes, at times I'm impatient for Transport via Plants (though at this point...two party members could just have Teleport) but Fearne's build is one that surprised me, which is hard to do. Druids are usually so strong it's not worth multiclassing, and I'm a longstanding Rogue Disliker, but the choice makes sense. (I also happen to like that this means Fearne isn't going to live thousands of years - or rather, she might, because fey, but not in the way Keyleth will. I don't think that's her thing!)

So I think these choices reflect different approaches of what I'd put into 2 buckets of Valid Options.

Percy is the "stick with one class and do it very well; customize through feats and existing options." For more examples of this, see pretty much any character who never multiclassed. I think Liam is exceptional at this and to that point, Caleb and Orym are particularly good examples. I'd also like to shout out Keyleth, Jester, and Caduceus; as prepped casters this group didn't have the same degree of customization options other than their spells for the day, but I think they all had really good visions for what their character would likely prepare.

Fjord and Fearne are both narratively and mechanically strong, though in very different ways (and in Fearne's case, with an eye more to party balance than specifically being stronger herself). See also: Vex and Grog, who are mechanically good multiclasses and narratively make sense, even if it's not a huge moment; Veth; Kingsley and Luc are both good builds that allude to a narrative even if we don't see the full narrative; Chetney. Vax is, admittedly, a bit like Fearne; bit messy on an individual level but narratively without issue, good for party comp, and there's some unexpected interplay (vow of enmity + rogue abilities).

It's hard to say who did things best because, for example, building a character like Ayden requires an impressive breadth of knowledge, a strong vision, and to be honest the freedom starting at L20 with 20 stats across the board grants. Some subclasses are particularly good (Fearne, Orym, and Dorian could all just coast on having some of the best subclasses for their respective classes, though they all have made great build choices too). Some classes are particularly good (hard to go wrong with fighter, wizard, paladin, or cleric though. my complaints of the empathy domain remain intact; on the other hand rogues live or die, literally, by what subclass they pick). Some characters have stories that are enhanced by multiclassing and some don't (Imogen, for example, has had a strong and interesting character arc, but there just aren't great build choices to reflect it.) My favorite doesn't necessarily mean mechanically the best (a thing that is difficult to qualify, let alone quantify, in a vacuum), and when it comes to d&d mechanics, a simple thing executed well (eg: Keyleth is a pretty straightforward example of what happens to be a very good subclass) can be better than a complicated build, even one backed by the story.

[maybe-boys-do-love]

The Trainee, Episode 10: Direction

Take a break from the discourse around the couples to appreciate the references to directing in this episode! From the literal meanings to directions in life.

We open on Ryan's dad directing Jane's photoshoot. lol. You fix those clothes, Ryan ;) And Jane, give us a smile like your falling head over heels for someone.

2. Then we get Pah (making friends with every single person at the office, as usual) directing the front desk assistant (I haven't caught her name and she's not on the mydramalist or imdb cast and crew list) to a spot for lunch. Then we have the accounting manager come in and show us how her and Pah's relationship has grown. The scene reminds us that Pah, since early on in the show, has demonstrated incredible relationship building skills--a necessity for any director. And these relationships come to a beautiful fruition in this episode.

3. Tae, on the other hand, emerges as a directionless ghost, jump-scare appearance and all! Heartbroken and provided with downtime by his department for the first time during his internship, he has no idea what to do with himself.

4. Pi and Ryan are seemingly talking about the controversial Todd Haynes film, Joker, from 2019. If you're either knowledgeable about the Batman franchises or interested like me in trying to figure out why the writers chose this film to include as a conversation point, you'll realize that Harvey Dent was not in Joker. He was, however, in The Dark Knight in 2008, directed by Christopher Nolan. This mix-up between the movies seems intentional when we look at the theories of directing and humanity the show is exploring, which I'll expand on in number 5! In Joker, we get a depiction of a single misunderstood victim genius who takes out his suffering and any failures of his art on others and inspires other people who feel hurt and misunderstood to do the same. In Dark Knight, we have the day saved thanks to a collective group of people's refusal to harm others despite threats that others will be forced to harm them, and, as far as Harvey Dent, his reputation is preserved despite his failings because of the hope it can bring others. The comparison sets up a comparison between the individual heroes and villains versus the collective, which is a really important comparison to ideas the show explores about directors (and is just really important in general theories of direction like conversations about auteur theory, etc.). Note that Jane says in this ep that he doesn't like hero movies...

5. We then see Judy directing Ba Mhee on how to correct her typo on a document. She's checking over a draft before it goes out, like a good director ought to, but Judy's direction of Ba Mhee, of course, gets taken up as a motif and major sticking point for their dynamic in this episode as it encroaches into personal time rather than just work. We have witnessed that outside of work, Ba Mhee is actually quite capable and eager to play the directing role.

I want to point to the specific typo mistake that read "God Pick" instead of the company's name of "Good Pick," though, because it seems to refer to one view of a director's role. Alfred Hitchcock explained, "...in fiction film the director is god; he must create life. And in the process of that creation, there are lots of feelings, forms of expression, and viewpoints that have to be juxtaposed. We should have total freedom to do as we like." So this moment of direction gives us two references, for the price of one!

Even more, it presents us with the theory of auteur Directors, that the show has been actively engaging with through the whole series. Does the director have a god-like power to pick and choose what they want their work to be without any input from others? Do individuals, as directors of our lives, get to pick and choose what we create out of them without others' input? To both answers, the show has emphatically replied, no! The studio is not called God Pick, it's 'Good Pick.' The director, just like each of us, is working on communicating with a whole massive team of people to bring a certain vision of theirs' to life within quite constrained limits. From budgets to time, from client desires to our own insecurities, we do our best to be good knowing that mistakes will be made and we can pick up and keep on going.

6. Baimon, the director of the studio, instructs Pie on some of the grunt work of directing. He's been presented as so flighty in the series, so it was nice to see him getting down to business in this fashion. That business, however, was printed upon the backs of some big emotions, which I think, in addition to being a funny little gag about Jane and Ryan's hidden relationship, is a beautiful metaphor about the combination of emotional and logistic work that directors, especially, are tasked with performing. A vulnerability lies under each shot and camera angle.

7. Idk if this was intentional, but the choice to show sticky-notes as the art department's current medium for this scene reminded me of directors story-boarding with sticky notes. It's also the moment Tae is encouraged to make an attempt at directing himself and providing his direction to his relationship with BaMhee in a way that's considerate of her desires.

8. Baimon directs Jane and Ryan in another intimate scene lol. He's staging them, referencing the storyboard, checking the camera, doing all the director jobs! And, of course, instead of a perfect god, he makes a mistake with the very basics of left and right that his intern corrects for him, and this mistake is not used by the show to signal to us as the audience that he's incompetent. It's to show that the people with 'big' dreams, visions, careers, or awards are not more special than those who choose to do the small tasks in life. Directors are the first job Ryan lists to Jane when talking about adults with special talents that he feels like he's supposed to aspire towards. Jane asks Ryan "Why must people want to become something big?"

There's also a development in Ryan and Jane's performance here. They're playing and improvising in the scene. It's a nice development for them as character and a sweet commentary on directors allowing actors to perform with some flexibility. Based on what I've read about Gun and Off's development as actors and a pair, their characters' development in their different stand-in moments almost seems like a commentary on Gun and Off's growth as a performing pairing, but that's just a fun stretch. Really, I'd say it's more representative of the growing comfort of actors in film work.

9. How could I not discuss one of my favorite sequences in the show (right up there with BaMhee's chase scene)?! Pah has been amassing a crew of comrades at the studio throughout the series, and I knew it was building towards something. I stated during the first shoot when he was a part of Unit B that I could see his arc leading him to becoming a director because he was just so good at befriending and organizing people. And here's where he becomes the director! Not through his personal auteur vision, but through his communication with others!

I had been imagining this plot development in some fashion for a while. Getting it would've satisfied me. Great comedy for me, however, is about seeing a well-constructed set-up pay off for a better value than you could've expected. The Alfred Hitchcock quote above comes from a portion of an interview about plausibility in fiction and his films. He ends the quote by saying, "A critic who talks to me about plausibility is a dull fellow." The moment Pah slid off his sling, The Trainee leapt out of the realm of plausibility it had meticulously built to give us a stratospheric pay-off to the joke it had been building for 9 episodes. And it was a joke grounded in the deepest themes of the show, praising every creator and assistant working in the background of this show and all the shows we love. It made my heart so full. It presented a democratic vision of a director's role (in a country where people continue to need to fight for their democratic values). And, it did it all while making me laugh.

10. Despite all the people running this scene and Judy giving Ba Mhee so much direction in the workplace, it's Ba Mhee who finally gets to realize her direction in life here. Notably, she's let go of the big overly romantic dreams and visions. She's come to appreciate and understand the importance of the seemingly mundane aspects of her relationships, the day-to-day jobs of directing one's life, and she's directing Tae to commit to this direction, too. Directing involves paying attention to the small things, the communication, and the people who help make them meaningful.

There's a beautiful transition between Judy's conversation with BaMhee and Tae's where they fade into one another exactly, letting us know in some ways that Judy and BaMhee could've had a conversation and started growing and finding a direction together, too. The problem as BaMhee points out is not finding an exact right fit. She just still has feelings for Tae, which would make developing a relationship with Judy more challenging. It was mature and honest, and that precious little fade let us know the show saw the possibilities for BaMhee to love them both. Has a film cutting choice ever been so bisexually coded???

10. It's a cute little reversal that our final scene is one of the first steps in directing: the concept stage. We also get Jane's appreciation, not only for Ryan's ideas here, but for all the things Ryan does at his family's business that align with the same kind of work happening in a production house. It sets the two of them on equal footing, disrupting this fantasy of the film industry and the class systems that could divide them. And Ryan's other insecurity about feeling too immature and un-adult to compare to the people at the office, which is a another division that might separate Jane and Ryan (HOW OLD IS JANE!?!?!?!) also got a dressing down ;) during this episode. We're getting ever closer to Ryan feeling ready to direct his own life!!!

[payasita]

listening to the cotl soundtrack and sort of losing my mind at the cohesiveness of the entire thing in general

the fact that Narinder in particular gets two different tracks is par for the course for a boss with two phases but what I adore about them is how they differ in just the right amount to make the repeating motifs really striking

his first phase kind of jumps between this almost calm energy and then picking up and getting you feeling about as frantic as a boss battle would, but it stands out against the other bishops for by almost feeling, sort of, orderly. this is Narinder, this is the final bishop standing after having nearly completed his centuries of planning. he is in control here, and there's so little of the desperate chaos that characterizes the battles between the Lamb and his siblings

And then in phase two, it shifts hard. we pitch low, and we speed up as soon as the song starts. the ambiance is distorted, and it's a good match to what becomes of the battlefield and of him. this is The One Who Waits, who is so close to being free, who will not allow you to forget what exactly he is, and who is has been so royally pissed off about being betrayed for a literal millennium.

And you're the last thing in his way, and you just betrayed him again, and he's instantly setting upon mutilating himself as badly or if not worse than the eldritch forms his siblings took just to take you down

(which, also, he managed to do by himself without a dozen willing sacrifices like they had needed. there's a lot sprinkled out throughout the game that validates the Bishops' whole thing about being scared shitless of the guy but that one kinda sticks out when you're there to witness it)

in conclusion: cool