#which is one reason why i try so hard to do my best for the sake of the present n the future n remember the past so keenly

[the-way-astray]

What's your favorite cannon thing you truly like about Keefe Sencen

I DARE you 😈

i've been dared . . .

definitely my favorite thing is the fact that in flashback/legacy he was 100% not only supportive of sophie and fitz's relationship despite having a crush on sophie, but also actively tries to keep sophie from doing something that could even be interpreted as implicative. there was a poll a while ago about whether people thought sophie and keefe were (even unintentionally) emotionally cheating on fitz, and i answered a hard no. and the main reason for that was because of keefe. he does so much to try to keep sophitz together during that time, including telling sophie to confide in fitz, telling her to tell him about the matchmaking thing, shutting ro down (or at least doing his best to), and generally speaking, he did not have to do all that. like, yeah, any decent person would be supportive and not actively try to break their two friends in a relationship up, but keefe goes way beyond that and actively tells sophie exactly what to do in order to keep her relationship with fitz intact. every time fitz "catches" him with sophie it's lowkey painful to think about what keefe must be feeling because he spends so much time trying to prevent that exact thing from happening. there's even a line in legacy where sophie admits this herself. one of the only times he uses his empathy not dubiously is at the end of legacy, where sophie "tells" him (i use the term loosely) that she and fitz broke up. and he immediately says "i'm sorry", expressing out loud his sympathy for their relationship's end.

(one thing i've heard people misinterpret a lot in anti keefe things is the "blond hottie" line, which they say is an inappropriate thing to say about someone in a relationship. that was not said by keefe. that was said by ro. she says that when she's trying to convince sophie that bronte can't be her bio dad, to which keefe then says "unless she gets that from her mom". that's all he says. sophie then wonders whether that meant he agreed with the blond hottie assessment, but that doesn't come from anything he actually says.)

it surprises me that i haven't seen keefe lovers talk more about the fact that fitz literally commissioned him to draw him and sophie in a very romantic pose in a very romantic spot and keefe did it. so i'm going to talk about it. once again, this is not just baseline "my crush is in a relationship, oh well, guess i won't interfere" stuff. this is going above and beyond to keep sophie and fitz together. again, keefe has a crush on sophie. i'm not an artist, but obviously art doesn't just pop up out of thin air. he spent some time making that drawing. and all that time is yet another reminder that his crush is in a relationship. he could've told fitz no, made up some excuse as to why he couldn't do it, and that would've been well within his right. but he didn't. so that's a thing worth mentioning. (i'm going to just say i don't like the argument that fitz knew what he was doing when he asked keefe for the drawing, though. i think fitz just thought "sophie likes keefe's drawings! let me get her one of those" which is sweet in and of itself.)

in unlocked, keefe thinks something like "he definitely should not be happy that two people close to him were going through a rough patch. but, if he was being honest, he wasn't really sad" or something to that effect. and i like that. he has a crush on sophie, so of course part of him will be happy she's now single again. it's realistic. i've definitely talked about this before, but jealousy isn't a character flaw to me. it's only the actions that a character does because of their jealousy that defines whether or not it's a bad thing. but the thing with keefe is that he never allows the fact that he likes sophie to outwardly affect sophie and fitz's relationship in any negative way when they're tentatively dating. sophie and fitz fell apart for a lot of reasons, but the reasons were entirely on sophie and fitz, and had nothing to do with keefe himself. in fact, you could argue they only lasted as long as they did because of keefe.

i complained a lot about how much he doesn't shut up about his hair in my rant. but that was mostly at his humor style and the fact that he literally talks about it at the weirdest times (in his registry file . . . ) more so than the fact itself. and truthfully, he doesn't even talk about it that much. but i think it makes a lot of sense that he takes pride in it. it's the physical manifestation of rebellion against his parents who have controlled every other aspect of his life. he's also an artist, and i think it's a pretty neat thing that that extends to the way he styles his hair. also it looks good. i will die on this hill. just don't look at the laura art. jason chan is my king and keefe's hair is very cool and- *gunshot*

there's also a handful of moments where keefe uses his humor appropriately, to ease tension. best example i can think of is the one katie brought up in this post which is the moment in flashback right before the celestial festival (climax). magnate leto gives them all these sparkler things to light if they're in danger, and keefe sets off a couple prematurely "just to make sure they work" *wink wink nudge nudge* and sophie specifically says the "bit of levity" helped tame the "monster" she's been battling the whole book. when he's able to use his humor appropriately, and not at weird times about weird things, he can be a valuable source of comfort. these moments are unfortunately few and far between, but they do exist.

keefe is also good at calming sophie down when she's panicking, when he's not using his empathy to force her to tell him her feelings. i personally like it more when he's comforting her using his words than his emotional breezes, because that speaks more to his personality than it does to his ability to use his emotional breezes to calm her down. another example katie discusses in the post above is when he's talking to her about the bronte-is-her-bio-dad theory. sophie was panicking because she was thinking about the implications of it (prentice, him acting horrible to her, etc.) and keefe brings her back down to earth with his reassurances that this doesn't change anything about her. when she says bronte can't know she knows, he immediately gets her to reconsider in a gentle way, because like. that's the entire point of her search for her bio parents. he does all this using his words (actually i just checked and he does use his emotional breezes a couple of times but his words do have an impact on their own so we're disregarding that), which does prove that he's very good at knowing what to say to keep her calm.

(also the fact that he was even helping her search for her bio parents is another example of him going above and beyond to keep her relationship to fitz intact. he didn't have to do that at all.)

and lastly, i think i mentioned this in my rant and maybe a couple other places, but i think keefe's jealousy when it comes to family is written very realistically. in neverseen, he's jealous of fitz, biana, sophie, and dex when they hug their parents, and there's a line where he specifically says "i hate watching it. them and della" (them referring to fitz and biana). in unlocked, he's again jealous of dex's family and wishes he'd been born into a family like his. and i think that's written really well. it's pretty subtle and not really shoved in your face, too. i'm pretty sure there's a total of three times it gets brought up: the "them and della" line, one line at the end of neverseen where sophie and dex are hugging edaline and kesler, and then the line in unlocked. very blink and you miss it but i like that. it's one of the few things the narrative doesn't dump a truckload of pity on keefe for, and it makes the few times it is brought up even sadder.

oh, and also i think he's handsome. sue me.

[akookminsupporter]

Hey! A couple of questions for you 😊

AYS, to me, was never going to “confirm” jikook. It was just unrealistic considering society and that they’re serving now. That being said, did AYS reaffirm for you jikook might be real? And do you think if it was your first bts content would you also think that there might be going something on (ie watching with no bias). For me, it showed how incredibly close they are and several moments of intimacy that goes beyond most friendships.

The second one is now 6 weeks out from the car convo, has your opinion on it or its relation to jikook changed? For me still, that car convo didn’t show they broke up or disprove that they may be dating.

One of my pet theories, even before Face and long before knowing buddy existed, was wondering if they took a step back in prep for military service - a let’s focus on solo careers and work on not being as tied together cause we have service a head of us. A practice run if you will. Not breaking up, more let’s try long distance.

More so now, and what I haven’t seen people talk about, is I was thinking about how for the other guys and jikooks prior relationships, they would know how hard dating as an idol would be. I’m sure Tae and Jennie had a lot to contend w being so busy as idols and on differing schedules. Same thing for dating a non famous, dealing w the insane hours and workload, rarely being in Seoul. And that was never a reality jikook faced - for a period they would’ve both lived and worked together. They were in the same schedule, the same places. And that would’ve been for a majority of their relationship. So no wonder post October 2022 was an adjustment, when they truly did not have any schedules as bts. And they’re both human, and Jimin has said both he and jk get lost in their work (from that colouring live). Sometimes we aren’t the best and prioritizing work and relationships, especially when it gets busy. You hear stories about loving couples going thru phases where they’re just roommates before making the effort to not just be living together. It seems like Jimin got incredibly busy and focused with Face and Muse. And jk is allowed to have feelings about that. Doesn’t mean them not being able to see each other to hang out is any deeper than that. Doesn’t show that they broke up or couldn’t be dating. I also wonder, since we may never get the background on it, if that period of time solidified the decision to enlist together. Where before it was a ok well enlist it will suck, became after that period of time nah we’re not doing 18+ months apart.

Ahhhh sorry for the long post, a couple questions and a couple thoughts for you haha

Hey anon, sorry for taking a bit to post your ASK.

“Did AYS reaffirm for you that jikook might be real?”

Yeah, definitely.

“Do you think if it was your first BTS content, would you also think that there might be something going on (i.e. watching with no bias)?”

Oh, absolutely. I think if I'd seen AYS without much context, I’d be sure they’re a couple, no doubt about it.

“The second one is now six weeks out from the car convo; has your opinion on it or its relation to jikook changed?”

Are you talking about Jungkook complaining that Jimin never reached out? Honestly, no, I still hold the same opinion I had initially.

I think one of the reasons why that time they talked is confusing for us is that we don’t have the context for a lot of things. For example, when did they decide to enlist together? I think that decision shaped many of their choices, like focusing on their work and perhaps on other friendships, because their relationship wouldn’t just pause dramatically come December 2023.

Honestly, I think that period in their relationship solidified whatever they have and made them want to be together, which is why they ended up enlisting together through a system that guaranteed they'd be together. Even if Jimin and Jungkook took a break—assuming they really have a romantic relationship—the fact that they decided to film a show together and enlist together in the army shows they’ve overcome whatever was separating them or that they’ve just realised they want to be together.

So, I think it’s a bit tiring and unnecessary to speculate about what might have happened during that time in their relationship because, first of all, we have no context, and second, they’re still together. The fact that they enlisted together through the buddy system is the biggest “proof” they can give that their relationship is solid, whatever that may be.

[alluralater]

something about watching a bad kiss take place makes me want to fucking scream. like what is going ON??

[forestryfae]

the worst part of stardew valley is Spring, Year 1

[vaugarde]

love how indigo and unova both end with ash going “wow, what a fantastic experience” with a full theme song drop as they reminisce on their adventure over the battlefield in the sunset like those weren’t the worst written leagues in the series

[earlyspringtranscendence]

i wish betting on wrestling was like a thing because while i would never win if i bet on anything else (am bad at recognising patterns that actually mean anything) i would cash in soooooo much because i can ALWAYS tell when a jericho feud’s gonna run way too long again 😌

[blueshykitsune-blog]

I want a giant brown bunny... but... but too much!

The only one I found was like $158 USD... it was just about 5 foot tall! It literally was like looking at what I wanted to make but realized I didn't have enough stuffing for!

And one that was like 3 feet tall was $100...

Like yes I know materials and time is money but I can still complain! Why fabric gotta be so much! And so messy! (The ones with faux fur or of the like. Like whyyyyyy!!!!) Also why is cotton and stuffing so much too! And you get enough for maybe only one 2 foot plushie!

(I ran out of tagging space... 30 the limit sadly. But I had more to say but maybe later I'll do a bigger post on that all.)

[hamausagi]

trying REALLY HARD not to be delusional

[mxdotpng]

the soremik in my head is so vastly different from anyone elses idea of them that i fear if i ever speak out on the subject i'll have rocks thrown at me. but once again they are allowed to look but never touch. you have to expect this from me by now.

[neverendingford]

.

[diari0deglierrori]

Getting hit with a sudden nostalgia because it’s the end of the year and I’ll soon have to take an important decision for my future but I’m still so unsure about many things

[astrxealis]

life is not being silly to me rn

[derinwrites]

The Three Commandments

The thing about writing is this: you gotta start in medias res, to hook your readers with action immediately. But readers aren’t invested in people they know nothing about, so start with a framing scene that instead describes the characters and the stakes. But those scenes are boring, so cut straight to the action, after opening with a clever quip, but open in the style of the story, and try not to be too clever in the opener, it looks tacky. One shouldn’t use too many dialogue tags, it’s distracting; but you can use ‘said’ a lot, because ‘said’ is invisible, but don’t use ‘said’ too much because it’s boring and uninformative – make sure to vary your dialogue tags to be as descriptive as possible, except don’t do that because it’s distracting, and instead rely mostly on ‘said’ and only use others when you need them. But don’t use ‘said’ too often; you should avoid dialogue tags as much as you possibly can and indicate speakers through describing their reactions. But don’t do that, it’s distracting.

Having a viewpoint character describe themselves is amateurish, so avoid that. But also be sure to describe your viewpoint character so that the reader can picture them. And include a lot of introspection, so we can see their mindset, but don’t include too much introspection, because it’s boring and takes away from the action and really bogs down the story, but also remember to include plenty of introspection so your character doesn’t feel like a robot. And adverbs are great action descriptors; you should have a lot of them, but don’t use a lot of adverbs; they’re amateurish and bog down the story. And

The reason new writers are bombarded with so much outright contradictory writing advice is that these tips are conditional. It depends on your style, your genre, your audience, your level of skill, and what problems in your writing you’re trying to fix. Which is why, when I’m writing, I tend to focus on what I call my Three Commandments of Writing. These are the overall rules; before accepting any writing advice, I check whether it reinforces one of these rules or not. If not, I ditch it.

1: Thou Shalt Have Something To Say

What’s your book about?

I don’t mean, describe to me the plot. I mean, why should anybody read this? What’s its thesis? What’s its reason for existence, from the reader’s perspective? People write stories for all kinds of reasons, but things like ‘I just wanted to get it out of my head’ are meaningless from a reader perspective. The greatest piece of writing advice I ever received was you putting words on a page does not obligate anybody to read them. So why are the words there? What point are you trying to make?

The purpose of your story can vary wildly. Usually, you’ll be exploring some kind of thesis, especially if you write genre fiction. Curse Words, for example, is an exploration of self-perpetuating power structures and how aiming for short-term stability and safety can cause long-term problems, as well as the responsibilities of an agitator when seeking to do the necessary work of dismantling those power structures. Most of the things in Curse Words eventually fold back into exploring this question. Alternately, you might just have a really cool idea for a society or alien species or something and want to show it off (note: it can be VERY VERY HARD to carry a story on a ‘cool original concept’ by itself. You think your sky society where they fly above the clouds and have no rainfall and have to harvest water from the clouds below is a cool enough idea to carry a story: You’re almost certainly wrong. These cool concept stories work best when they are either very short, or working in conjunction with exploring a theme). You might be writing a mystery series where each story is a standalone mystery and the point is to present a puzzle and solve a fun mystery each book. Maybe you’re just here to make the reader laugh, and will throw in anything you can find that’ll act as framing for better jokes. In some genres, readers know exactly what they want and have gotten it a hundred times before and want that story again but with different character names – maybe you’re writing one of those. (These stories are popular in romance, pulp fantasy, some action genres, and rather a lot of types of fanfiction).

Whatever the main point of your story is, you should know it by the time you finish the first draft, because you simply cannot write the second draft if you don’t know what the point of the story is. (If you write web serials and are publishing the first draft, you’ll need to figure it out a lot faster.)

Once you know what the point of your story is, you can assess all writing decisions through this lens – does this help or hurt the point of my story?

2: Thou Shalt Respect Thy Reader’s Investment

Readers invest a lot in a story. Sometimes it’s money, if they bought your book, but even if your story is free, they invest time, attention, and emotional investment. The vast majority of your job is making that investment worth it. There are two factors to this – lowering the investment, and increasing the payoff. If you can lower your audience’s suspension of disbelief through consistent characterisation, realistic (for your genre – this may deviate from real realism) worldbuilding, and appropriately foreshadowing and forewarning any unexpected rules of your world. You can lower the amount of effort or attention your audience need to put into getting into your story by writing in a clear manner, using an entertaining tone, and relying on cultural touchpoints they understand already instead of pushing them in the deep end into a completely unfamiliar situation. The lower their initial investment, the easier it is to make the payoff worth it.

Two important notes here: one, not all audiences view investment in the same way. Your average reader views time as a major investment, but readers of long fiction (epic fantasies, web serials, et cetera) often view length as part of the payoff. Brandon Sanderson fans don’t grab his latest book and think “Uuuugh, why does it have to be so looong!” Similarly, some people like being thrown in the deep end and having to put a lot of work into figuring out what the fuck is going on with no onboarding. This is one of science fiction’s main tactics for forcibly immersing you in a future world. So the valuation of what counts as too much investment varies drastically between readers.

Two, it’s not always the best idea to minimise the necessary investment at all costs. Generally, engagement with art asks something of us, and that’s part of the appeal. Minimum-effort books do have their appeal and their place, in the same way that idle games or repetitive sitcoms have their appeal and their place, but the memorable stories, the ones that have staying power and provide real value, are the ones that ask something of the reader. If they’re not investing anything, they have no incentive to engage, and you’re just filling in time. This commandment does not exist to tell you to try to ask nothing of your audience – you should be asking something of your audience. It exists to tell you to respect that investment. Know what you’re asking of your audience, and make sure that the ask is less than the payoff.

The other way to respect the investment is of course to focus on a great payoff. Make those characters socially fascinating, make that sacrifice emotionally rending, make the answer to that mystery intellectually fulfilling. If you can make the investment worth it, they’ll enjoy your story. And if you consistently make their investment worth it, you build trust, and they’ll be willing to invest more next time, which means you can ask more of them and give them an even better payoff. Audience trust is a very precious currency and this is how you build it – be worth their time.

But how do you know what your audience does and doesn’t consider an onerous investment? And how do you know what kinds of payoff they’ll find rewarding? Easy – they self-sort. Part of your job is telling your audience what to expect from you as soon as you can, so that if it’s not for them, they’ll leave, and if it is, they’ll invest and appreciate the return. (“Oh but I want as many people reading my story as possible!” No, you don’t. If you want that, you can write paint-by-numbers common denominator mass appeal fic. What you want is the audience who will enjoy your story; everyone else is a waste of time, and is in fact, detrimental to your success, because if they don’t like your story then they’re likely to be bad marketing. You want these people to bounce off and leave before you disappoint them. Don’t try to trick them into staying around.) Your audience should know, very early on, what kind of an experience they’re in for, what the tone will be, the genre and character(s) they’re going to follow, that sort of thing. The first couple of chapters of Time to Orbit: Unknown, for example, are a micro-example of the sorts of mysteries that Aspen will be dealing with for most of the book, as well as a sample of their character voice, the way they approach problems, and enough of their background, world and behaviour for the reader to decide if this sort of story is for them. We also start the story with some mildly graphic medical stuff, enough physics for the reader to determine the ‘hardness’ of the scifi, and about the level of physical risk that Aspen will be putting themselves at for most of the book. This is all important information for a reader to have.

If you are mindful of the investment your readers are making, mindful of the value of the payoff, and honest with them about both from the start so that they can decide whether the story is for them, you can respect their investment and make sure they have a good time.

3: Thou Shalt Not Make Thy World Less Interesting

This one’s really about payoff, but it’s important enough to be its own commandment. It relates primarily to twists, reveals, worldbuilding, and killing off storylines or characters. One mistake that I see new writers make all the time is that they tank the engagement of their story by introducing a cool fun twist that seems so awesome in the moment and then… is a major letdown, because the implications make the world less interesting.

“It was all a dream” twists often fall into this trap. Contrary to popular opinion, I think these twists can be done extremely well. I’ve seen them done extremely well. The vast majority of the time, they’re very bad. They’re bad because they take an interesting world and make it boring. The same is true of poorly thought out, shocking character deaths – when you kill a character, you kill their potential, and if they’re a character worth killing in a high impact way then this is always a huge sacrifice on your part. Is it worth it? Will it make the story more interesting? Similarly, if your bad guy is going to get up and gloat ‘Aha, your quest was all planned by me, I was working in the shadows to get you to acquire the Mystery Object since I could not! You have fallen into my trap! Now give me the Mystery Object!’, is this a more interesting story than if the protagonist’s journey had actually been their own unmanipulated adventure? It makes your bad guy look clever and can be a cool twist, but does it mean that all those times your protagonist escaped the bad guy’s men by the skin of his teeth, he was being allowed to escape? Are they retroactively less interesting now?

Whether these twists work or not will depend on how you’ve constructed the rest of your story. Do they make your world more or less interesting?

If you have the audience’s trust, it’s permissible to make your world temporarily less interesting. You can kill off the cool guy with the awesome plan, or make it so that the Chosen One wasn’t actually the Chosen One, or even have the main character wake up and find out it was all a dream, and let the reader marinate in disappointment for a little while before you pick it up again and turn things around so that actually, that twist does lead to a more interesting story! But you have to pick it up again. Don’t leave them with the version that’s less interesting than the story you tanked for the twist. The general slop of interest must trend upward, and your sacrifices need to all lead into the more interesting world. Otherwise, your readers will be disappointed, and their experience will be tainted.

Whenever I’m looking at a new piece of writing advice, I view it through these three rules. Is this plot still delivering on the book’s purpose, or have I gone off the rails somewhere and just stared writing random stuff? Does making this character ‘more relateable’ help or hinder that goal? Does this argument with the protagonists’ mother tell the reader anything or lead to any useful payoff; is it respectful of their time? Will starting in medias res give the audience an accurate view of the story and help them decide whether to invest? Does this big twist that challenges all the assumptions we’ve made so far imply a world that is more or less interesting than the world previously implied?

Hopefully these can help you, too.

[ridingthatd]

○o｡ MASTER TOJI

○o｡ tojixfem!reader, nsfw, heavy smut, master toji, toji is kinky, possessive toji, old days toji, filthy toji

toji fushiguro. toji fushiguro was a known master, a master who's job was to go after wanted man-woman whether they're bad or not, his mission was to kill them brutally and get their head to whoever paid him to kill them- their head as a proof, a proof of what he's capable of doing.

toji is known for his cold and calculating personality, which makes him intimidating- he does not hesitate to use his immense strength and powerful cursed techniques to defeat his enemies.

but then there's you- you who has him in your gentle little hands, your soft hands that always try to release the knots on his back- but always fail because of how small they are, compared to his muscular board back.

toji adored you- adored everything about you, from your long crazy curls, to your plumpy thick thighs that he always love to leave his marks on. you drived him to break a line he never thought he would break, he was a jealous- possessive man with you, he wants to be the air you breath everyday, he wants to be the only reason why you smile, the only person who can see it, who can hear your sweet giggles- your hideous laugh that he would die for,

he was such a jealous man, he wants you all for himself, he doesn't want anyone to be part of why you're happy other then him- toji knows and he's aware of how mentally deranged that is but it was very much how he truly felt.

he such a possessive man, that he wouldn't let you pleasure yourself- he doesn't want the sweet honey that comes out of your cunt go to waste, he only wants you to cum on his huge cock or his tongue, squirt on his face as you stroke your wet cunt on his nose- ridding it as he licks-coat your pinkish asshole with his spit.

it even got to the point where he made you a dildo to the exact shape of his cock, so you can pleasure yourself with it while he's gone to a long mission- he would always use it to stretch your ass to, while he pounds inside of your cunt, making you pass out from being to stuffed in both of your holes by his cock.

it's been a whole two weeks since toji last saw you, and it got him into a bad temper- a really bad one- he only could receive letters from you, telling him how much you missed him and your sweet cunt needed your master.

today was the worst day so far for him- and it's like you knew that, because as soon as he made to the cabin he was staying in, he received a letter from you, and it was heavier then usual like it contains something- toji frowns confused on what would his sweet angel send him.

his cock harden poking out his kimono, eyes dark as he clenchs your red wet panties, he looked at what you wrote in the letter and he shudders, wave of pleasure hitting his body, making his thighs shake and his balls to release his seeds, cumming- cumming untouched.

~ dear master.

I know that you have been having a really hard time so I decided maybe I should send a little gift of mine, sorry for the mess on the panties, I couldn't help but squirt on them as I imagine you being here with me while I fuck my ass with the huge dildo of yours.

from your dear y/n. ~

"little fucking slut" he groans out as he grabs the wet panties to his tongue and suck-lick on your sweet cum as he free his leaking cock stroking it hard- tugging on it fast.

his cabin was filled with his pathetic moans- his mind is blank, drugged on the taste and smell of your panties- he was filthy for you, so filthy that he places your panties on top of his cock- stroking his cock with it, using your left wetness as a lube, he can't help but jerk his hips up- to lost in pleasure as he spills his hot seeds in your panties, moaning out your name.

he lays on his bed- this was the best orgasm he had in those last two weeks, he looks at your ruined panties and slowly smirk at the idea he had in mind.

you stare at tojis letter and the suprise he left you- eyes widen as you take a look at the red panties you sent him- not even red anymore it was filled with his cum, clearly showing you a sign that he very much enjoyed your gift.

~ dear y/n.

my love, I was very pleased with your little gift, I expect you to be spread wide open as I make my way to our house tomorrows afternoon, don't forget to plug your sweet ass with the dildo. enjoy my suprise.

from master toji fushiguro. ~

toji came as he promised, as he makes his way toward the door of the bedroom, hands placed inside of his kimono- while his cock was raging hard more than ready to breed his little filthy slut.

and here he finds you- on the bed spread wide open, your poor little cunt was wet and drenched with your sweet honey, twitching- clenching around nothing craving the cock of her master-

you clearly came from having his cock dildo shoved fully up your little hole as he told you. such a good girl.

"my poor little baby did you cum from having this pathetic of a dildo up your little ass?" he coo at you as he strokes your curls out of your face- your fucked out face, you had been waiting for him for awhile now.

and his cock has also been aching for you for awhile now.

₊˚ʚ ᗢ₊˚✧ end ₊˚ʚ ᗢ₊˚✧ ﾟ

[anotherlongstoryshort]

Things about the Wisdom Saga that have plagued me all damn day

Legendary

Whether intentional or not, Miguel's Telemachus really sounds like a younger version of Jorge's Odysseus. And that hurts.

"If I fight those monsters, is it you I'll find?" The layers. Could he go out and hunt for his father? Could he find his 'legendary' strength within himself? Or will Odysseus be the 'monster' he finds?

"Somebody help me, come and give me the strength" And his call is answered T_T

20 years.

Antinous fully interrupts this bop. Rude.

Ayron sounds legitimately scary and Telemachus taking a stand is so O.O

Little Wolf

I wanna fight this guy. Love that Athena agrees. (The beat of the song and sharp bursts of vocals really emulate blows.)

The quaver on "I don't know how".

Athena is immediately charmed by Telemachus' enthusiasm. She sounds so fond.

The fact she sees heart in him as an advantage when it was Odysseus choosing heart over mind that drove them apart. Guh.

Did she tell him to bite Antinous? XD

"Oh, maybe I pushed you a bit too hard." The change in her perspective is already so apparent - she wouldn't have admitted a mistake or miscalculation to Odysseus.

We'll Be Fine

"I had a friend before..." A FRIEND? FRIEND?!?!

An admission that she didn't fully appreciate what Odysseus was going through, that she feels guilty for having "missed it all".

It's unclear to begin with if she's come to Telemachus for Odysseus, or to try and replace him. Both are equally heart-breaking.

"I don't know who your friend is, I don't know what he's like" UNKNOWINGLY ECHOING HIS OWN THOUGHTS IN 'LEGENDARY'. NO IT'S FINE I'M FINE.

"The best day of my life because I got in a fight and I didn't die! :D" Telemachus, child, please.

"We'll be fine" using the same run as "this is my goodbye" T_T

Him immediately offering up friendship to Athena, like Odysseus once did, must hit her so hard. "You're a good kid." Yes he is - because he's more like his dad than he knows.

Love in Paradise

"Old friend..." FRRRRRIIIIEEEENNNNNDDDDD!!!!!

10 years.

The memory fragments sounding so fraught and chaotic together, hitting harder because they're hitting Athena all at once. She missed a lot.

"She's my wife." "Anyways..." Calypso, girl, please.

Love that they're singing completely different melodies through the first half of this song for two reasons: because Odysseus is revisiting previous motifs, once more trying to hold onto the man he was, and also because it shows Calypso is not willing to compromise on what she wants.

"Last I checked goddesses can't die." We'll come back to this later.

Then Odysseus realises he is truly trapped and he sings along to Calypso's melody in muted horror.

POLITIES OUT HERE STILL HAUNTING THE NARRATIVE.

Just the words "open arms" are enough to confront Odysseus (again) with all he's lost. All he hears are screams.

And the one he screams out for is Athena.

"He needs my help." NO KIDDING GO GET YOUR BOY.

God Games

"Father, God, King..." There's a lot to unpack in that fun family dynamic.

"To untie apprehensions that were placed on that Greek?" Zeus is like, nobody likes that guy, why do you care?

The gods being called out like X Factor finalists is everything.

So there's a great contrast against the previous song - unlike Calypso, Athena is matching each of her singing partners with their tone and beat as she convinces them. She isn't winning by 'imposing her will', she's meeting them where they are.

Rational arguments work until Aphrodite, where Athena says "please" for the first time. She softens to appeal to Aphrodite, which is why Ares has to step in.

The way she says his name XD

Ares' lines sound like as much of a fighting chant as 'Little Wolf' did, which makes it all the better that the mention of Telemachus is what gets her to 'fight back'.

"His son's my friend!" YES HE IS. And Athena of all people declaring "a broken heart can mend" is fascinating. Can't help but wonder if she's talking about herself coming around to forgiving Odysseus.

"Never once has he cheated on his wife." Handwaving the source material is worth it for this line ALONE.

Zeus is so pressed by everyone openly knowing he cheats on Hera. Stop doing it then my dude.

Ares sounding genuinely concerned for Athena is doing things to me. Goddesses can't die, huh?

Her time motif flitting in and out like a weak heartbeat.

The soft piano of 'Warrior of the Mind', touching on a whisper of 'Legendary', then rising to a triumphant crescendo as Athena regains herself. I will be forever haunted by visions of Odysseus and Telemachus helping her to her feet.

And then, finally, she faces her own father and begs. Because Odysseus and Telemachus deserve a chance to be father and child.

The parallel, by the way, of Athena entering this saga to help an outnumbered Telemachus, and now closing it with him/Odysseus unknowingly helping her win her own battle too. JORGE HOW DARE YOU T_T

[gilverrwrites]

I love imaging Dick, Tim, and Damian sneaking around trying to meet Jasons new gf because they just wanna be involved in his life and they know if they they leave it to Jay they wont meet her u til they're married with kids 😭

AND ‘omg us meeting Jason’s siblings when’

AN: Ngl I love this idea too, its so shitty of them but they have the best of intentions.

Damian

A boy no older than 14 with eyes that pierce the soul was not what you'd expected to find on Jason's couch the very first time he'd left you alone there. Jason had to dip out unexpectedly early, and had promised you run of the place until he got back so you'd slept in as long as you could and were on your way to make breakfast when you're greeted by the hell-child.

Once your initial fright wears off you realise you recognize him from a photo Jay had showed you which makes you feel slightly more at ease.

“Good morning? Damian right?” You offer as you pass him, be-lining for the coffee machine, you're gonna need caffeine if you're meeting any member of Jay's family for the first time. “Can I get you anything?”

“Alfred says it's unbecoming to sleep past 9.” Besides the initial glare he'd graced you with as you emerged from the bedroom, he doesn't even look up at you, his eyes glued to the pages of a book. Like brother like brother, you guess.

“Oh, well. Good thing Alfreds not here then.” You add a small laugh, trying to inject some humour to the situation. Damian does not respond in kind. “Is that a no? I think there's some chocolate cereal around here somewhere.”

“What do you do for work that allows you to be in my brother's home in the middle of the day?”

Jeez this kid is no-nonsense. “Or I could make pancakes, I make really good pancakes.”

“And tell me what exactly are your intentions with my baby brother?” Baby?

“I think there's some chocolate chips around here somewhere. Jason says you like chocolate. Chocolate pancakes?”

“Do you always avoid questions?”

“Are you always so intense?”

He slams the book closed and you nearly jump on the spot. He finally looks at you, really looks at you and as you stare back his features begin to soften slightly.

“I’ll have a coffee.”

You're certain from the sly look on his face that he's probably not allowed coffee. He certainly doesn't need any. But screw it, he's not your kid and if it gets him to like a little, you'll take the risk.

So you pour two coffees and join him on the couch. His questions do not cease until Jason returns about an hour later. He couldn't care less about the coffee, but he does care about Damian breaking in to interrogate his partner and immediately kicks Damian out.

Dick

Dick finds out about your existence from one of Damian’s letters, and he's subtle but pushy about meeting you. Not that you're aware. He keeps ‘dropping by’ Jason's apartment ‘just to see his lil brother’, no other reason but is told to get lost or downright ignored anytime you're there, until he decides to cut out the middle man and turn up at your home instead.

“Let me tell you, you are a hard person to get a hold of.” He informs as he invites himself through your front door.

“Um, hello Dick?” As you stare at his lush hair and sculpted abs you wonder what Alfred feeds these boys.

“Yep! I can't stay so I’ve gotta make this quick.” he gestures for you to come closer, speaking in a playful, conspiratorial whisper. “Jay doesn't know I'm here.”

That would be why he can't stay, Jason is due at your door any minute now.

“But you two seem to be getting pretty serious and I think it's important that we all get to know each other. You following?”

You nod, and he gives you the perkiest, most genuine smile. That or he has that exact look practised to a T. From what Jay tells you, either is possible.

“So, Barbara and I, that's my wife” You nod once more, you're aware of Barbara also. “have booked a table at Casa Gotica for Thursday night. We need you to get Jason there without letting on that it's a double date.”

“I don’t know.” you finally give your nodding head a break. “Jay and I don’t lie to each other.”

“Right. I can't begrudge that. Very glad to hear he's picked an honest one.” He takes a moment to straighten his thoughts, but his moment is cut short but the echo of Jason’s combat boots approaching your door. Dick’s eyes rapidly scan the room for a secondary exit before he settles on an open window. “Don't think of it as lying, think of it as omitting the truth. Whatever you have to do just be there for 6.30. Oh, and it's great to meet you!”

“You too.”

“Thursday, 6.30!”

Before you can agree he’s gone, presumably scaling the side of your building as Jay steps inside.

Tim

Tim was actually the first to be aware of you and your relationship with his brother, however, the very real possibility of being gutted by Jason for snooping in his personal life was too high for him to make a move.

But you seeking him out is a different story; or rather, you being the first to say hi when you bump into each other in line at the grocery store is different. It would be rude not to respond to your attempts at initiating a conversation.

“Hello, hi, are you Tim? You don't know me but I’m Jasons partner. Its so great to meet you.”

“I know who you are.” He states rather ominously, eyes darting around behind you. “Is he here?”

“No, but he's picking me up after.” His shoulders visibly ease.

“Cool cool cool.” He’s suddenly much more personable. “So, I hear you're into…”

That chatting doesn't dry or lul at all as the queue dwindles and both buy your groceries. He waits with you until you get confirmation from Jay that he's on his way. He's easily the chillest sibling you've met thus far.

When Jason arrives he gets out of the car to open the boot and passenger door for you as always, but not before he thrusts his phone in your face. “Where is he?”

Displayed on the screen is a selfie of Tim with you in the background, you absolutely do not remember it being taken.