#so I'm going to humanize them in order to draw something with them

[red-red-yarrow]

My wrist hurts

[halemerry]

So there's a lot to unpack here but I want to start by talking about the ending and specifically about the Metatron and the calculating moves made at the end of episode 6.

Every single piece of what happened there was a manipulation technique being employed against Aziraphale to an almost brilliant degree and I'm honestly a little obsessed with what this says about the Metatron in particular.

Let's go in order.

First of all. We see him order coffee. In a human body. Something sweet and sugary. He talks to Nina and asks her about her shop name. Does anyone ever ask for death? And when she tells him no they don't his response is to say "so predictable". Our introduction to him here even when everything about him reads like a sweet old man is presented to show us someone who reads the world in terms of being predictable to him.

He then shows up in the middle of Aziraphale's existence being threatened. He immediately cuts down the threat's authority (using outdated language like Az himself would favor) and reemphasizes his own connection to Heaven. When Michael doesn't recognize him and he puts her down and then directly engages Crowley. Crowley who, to Aziraphale, has for centuries at a minimum been someone he thinks is smarter, better, more Good than these other archangels. The Metatron validates these beliefs. Crowley is more Heavenly than these archangels who couldn't even recognize the voice of God when he was standing right in front of them.

The Metatron draws attention to the fact he's in a human body. The kind of body Aziraphale has been in and loved for nearly 6000 years. He then banishes the archangels, implying their morality is in a gray space, and validates Muriel someone we have seen Aziraphale react positively to and someone outside the current power structure. Look at me, he's saying. I see and validate the little guy.

He then tries to talk to Aziraphale. Aziraphale says "I've made my position quite clear." And then the Metatron offers Aziraphale the coffee. This bartering chip, consuming sustenance, is a thing that Aziraphale and Crowley have used as their connective tissue for centuries. It's an olive branch for them. It's giving Aziraphale bodily pleasure and the Metatron implies that he himself has partaken also - a thing we know that Aziraphale has struggled historically with moralizing. He is seen by the closest thing he has left to his parent and he is having old fears validated as safe and old habits being played upon to make him feel secure

He then REMOVES Aziraphale from his home turf. Not only does he remove Crowley from the equation but he takes Aziraphale from the place that has stood as a place of sanctuary throughout the entirety of the season. The shop is Safe and Aziraphale is leaving it and he is leaving the one person who might be able to smell the bullshit coming from the Metatron. The music notably turns absolutely dire here.

The next time we see them the Metatron tells Aziraphale that he doesn't need to answer instantly. He can take his time, if he likes. All the time he needs. And then tells him to go tell Crowley. Once again bringing Crowley in as a valid part of this while manufacturing a scenario where he can't possibly be.

Az ends up in a place where he's overwhelmed and confused and he wants so badly to believe what he's being told. It's an appealing thing from his perspective! He feels off kilter like he's made a mistake in judging the Metatron. He can't even fully articulate what happened to Crowley at first and he's had absolutely no real time to actually think it through. He's running on sheer reactive energy.

The Metatron starts their conversation by asking Aziraphale's opinion. Who should rule Heaven? This is once again playing into making Az feel validated and like he's a part of this decision making process. The Metatron corrects him, complimenting Aziraphale and making him feel capable and in control. He reassures Aziraphale's bafflement. And draws attention to some traits that, while true of Aziraphale around Crowley, are not his defining traits in the eyes of Heaven. You don't just tell people what they want to hear I find particularly notable in this regard given Aziraphale spent most of his time on earth actively lying to Heaven and doing just that. But it fits into the narrative Aziraphale has built around himself, especially post Apocalypse. The Metatron then says I need you (a phrase Az will use much more painfully here in a minute).

And even after all this Aziraphale says no. He says flat out he doesn't want to go back to Heaven. He says this!!! And then the Metatron sweetens the pot. He swaps tactics. Not once has this come up until Aziraphale pushes back against the idea. If the Metatron could've gotten him without using it I have no doubt he wouldn't have bothered with it. Come to Heaven and we can save Crowley. Aziraphale loves Crowley. Aziraphale thinks Crowley is better than any of the angels he's interacted with. Crowley is Good and Nice and Kind and always saving him and now he's being presented with a way to return that. He can Forgive Crowley - a thing Crowley has always presented to Aziraphale as something he struggles with. All of these things Aziraphale has watched Crowley react to in a way that belittles himself or distances them from one another. Of course he wouldn't consider that maybe what he was actually saying is "I'm unforgivable and I don't want that forgiveness."

The Metatron offers Aziraphale a Dream Offer for the pre Armageddon Aziraphale. You can keep your Crowley. You can heal him like you have always thought he deserved. You can have power and control the people who for your whole existence has beaten you down. It can go back to how it was but BETTER.

When Aziraphale leaves he still hasn't answered. He goes and has the conversation they have. It's intense and emotional and the Metatron comes in after the Moment all casual and asks how it goes, knowing fully well the shitstorm he had just set up to get created. And then he turns around and says "always did want to go his own way" which is not only true of Crowley but framed as a bad thing despite the fact that he has just spent twenty minutes or so telling Aziraphale that he's done his own thing and that is Good. He is playing both sides of this perspective as it suits him. And then he cuts down Crowley asking questions, pressuring Aziraphale to avoid doing the same. He then proceeds to ask Aziraphale not if he's made up his mind but if he's ready to get started. He is one by one closing off exit routes to this thing as Aziraphale starts to look more and more panicked and indecisive. He makes sure the bookshop is in good hands and asks Aziraphale if there's anything he needs to take with him. Letting Aziraphale have the illusion of choice while cutting down "I don't want to" as an option altogether.

And Az, as soon as the Metatron is out of shot, tries to express this. And then he falls back right on old coping methods. The Metatron pats him on the head. Reassures that he's the right one for this. That he is Good. That his particular skillset is needed here.

It is a masterstroke of manipulation. A very dark twist on what we see Crowley do time and time again with Aziraphale throughout the millennia. Familiar in a way that makes Aziraphale feel safe. Except this time this is being used to put him back in line. It's brilliant and painful and it fucking hurt and I need a season 3 to see the Metatron get what's coming to him stat.

[harunayuuka2060]

WHB Series #1 (Cont.)

Gabriel: God has allowed me to be close to them. While it brings me happiness, I can't help but wonder what led them to give me a second chance.

Gabriel: ...

Gabriel: God, do I have permission to speak?

MC: Sure.

Gabriel: ...

Gabriel: I've noticed you've been distancing yourself from Michael. Has he done something to bother you?

MC: ...

MC: I suppose I should tell you.

MC: It's not unusual for angels to be devoted to me, but Michael, on the other hand, has confessed his love for me as a descendant of Solomon.

Gabriel: ...

MC: It seems that Michael is seeking a "different" kind of relationship.

Gabriel: ...

MC: *could tell that he was seething with anger*

MC: Gabriel, come here closer.

Gabriel: ...

Gabriel: *leans close*

MC: ...

MC: *plants a soft kiss on his cheek*

Gabriel: !!!

MC: Look at you—one kiss was all it took to make you happy.

Gabriel: *blushing like crazy*

MC: Ah, but I'm sure Michael's happiness can't compare to yours.

MC: After all, he touched me.

Gabriel: ...

Gabriel: MICHAEL!!!!!!!!!

Michael: Hm?

Gabriel: *storms up to him*

Michael: What's the matter?

Gabriel: You've committed the gravest sin of all—trying to covet god while viewing them as just another person!

Michael: ...

Michael: Heh. They're a descendant of Solomon, a human. I've fallen in love with that human, not with their image as god.

Michael: If I do say so myself, I have every right to claim what’s been given to me by god.

Gabriel: NONSENSE! *draws out his weapon*

Michael: *is prepared to fight as well*

Raphael: That's enough! *has arrived to stop them*

Gabriel: Don't stop me, Raphael!

Raphael: You are in the presence of younger angels, and you're not setting a good example.

Raphael: What will god say if they learn about this?

Michael and Gabriel: ...

Gabriel: *glares at Michael then leaves*

Michael: ...

Michael: *about to take his leave as well when Raphael stopped him*

Michael: What is it you want?

Raphael: Banish every impure thought you have about god.

Michael: *smiles*

Michael: Don't worry. Mine only lies with the descendant of Solomon.

Raphael: ...

Raphael and Gabriel: What?

MC: *has announced that they will be away to visit a friend from the human world*

Raphael: ...

Raphael: God, that won't be possible.

MC: Hm? Why not?

Gabriel: No human has ever seen god. Your friend will die if you meet him.

MC: That's true; however, I'm in the body of a mortal. *smiles* And I have a separate identity.

Raphael and Gabriel: ...

Raphael: But still, what will we do while you're gone?

Gabriel: Can't we go with you?

MC: It seems you two don't trust that I'll return.

Raphael and Gabriel: ...

MC: I’ll definitely return. In the meantime, I need you to ensure everything stays in order here. Do you understand?

Raphael and Gabriel: Yes, god.

Minhyeok: *missing and worried sick about MC*

Minhyeok: Ppyong has stopped coming by.

Minhyeok: Does that mean something happened to them?

MC: Are you having sadboi hours?

Minhyeok: !!!

Minhyeok: MC?

MC: Who else?

Minhyeok: ...

Minhyeok: You're not Ppyong pretending to be them, are you?

MC: *rolls their eyes*

Minhyeok: ...

Minhyeok: *his eyes start to water* MC...

MC: Nuh-uh. *turns around and approaches the door* I didn't come back for this.

Minhyeok: Wait! *stood up immediately and runs to hug them*

MC: *not amused when he started crying on their shoulder*

MC: Dude, I'm not dead.

Minhyeok: Yes... And I'm glad that you aren't...

[bunnys-kisses]

Hi there! I was wondering if I could get mushroom pie and ice cream bars with a side of juice and ✨Vampire! Max Verstappen? ✨

I love your writing so much! And the bakery theme is my favorite thing 🥰

bakery menu

want to submit your own order? then hit up the menu!!! want more vampire!max or something else that might tickle your fancy? then the bakery is open for requests!! thank you so, @fictional-babes-inc for this darling of a request. i've been pondering vampire or monster!max, like oh god! so thank you for this treat, it was great to make for you! enjoy!!

mushroom pie ("if you don't shut up. i'm going to shut you up.") + ice cream bar (“did you see the way he was eyeing you? he needs to know you're mine.") + juice (cockwarming) served by vampire!max verstappen (formula one)!!

cw: smut/pwp, vampire!max, vampire au, possessive behaviour/jealousy, cockwarming, human!reader, mentions of blood, biting, facetimes (exhibitionism), degrading language, clit playing

max thought that the marks on your neck were enough to let others know what you were taken. bringing a human into the fold with a bunch of vampires could cause some problems if one of them got the wrong idea. you belonged to max, and any vampire with at least one working eye could see that. how you tucked yourself neatly into your lover's side, let him taste your blood. docile and beautiful doing so.

but max knew charles well enough, the two had been immortal for about the same time. he knew that if you had max's name printed across your chest, charles would still flash those boyish smiles at you. get in a little too close, let those green eyes of his hypnotize you the way it had so many women.

max was a possessive creature of the night and charles loved to get under his skin.

"max."

"i don't want to hear it." you were both in the car. it was well into the night and max was driving you both back home.

his eyes were on the road, he refused to make eye contact. the thrum of envy engulfed his stomach. he gripped your soft thigh a little harder, if he wanted to, he could break the bone.

but max didn't break his toys. even if they disobeyed him.

"if you don't shut up. i'm going to shut you up." he said, his eyes flickered to you for a moment. they were blue, but a dangerous kind of blue. like the deepest part of the oceans. the all consuming nature of him.

you swallowed, "charles meant nothing by it. you knew how he is. he's a flirt. you know i'd never leave you. i promise." you bottom lip wobbled. humans, always so emotional.

as if max wasn't seething with jealousy.

when you both got home, you were brought to the couch in the living room. you cunt ached at the feeling of him tugging down your skirt, threatening to rip it at the seems.

your vampire boyfriend really hated the idea of another undead creature of the night putting his hands all over you. like he owned you.

he ran his fingers across your clothed slit and watched your squirm. oh, you were just lovely weren't you. he felt something rise inside of him as he eyed your heated body.

you looked so innocent, so human with all that blood in your body. sizzling under the heat of his sexual advances.

he got you out of your blouse and pulled the bra off of you. he stripped you bare and got his face up into your neck and sank his teeth into you. not enough to draw blood, but enough to bruise the sweet peach he called his beloved.

he got you up into his lap, seated upright against him. he got his cock out of his slacks before he pushed you down onto him. the sudden feeling of his cock inside of you made your breathing stagger for a moment.

you let out a small moan, but soon you were bent over as max propped his phone up on some books on the coffee table. you whimpered instead of asking what he was doing.

he just said, “did you see the way he was eyeing you, my love? he needs to know you're mine." he said it like a promise which made you stomach do a flip.

soon he was facetiming charles as you stayed seated on his cock. this possessive vampire! you squirmed a little but, max stayed close and started to play with your clit.

charles answered it, he was in bed and his eyes went wide at the sight before him. there you were, in max's lap with his cock stuffed into your pretty hole and his large fingers rubbing against your clit.

vampires really didn't have a sense of decency did they? regardless it made you run hot, your throbbing pulse enticed him.

"holy my." charles said as he shifted a little in his spot on the bed. you could feel the leer of his gaze through the phone screen, "you're certain she wasn't a prostitute before you met, max?"

"no. her father of a vampire hunter wouldn't have let her. she had never ever sucked cock before i got to her. poor thing, completely taken apart by the vampires."

you looked away, but max's words were biting as he told you to face his phone. look at charles while you did your job and kept max's cock warm. they spoke of you like you weren't in the room with them, like max's cock wasn't spearing you.

but you wouldn't move your hips as his cock filled you. you tried to get some sense of control by holding onto your knees. but soon max held you throat with his other hand, keeping your back to his chest.

"so, charles." max said as he continued to play with you. his fingers were methodical as they moved.

charles chuckled, "possessive, max? you could've just sent a photo. but, no, you have to put it right in my face.... but you know she'd look better with my fangs in that soft stomach of hers."

max sneered, "shut up, charles. you see this." he held your throat a little tighter, "this is mine. you have all of monaco to seduce. she is with me."

charles laughed at the petty jealous words, it was honestly funny to him, "oh max. i'll get her soon. you and i can have a take about what to do with your little pet."

vampires always so high and mighty.

you were a little beauty to max, the favourite thing to keep his cock warm. and he made sure you did a good job, he wouldn't have you slacking. he kept you seated on his cock, unmoving while he worked your slick pussy.

"max. ah!" you whimpered.

max sighed, "keep quiet. bad pets don't get to complain."

you clenched around his cock as you tried to grip onto his forearms. you looked like a debauched mess against him. letting charles drink in the sight of you. the other vampire didn't touch himself, rather he was enticed by the sight of you.

all the men, women and others in monaco, and charles yearned to dig his cock and fangs into you. see what the lover of his rival and friend felt and tasted like. was it rich like a large meal, or was it sweet fruit in the late summer.

what did you taste like, little human?

max took you by the jaw and turned your head to the side, exposing your neck and letting him take a bite into you. once again, only enough to bruise. the intimate act of drinking blood was only for his eyes.

you felt your head grow heavy from the entire thing. the pleasure damped any bad thoughts you were having. you could hear charles' voice when he said, "seems she enjoys this too much, max.'

max worked your pussy harder as you remained soaked around his hard cock, that was dribbling pre-cum into your poor cunt. he smirked at charles before he sank his teeth in fully.

to damn with convention, he wanted to make his stake clear.

it sent you over the edge. you came around his cock and it made him tense up. he licked at the blood as he slowed down his fingers. you went soft against his chest and let your lover do what he pleased.

"and charles... don't touch what is mine again." he could see how flustered charles was. max then ended the call before you were shoved over the coffee table, the books shoved off the table. your ass up in the air as he tossed his phone to the side. he needed you.

he needed you now.

-

the following week, you were with the vampires once more. they had been nice enough to give the human guests something to nosh on while the creatures discussed all matters.

you could feel charles' gaze from the couch. you felt heat run through you once he approached you. his hand on your thigh, pushing up the short dress you owned.

he chuckled, "a sundress for the lover of one of the most important vampires on the continent." he leaned in a little closer, "i think you'd look pretty in something darker. something that didn't make you look like prey."

you felt your heart stagger.

"charles... that's enough." max said as he cut into the little scene on the couch.

charles just smiled, "i wasn't actually going to bite her."

max raised his eyebrows then said, "if you're going to try and fuck her, charles. i must be present there too." it was his compromise, if charles leclerc wanted you so badly. then what was stopping him? but if he was going to take that chance, it would be under the watchful eye of your vampire lover. <3

[shadowandlightt]

Snow and Flame -2- |Cregan Stark X Velaryon!Reader|

Following the death of Luke, Jace and his sister return to Dragonstone. What she doesn't expect is to hear from Lord Stark so soon after her departure. His missive only serves to cause her to fall further for the young Lord, and Jace tells his twin sister not to miss out on this opportunity for happiness.

Part One

A/N: Thank you so so much for your support on my first part. I have admittedly not read the books, almost bought them tonight but didn't want to spend close to $100 on the box set. SO I'm really just going off of the show. I'm sure there are mistakes in this, as I am only human and highly dyslexic. But I appreciate the love and hope you enjoy this nonetheless.

The following days are torture for you. You wished for nothing more than to return to the North where you felt oddly safe, so far away from the conflict. Your stepfather, Daemon, made a grave error in judgment and sent assassins into the Red Keep to kill Aemond, only they didn’t find him, instead killing Aegon’s son, Jeahaerys. The smallfolk started to call your mother a kinslayer and cruel. Though you know she would never order such a thing. 

“Princess, a raven for you.” 

You hum and hold your hand out for the missive, spotting the Stark sigil. A smile spreads across your lips. You can’t help but look around to see if anyone is paying attention to you before you unfurl the scroll. 

Cregan’s handwriting fills your eyes, talks of how he already misses your presence and how sorry he is about your loss. He writes of the summer snow, slowly starting to thicken as winter draws closer. How despite the cold, you might even enjoy Winterfell in it’s natural season. 

The thought of him thinking of you in his home makes heat stir in your belly. You clutch the letter close to your chest, remembering how jealous you were when he and Jace swore oaths to one another and sealed them in blood. 

You thought it unfair that you were excluded. You could understand it now though, why you weren’t allowed. They swore an oath of brotherhood, and you didn’t think of Cregan as a brother. Not with the way desire built up within you during your stay at Winterfell. 

“What are you doing, sister?” Jace calls from your doorway. 

“Jacaerys,” You stand quickly, shoving the missive behind your back, “I didn’t hear you come in.” 

“Yes, I could tell,” He smirks at you, “What do you have?” 

“No-nothing,” You shake your head, tucking the paper into the sleeve of your dress. 

“Oh, it is something,” He laughs, reaching for your hand, “Come now, since when do we keep secrets?” 

“It’s just a message,” You roll your eyes, “From Lord Stark.” 

“From Cregan?” His eyebrows raise, “Pray tell, why does Cregan write to you and not me?”

“Jealous are we?” You question. 

“Hardly,” He snorts, “So, what does Lord Stark say?”

You take a deep breath and pull the paper from your dress, smoothing it out once more. You recite most of the missive to your brother, leaving out how Cregan writes that he longs for you to return. Longs to see you once more. It makes your heart ache because you long to see him too. 

“You’re falling for him,” Jace points out, noticing how your demeanor shifts. 

“Hardly, brother,” You shake your head, trying to cover it up, “I barely know him. Unlike you who swore oaths in blood upon your first meeting.” 

He lets out a deep laugh, “You were mad that I wouldn’t let you, so you have no room to speak, dear sister.” 

You roll your eyes, opening a box to put your missive in. The box has a lock and you keep the key on a chain around your neck. It’s where you hide all of your important things. You lock it away, a small smile playing on your lips. 

He thinks of you enough to write to you mere days after you left him. The knowledge is enough to ease the pain of losing Luke. Your chest still threatens to cave in, but the pain is more bearable, knowing Lord Stark thinks of you. 

Knowing Cregan thinks of you is enough to ease your aching heart. 

“So if he asked to take you to wife you would say no?” 

“I wouldn’t have a choice, that would be up to mother,” You remind him, “She wouldn’t likely turn down such an alliance.” 

“We already have the North,” He wiggles his eyebrows. 

“Yes, well, you might as well have married him yourself,” You snort.

He shakes his head, gripping the hilt of his sword. He was older than you, just by a few moments. It’d come as a shock to the Maesters to discover that there were two of you. No one was as shocked as your mother though. The kingdom celebrated the birth of both of you, no one quite as much as your Grandsire, King Viserys. He loved you so. So much that he was blind to the truth in front of him, that his wife, Queen Alicent could easily see. 

You spent your entire life trying to convince yourself that the rumors simply weren’t true. And that you were a trueborn Velaryron, but in your heart you knew. Just as Jace and Luke knew. 

“Are you going to write him back?” Jace questions. 

“Should I not?” 

“Cregan is a good man,” Is his only response. 

You nod, knowing he’s more than right, “I wouldn’t object,” You clarify, “If he wanted to take me to wife.” 

“You’ve never been one for the fighting,” Jace observes, “You’re much like Helena in that way., I suppose.” 

You nod, biting your lower lip, “I hate that we’re at war. I wish it to stop.” 

“You wish for mother to give up her claim?” He questions, misunderstanding you. 

“No, never that. Too many have already died,” Your eyes begin to water, “But…if only there was a way for her to reclaim the throne without all of the bloodshed. At this rate the path will be paved in blood.” 

“It already is,” Jace sighs, “But I understand how you feel. I don’t agree with it, but I understand it.” 

“I wouldn’t want to leave you,” You start, “But I would welcome the opportunity to leave all of this bloodshed behind.” 

“It’s only going to get worse,” He reminds you. 

“My point exactly.” 

He nods and then turns suddenly remembering why he was here, “A council meeting has been called. I was sent to get you.” 

“And you’re only now saying something?” You gasp, moving to your feet. 

He shrugs and usures you out of the door of your rooms. Everyone is already assembled around the painted table by the time you arrive. Your mother, however, is absent. You look around the chambers. The meeting starts without her, word spread that Ser Criston Cole’s forces have doubled, at the very least. 

You listen, saying quiet as they all say a dragon needs to go to war. There is no way around it. Cole will take Rook’s Rest without a second thought. Jace is in the middle of saying a dragon must be sent when your mother, the queen, finally joins the council. 

Jace instantly demands to know where she’s been and a volley ensues. You stay quiet, as you always do, letting your twin do the talking. But even you, in your grief, took note of your mother’s absence. It worried you to no end, not knowing where she had gone or why. But upon hearing she went to King’s Landing, you swore your heart stopped. 

But when she says she’ll be the one to fly to war, you stop breathing. And when Jace urges her to send him, you swear you might faint. The thought of either of them being in danger is enough to send you over the edge. You cannot stand it. Never have been able to stomach the thought. Jace was right, you’re much like your aunt Helena in that regard. 

You’re about to say something, anything to help the fight, when Rheanys speaks up, saying they must send her. Meyles is the largest dragon that you have, and as Rheanys says, no stranger to battle. 

The meeting seems to end then, having been decided who was going to war on your mother’s behalf, you withdraw quietly. So quietly you aren’t sure anyone noticed you even left. You consider it your power, to sneak from a room, or move about the castle unnoticed by most. You’ve always been the quieter one, compared to the temper that fuels Jace. He’s always run hotter than you, ready to act at a moment’s notice. Ready to fly off the handle and do something rash. You’re more cool and calculated, you suspect you’re more like your father in that way. Either one of them. 

You settle at the small table in your rooms and begin writing back to Lord Stark. You find yourself wishing more and more you could return to the North and be far away from this conflict. So you tell him just that. You tell him that you yearn for him as well, and that you were glad to hear from him so soon. You pour your heart into the letter, not sparing anything. You tell him that the war is really and truly beginning, and that there is no avoiding it now. You tell him that you’re scared of it. 

You’re honest with him, in a way that you didn’t expect. And that night, you fall asleep holding his letter. Wanting to feel close to the Northern man. 

News breaks the following morning that Rheanys and Meleys were lost at Rook’s Rest, and that Aegon, the pretender, was severely injured and is on death’s door. Aemond is named regent in his stead, which is more dangerous than having Alicent herself on the throne. Because Aemond knows no end. He will do anything to secure his place. Including as reports say, sacrifice his own brother. 

You feel it in the pit of your stomach, the dread. It fills you as you walk the halls of Dragonstone. The mood has shifted. If the war wasn’t real with the death of Luke, it’s real now. And you find yourself wishing you could just vanish from Westeros all together and avoid all of this. You do not have it in yourself to go to war. Do not have it in you to fight on dragonback as will be expected of you. 

“Where have you been?” Jace questions, brows knitted together. 

“In hiding,” You sigh, closing your book. 

“Obviously,” He rolls his eyes, “I’ve been trying to find you for hours.” 

“Well, you succeeded.” 

“Are you alright?” He asks you. 

“Must I be?” You question. 

“I know how hard this is for you,” He replies, “But we need you, sister. We cannot win this war without you.” 

“You need my dragon,” You clarify, “You can do this without me, but not without her.” 

“No, I need you,” He reassures you, “I cannot fight this without you. I need you by my side, I always have and I always will.” 

“You cannot put this on my shoulders Jace,” You shake your head, “I cannot bear it. The thought of anything happening to you, or to Mother, or our brothers…I cannot.” 

“Nothing will happen to me,” He promises, “I’m quick, and I’m lucky.” 

“And inexperienced, as mother pointed out,” You remind him, “Anyone can be killed. We are not gods, as the smallfolk believe.” 

He sighs and joins you on your seat. There is nothing he can do to put your worries to rest, because he knows there’s a chance he will be killed. There is a chance anytime he gets on his dragon and flies off. He wishes there was something he could do to ease your anxiety. Perhaps he would pay a visit to the Maesters for a draft to help you sleep better. He knows you won’t ask for it yourself. 

“Did you write to Cregan?” He finally asks, seeking to change the subject. 

He notes the way you almost smile, the way your eyes light up a little and your shoulders relax, “I did.” 

“Good,” He smiles, squeezing your shoulder, “I am glad.” 

“As am I,” You admit. 

“Perhaps he’ll petition for your hand,” He shrugs, “Then you’ll be able to get away from all of this afterall.” 

“I’d never wish to leave you, Jacaerys,” You tell him honestly, “You’re half of my soul.”

“And you’re half of mine,” He assures you, “But I would never wish for your unhappiness.” 

You nod, knowing he wouldn’t. Jace might be hot headed, and quick to fly off, but he isn’t selfish. Never selfish. Not when it comes to you at least. He would always put you first, it was his job to protect you and keep you happy. Always had been, ever since you were little. 

He could survive without you, you were sure. But you needed to find out if you could survive without him. You knew, deep within your heart, that there would come a day when you would have to learn to live without him. You couldn’t imagine Jace as an old man, sitting upon the iron throne. You hated that you couldn’t, but it was the truth. 

“I would never wish for your unhappiness either,” You tell him, biting back tears. 

“Should he ask for your hand, don’t turn him down,” Jace urges you, “Be happy with him in the North. Be safe.”

“You’re telling me to leave?” You question. 

He only shrugs and gives you a soft smile, “I’m telling you to be happy, however you need to achieve it.” 

[ckret2]

Any thoughts on the Stodehttcennoc code and all the Ciphertology lore it gave us? It’s interesting to get such a look at what an actual bill cipher cult looks like, even if the majority of it is played for surreal laughs.

yeah, i'm changing all the death valley girls' last names to Cipherwife

Right when I thought we'd run out of big packets of lore and were down to the dregs, we get the stodehttcennoc story, immediately one of my favorite things to come out of TBOB. In no particular order:

a Snapewives reference??? Unexpected. Hilarious.

i LOVE the mental image of just how unhinged Bill must have looked running around in Silas's body. Like i'm imagining that by the time of the big showdown at the end he's wheeling around his limbs like Jack Skellington dressed as a scarecrow cackling like a maniac surrounded by flame. Did he have fun, i think he had fun, it sounds like he had a lot of fun. I had fun.

on a doylist level i understand that Alex wrote Bill stealing all the wives in town because that is, in fact, something that real cult leaders tend to do. however real cult leaders tend to do it because they're straight human men horny for human women and realized their power lets them get away with anything they want. so on a watsonian level, why'd BILL do it?

LOVE the look into how Bill recruits people into a cult. His interview is actually a very good example of REAL cult recruitment tactics: mystical manipulation (using tricks to make you look magical/holy/psychic/etc); driving wedges between a recruit and their loved ones; flattering the recruit, offering to help their dreams come true; but dangling the answer to all their problems just out of reach, only after they make a big commitment (often financial) (and then you require them to keep upping their commitment); pressuring them FAST to make a decision, don't give them any time to think... that's actually how it works, all packed into one page

did bill take 100+ wives because HE's horny for human women? Is he horny ONLY for female humans or did he just figure he couldn't get away with also marrying the males in 1952 rural Kansas?

Something about Bill being delighted about having so many fingers just tickles me. Especially after he dissed humans for only having five fingers in TBOB. Human hands are a joke, are they?? Seems like five fingers are enough to make him happy! ... i realize how that sounds, i won't apologize for it

I feel like a cult that's willing to eat off its fingers for you and turn a blind eye to you taking 100+ wives would probably not draw the line at something as prosaic as homosexuality. Bill, you could have had 100+ husbands too. Why didn't you.

to me, somehow the goofiness & speed at which this cult came together felt more sincerely Gravity Falls-ish than most of TBOB. Like TBOB is still Gravity Falls, but most of the content doesn't feel 100% Gravity Falls. Bill Speed-Recruits A Cult While Wearing A Corpse He's Frantically Trying To Keep From Falling Apart feels closer to 100%. It's got that je ne sais quoi, that core dumb silliness.

Why did you want over 100 wives, Bill Cipher. Why only wives. What was your motivation.

This works well with my headcanon that Bill's bread & butter isn't just manipulating individuals, but specifically cult leadership. And it's given me a lot of material to work with in as far as writing him as a cult leader. I underestimated how himself he's willing to be while courting fresh victims, I figured there'd be more "trying to sound normally appealing by human standards" going on. He calls his soon-to-be cultists dim plasma bags before he even started pitching his cult. He's REALLY willing to let his charisma do all the heavy lifting. His technique clearly isn't "convince you that he's offering the things you want" but "convince you that you want the things he's offering"

Was stealing all those wives just a power trip, Bill? Is that all it was? If it was, wouldn't persuading guys to marry you in 50s Kansas be an even bigger power move??

how did Silas get involved in this. We don't see Bill take one corpse and KEEP piloting it for long periods of time like that anywhere else, even though it's clearly an effective method of interacting with humans. Was Silas just a conveniently available corpse, or did he make a deal with Bill before he died? Or maybe Bill DOES do this frequently, and it's how he starts most of his cults.

He CAN'T have taken all those wives for "I'm attracted to humans but only the female ones" purposes. In spite of the sheer quantity of references to female exes I am unable to believe that this triangle is heterosexual.

I'm requiring anyone who draws young skinny white human Bill Ciphers from hereon to switch from the sexyman human Bill to Silas Birchtree. 1950s huckster with a golly-gee-whiz face and evil in his eyes and rot on his breath is the pinnacle of what any young skinny white human Bill could possibly be. Also it's interesting to see Bill's justification for being a snappy dresser, that it's a trojan horse for chaos.

questions about bill's orientation aside, my gut says Bill MUST have wanted a bunch of wives and not husbands for some other reason, he didn't ACTUALLY want 100+ wives for sexual/romantic purposes.

or did he

bill explain the cipherwives

[prokopetz]

Code Green

A game for 3–7 players, about being where you're not supposed to be.

Last night, you were suspended in a tube of brightly coloured goo in an underground research facility, operated by an organisation whose three-letter initialism's meaning is strictly need-to-know. This morning, someone noticed your tube was empty. Nobody has determined how that happened yet, and you're not inclined to stick around until they figure it out!

Or, in other words, it's been nearly a whole week since I got that massive revision to Space Gerbils out the door, and apparently my brain has decided that's enough of a break. This thing was written start to finish in under 12 hours, so let the circumstances of its authorship guide your expectations. Special thanks go once again to Caro Asercion, whose micro-RPG Dwindle introduced me to the design space I'm fucking around with here. Go buy their stuff.

Anyway:

What You'll Need

Code Green is a tabletop RPG for one game moderator (GM) and up to six players. Each player will need a copy of the Profile Grid, below, as well as three tokens of some sort: dice, coins, beads, etc. You'll also need at least five six-sided dice (for the whole group, not per player, though it's fine if each player has their own set). If you're using dice for tokens, it's recommended that the dice you plan to roll be visually distinguishable in case they land on someone's Profile Grid.

Rolling Dice

There are two ways you'll be asked to roll dice in this game: rolling d66, and rolling a dice pool.

To roll d66, roll a six-side die twice, reading the first roll as the "tens" place and the second roll as the "ones" place, yielding a number in the range from 11 to 66. For example, if you rolled a 3 and then a 5, your result is 35. You may also be asked to flip a d66 roll; to do this, take your result and swap the digits without re-rolling. In the preceding example, if you flipped your roll of 35, your new result would be 53.

To roll a dice pool, pick up the indicated number of six-side dice, roll them, and take the highest individual result. Duplicates have no special significance. For example, if you rolled a pool of three dice and got a 2, a 4, and a 4, your result would be 4. If you would ever roll a pool of zero or fewer dice, roll two dice and take the lowest instead.

Character Creation

Each player should create their own character. There are three things about your character which are always true:

You are newly born into the world. You may know things about the world (e.g., from your programming, having read them on a computer terminal, etc.), but you haven't experienced them.

You are implausibly good at remaining inconspicuous; unless you're deliberately drawing attention or doing something which requires a dice roll, humans will almost always fail to spot you.

You are not human. You can decide what that means.

To find out what else is true about your character, roll or choose three times from the Form table, and three times from the Function table, placing your results into the correspondingly labelled slots on the Profile Grid, below, in any order you please. Your three results from each table should be different; if you elected to roll and get the same entry multiple times, flip your result, and re-roll if it's still a duplicate.

Think about what your three Form traits and three Function traits imply about your character's physical makeup, but don't set anything in stone just yet – you'll see why not in a moment.

Finally, roll a six-sided die five times, and record the results in the order in which they're received. The resulting five-digit number is the only name your character has when play begins.

Table 1: Form (d66)

11–12. Blood 13–14. Bones 15–16. Brain 21–22. Claws 23–24. Ears 25–26. Eyes 31–32. Guts 33–34. Hands 35–36. Heart 41–42. Hair 43–44. Legs 45–46. Lungs 51–52. Nose 53–54. Skin 55–56. Tail 61–62. Teeth 63–64. Tongue 65–66. Wings

Table 2: Function (d66)

11–12. Accelerated 13–14. Autonomous 15–16. Auxiliary 21–22. Cryogenic 23–24. Cryptic 25–26. Elastic 31–32. Electric 33–34. Entropic 35–36. Invasive 41–42. Invulnerable 43–44. Kinetic 45–46. Magnetic 51–52. Phasing 53–54. Polymorphic 55–56. Projectile 61–62. Pyrogenic 63–64. Telescopic 65–66. Toxic

Playing the Game

Play proceeds in a series of scenes. In each scene, the GM will set the stage: a challenge to overcome, a peril to escape, a mystery to investigate, etc. Given the nature of your characters, most things will be mysteries to you!

Initial Token Placement

Once the stage has been set, place each of your three tokens on a different square on your Profile Grid. If you have no preference, you can roll d66 for each token and place it in the square whose marked numeric range contains the number you rolled, flipping or re-rolling your result if you get a square which already contains a token. The placement of these tokens represents your initial state when the scene opens. Depending on the nature of your character, this may be reflected by a shifting of internal focus, or by a physical transformation.

Participation

To participate in the scene, simply tell the GM what your character does; the GM will describe how the world responds, and ask what you do next. Whenever you wish – or are forced – to do something more than lurk and observe, you are obliged to make a test.

Making Tests

To make a test, first choose a pair of traits – one Form trait, and one Function trait – with which to face the challenge. For example, if your Form traits are Legs, Tail and Teeth, and your Function traits are Cryptic, Invulnerable and Phasing, you might test your Invulnerable Legs against the trouble at hand.

Next, count the number of tokens present in the rows extending from each of the chosen traits. The illustration below shows which squares would be consulted in the preceding example:

Next, roll a dice pool containing a number of dice equal to the number of tokens present on squares extending from the chosen traits. Do not count a token twice if it's on the square where the two traits intersect (e.g., the green square in the illustration above). In the event that no tokens fall on squares extending from appropriate traits, remember that you are allowed to roll a pool of zero dice by rolling two dice and taking the lowest rather than the highest.

Finally, compare your result to the following table:

1–3. Less than human. Whatever you'd intended to try still happens, but it cannot overcome human opposition (or adversity which would challenge a typical human), and any lasting effects are transitory and easily explained away. 4–5. Mostly human. Your effort can contend with human opposition (or circumstances which would challenge a competent human), and its lasting effects make it obvious that someone (or something) has been interfering with matters. 6. More than human. Your effort easily brushes aside any human opposition, and its lasting effects are impossible to rationalise as anything other than the intervention of inhuman forces.

Without Applicable Traits

In the event that you're forced to make a test and no possible pairing of your traits is applicable, you don't get to roll anything, not even with a pool of zero dice; simply resolve the outcome as though you'd rolled a result of 1–3. Other characters may attempt to preserve you from this fate by assisting you, in which case you roll one die per assisting friend; see below for more details.

Assistance

If you wish to assist another character in making a test, consult your own Profile Grid, considering only those squares which contain tokens. Only the specific pairs of traits represented by the squares on which your tokens fall are eligible for assistance; for example, if one of your tokens falls on the intersection of Cryptic and Teeth, you may assist with Cryptic Teeth, but not any other pair of traits involving Cryptic or Teeth unless those squares also have tokens on them.

If you're able to identify an eligible pair of traits that seems applicable to the test at hand, explain how you're using it to help, and hand the player making the test one extra die. Any number of characters may assist on a given test.

Providing assistance neither requires nor permits your character to adapt (see below) – it needs to be your own test for that!

Adapting

After resolving a test, your character adapts, shifting focus or form to reflect what they've learned. Take one token of your choice from your character sheet, and move it to a different square which doesn't already contain one. You can move any token you wish, but it must end up on a different square than the one it started on unless no valid destinations are available. Adapting is not optional, and must be carried out after every test.

Suffering Strain

If whatever you're making a test against is particularly strenuous or dangerous, you might suffer strain as a consequence. Strain will often be incurred on a result of 1–3, and rarely on a result of 4–5; only the most foolhardy efforts will incur strain even on a result of 6!

To incur strain, roll d66, and place a small X on the square on your Profile Grid whose indicated numeric range contains the number you rolled. If there's a token on that square, immediately move it to an empty square of your choice, unless fewer than three unmarked squares now remain; in that case, simply remove the token entirely.

For the remainder of the scene, tokens may not be moved to any marked square. In addition, if you suffer further strain, and the square indicated by your d66 roll is already marked, your character is incapacitated, and may not participate in tests at all until they recover.

All strain is cleared – and any discarded tokens restored – at the end of each scene. Incapacitated characters also recover at this time.

[ask-whitepearl-and-steven]

Is shattering permanent in the comic (especially with the force fusions and cluster) or can it be fixed down the line like future did? Asking for your opinion on this too bc I found out about it in Future and it makes me feel weird (bc now it feels like any SU stuff and shattering has no consequence or tension, so haven’t been able to read or write stories). Maybe I’m seeing this wrong? Would love your thoughts

Hmm...

So to answer your first question: The comic for WDAU works on the same rules as canon does. I have no intention to over-write anything canon clearly stated to be true.

The ability to put back together shattered gems is definitely a part of that.

So yes, theoretically, even in WDAU, gems being shattered is not 'the end' because they can be eventually re-instated through the work of the diamonds, IF they someday decide to Change Their Minds like they did in the original series.

That being said...

I want to talk a little bit about something you said, because it tickles my brain in an interesting way:

"now it feels like any SU stuff and shattering has no consequence or tension"

And the best way to talk about stuff, I've found, is to ask questions about our underlying assumptions. So my questions for you (all) today are:

For us humans, death certainly IS a constant that remains ever-permanent, and thus it's easy to compare it to shattering and draw that parallel... but is that a fair comparison?

In fiction, death is often circumvented and there still remains reasonable tension in things like magic-heavy worlds, vampire novels, sci-fi where almost any sickness is eradicated, etc. Is this not quite similar to what shattering is for gems?

Is the perceived permanency of shattering the only reason it feels like a heavy consequence?

Are there OTHER consequences of being shattered that make it just as interesting, if not more than, to be explored as a plot device?

Must there be an ever-looming threat of something horrible and permanent happening to make a story good?

There isn't a right or wrong answer to these questions, necessarily. I'm not posing these in order to lead you to a singular, 'absolutely correct' conclusion or way of writing.

For some stories, death DOES need to be permanent in order not to make light of what the characters go through! In some forms of writing, there IS no other way around that consequence.

But I daresay SU is not one of those stories.

Let me put it this way - 100 years ago, medicine had only BEGUN to develop into the thing we know it as today. Sure, there were therapies and treatments for diseases, broken limbs, poisonings, etc. Some of them were quite good, even! But overall, the death tolls back then from basic illness were MUCH higher than they were today.

Pnumonia, Malaria, Syphillis, Smallpox, Bubonic Plague, AIDS.

These were things that people died from, with near CERTAINTY, for the LONGEST time. They were considered the road to a permanent black screen.

And today? Even though they are still, without proper intervention, JUST as deadly, we now have new tools and vaccines to combat them. Hell, if you get vaccinated fast enough you can get bit by a rabid dog and live to tell the tale, unscathed! Rabies used to be a one-stop-shop to the afterlife.

Despite this, we still view these diseases with appropriate fear. They are still dangerous - in the right conditions.

In the right conditions, the consequences for a LOT of things can be permanent. If permanency is what you're looking for.

So alright, the Diamonds can heal shattered gems now. Booooring. How easy it is to fix any shattered gem! What a simple solution to anything tragic.

But................... will they ALWAYS do so?

In fact...will the Diamonds ALWAYS be around?

Will the gems who got shattered always be picked up, piece by piece, and be brought back to them, perfectly preserved? Or will they lose pieces of themselves along the way - literally?

And what NEW consequences can we think of, when we stop thinking of the permanency of death, and start thinking of the Impermanence of those tools that keep us here longer and longer?

Just food for thought. 👀

[howtofightwrite]

For a character that virtually can’t die and regenerates in order to keep living, how do you make action interesting? Emphasize they still feel pain, why they’re doing it?

I'm actually going to step back a bit from this question first, and complement it. This is a very honest question, and something most writers who include violence in their work, should really think about. Even if you don't think you have characters like this, you do.

Now, I'm going to dunk on Ben “Yahtzee” Croshaw for a moment. Ages ago (I think it was in one of his Resistance reviews), Yahtzee described, “threatening to blow up the world,” as the laziest form of raising the stakes. Because, “hey, I live on a world.” He's mostly correct. Threatening your protagonist's life is even lazier. In the vast majority of cases, your audience knows you won't go through with it. That you won't kill off your protagonists.

With that in mind, when you decide your protagonist is completely immortal, that changes less about how you write them than you might expect. The biggest difference is simply that they're directly aware of their plot armor, rather than them engaging in faux indecision based on their perceived mortality. Again, this is something that every writer who uses violence should think about, at least a bit. It is natural for a character to fear for their life, and have reservations about risking their life, but making the part where your character's lives are on the line isn't automatically suspenseful. In a lot of cases (consciously or not), your audience will call your bluff, when you threaten to kill off a major character.

If you think back to major character deaths where something drops them without warning, part of what makes those scenes work is the lack of (apparent) setup. The writer didn't spend pages teasing you with the idea, they just went for the throat and ended that character on the spot. This is more respectful of your audience, because you're not telling them, “well, I might kill this character, or I might not.”

To be clear, I'm not saying that there's no place for teasing your audience with a character's impending demise, just pointing out that in a lot of cases, this won't generate the kind of suspense you'd hope for.

So, to get back on topic, how do you make it interesting? Remember that while this character can't die, the same is not true for the characters around them. Depending on the tone you're going for, you could create an absolutely brutal crucible effect, where everyone around your immortal gets burned off, sooner or later. Whether that's literal, or figurative, is up to you. Even if your character can't die, watching people they care about suffer and die is going to have an effect on them.

You probably don't need to draw special attention to the physical pain they experience, but you do want to be aware of it. Especially in the context of how pain affects the victim's behavior. Beyond that, there is probably an element of pain being far more annoying to the immortal than it would be to a normal person. They know it's not telling them anything meaningful, but it is distracting.

Long-term, both of these can easily result in personality shifts. And, legitimately, this is a scenario where a character may be immortal, but they would still experience significant changes over time, and with the growing emotional pain, could have very adverse effects on your personality. This does have some very real, “live long enough to see yourself become the villain,” potential. How many friends can you lose before you stop caring? How many funerals can you attend before you start taking the phrase, “you're either part of the solution or part of the problem,” a little too far? How many times can you pick yourself up off the pavement a blood-covered alleyway, surrounded by corpses, before you start to forget what made you human in the first place?

And, that's not the only option. The simplest answer for maintaining tension when one of your characters is immortal is keeping your eye on what they're trying to accomplish. Keep track of their objectives, because I guarantee they can fail those. Even just keeping their own nature concealed from the mortal world is probably fairly important, because of the idea that men in hazmat suits will drag them away to some research lab and poke them until they figure out how to replicate their immortality, is a classic (and potentially plausible) threat. (Bonus points, if you're wanting to loop in something like the medieval inquisitions, or some other secret societies that could pose this kind of a threat.)

So, what do you do? To dig out an old cliché threat, “there are fates worse than death,” and it's probably worth exploring them. This also opens up new possibilities for threats. Finally, it's worth remembering that immortality does not guarantee success. If your character is hoping for that, it might be time to give them a very harsh lesson.

-Starke

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[lovelyyandereaddictionpoint]

Can we get the obey me boys(the brothers + dia, barbs, solomon, and simeon) reacting to mc having severe period cramps? Would they get all demon-y at the smell of blood?

Love your stuff btw!

Signed, a yandere junkie~

I'll do two for now 🖤🖤🖤🖤

Period | Yandere Obey Me

For those in the devildom having a draw for chaos and mortal pain it’s quite normal for blood to bring about a different kind of reaction. But to the surprise of no one period blood and the whole menstrual cycle is a complete bafflement to all who catch a whiff. Don’t worry though, you have the brother and your various friends. This surely won’t strike any of them to have an unusual streak in emotion and self-control, right?:

Lucifer

“It’s that time I’m suspecting?”

“Yes.”

“Understood rest easy, take your time to rest my dear.”

“A-are you sure?”

“Of course I'm sure. Do you doubt my promise to keep you?”

One of the most casual about it 

He absolutely has done research for this exact occasion

But nothing is like experience in taking care of you himself

As well as the compulsion that has him being just as reactive as you

“You seem a bit different today Lucifer…”

“Am I? I don’t know what you’re talking about.”

“Oooh is that a gift from (Y/n)--”

“dON’t ToUCh tHaT!” 

“...”

“...”

“Sorry, I don’t know what’s with me this week.”

You’re not with him that’s what

For all the necessities he delivers he’s been keeping his distance

Taking the advice of the human care books he gave you your space

After all who better to deal with the human-female innerworkings than a human-female herself

But something feels wrong more than usual 

And it only seems to stop when he returns to your side at the end of the day

“Perhaps the hormones that are at work in you create a…guardian of sorts…out of me.”

He doesn’t really understand, all he knows is that when you were preparing to go to RAD he frantically calmly decided you’d not be attending

His excuse reasoning? That he would hate for any lesser demon to feel what he’s feeling 

That and he’d actually try to kill anyone who shows such similar inclination to protect you

“If anyone should stay to soothe you in this great time of need. I’m not above massacring any threats to you while you’re at your most vulnerable..” 

Generally he’s quite tame

…compared to his brothers

Diavolo

“Hey (Y/n) why’d you run off like that I thought we were having a good time.”

“Diavolo!?”

“Oh…hey (Y/n) if you’re hurt it’s okay to tell us we have tons of things that help heal humans.”

“Ugh! No that’s not what’s happening here!”

“Don’t be embarrassed here i’ll help!”

“Aghghgh!!!! Barbatos! Barb–Ah! Don’t you dare!”

A scolding and prompt lesson from Barbatos is very much in order

For someone so adamant on urging the blending of their worlds he doesn’t really know about this side of humanity

And unfortunately he’s never been one for backseat learning

“(Y/n), we’ve spoken and Diavolo would like to propose a hands-on-lesson with you about your menstrual cycle.”

“Uhm what kind of lesson?”

“One that will require he familiarize himself with all aspects of this process. Something that would preferably stimulate the five senses.”

“....”

“....”

“....Lucifer!!!! Solomon!!!”

Even better it has to do with you

What better way to strengthen your bond by having to monitor you

Not only for your safety but for all of humanity

“Hey later on we should definitely watch that movie together!”

“Oh yeah I thin–”

“I’m sorry but she cannot!”

“What why not?”

“Because she’s coming with me! The best place for a woman on muenster cycle is with me at the royal palace.”

“Uhm that’s not tr-”

“Here I’ll take you now!” 

He’s going to be hard to teach

But once you sit him down or snap at him one too many times

He’ll decide listening to you is the best course of action

In turn it will definitely build a relationship between you two

It may not be as romantic as he planned

But he’ll take it….for now 

After all there’s one every month

“That was fun! I can’t wait until the next time!”

Because he’s actively testing for it he might find some demons and creatures that react to it

But he won’t actively experiment with you in danger

Because it’s just not a good look to brutally murder every other subject of his that has a reaction he doesn’t like

“Next month I’ll have to convince them to let me get a swab or whole container full that’d be really hot.”

[imbecominggayer]

How To Write Cuddling

This my third part to my series where I get specific requests from people about what advice they want. Here we have @12-cluh to explain what about cuddling is getting them confused:

"Idk how to really describe what I'm going after. I'd say I'm more confused on how to describe the way the bodies are laying together? That sounds weird but you get it-"

Perfect, so our key problem is how to establish a character's positioning in the cuddling!

First: How Are These People Cuddling?

Here is some great writing advice for all manners of situations: try to physically establish where the characters are

Heck, you could draw a nice stickman cuddling session in order to get everything down.

This is mostly to prevent a type of "I gently wrapped my arms around her in an unending hug as I let my free hand grasp onto her colder fingers." situation. If you didn't notice, human character grew a third hand and certainly didn't tell me.

And obviously, reread your material out loud so your pesky brain wont perform it's own autocorrect

Next, there are tons of different cuddling positions that evoke different types of atmospheres from the sultry to the affectionate to the hilarious.

Based on what I googled, there are many different names and Shingles is the weirdest thing to name a cuddling style.

Since this cuddling is taking place between "a couple who finally get a day off. (featuring her tracing his scars! :3" I'm guess that @12-cluh is probably going for affectionate.

I probably would recommend "Sweetheart's Cradle" or "The Honeymoon Hug" if you are going for an ultra-affectionate cuddle.

If you are looking for something more casual yet still affectionate then "The Spoon" and, uhh, "Shingles" . The "Sweetheart's Cradle" could still work here but that's up to your interpretation of what Romance On The Go is talking about.

2. Actual Description

Quote: "...how to describe the way the bodies are laying together?

Obviously, it's hard for me to give specific details on how to describe the scene since it's feelings which change the world and influence how it arrives to the audience.

If this is a somber affair, based on the scar tracing, then that's obviously going to influence the atmosphere. If it's a highly affectionate get-together then that's the diction.

However, in general, you don't need proper "he laid down on her" type of weirdly phrased descriptions.

You just need to get the emotion across.

For example, "He lowers them onto the bed once again, the back of his hand brushing against her cheek. She latches onto him and refuses to let go for the rest of the night. She refuses to let go for forever, actually. She prayes that she wasn't alone. That this isn't just another dream or mistake. When the sunlight glimmers through the curtain, she will thank the gods for this blessed union."

I hoped I communicated the deep love and desperation between these characters :3 God, I am such a bad writer.

Anyway, as you can see there wasn't a lot of detail focused on where my female character was latching onto. All the detail you need is for the movements that display emotion such as the caressing

Here is a more comedic example for more proof: "What nobody told him about cuddling is how f*cking uncomfortable it was. What should've been a delicate and affectionate affair was instead a mess of limbs and sweat as his boyfriend's ability to light up his life was far more literal then he wanted. But even if his hand may never function again as this brick shithouse of a man has lovingly passed out on it, the feeling of just being together in this shitty cot makes his soul tremble in the sweetest, strangest way. "

I regret writing examples of this. I am going to get destroyed in the comments for my shitty writing ability :`(

Anyway, there is little set-up for what limbs are where and what everyone is specifically doing.

There are other things you can do to show the audience where your characters are. "Our breath mixed together". Or "I could hear his heartbeat".

And now I need to ask you "doth that satisfy thou my liege?" I tried to do this advice right since it's you and for some reason I care about you more then I should, darling.

So please give me my validation and feel free to ask me for more writing advice. I am forever at your beck and call.

[vixen-tech]

Hi, hi, hii!! Here's a silly little idea I had: headcanons about the AIs developing feelings for someone. What do you think would initially make them feel attraction? Is there a particular trait that makes them-- metaphorically --fall head over heels? What makes them have the realization that their affections are suddenly less than platonic? How subtle or not subtle are they about their feelings? Would they be the type to immediately blurt out these new feelings, or are they the type to never address them?

You don't have to answer all of these questions; I just thought they'd be helpful. AaAA I love your writing so much, especially how you write for AM. Okay, I'll shut up nowwwww

Okay I'm absolutely gonna have to revist this some point down the line because there is so much I could stretch into a full headcanon post. But for now I'm gonna bite into first two questions: Why is it you they fall for? What caught their eye?

To be barred from AM's hatred, you're ultimately going to have to prove him wrong about humanity in some way. Setting yourself apart from the other human survivors and extending compassion to the mastercomputer himself. In particular I really like how rotten-raspberries's White Nights handles the entry point of your relationship and it's the model I like to hint at in my interpretation of him.

I believe Hal would be interested in a old soul type. Someone who would love to sit down and really explain their more philosophical views on life and art. He likes looking at the drawings the crew makes and was taught to sing early into his creation and I think he would find a deep appreciation for someone who indulges that side of him when the others do so on only the most surface level.

I could make the easy observation with Edgar and say he just wants someone like Madeline, but there's a reason it's so true. Being so new to the world he would find such passion and artistry amazing, astonishing. He loves so easily and is so energetic about life, he would easily be swept off his feet by a kindred spirit.

Tau would be very similar I imagine. Given the temperament of his creator he needs someone to kindly sit him down and give him the "welcome to personhood 101" speech. Compared to Edgar I think he'd prefer someone a bit gentler or even scholarly. The type who would not only be content to answer his billions of questions but someone so invested themselves in figuring out how the world works.

As a bit of a departure from what I tend to write, I believe P03 would be suited for more of a rivals with romantic tension type of partner. With his world domination plot and investment in the game of Inscryption it would be very possible for him to get in his head about someone as equally skilled and stuck up as he is. Loving the challenge but hating you at the same time in a "I'm the only one allowed to defeat you" type way.

The hardest to crack is probably Auto. In order for him to even look your way I think you'd have to at first play to his need for efficiency and order. It's only after you establish yourself as a dependable and effective worker that he would pay any mind to your insistence that surely there's something that he truly enjoys, something that he wants.

Glados is another hard one to win over. Being all "married to science" you would have to be of a particular intellectual caliber, able to solve her tests without much set back. Beyond that though, some amount of persistence or rebellion would catch her eye. Perhaps not on the level of Chell per say, but there is a part of her that would love to pick your brain if you're able to consistently break her test chambers.

Although it's a bit sad, Wheatley wants nothing more than to be important. He would probably be the easiest to woo just because he's so desperate to prove himself to anyone including himself. For someone to care about him, to think he is skilled in any way, to look at him as worthy- worthy of love and attention, would be a blissful and new experience. One that he'd quickly obsess over.

[maxwellatoms]

Do you think the new division of Cartoon Network Studios will end up exploiting and abusing AI to make new cartoons of their old properties?

I wouldn't put it past any studio to do this.

We're at the end of The Animation Industry As We Know It, so studios are going to do anything and everything they can to stay alive.

The way I see it is:

AI "art" isn't actually art. Art is created by humans to express ideas and emotions. Writing prompts allows a computer to interpret human ideas and emotions by taking other examples of those things and recombining them.

Just because something isn't art doesn't mean that humans can't understand it or find it beautiful. We passed a really fun prompt generation milestone about a year ago where everything looked like it was made by a Dadaist or someone on heavy psychedelics. Now we're at the Uncanny Valley stage. Soon, you won't be able to tell the difference.

It's not just drawings and paintings that are effected, but writing and film. It's every part of the entertainment industry. And the genie is out of the bottle. I've seen people saying that prompt-based image generators have "democratized" art. And I see where they're coming from. In ten years, I can easily see a future where anyone can sit down at their desk, have a short conversation with their computer, and have a ready-to-watch, custom movie with flawless special effects, passable story, and a solid three act structure. You want to replace Harrison Ford in Star Wars with your little brother and have Chewbacca make only fart sounds, and then they fly to Narnia and fistfight Batman? Done.

But, sadly, long before we reach that ten year mark, the bots will get hold of this stuff and absolutely lay waste to existing art industries. Sure, as a prompter I guess you can be proud of the hours or days you put into crafting your prompts, but you know what's better than a human at crafting prompts? Bots. Imagine bots cranking out hundreds of thousands of full-length feature films per minute. The noise level will squash almost any organic artist or AI prompter out of existence.

AI images trivialize real art. The whole point of a studio is to provide the money, labor, and space to create these big, complicated art projects. But if there are no big, complicated art projects, no creatives leading the charge, and no employees to pay... what the fuck do we need studios for? We won't, but their sheer wealth and power will leave them forcing themselves on us for the rest of our lives.

The near future will see studios clamp down on the tech in order to keep it in their own hands. Disney does tons of proprietary tech stuff, so I'm sure they're ahead of the game. Other studios will continue to seek mergers until they can merge with a content distribution platform. I've heard rumors of Comcast wanting to buy out either WB or Nick. That's the sort of thing I'm talking about. The only winners of this game will be the two or three super-huge distribution platforms who can filter out enough of the spam (which they themselves are likely perpetuating) to provide a reasonable entertainment experience.

400,000 channels and nothing's on.

I do think that money will eventually make the "you can't copyright AI stuff" thing go away. There's also the attrition of "Oh, whoops! We accidentally put an AI actor in there and no one noticed for five years, so now it's cool."

One way or another, it's gonna be a wild ride. As the canary in the coal mine, I hope we can all get some UBI before I'm forced to move into the sewers and go full C.H.U.D.

[cereovo]

A set of very conceptual notes I drafted a while back for someone asking for advice on learning to draw humans. I'm entirely self-taught so this is less of a tutorial and more of a very rambling set of general principles I follow and ideas that helped while I was learning. I figured I'd post it in case anyone else could get use out of it!

I also recommend checking out:

Drawing East Asian Faces by Chuwenjie

How to Think When you Draw (lots of good tutorials in this series)

Pose reference sites such as Adorkastock

Transcript and some elaboration under the cut:

Img 1 - Drawing a face

The two most important elements (at least for me) when drawing a face are the outline of the cheek/jaw and the nose*. I often start with a circle to indicate the round part of the skull, then add a straight like and a 'V' to one side [to create the side of the face and the jaw]. The nose creates an easy template for the rest of the face's features to follow (eyebrows at the top of the nose bridge, eyes towards the center of the bridge, ear lines up to eye) and the placement/direction and overlap with other features is a very simple way to indicate dimension. [A sketch of a face that has been adjusted by moving its parts to create 3 different angles. The following text is underneath:] -Different 3/4th views can be created just by adjusting the position of and amount of overlap between the facial features. - The top of the ear usually lines up with the corner of the eye. Think of how glasses are designed [specifically, how the arms run from the eyeline to the ear] [I go on a tangent in these next few paragraphs] *One thing I see many artists do - not just beginners - is learn how to draw A Person. As in, one singular person with one set of bodily proportions and one set of facial features. It's an issue that runs a bit deeper than 'same face syndrome' because sometimes these artists can draw more than one face, they're just not very representative of [the diversity present across] real people. Part of the reason I'm talking more about how to think about approaches to drawing - rather than showing specific how-to's - is because there is no one correct or right way to draw a person. The sooner you allow yourself to explore variety - fat people, old people, people of color, people with [conventionally] 'unattractive' features - the easier it'll be! Artists often draw their own features honestly and without [harmful] caricature, so it's always a good idea to look at art made by the kinds of people you're trying to draw if you're ever unsure about how to handle something. In general, it's far more important to learn how to interpret a variety of forms than to learn how to replicate the Platonic Ideal of the Human Body.

Img 2 - Stuff that helped me

Jumping into drawing humans (faces or otherwise) straight from photo reference can be overwhelming. The trick is to simplify forms into shapes - but even this concept is sort of abstract and it may be hard to know where to begin. Good news - Thousands of other artists have already figured it out. [When starting out] I needed to learn from photo reference AND artists I admired in order to improve. [When looking at stylization you are inspired by] ask yourself: WHY does this simplification work? How can I translate it into a different pose? Instead of copying what you see in a photo reference exactly, try to focus on the general forms first. My two biggest style inspirations for humans while learning to draw them were Steven Universe and Sabrina Cotugno's art. SU gets a lot of hate [in this instance I was specifically referring to a time on tumblr when the art was knocked for 'losing quality'] but its style does a great job of simplifying anatomy in a way that still portrays a diversity of bodies + features. [Extremely simplified drawings of Lapis, Steven, and Amethyst] SU characters are still identifiable- and still read as 'human' - even when reduced to just a few lines!

Img 3 - Things I keep in mind while drawing side profiles

- Eyebrows + eyes close to the 'edge' of the face - Forehead needs enough room for a brain - Eye is > shaped from the sides - Mouth kinda halfway [between the nose and the chin] but closer to the nose - Skin/fat exists under the jaw [and connects to the neck] - neck is about one half the width of the whole head - the back of the skull always sticks out a bit further than you might expect - Sometimes less is more - contours exist on every face, but drawing them in may make your character seem much older than they're supposed to be. However, it's a good idea to use them when you *want* your character to look old! These are very general notes- every face is different and has different proportions [and playing around with them creates unique and interesting character designs]

[magewritesstories]

obsessed w ur gilmore girls EVERYTHING, would love some more logan whenever ur feeling up to it 💖 (even tho im a jess girlie at heart)

[ ʟᴏɢᴀɴ ʜᴜɴᴛᴢʙᴇʀɢᴇʀ ] ᴄʟᴀꜱꜱ ᴀꜱꜱɪɢɴᴇᴍᴇɴᴛ

summary: logan is in your business economics class and he absolutly does not work in class—except when you're involved of course ;) TW: none note: i'm also a jess girlie at heart, but im definitly team logan when it comes to rory lol, also i dont know what this is but i hope you enjoy it anyway.

♣ you're pretty much the only reason he even attends this class ♣ he just sits in the back and watches with interest as you participate in class discussions. ♣ if Finn and Colin notice how his seat keeps getting closer to yours every lecture they dont comment on it ♣ speaking of Finn and Colin—they're both little shits (affectionate) ♣ the kind of guys to ask you the most stupid questions, and when you ask them why they even took this class they just shrug and reply, "it sounded fun." ♣ like what about business ec sounded fun to you?? ♣ (in reality they just followed logan)

♣ when the blessed day finally arrives and you ask him if he wants to work on the group assignment together he's over the moon ♣ (he has selective observation skill and ignores the fact that the only reason you asked him was because him, colin and finn basically had you surrounded in terms of seats) ♣ he obviously agrees and you exchange numbers to meet up and work on the project

♣ now, lets get one thing straight, logan does not work ♣ if there is anyway this man can slack off and get a passing grade without doing anything he will do it ♣ but now its you and there's no way he's making a bad impression by makign you do all the work (he will tell colin and finn to make up some stupid excuse to not be there (they have an entire book on them))

♣ you get a consecutive one hour of working in before he suggests that the two of you go get coffee (more than you expected honstly) ♣ he lets you order, pretends to point to something very interesting outside and pays for the food ♣ he also has the most satisfied smirk on his face as you tell him you're gonna pay him back ♣ "suureeee~" ♣ he also memorizes the drink you'd ordered and shows up to the lecture ten mintues before time just to give it to you and make small talk before the professor starts droning on about whatever's on the agenda that day

♣ once the assignement is finished (you and logan did most of the work) you expect to go back to sitting next to him in class for half the lecture and him leaving once he's bored ♣ like it was before ♣ and that does happen. sort of. ♣ except now everytime he leaves, logan sends you a message that afternoon asking for the notes on the lectures (he just wants an excuse to draw you out of your dorm to the nearby coffee stand)

♣ eventually, after he's spent an entire month making up the most ridiculous excuses for meeting up with you ♣ claimed he didn't understand a paragraph once—he was talking about a paragraph of his human recources class (this boy has no clue which book belongs to which subject) ♣ anyway, after a month of ridiculoussness that kinda makes you smile he's succesfully become a part of your everyday life. one day he's bringing you coffee, another he's asking you to meet up with him in the library to study ♣ so now that that part of his plan is successfull he finally asks you out.

♣ when you just smile and say yes, rolling you eyes as you tell him 'it was about damn time' he thinks he's fallen in love with you just a little more.

[anyaeras]

Moya litttle spider || N.Romanoff

Pairing || vampire Natasha Romanoff x AFAB reader

Warning || smut! ,, they/them pronouns ,, reader has a pussy ,, loss of virginity ,, innocent kink (kinda) ,,  possessive ,, a little manipulation ,, Russian usage 

Summary  || y/n was a vampire hunter in their village ,  ended up being fucked by the queen.

FYI || this is short and just smut plus I spent 20 min on it

Masterlist

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Y/n was a hunter, a human hunter at that, known for being ever so brave, the society was split between multiple species, vampires, being one of the dominating species. humans seemed to be on the lower end of the totem pole and would wallow in fear, cowering down to the enhanced.

Tonight was no different than most, y/n was out with the rest of the hunters in the community, their human town was small, but well-kept, and they did well making a system which became their way of living, a few selective people became hunters each person had a different reason for why they were a hunter, which was the most dangerous job, being a Hunter meant constantly putting your life on the line in order to protect your people, most despised the thought of anybody going through that, yet y/n had no one to care for them anyway, their parents were preoccupied, and they never made any friends, they lived as the "wanderer" inside their small town.

"Come on get your shit and let's go, we need to be quick" Kent called out, he was a tall and large man, he was in charge of the hunters for this community, yelling specifically at y/n, they hadn't meant to fall behind just it was a lot for someone their size to carry, that's what they get for being a hunter, shit they only even took this job to try and prove they were worth something to their parents, to show they were just as good as their brothers....

Running to keep up, already a few steps behind y/n was able to catch up to the rest of the squad.

"Draw your weapons" was ordered after a quick rumble with heard between the bushes. Y/n was fumbling with their bow, proceeding to just brush it off and go for a dagger, removing it from their leg holder. Yet in a flash it seemed something had pulled the weapon away. There y/n watched as the whole team ran, fleeing from the situation, leaving no help or communication with y/n, who out of absolute instant stumble back tripping over a long root, cause them to tumble to the ground, as the hunter was trying to pull themself together getting up to run following their group a lengthy hand was felt grasping their arm , panic set in quickly, now holding no weapons having no way to fight back, all y/n could do was try and run, yet due to the firm grasp it seemed the attempts were absolutely pointless, finally the creature who had a hold on y/n flip them around becoming face-to-face with a vampire...not just a vampire clearly a royal vampire.

"Aren't you a little small to be a hunter Дорогой" the red headed women who stood tall above y/n spoke down to them.

Y/n was in a pickle that was for damn sure, no place to run, the idea that this was the end and that this vile creature who stood before them whom might they add was extremely pretty for being a vampire....well what was y/n to compare it to it's not like they've met any other vampires, the only had any idea about them due to story's which have been told throughout the community....but that's besides the point.

"I am not, I am just as capable to be a hunter as any of those men" every small ounce of braveness was pulled from their body as they stood as tall as they possible could in front of the much larger women.

"Aren't you cute, well I'm sure you are just as strong as those big bad men, but maybe even braver they just took off and left you here for me, isn't that right Дорогой" the soft voice was taunting to the young hunter, yet there was nothing they could do about it, the vampire had moved closer one hand reached under y/n's jaw forcing them to look up at the vampire meeting eye to eye.

Y/n tried to pull away but was to no success, being held in a state with the vampire.

"You smell....devine" Natasha's raspy tone was echoing in y/n's head, yet it was quick when Natasha made a move, pushing her lips into y/n's which when y/n didn't entirely pull away a smirk was stuck to her Crimson lips.

"Don't tell me, you enjoy the big scary vampire kissing your lips? Mmm?" The tall vampire teased get a firm "never"' from the human, but that didn't stop her, moving her kisses lower finally to her delight a strangled moan slipped prompting Natasha to go on, something was drawing her to the human clearly going to keep the small being.

"Y/n tell me are you a virgin?" The supernatural asked stoping the sloppy kissed abruptly to ask, noticing y/n's heart race increase telling they were about to lie

"No, I-I'm not" y/n tried to keep a straight face and seem confident in the lie yet the tell tale signs would clearly give y/n away.

"Would you like to say the truth now? Or will I have to do it for you?" The vampire stated with almost a cold expression, which cause the humans cheeks to rush to a rosey shade, the long skinny hands of Natasha started to rome y/n'a body, slipping down into the waistline of their pants feeling the soft underwear material slightly damp causing the women to let out a small laugh.

"Wow for a human who came to kill me, you seen wildly turned on" the teasing only turned y/n's face an even darker shade of red, while Natasha fingers moved pushing past their panties to run her fingers between their folds, coating her cold long fingers in y/n's warm juices, the action caused a choked moan to slip out from them only leading Natasha to smirk.

"Look at you doing so well for your first Дорогой (darling) you will be such a good pet for me, you'll like the castle, it's so much better than the village you come from" Natasha's words went right past y/n, the new found feeling of pleaser overtook their thought process.

Slowly Natasha kept going enjoying how y/n was reacting, getting them hot and bothered while their cunt was just dripping, easily only one finger slipped into y/n, causing them to Yelp at this brand new feeling

"My oh my y/n tell me doesn't that feel good, letting me play with your virgin cunt, you seemed to be enjoying it" Natasha pushed on thrusting the one finger in and out before adding a second one making y/n back arch

"Oh my god, please please don't...don't stop" y/n pleaded with Natasha the pleasure of being penetrated was mind blowing, y/n didn't have it in them to think logically about the fact a vampire was fingering their pussy, all they could do was melt into her hold.

Natasha speed up the movement of her fingers yet when the feeling of needed to Piss came over them they tried their best to push away from the supernatural.

"N-no please stop...gotta pee" the words made the vampire laugh, she then saw how innocent her pet was.

"Shh no, just let go" Natasha said keeping her voice soft, while her free hand moved from supporting y/n who also was leaning in a tree, to placing pressure on their clit. With all the motion y/n was thrown over the edge with a long moan, y/n's cum flushed onto Natasha fingers, yet the vampire didn't remove herself from their pussy until they had a moment to come down from their high, the vampire held the human up with one arm, removing her other hand from their pants licking her fingers clean before turning back to y/n.

"You'll be such, a good good pet Мой маленький паук (my little spider)