#why am I the only one going insane over this

[rockybloo]

I feel like bitchin so I'mma bitch bc I always see people going on rants on their Tumblrs and I'm long overdue for one. Anyways, this is a long one so be aware you are gonna be scrolling for a good bit if you view under the cut.

ANYWAYS, I know that that rude anon from last week is old news but their whole "I'm sad that Glitter and Guilt is a m/f relationship" thing is just a part of a never ending situation I am going to experience til the end of time (or til I stop posting stuff online) just because I focus on primarily m/f relationships in my art.

And they aren't even straight m/f relationships, which is what annoys me the most about comments like this. They're all bisexual. But because people see bisexual characters as better than straight but less than same-sex attracted orientation, I will always have to deal with these passive aggressive ass comments.

I dealt with this typa stuff SO OFTEN in my early days on Instagram, especially when I posted some of my gender nonconforming OCs like Danny (my pink demon man who dresses like a bimbo Barbie doll). It got to the point I stopped sharing him over there for a bit because I would get comments where people were hoping he had a boyfriend in the past, or they were disappointed I "never" drew any Sapphic couples because they mistook Danny as a woman in a pic where he was kissing Karrie.

And I get the whole desire to want more representation. Trust me, I'm bi, black, and nonbinary. I am NEVER going to get any type of representation outside of the indie artists I find in small niche circles online. I completely get the whole "m/f relationships are EVERYWHERE in mainstream media" mentality because I also agree but only to a point.

There's a ton of trashy m/f media, but there's also good shit when you dig because you can find people who don't just shove a guy and girl together and call that a done deal - they actually give them personality and chemistry and a fun dynamic.

I'm a firm believer that the gender of a ship shouldn't dictate if it's good or not. An interesting dynamic is what motivates me to care about a couple of characters dating. That's why it bugs me whenever someone suggests any kind of series to me and simply tells me "It's gay" before telling me the actual plotline. I WANT TO KNOW WHAT A SERIES IS ABOUT! DO NOT WASTE MY TIME!!! (Please do not pop into my inbox after reading this and suggest me stuff btw because I've never been a big suggestions unprompted person - I typically find stuff myself bc I have weird tastes ANYWAYS BACK TO MY RANTING)

When it comes to my art, I draw m/f relationships as a primary focus because it's fun to mess with gender dynamics and flip them on their head, as well as to give younger me the food I wish I had. Growing up, before I realized I was nonbinary, I rarely saw any black girls in loving relationships in animated series I enjoyed. And occasionally I would get flash banged with the long despised trope of "Disposable Black Girlfriend". So I never felt like m/f relationships were oversaturated in my eyes because there were barely any good ones that featured a black girl with a happy ending - which means from DAY MOTHERFUCKIN ONE I was starving for content.

So that obviously means that when I grew up and adopted my "Make your own food" mentality, I started cooking. AND COOK I STILL DO! Because in the end, I make all this food to please myself. OTHERS MAY EAT OF COURSE - I am always happy when people come to my restaurant to dine because they enjoy my meals, but I hate how every blue moon I will get someone who waltzes into my little eatery and tells me that they wish I cooked the meal they get from other restaurants.

Because it would be so much more productive to just go eat AT those restaurants since they already got the food you like.

Having people comment their displeasure about me drawing a guy and a girl together in a healthy (and occasionally insane) relationship is always baffling to me. It's never going to make me stop, it'll only make me draw more Red Beans or more Licorice. It's also so baffling because I know that if the tables where flipped - and I was drawing primarily same-sex bisexual couples (OR JUST SOME GAY OR LESBIAN COUPLES IN GENERAL BECAUSE SOME PEOPLE JUST DON'T CARE ABOUT BI FOLKS AT ALL), it would be so fuckin' frowned upon to comment "I wish you drew more m/f! 🥺"

But because I draw m/f bi couples, it's totally free game. IT'S DEF STILL FROWNED UPON but one is way more likely to make you look like an asshole than the other. Because even in cases where people have said they agree it's a dick move to complain about m/f from me, there's still that vibe of it being more acceptable just because of mainstream media having so many m/f couples and that being the standard of offline society.

But I'm not mainstream media. And I disagree with a lot of standards of offline society which is WHY I poke fun at gender norms with my OCs.

That's why getting a ton of new followers is such a "oh boy here we go" thing for me, because with old followers that have been around for awhile, they know what's up. They understand what I draw, what I write, and how my OCs typically behave. They get that my m/f ships have rabies.

But new followers don't know this. And this has led to some real big "OOF" moments. Like people calling Jack and Nana a "het" couple. Yes, I know that that's a term that doesn't JUST mean "heterosexual" and can refer to them being different genders. It still feels hella weird for me - it's why m/f is my preferred descriptor because it lacks that confusion.

New followers are typically the ones that leave the passive aggressive comments about me mostly drawing m/f. OFTEN because they think I am one of those artists who will draw whatever it takes to please my audience. BUT I AM NOT - THERE IS NO AUDIENCE INFLUENCE HERE ☝🏾

I am not a taxi where I pick people up whenever they call me and I drop them off wherever they tell me.

I am a roller-coaster. Specifically those ones where you can see the entire track layout in the distance so you know what you're in for. You may sit in the front or the back or somewhere in the middle but that is the last input you got before I take off at my own speed (that will be stated RIGHT on the warning sign you read as you walked in) and once I am done, you may get off and carry along your merry way through the rest of the park OR you may get on to ride again.

This entire passive aggression towards m/f ships is just so tiring to deal with because there will never be an end to it. Even after I post this, I know days, weeks, months, YEARS down the line - someone will see some Jack and Nana art, or some Bitterbat and Sweetheart comic, or ANY of my other m/f couples, and type up some comment about how they wish the couples were same-sex. Or someone will lament over the fact they thought a couple was same-sex but it turned out the dude was just hella feminine.

Because it just ain't enough to have bisexual characters that are dating the same sex because then people will call them "straight passing" and not count them as being queer. And having all my OCs being bisexuals ain't enough to mark me as a queer artists in some eyes because "making all your OCs bi is just lazy" and not me representing an aspect of myself that I constantly see sidelined online.

Me drawing bisexual m/f couples is viewed as something that can be tinkered and tampered with so I can be more appealing and inclusive to others like I'm some mainstream Hollywood series and not just some random person online who draw the fictional beings in my mind kissing each other whenever I got the crumb of free time. Primarily drawing m/f couples means I gotta just vibe whenever I see a moot or a friend post or reblog some weird sentiment referring to how lame m/f couples are and I just gotta HOPE that they aren't including bisexuals when they engage with stuff like that.

I'm in this weird space where I am wedged between "You're not a straight artist" and "You aren't drawing enough gay stuff" online.

And I'm fine with this since I've been online for over a decade at this point. This isn't a vent post, this is a rant. I don't need cheering up or comfort after posting this. This is just some real talk because I typically post lighthearted stuff since I like to keep my blogs positive.

But I also like to keep my shit honest and I think it's important to just state a piece of my mind. I wouldn't say I'm being vulnerable, this is just some insight to why I draw what I do and why I get so annoyed by certain interactions with people and certain sentiments online that are antagonistic of m/f ships that put them all down without hearing them out.

Blah blah blah I'm tired of typing and I've said most of the main points I've needed uuuummm

If you read this long have some m/f fluff

[widebrimmedhatsblog]

ONYX STORM SPOILERS (for your readers)

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If you feel like it, will you expand on how you think they are still involved romantically in the end of onyx storm? Like I get that they are married but that seems to more to secure Violet’s future without him. It doesn’t seem to be because he has any hopes of any kind of future for the two of them together. Romantically or otherwise. He doesn’t want her to look for him. Aren’t they as broken up as they can be at this point? I’d love to hear your thoughts (and love another/different perspective because these thoughts I’m currently having are honestly making me feel ill).

Also thank you for your contributions to the fandom!! Honestly I think fanfic is the only thing that’s gonna get me through this. Hope we get an upsurge of riorgail fluff from everyone 🙏🏼

I have never felt like doing anything more, anon!!! I get what you're saying, and I think that's the way Rebecca/Red Tower WANT us to see it, because they want us to be anxious about where it's going so that we buy the next book. However, I refuse to subscribe to that! Here's why:

(I wrote an actual essay, so it's below the cut:)

"Together romantically" My answer to the other ask was me visiting the Xaden Liarson school of verbal gymnastics so that I didn't spoil the ending for that anon. However, judging by Xaden's behavior throughout ALL of Onyx Storm (and frankly, books 1 and 2 as well) he wouldn't marry her just to dip overall. Like, even not being meta here, he wouldn't do that. He's selfish when it comes to her, for one thing, and he says this repeatedly. For another, he CLEARLY wants to marry her just to marry her. I don't want to get sucked in to another re-read (and someone else asked for my thoughts on the ending in general, so I'll reply to that ask once I'm done with my second re-read in the next few days with more page numbers and quotes and things) but in the scene with his mother, Xaden's reaction seems to illustrate that marriage is NOT a tool for him like it was for his father. He wants to marry Violet because he loves her. Now, obviously the shotgun (crossbow?) wedding was ALSO a move to protect her and solidify her place without him as you said, but with how he talked about marriage throughout the book, and how he talked about HER, he's not marrying her just to dip. He's just not! It means something to him, as she does, and he's not going to forsake that.

Violet Violet isn't letting him marry her just to dip either. Her thoughts throughout the entire book are that she isn't scared of him and she isn't running, and she isn't letting him run from her, either. The way the scene is set up with Sgaeyl, we see:

(Sgaeyl) glances over her shoulder. "And you think she'll help?" "She loves me." "Tairn does not, and you haven't looked in the mirror yet. The red veins branching from your eyes look like her lightning." "She'll help." It comes out with a hell of a lot more certainty than I feel. "She promised."

I am slightly worried about pronoun fuckery in this bit, but we know Violet loves him more than anything, and this portion of Xaden's chapter makes it clear Violet has to agree to whatever the plan is (murdering dragons, stealing eggs, etc) and that Tairn does as well. I think Tairn would actually support them breaking up, to a certain degree, and whatever the plan is, Sgaeyl does NOT think Tairn will be down.

And then, for more confirmation:

"We will ask," Sgaeyl finally says, flexing her claws in the rocky soil "And her decision will determine our fate."

They need Violet on board for whatever they're doing. Violet isn't going to be on board with him dumping her post wedding. I know some of these lines can point in other directions, but I don't think they do, for the reasons I'll go on to spell out below!

3. Memories I know some people were confused about what, precisely, Imogen made Violet forget, and it seems like she's missing 12 hours (which, insane signet growth, Im). I could not get over Violet forgetting her wedding. Hours after I finished the book, I was like, oh my God. She can't remember her wedding, and I burst into tears. Repeatedly. At length. Which is insane, because these books NEVER make me cry. All this to say, (again, given Xaden's tone specifically surrounding marriage) they aren't going to take having her forget their wedding lightly. They just aren't. She has to forget everything in those twelve hours, because she helps Xaden concoct/finalize whatever the hell he's planning on doing (I'll probably share what I think he's planning on doing in my response to the ask I mentioned above, but the gist of it for now is that mans is going on a quest of his own), but Violet ASKS Imogen to make her forget. In the marriage aspect, Xaden's protecting Violet, but in forgetting, Violet's protecting Xaden. This is why I say romantically together as well. I think the love is more important than anything else. I think the point of this book was to make it clear they'd both do absolutely anything for the other, and the ending is a culmination of that. I know some people suggested that they have her forget so that she can't be interrogated and used against him, and I think that's definitely true (although I think making her duchess also protects her from this, but Violet has always doubted her own ability to lie). Personally, my gut instinct interpretation was that deal she made with Ridoc that she'd let Ridoc kill him if Xaden took being venin too far (which, side note, do we all just forget about them being interconnected when it suits us??? He can't die because then Violet will die. We've been over this. I digress). Clearly everyone seems to think his little "display" at the end of the book is "too far." I don't know if he killed anyone important in that scene (again, I actually thought Bodhi dies? At first? And THAT was why she had to marry Xaden to secure the duchy while he was gone? but Red Tower seems to be very in tune to fandom priorities, and with how many people love Bodhi, killing him off page would certainly be a choice) but he's still at least an Asim, if not a Sage (given the veins, I'm 99% sure he's a Sage, but again, we don't get anything concrete in that ending. side eye, Red Tower. side eye.) and therefore everyone thinks he betrayed them, and he needs to get out of there before everyone else kills him! By forgetting, Violet is saving his life. That's romantically together to me.

4. Quest! Xaden doesn't leave Violet to pull an Edward and frolic around Europe for a few months or whatever it is. He has a plan. This what he shows Sgaeyl, I believe, and what Vi and Tairn have to agree on. It involves stealing the dragon eggs, killing the elders and/or the other dragons (save me third re-read of this damn scene, save me) and getting the hell out. @maethologies told me privately that the very act of going on the Quest means Xaden has hope for a "cure", just like Violet said he still had hope if he was trying to get Brennan to mend him. I think this is the Second Krovlan Uprising tie in: trade the dragon eggs (side note: why are there 7? did Andarna steal an egg and bring it back ????) and get allies against the venin (and eventually Navarre) (and perhaps do other cure-related tasks, idk). I also personally think Xaden's going to find more answers for Violet about her connection with Dunne. A huge theme of this book was that (explicitly) Xaden and Andarna don't know who they are, but Violet doesn't really know either. She spends book 3 helping them, and in book 4, I think they help her. Basically, he returns to the isles for quest part 2! Also, I think bringing 3 riders with him is a clear sign he's not just dipping. I'm hoping my second re-read helps me finalize who the hell he brought with him besides Garrick, but if they go to the isles like I'm thinking, my moneys on Dain or Aaric for the language translation (both of whom love Violet). I have a variety of other quest nonsense to share in the other ask, but the gist of it is that he is moving with a purpose! And his purpose is Violet! Because he's in love with her!

5. Meta This is where I get a LITTLE messy. I don't know if everyone reading this saw my 2024 reading wrap up, but I have read the vast majority of RY's catalog, and I consider myself to be very familiar with the themes she likes to write, and the situations she likes to return to, over and over again. A HUGE focus for her is the war in Afghanistan. She's been obsessed with that for ten years, which makes complete sense given who she is and her lived experiences. If you happen to not be super familiar with Rebecca as a person, her husband was in the military for a very long time, and her primary sub-genre is military romance. I don't know if this carries over internationally, but in the United States, marrying your partner early on in your military career is incredibly common, because it protects them in the event of your death and while you're deployed. I was really upset about him marrying her and then immediately leaving at first, but when I thought about it, it makes complete sense for who Rebecca is and what she's gone through. I'm not trying to accuse her of self inserting or anything like that, but she clearly likes to write situations that are important to her (as do I! As do we all!) and so it makes sense to me that she'd call upon something like this for X and V. It does NOT make sense to me that she'd call upon something she went through with her husband she's still married to and then make it a break up. Will it cause tension? Obviously! But to quote Mr. Riorson himself, they're past the break up stage. (Rebecca does some silly things with foreshadowing in her books, and sometimes she says things like this to prove them wrong, and other times, she says things like this prove them right. I really think this is a "prove them right" scenario, but I'm basing that off vibes, frankly, and my knowledge of her body of work. My Rebeccca-dar, if you will.)

6. Xaden Liarson I see your point about the note, and maybe I'm deranged, but I do actually just think he's lying. I don't think he's stupid enough to think she won't come looking for him at this point. He knows her too well for that. I think the "don't come looking for me" or whatever it is is a cover up for everyone else who thinks he betrayed Tyrrendor. Also, it slows her down! I am certain she'll look for him eventually (peep her broken compass from the god of luck, anyone?), but the note + the memory wiping make it so she can't immediately go looking for him. I think that's the point of it, not that she never looks for him again.

To conclude this literal essay, I think they're still together romantically because of Riorgail's most up-to-date characterization on their own and dynamic together, as well as who Rebecca is as a writer. I actually could probably write another essay on this, and I probably will in the other ask, but if there's anything else, let me know!! I need to bleed this book out of me so I can be normal again. But even if they are "broken up", it doesn't matter long term. The five book series WILL end with them together. That's how romantasy works. Xaden isn't dying. Violet isn't dying. Everyone else is fair game, but those two are fine, LOL.

Also, you are SO welcome for fic, always. I am not a fluff girly, unfortunately. I don't really write it in general, but we'll see if I get possessed. I do have a girl dad Xaden fic in the works (in which I have to re-work their wedding....) and I have some new smut ideas I want to write sometime soon! I think that will scratch the itch for me, anyway! As I've mentioned throughout this post, my hangover cure of choice has been to dive right back into Onyx Storm again, and I honestly think that was the best idea for me. I didn't do that after Iron Flame because I thought it was somehow "bad" to do so, and then I just longed for these characters for months. But, you do you! I wanted to make a masterpost of my hangover cure recs, but we'll see if I ever get to it. If you've read this far I am personally giving you a virtual gold star.

[thecreelhouse]

stuck

Paring: Steve Harrington x Fem!reader

Summary: Yes, it’s exactly what you think it is. MDNI

WC: 4.6k+

Includes: no plot all filth, unrealistic “stuck” porn trope, friends to horny idiots, dirty talk, pet names/name calling, unprotected PiV sex, oral (f receiving), briefest mention of monsterfucking, brief anal play, a smidge of humiliation kink with a healthy side of a praise kink, d/s dynamic, etc.

A/N: Literally got this idea from a certain filthy piece of DBD fanart that I can’t find, but if you know the one I’m talking about, please lmk so I can properly credit for the inspo!! Is this ridiculous? Yes. Was this originally for Halloween? Also yes. We hate rules here (and deadlines). Hope y’all enjoy it <3 (dividers from @/saradika-graphics)

Everyone told Steve he was insane to venture back into the Upside Down, but he couldn’t leave you there alone. 

He felt sick for even leaving you behind at all. Quite honestly, no one felt good about evacuating without you, but it was smarter to go home, gear up, grab another working walkie, before wandering back into hell to find you.

See, among the chaos of trying to help Eddie, trying to keep Max alive, he worried about you and your unusual absence from the group, but you were strong enough to handle nearly anything— that much, he was confident on. You had fought side by side with him over the years, protecting everyone in the group, and one another; through demodogs, a shit summer job gone awry, and anything in between, you could hold your own with a bravery he wished he didn’t need to front at times.

That didn’t quell his anxiety one bit, though. When and where you had disappeared to, he wasn’t sure.

It wasn’t until your voice broke through over the airwaves, when Steve, Eddie, Nancy, and Robin were on the lake, that he felt relief you were at least alive. Your voice was tinny through the static.

“Guys?”

The only reason a signal existed at all was because the group floated just above the gate at the bottom of the lake— they just didn’t know it yet.

Steve had just thrown his sweater off, ready to dive in, when the sound of your voice made his eyes widen. 

“Holy shit, give me the—“ He rocked the tiny boat a little too much for anyone’s comfort as he fell to his knees, grabbing the walkie from the floor. “Where the fuck are you?!”

“Hi to you too, Harrington.”

Robin yanked the device from Steve’s grip, “Are you okay? What’s going on?”

“Long fuckin’ story, but—“ Your voice cut out, static filling the dead air for a few seconds. “And that’s—“ Cut off again. “Upside Down, but I- I don’t know where I am, exactly. Why didn’t any of y’all tell me how bad this place sucks?”

Steve laughed to himself, unaware his eyes became glassy, hearing the familiar attitude and sailor’s mouth you carried; the other three noticed just how relieved and emotional he was right away. He grabbed the walkie back from Robin with shaky hands.

“We’re gonna come find you, we think we found a gate,” He rushed out. “Are you safe at least?”

“For now, but these—“ Signal cutting out, Steve hit the walkie a few times, as if that’d fix the disconnect between literal dimensions. “— Th- they’re everywhere. I don’t know where to hi— oh, shit—“ Your end fell dead again, leaving the four on edge, waiting for you to speak. White noise droned on for less than a minute; you weren’t coming back. 

Wasting not a second longer, Steve dove into the dark, chilled waters of the lake. He found the gate they suspected of, and broke the surface to alert his friends. As he relayed the information, rushed and panicked, wanting to find you as soon as possible, something tugged on his leg. Only startling the group at first, Steve was caught off guard, pulled under, back down to the bottom. He kicked, struggled, lungs burning as he fought off the urge to gasp for a breath he couldn’t dare to take.

It was all a blur, being dragged through the gate and tossed around like a rag doll; the bats diving towards him, finding an oar to defend himself with among the Upside Down’s mirrored decay of the lake, only to be bombarded by the gnarly creatures. They tore at his flesh as he was being strangled to death; brain growing fuzzy as he put up a good fight, he began to accept this fate. He wasn’t sure when his friends came through the gate, but one by one they retaliated against the bats, leaving just the one still strangling Steve.

“Get fucked!”

Unexpectedly, you appeared, slamming an ax— one you always left in your trunk, just in case— down onto one of its wings, chopping through completely, yet it still tried to flee as Steve bit down on its tail. Stunned, you all watched as Steve swung it around, slamming it down into the ground before violently ripping its spine out, fueled by pure rage.

Blood dripped from his mouth while he glanced up at you, rage and fear fading as relief flooded every inch of his heart. Despite your ragged appearance— covered in grime, soot, and blood— he was just happy to see you alive; a sight for sore eyes.

“I fuckin’ hate those things.” You wanted to run and hug him, but restrained yourself at the sight of his wounds. Taking in the sight of all four friends, you sighed, “Y’all okay?”

Another screech in the sky tore everyone’s attention away, “C’mon!” Where everyone ran off to the rocks, you made the mistake of running off in the opposite direction. The group of bats split off, heading towards both you and the others; when you looked over your shoulder, you watched Steve do the same, panic fueling you both to run for your lives.

You sprinted off towards the woods, hoping you’d find each other again soon, and alive.

Steve climbed back through the gate in Eddie’s trailer, and had searched for what felt like hours; he was losing hope of finding you by the minute. He knows you; you wouldn’t give up without a fight. You had to be alive, but dread was still building within him.

At least he caught a signal over the walkies.

“What do you mean you’re stuck?”

Your voice warbles through the speaker of Steve’s walkie, barely coherent through the sharp static. 

“Okay, okay, where are you?”

“The— g—“ Feedback rips through your words, shrill and sharp. “I’m tr—“

“You’re cutting out—“

“Gate! I’m—“ A drone of white noise floods the speaker, and you’re gone.

“Shit. Fuck. God-fucking-dammit!” He hits the device with his free hand, slams the buttons and messes with the knobs and antenna— if only he actually paid attention when Dustin tried showing him how to work this fucking thing.

He did hear you say ‘gate’ at least, but which one? You clearly weren’t at the one he just entered, and the one at the lake had closed up by now. 

This would be like searching for a needle in a haystack.

Steve’s exhausted, searching high and low for you, at every possible spot that crosses his mind. It had to have been another hour since he last heard from you, and he’s running out of ideas of where you could be.

“Checked around town,” He begins murmuring to himself, listing and eliminating options out loud. “No luck there… but— shit, didn’t check the library…” Could a gate even open in there? Anywhere was possible, right? And if that was the case, he’d have to tear through every room of every building, circle each structure, check any cars, houses, sheds, backyards, parks, the woods—

Christ, at this rate, he’ll never find you—

“Oof!” Steve loses his footing, tumbling over something in the stretch of woods he was combing through. Colliding with the ground, he groans on impact.

“What the fuck?”

Steve rolls over quickly, sitting up to find he had tripped over you.

“Oh, thank fuck.” He scrambles to his feet, brushing debris off his body as he finally glances your way.

When you said you were stuck, Steve didn’t picture the sight before him now; you, halfway through a gate found in a tree trunk, unable to move because it began to close up around your waist. Your upper half is on the other side, but your bottom half is still stuck in the Upside Down.

“Oh…. You’re… wow, okay.” He snickers, “Yeah. You’re stuck, alright.”

Steve’s muffled cackling echoes through the slimy gate. You huff and roll your eyes; not like he can see.

“Just help me out of here, would ya’?!”

“Okay, okay… Jesus.” He drops to his knees, still towering over you— well, your back half, at least. “Does it hurt?”

“No, it’s just fucking annoying. Maybe try, I dunno, pulling at the edges of it, or something?”

“I don’t think that’s how these things work—“

“Steve!”

“Okay, right, yeah, sorry.” He bites his bottom lip, stifling more laughter. It’s certainly an… awkward position, leaning over you from behind, but it’s the only way he can pull at the edges with both hands at once. He gives the gate’s edge a tug, but it’s stone solid. He tries again, this time with a grunt that has your mind wandering elsewhere. “Yeah, this is, uh… that’s not gonna work.”

“Oh my god, I’m stuck here forever,” You groan, kicking your feet. “I’m gonna die here.”

“Calm down, drama queen. Gimme a second, I’ll try again.” Steve keeps himself balanced on one knee, while the other leg plants a steady foot into the ground. Again, he attempts to pry open the gate, hoping to free you; his foot slips, causing him to rub against your backside.

Okay, ‘rub’ is a generous term— more like roughly falling against your ass, then whining over the pressure on his bulge.

“Steve, what the fuck?” You crane your neck, only able to see where the tree bark opens up into the gate, snug around your waist. “Did you just—“

“I didn’t mean to, I swear! M- my foot slipped!”

“Oh, bullshit.”

“Look, it’s not exactly the easiest to move around you without touching you right now,” He argues. “You really think I’m trying to make a move on you in a situation like this?!”

“Well, I can’t see shit, Harrington. I don’t know what the hell’s going on back there.”

Ignoring you, Steve murmurs, more to himself but loud enough for you to still hear, “The hell are you wearing these tiny shorts for, anyway?” He tugs at the hem around your thigh, elastic snapping back against your skin. You bite back whatever pathetic noise threatens to escape your lips.

“It was warm out earlier!”

“It’s March—“

“And unreasonably warm for March, y- you jerk.”

“That why you’re shivering?”

“Considering the sun set, uh, yeah?”

You grumble, annoyed how wet this easily has made you. You need out, and Steve needs out, too, and the two of you need to just forget about all of this.

“Okay, just—“ You can’t think straight, mind clouded with dirty thoughts— how embarrassing. “Push me through.”

“You… want me to push you… how?”

“With your hands, St—“

“I know with my h— I meant, like, where?”

You can’t see the way he licks his lips, staring at your ass, but you sure can hear the strangled moan he miserably tries to hide in his throat. 

“Wherever works— I don’t know, I’ve never been stuck between dimensions before!”

He shudders a breath before calling through the gate, “I’m gonna— if I touch anything I shouldn’t, I swear to god I’m not trying to—“

“Okay, yeah, I get it, Steve— just push me out of here!”

“Christ, you’re fucking bossy…”

His hands grip the plush of your hips, first, hoping he can grip hard enough and push this way— it’s useless; his hands lose grip, sliding up your body. His knuckles run into the tree, and he’s grateful for that barrier; who knows how far his hands could’ve slipped. He yelps and recoils away. “Sorry!”

“Dude, I don’t care, just do whatever works.” You sound exhausted, and who wouldn’t be in a situation like this? You had to have been here at least an hour, and even if it doesn’t hurt, it can’t be very comfortable. 

Steve shakes his nerves off, hands reaching for the back of your thighs; his fingers splay apart, pushing as hard as he can, and you finally begin to budge. It’s not much, but it’s a start.

Until you cry out for him to stop. “Shit, that fuckin’ hurts— It’s— ow, fuck! My hips—”

He immediately backs off, hands releasing pressure, but still resting gently on your thighs. It’s automatic, the way his thumbs rub slow circles into your exposed skin to try comforting you; the shorts you’re wearing are not helping either of you. It was warm out earlier, like you said, but did you have to wear these now?

Goosebumps prickle up under his fingers, and it’s hard to miss the way you clench your thighs together. 

“You, uh…” Steve gulps, fingers gently kneading at the meat of your thighs. “You okay over there?”

“Uh-huh,” Your answer isn’t very convincing, with a trembling voice. “Everything okay back there? W- with you, I mean.”

“Sure, yeah, it’s… I’m good.” He feels like such a pervert, fantasizing about taking you right here, like this. It’s wrong when you’re trapped like this. “Honey, I- I don’t know what else to do.”

The pet name twists at a coil deep within you, building up a pressure of some kind. 

“This is gonna sound fucked up, but just— push my ass— Steve, that better not be you laughing!”

He can’t hold back his immature giggling, but he’d rather this than moan.

“You sure? I don’t want you to get mad or anything.” He tries to settle down, focus on getting you unstuck. “Tell me to stop if it hurts again, alright?”

You imagine hearing those words of sweet consent in a different circumstance, biting back a whimper. “Ye- yeah, I will.”

Steve slides his hands up to the curve of your ass, unable to restrain himself before digging his fingers into your soft, plushy body. “Gonna count down, sweetheart, okay?”

This time a whimper does beat you to the punch before you can actually reply. He squeezes a little harder.

“Three… two… one—“ Steve shoves his hands against you, pushing as hard as he can. Again, your hips shove up against the tree trunk, and you cry out from the pinch. He pulls you back an inch, wincing with guilt. “M’sorry, I—“

“Again,” You boldly call back to him.

“… You sure?”

“Just do it, please,” His hands are so warm, touch so soft; you wish the fabric of your shorts would just disappear. There’s an extra whine to your voice, “Don’t hold back, I can take it.”

“Oh, fuck…” He mumbles, sucking in a sharp breath. “Go— I’m gonna try again, ready?” He hears a faint noise of consent, shoving himself into you; this time, his hips rut into you, too. You still can’t get through the gate, but you’re not sure that’s either of your concern at this moment. His bulge, rock-hard now, brushes up against your ass, and you both moan out. This is bad.

The way you push back against him isn’t helping much, either.

Both of you still, falling silent while trying to steady your breaths. Are you really about to do this here? Now?

Steve makes the decision for you both, muttering, “I can’t fuckin’ take it anymore.” He’s purposefully grinding against you, head lolling back with a groan as you push into him in return. From either end, both of you are shuddering out sinful noises. “Always wanted to kiss you first, but—“

“As soon as you rescue me, y’can kiss me all ya’ want.”

“Shit, princess, never took you for the damsel in distress type.” He tugs your shorts down, choking on air when he discovers you’re completely nude underneath. “Jesus, did you think at all about your outfit today?”

“Uh, considering I don’t have a bra on… no.”

“You don’t have a—“ Steve comically pouts that part of you is through the other side of the gate; he’s grateful you can’t see the pathetic expression. “What, did you just roll outta bed and stroll down here?”

“Steve, the longer we talk about the logistics of my outfit, the dryer I’m becoming.”

“Good thing I can help with that.”

“Okay, that was goofy to s— oh…” His thumbs spread your folds apart; despite your failed quip, you’re soaked as sin. 

“So fuckin’ pretty…” He leans down, kissing the swell of your ass, trailing his lips down your backside until he’s level with your heat. There’s no warning, just his tongue gliding along your folds, lapping up your arousal. A feral sounding groan vibrates through your core as he loses himself tasting you. It’s not rushed— not on purpose, at least— but any restraint is long gone now.

“Oh m’god,” You shudder while his tongue swirls around your clit, sucking it softly. His arms wrap around your thighs from behind, hooking you in place. You twitch back, like you’re desperate to grind on his face, but worried to freak him out.

Steve’s far from freaked out; in fact, he’s delving his tongue deeper, nearly incoherent when he mirrors your earlier words, “Don’t hold back. I can take it.”

That’s all the permission you need, rolling your body back as far as the gate allows, trembling as he sloppily makes out with your cunt. If only you could see the glistening mess on his pretty features. “Steve…”

He angles his nose against your clit just right, making you squeal into the empty forest around you. His tongue laps away, eventually tapering to fuck into you with it.

“Fuck, more, ple- please,” You pant, grateful Steve’s holding you upright, or you’d go limp against the tree. “Please— god!”

He slides a finger into you, curling it just right as he kisses and sucks back to your clit. He’s rougher this time when he suckles on the sensitive bud, rolling your eyes back and tensing your body up. You chant his name in whimpers, like a desperate prayer, only urging him to finger fuck you harder.

“Jesus, sweetheart, you’re gripping me so hard.” He groans into you, adding another finger. “Taste so good, I could be here all night—“

An orgasm startles you, going 0 to 100 without warning; lewd noises floating back through the gate toward Steve only challenge him to keep going.

“S- Steve, ha- hang on—“

“You want me to stop?” He slows his pace, but you ram yourself back into his hand and lips.

“No! Please, god, no—“

“Then what is it?” His tongue flits out, teasing around your sensitive nub.

“M- move your fingers up, back where you had it— ohhhmyfuckinggod—“

“C’mon, come for me, y’can do it again,” he coaxes, spitting onto your folds while relentlessly ruining you with his thick, long fingers. Your legs tremble wildly. “I can tell you’re close, angel. Make a mess, come for me again—“

This time, you cry out, praying whatever woods you found yourself in was deep enough, away from the public. Your hips twitch and convulse, while you flutter around his digits, soaking his face while he continues to delve deeper, as if that’s even possible.

The pumping pace of his fingers never relents, despite how overstimulated you feel already.

“St- Steve…”

“Got one more in ya’?” You feel his hot breath fanning over your folds again. It’s not long before he’s flicking his tongue back out, teasing your clit while adding another finger. “Christ… yeah… yeah, angel, that’s it…” He laps at the nectar dribbling from your centre, grunting as his free hand pulls you by your thigh, guiding you to bounce against his face. The fingers buried in you curl just right, earning a broken, breathy noise from the other side; he hits the right spot, and under a minute in, you’re gushing against his pretty face.

You can hear how drenched he is when he speaks, licking his lips between his words, “That was… oh, fuck, that… that was so… can we do that every day?”

Winded, you manage to laugh weakly, “If you can figure out how to get me un-stuck, I’ll let you do that as much as you fuckin’ want.”

You’d kill to see his face right now, dripping with your release, but until then you’ll just need to use your imagination.

“…. Can we—“

“Please.”

The head of his cock slides along your folds, teasing as it runs over your sensitive clit. You jolt back, and he grips you by the hip, holding you in place with one hand.

“Be patient for me, angel. I don’t wanna hurt you,” he slides in, taking his time, paying attention to your gasps. “You okay?”

“Uh-huh, ju- just go slow.”

Like earlier, when Steve tried pushing you through the gate, he soothes you with his touch, thumbs rubbing soft circles against your skin. He sinks a bit further, feeling you clench around him with anticipation. “Angel, gotta relax to let me in…”

“I- I know, m’trying, you’re just— you’re so… so…”

“Shhh, it’s okay, I have you. You’re okay…” He slides deeper, hips almost flush against your backside. “Just relax… that’s it, that’s my girl.”

The praise elicits a pornographic moan out of you, only triggering his cock to twitch against your walls.

“God, wish I could see your face right now,” his mumbling fades into a gravelly groan, sinking deep into you. 

“Y’can if you fuck me when we’re outta here,” you strain out, taking him to the hilt. His cock twitches again, making you both shudder.

“I dunno, what if we can’t get you out, sweetheart?” The tides turn with his tone. He pulls out slowly, teasing your clit with the head of his cock. You twitch and clench around nothing, making him smirk. “What if you’re stuck here forever?” Slamming back into you, your walls clamp down on him, tighter than before. “Oh, what, you like that idea?”

“Steve…”

“You wanna be left here? Where anyone can walk by, use you however they want?” He draws back, snapping his hips back into your ass, relishing in the way you cry out. “Anyone can find you in the woods over there, use that pretty mouth of yours…” Gripping your hips, he pulls back slowly, thrusting in with everything he’s got. It’s becoming a torturous pattern, but he can tell you’re enjoying it with the way you’re soaking his cock. 

“Oh my— fuck…” You gasp from the other side, throwing yourself back into him as far as the gate allows you. He grunts as you meet his thrusts.

“You’d be up for grabs over here too, y’know…” Hands trailing back to your ass, he spreads your cheeks, spitting lewdly on your pretty, puckered hole. “But maybe you’re not that much of a freak—“ You don’t hold back the sinful sound building in your throat over his unfinished concept. “Oh. Oh. You’d like gettin’ fucked by some monsters too, huh? That’s so fuckin’ gross, babe.”

“That ain’t even the half of it,” you manage to reveal through panting and whimpering.

His mind races over the possibilities, slamming into you a little faster.

Steve circles the tight entrance with the pad of his thumb, throbbing deep inside you as he tests the waters, sinking in just a bit. You squirm and whine, relaxing as he continues on, eventually making it past his knuckle— which, wouldn’t be too much, but with the size of his hands, you feel so full off that alone.

“You’re so fuckin’ tight, I don’t think I’ll l- last long,” he murmurs while he pistons his hips into you, growing sloppier by the minute. 

“S’okay… m’not…” You can’t grasp onto the words you need, not when he’s fucking you absolutely brainless between dimensions. “God, Steve, you’re so deep.”

His thumb slips out of you, leaving you emptier than before, making desperate, pathetic mewls and cries. Ignoring you, his hand slides underneath, pressing down onto the peak of your mound. “Where do you feel me? Here?”

“N- no, deeper…”

Steve splays his hand wide, fingers blanketing over your skin; he inches his touch up, just where your belly and pelvis begin to meet. The further he stretches his touch, the more he leans over you, kissing along any bare skin on your back he can reach.

“Here?”

You shake your head, but he can’t see. Your lapse in verbal response earns a smack on your ass, causing you to cry out into the expanse of the woods. 

“Where, babe? Tell me.”

“Up,” whimpering, you push back into him. Hand gliding up to your belly button, he stops.

“Here?”

Eyes rolling back, you let out a broken sob, “Yes!”

Steve pushes down on your belly, just enough for the pressure to meet his thrusts.

“You’re takin’ me like a slut… sound like one, too.” He grunts while bucking wildly into you. His hand disappears, only to join the other in grabbing you by the thighs, nearly lifting your lower half off the ground against him.

The sound is absolutely what you’d expect from two, hopelessly horny idiots, fucking in a circumstance like this one right here. Skin on skin slapping roughly, echoing out into the woods of the Upside Down, in time with his near-feral grunts and throaty groans. On your side, in your world, you can only imagine how close to an injured animal you might sound like, or someone in actual distress, unable to cover your mouth as you hold yourself up while he fucks into you relentlessly.

“M’pretty close, angel,” Steve pants through the gate, hips stuttering while he still gives his all, thrusting mercilessly into you. “Where—  where can I—“

“‘Side…” You groan out, lost in a lust-driven delirium.

Attitude softening, he manages to ask, “In— you mean inside?”

“Uh-huh, wanna be full,” you murmur, just loud enough for him to hear. “Make me yours—“

“Oh, fuck,” Steve’s hips freeze over your words, finally reaching his high. One final cry tears out of you as your fourth and final orgasm trembles through your body, rolling into his. The delicious squeeze and fluttering around him helps milk his release, doing just as you asked, filling you up with his spend. 

Involuntarily, his entire lower half twitches violently into you, and finally, finally, the gate gives, allowing him to tumble through to the other side, shoving you out first. He lands on top of you, rolling over onto the forest floor while you both groan. The woods are quiet, aside from occasional crickets and your loud, ragged breaths, weaving through the branches above.

Though the two of you are ready to fully collapse, the squelching sound of the gate constricting catches your attention; the damn thing closes completely.

Steve chuckles weakly, while you push past any shame that might still linger, shyly smiling over at him.

“Hey…” You attempt to greet him, now that you’re face to face— which, speaking of, his features are still glistening from sweat and your multiple releases. 

“Hi,” he breathes, eyes trailing over your figure, landing and pausing on your exposed core, dripping a lewd mixture of fluids. “Fuck…” He leans forward, but stops himself, mumbling, “If we weren’t in the woods, I’d, uh, help clean you up, but…”

Your eyes widen, taking in his words; neither of you are in a state to fuck around any further, but you make a mental note of the suggestion for the future. “I’m— I’ll remember that.”

Surging towards him with an ounce of renewed energy, you capture his lips in a long-awaited kiss. He makes the cutest noise of surprise, melding against you. Pausing, he murmurs against your lips, “Sorry we couldn’t do that first.” It’s a wild shift in his demeanor post-sex, from a dominant, feral wreck, to this soft, precious person before you.

“We can make up for it though.”

“After a super long fuckin’ nap.” Then he cringes, “And the— y’know, the whole—“ He waves his hand around, rolling his eyes, “the Vecna thing.”

“Right. Yeah. Priorities.” You’re looking forward to all of this coming to an end. All you want is to curl up in bed with Steve, and sleep a whole day away, but that’ll have to wait. 

As clarity brings you back down to earth, you realize you’re still naked from the waist down… which means— 

“Um… Steve?”

“Yeah, angel?”

“… Where’s my shorts?”

[kwondotcom]

finally, finally built the emotional capacity to annotate something in the orange. on bsk's birthday, i said "the best thing you can do for yourself today is to read this fic." over a week later, it still stands true. this is one of the best pieces of work you will find not only on svtblr, but on the internet as a whole. i believed it then; i believe it now. 🍊 spoilers under the cut.

an anonymous assumption that was made about viv some days ago was whether she has a background as a film major, and her answer was no; she's just recently read the past lives script (lol). could've fooled me. this was a stellar device used for getting into the characters' head and describing them, and the eventual payoff of it just makes the story all the more heart-wrenching. on a more personal note: as a communication major who spent four years writing movie scripts? this shit was good.

the mark of a good apocalypse fic. how deep does the lore go? naming the phenomenon 'the Blight' and establishing it throughout is insane work. the information is bread crumbed. enough to keep you guessing. but in this first paragraph alone— extinction, famine, inflation— the domino effect of everything feels ominous. having seungkwan and the MC discussing [shotgun] marriage afterwards feels like a smoke screen. 'look, the world may be ending, but there is a young couple asking hypothetical questions and falling in love.'

absolutely devastating, by the way. i'm a big believer of love in the small moments, and there's just. something distinctly tender in how this is navigated. the images of walks home, shaky confessions, button exchanges. and the hints of what's happening, what's to come: mild dust storms, a barren world. this is a masterclass in writing, and it is genuinely so insane to me that i am getting to read this for free.

there's much to love in this passage. MC being right about the wires being good for barter. the passages that explain how the camera came to be. and just— all the premise in the world for why their love is so beautiful, how their affection persists. MC being a 'former writer' prepared for the zombie apocalypse is a nice touch.

[CAR CRASH] [GLASS SHATTERING] [EXPLOSION] “OH MY GOD” [BABY CRYING] “WAAAHH WAHH” [YELLING] “HELP MEE” [POLICE SIRENS] WEE WOO WEE WOEOO [YELLING] [HELICOPTERS] ‘WE’RE REPORTING LIVE-‘ [EXPLOSION] ‘MY LEG... MY LEG!!’ [BABY CRYING] “AHFUCKK SOMEONE HELP US” [REPORTER REPORTING]

both of the translations i found absolutely wrecked me. the first translation offers a specific kind of pain. the thought of the newlywed; longing for someone; a crying heart; if he cannot come, i will send my heart instead— after knowing MC is referred to as 'my heart'? and the second translation gives us tears of farewell; the trace of someone; how can old wounds be renewed? i'm a believer that everything is intentional, that nothing is left up to chance, especially when it comes to writing, and viv just bowls you over with the sheer thoughtfulness of a detail like this. i can't even begin to discuss the juxtaposition of a beach ruined by things like plastic and trash vs. bullet shells and shrapnel. the couple then running to be in the water together; the footage, partially obscured? i can't help but wonder how much of this is intentional. we've been privy to their romance so far, but this moment— what might be considered A Last Good Day, even, since this is d-4— isn't even perceivable in its entirety. there is only so much that we can see about their relationship on-/off-screen, both in a literal and metaphorical sense. i compound a couple of later scenes here. direction to hold an image of joy, in a mokpo beach (my god, viv; you are vicious) that is untouched by tragedy; uncertainty of whether the filming was accidental or intentional.

anticipatory loss, only for the loss to be one so unexpected. once again, i'm amazed by the amount of detail in the world-building— how viv outlines the conscription and the emotional aspects of it. how do we even begin to prepare for loss? and how do we live with the knowledge of how much we're about to lose? isn't that just the entirety of life, really? knowing that we are always going to lose one thing or another. in response: we hold things tight. we look, and memorize, and catalogue. it reminds me of the popular quote: "everything i've ever let go of has claw marks on it."

i was struck between the eyes by the violence of that act [cutting any scenes], because this very much feels like the crux of reconstruction/memory/narrative. seungkwan is in charge of what will be remembered; how the MC will be remembered. i adore the ambiguity of whether the scenes reflect a stitched-together film or whether we're following along seungkwan's review. equally, there's just something gutting about this playing out in some perverted version of what MC and seungkwan joked about i.e. a world with electricity, where seungkwan had free reign to do what he wanted with all the gathered clips.

not thieves, just travelers. expecting last words and getting the ghost of a kiss instead. your eyes, only ever kind. there is so much to love here, so much to adore in the stylistic, technical sense, but what comes to fore for me is this: viv's respect for the dead/dying. an honorable death in its own right. unjustified, still. devastating, always.

i will be honest. it's nearing 4 a.m. as i wrap this up (annotations were done in non-chronological order lmao), and i feel my coherency waning. i know enough to say that these were some lines that felt like a literal gut punch. the idea that our writer!MC and filmmaker!seungkwan can still nurture creativity. to love and be loved. the thought that MC always smiled at seungwkan over the camera. love. loss. a heart's a heavy burden. and you were seungkwan's heart, weren't you?

i think, in my initial read— struck by grief of the fic lol— i'd skipped over seungkwan's line here. twice as many stars as usual. let's look up together. this scene takes place in a corn field, presumably the night before the Incident. two-headed calves don't survive for very long; most pass away in less than 24 hours, their deformities taking a toll on their lifespan. the poem has always tugged at my heart, because at its core it talks about finding so much hope, and light, and love, in a short lifespan. and is that not the case of seungkwan and MC? twice as many stars. some beauty and peace despite being doomed from the beginning. all any of us have is however long we have.

ending this with two of my favorite poems on grief. a discussion i've had time and time again is whether a person can be complimented on their ability to write grief. is it a insult, to be told that you write about grief well, when it takes an acute understanding of loss to be able to pull it off? i haven't figured that out yet. and so i conclude, instead, with this. grief's familiar rooms and how it reminded me of the scenes wherein seungkwan is rewatching the clips (pulling at its buttons / that are not answers); poem and how, by and by, it reminds me of this gorgeous piece as a whole. i'm changed in inexplicable ways because of something in the orange, and i'm not exaggerating. how lucky are we to be in a time where writing like this is free to read; how grateful am i to exist in viv's orbit, under the same starry skies. the poem story ends, soft as it began, —

something in the orange

summary. remembrance is also reconstruction. reconstruction presupposes loss. a meditation on memory, narrative, and grief. and, of course, love. pairing. boo seungkwan x gn!reader genre/tags. ANGST, (semi-graphic) major character death, interstellar au-ish (just the blight), non-linear narrative, blurred fiction and reality if you squint (sorry I reread goodbye eri while writing), unbeta’d (mistakes are my own) wc. 5k suggested listening. love wins all, iu // 消費期限, seventeen // triassic love song, paris paloma // eight, iu prod. & ft. suga // yawn, seventeen // something in the orange, zach bryan (or niall's cover)

notes. midnight in korea now; happy birthday kwannie! this is very experimental, and admittedly i'm not fully satisfied w it, but I didn't know how to change it atp. sorry boo, it's your birthday but i give you pain. as always, reblogs are appreciated and come say hi if you're so inclined 🫶🏼

D-17 EXT. SEOUL TRAIN STATION – KOREA – DAWN The sun rises over the ruins of Seoul Station. The air is clear of smoke and fog. A shot of the sun peeking over the heap of steel, glass, and cement that once served as the station’s framing. The train tracks run to the far horizon, to the left and right of the frame. Pan to YOU (young-looking though age is ambiguous, former writer, love of SEUNGKWAN’S life) squinting at an old, battered map of Korea’s train lines, and a compass. You’re wearing battered jeans that are slightly too big, boots, and a sturdy leather jacket. Behind the camera, SEUNGKWAN (male, young-sounding though age is ambiguous, former video producer) narrates.                 SEUNGKWAN (O.S.)         BOO-log number 529. We’re now figuring out how to get to Mokpo. Neither of us are any good with directions, but my partner decided that we could try following train lines since the none of them are running anyway. You look up at the sound of his voice, noticing the camera.

                YOU             (exasperated, but fond)         Kwannie, are you filming again? We have 30 batteries, but not all of them might be working. You might need to save battery and memory if you want to video the view of Jeju Island.                 SEUNGKWAN (O.S.)         It’s okay, I really just wanted to record us before we start. Once we’re walking, I won’t use the camera as much. And I have twenty other SD Cards!                 YOU             (not surprised)         Okay, we’ll definitely figure something out for the batteries, then.                 SEUNGKWAN (O.S.)         Yeah. Now— Seungkwan’s voice changes to a more formal tone, as though he were imitating a newscaster.                 SEUNGKWAN (O.S., CONT’D)         What are your thoughts as we start our newest adventure? The camera catches your grin. You follow along, changing your tone to an impression of those backpackers in TV documentaries.                  YOU         Um, I’m excited to see Jeju-do, even from afar, because it’s part of Seungkwannie, and we had our honeymoon there. As long as we’re careful, I know we can do it. If we’re lucky, we may even find someone who can bring us across. Beat. You look ever so slightly awkward in front of the camera.                 YOU (CONT’D) Wait, here, give me the camera. I’ll record you this time. The footage shakes, briefly showing a tiled floor, then train tracks, before panning to a blurry face. The camera shakes for a moment before the image comes into focus, revealing a beautiful young man with dark hair. Seungkwan does a better job at the “interviewer voice”, but you’re no slouch either.                 YOU (O.S., CONT’D)         So, Seungkwan-ssi, what are your thoughts as we embark on a new adventure?                 SEUNGKWAN             (genuine)         I think it’s about to be wonderful.

D–2183

When the Blight started, both you and Seungkwan were in high school. Though only having known you since that start of your third year, you’ve quickly wormed his way into his life—visiting his house, having dinners with your family, and he even managed to force you into joining the badminton club with him.

Bees now officially extinct, the news proclaims, an effect of the ravaging of nearly all plant life. Asia in particular has suffered; the widespread rice shortages due to it becoming impossible to grow resulted in widespread famine. The extinction of plants used for feed, made food prices across the board skyrocket. Corn, it seems, is the only crop that can resist the Blight—and the rest of the world now has to adjust its staple food to mimic the old Americas.

“Seungkwan.” You prod his ribs.

“Mm?”

“What would you do if the world ends tomorrow?”

“Marry you.” You laugh, until you realize he isn’t joking.

“What?” Your voice pitches to an incredulous squeak.

“Marry you,” he repeats.

“Why, though?”

“I always wanted to get married,” Seungkwan replies, after a moment of pondering. “And if the world ends tomorrow, as of today you’d be my best candidate for marriage.” 

For a moment, you just look at him, eyes tracing over his features. Your steady gaze makes him shift, uncomfortable, wondering if he said something wrong. Eventually, you shrug, though there’s a twinkle in your eye as you quirk a smile at him.

“While I don’t support shotgun marriages, I’d make an exception for you and the end of the world.”

His breath catches, heart stuttering as he tries to parse your answer in his head. “Wha—you—”

“Come on, Seungkwan, don’t dish it if you can’t take it,” you groan, flopping sideways to plop your head against the armrest. Your legs tilt as you do, your foot brushing against his calf. He tries not to jolt at the contact.

“I’m sorry!” He pouts, trying to calm the uneven fluttering of his heart. You laugh, shifting your lean in the opposite direction, so your head lands on his lap. Despite having done it a thousand times before, he traces softly the way your hair falls, admiring the way its color contrasts with the color of his pants.

(Looking back, he’ll think about how that day changed things, even just by a little bit; how his gazes grew longer, noticing more how the sunsets glowed against your face as you walked home together every day, painting you golden. How you’d both gotten used to creative ways of shelter when mild dust storms come, thanking your luck each time that you had gotten home before it truly began.

He’ll think about how, a year from that day, he kissed you as he walked you home for the last time before you enter your separate colleges, swallowing the teasing took you long enough from your lips as he finished his shaky confession. 

He’ll think of how you exchanged second buttons like those characters from that anime you liked did, and the quiet promises to make things work even as the world seems to turn more barren than both of you can follow.

He’ll think of how three years from then, he gets on one knee, to your tearful yes and salty kisses. Your small marriage, with just your families, batchmates, and some professors, followed by a beautiful honeymoon in Jeju. Despite it all.

None of these decisions had anything to do with the end of the world, but you and Seungkwan made them, nonetheless.)

D-9 INT. A TENT – A TRAIN STATION SOMEWHERE BETWEEN SEOUL AND MOKPO – NIGHT The footage is grainy due to the lack of proper lighting; the camera shakes as Seungkwan seems to be trying to balance it on something. The tent is quite cramped; the inside is sparse, with only two sleeping bags and your knapsacks—Seungkwan’s with two camping pans attached with a carabiner.  The leather jacket you were wearing is now resting on one of the bags. You have both swapped your sturdy day pants for more comfortable, albeit worn, sweatpants. Out of context, it looks like a vlog filmed by two campers on a hike. The camera steadies as Seungkwan moves away. He moves to sit beside you. There is an easy intimacy as you thread your fingers together, almost mindlessly.                 SEUNGKWAN         BOO-log number 531. We passed by a sign that said Nonsan. That means we’re probably halfway there.                 YOU         We made progress better than expected, didn’t we? I estimated at least two weeks.                 SEUNGKWAN             (nodding, excited)         I thought the train tracks would have been ruined, since the stations are, but they’re surprisingly reliable.                 YOU         It’s true; of course there were times when we had to find our way around the tracks, or climb above anything that fell down over it, or go through some cornfields, but mostly, it seems we’ve been lucky.                 SEUNGKWAN         By the way—everyone, it looks like we’re in a tent in the middle of nowhere, doesn’t it? Don’t be fooled, we set this up in a convenience store.                 YOU             (laughing)         You ruined it! Now we can’t be funky backpackers with a tent on the train tracks.                 SEUNGKWAN             (playfully lecturing)         It’s good to be truthful, you know. What if kids watch this someday? We have to be good moral people.                 YOU             (with the remnants of a laugh)         Okay, okay. We set this up in the Seven Eleven inside one of the train stations. Abandoned, obviously. We made it in right before the dust storm hit.                 SEUNGKWAN         Another good news today is that we managed to barter something for food.                 YOU         Yeah. This one engineer or something—I think he’s a veteran? But we saw him tinkering on his porch and offered a trade, his corn for our cables, and now we have dinner.                 SEUNGKWAN             (joking)         It’s not jokbal, but it’ll do, I suppose.                 YOU             (groaning)         Oh my God, what I’d give for some jokbal right now. With bossam. And soju. SEUNGKWAN         I’ll be dreaming of that tonight.                 YOU         Anyway, everyone, we’ll end the log here, so we have enough batteries for a nice long BOO-log at Mokpo. Both you and Seungkwan wave your corn (dinner) at the camera. You reach forward, covering the lens with your palm. The clip ends.

D–20

Seungkwan walks around the house. He’s doing his last checks, checking between what’s in his bag and what’s in the rooms to parse if he’s missed anything—batteries, your wallets, matches, passports, birth certificates, first aid kit, water bottles, toothbrushes, all the canned food in the pantry, the sturdiest kitchen knife you both owned (wrapped in two layers of cloth), the Swiss knife he was gifted a few years back, flashlights, a whistle, and all the carabiners and hard cash you had were already packed.

He finds you in your shared bedroom. There are a bunch of wires there, evidently cut from various appliances. You’ve wrapped the cables as neatly as you could manage. On the bed, you’ve laid all your dry-fit shirts and the sturdiest pairs of pants you both have. Then, from the dresser, you’ve collected the most expensive jewelry the both of you own—well, all of them, but you separated the expensive ones in another pile. He points to the latter.

“What’s that for?”

“If cash fails, maybe gold won’t. I don’t know, just in case the currency collapses. But they’re worth bringing all the same.” Also, you hold out copies of both your health insurances. He opens his knapsack and quickly stuffs them in the same place as your other documents.

“Last resort kindling?” Seungkwan offers, showing the cluster of documents in his compartment. The remark draws a quick breath of a laugh from you.

“Probably.”

“How about the wires?”

“You never know when we’ll need some emergency engineer bullshit; plus, if it comes to it, the wires will probably be better barter material. Before you ask,” you hold up one hand, “I edited a zombie novel a few years back. But if that kid was pulling out of his ass, we’re fucked.”

Despite your disclaimer, the no-nonsense, matter-of-fact way you’re handling the situation makes something settle in him, as though all he needed was an anchor amid the chaos. He pulls you close, placing a kiss to your temple. The tension in your body melts as you press against him. For a moment, Seungkwan just holds you. A temporary anchor before you need to move.

Turning to him, you offer a quick peck to his lips before holding up his trusted camera bag, worn as it is. “Bring it,” you tell him firmly. “We need a little bit of happiness. Get all the SD cards you have, too. In case we just never leave Mokpo. It’s small enough to stuff in our pockets.”

Seungkwan can’t help it; he grabs your face and kisses you. The camera bag sits between you awkwardly, but he doesn’t care. He savors this, the familiar taste of it, the contours of your face that his hands have long since memorized. You pull away, but not before kissing his lips again, then his nose. He’ll never quite get used to the way you look at him, as though there is something new to love each time.

“We’re gonna be okay, my heart.”

D-4 EXT – A LONG STRETCH OF BEACH – MOKPO, SOUTH KOREA – SUNSET The camera captures a breathtaking sunset. The sky is a wash of oranges and pinks, the clouds purple yet lined in the light of the sun. Mokpo is on the southwest side of Korea; the view of the sunset is particularly beautiful, as the sun sinks down into the sea. There are faint silhouettes of islands both near and far from the shore. The waters are tranquil, and there are no sounds except for the steady wash of the waves on the shore.

The shot slowly pans to you. Your expression is tranquil, despite the dirt and tears across your clothes.                 SEUNGKWAN (O.S.)             (soft, so soft you don’t hear)         Pretty.                 YOU             (clueless)         Hm?                 SEUNGKWAN (O.S.)         Nothing. Can you see Jeju Island from here?

He already knows where it is.                 YOU             (laughing softly, a little sad)         To be honest, I don’t know which piece of land I’m seeing is Jeju. A finger appears at the edge of the screen.                 SEUNGKWAN (O.S.)         There, that’s Jeju. Right behind the blob that looks like a hat.                 YOU             (squinting)         Oh! Right, that’s what it looks like. Beat.                 YOU (CONT’D) The view is beautiful. It’s been so long since I’ve seen the sea. Seungkwan hums the opening to Tears of Mokpo. You don’t recognize it until he softly begins to sing the opening lyrics.                 SEUNGKWAN (O.S.)             (singing)         사공의 뱃노래 가물거리면…                 YOU             (laughing outright)         That doesn’t have anything to do with Jeju! He sings louder just to spite you. You playfully roll your eyes. Bending down, you unlace your boots and take off your socks, sinking your bare feet into the sand with barely-concealed relish. Seungkwan stops singing as he knows what you’re about to do.                 SEUNGKWAN         Careful; don’t step on anything sharp. As you move forward, the camera follows you. It is revealed that the beach is not so picturesque. The sea seems to have dried up some, and even here, bits and bobs of life float on the surface and linger in the sand.

There are the usual culprits: plastic bags, empty cans of alcohol and soda, and snack wrappers. Yet visible also on the camera are the following: bullet shells, shrapnel, a chair leg, a ragged pillow, and a cracked desktop monitor. As all this is visible, the camera centers on you laughing, splashing in the saltwater and enjoying the breeze in your hair.                 YOU             (calling; audio faint)         Kwannie! Come here! A beat. The camera zooms in on your face.                 YOU         Kwannie, come on! Hurry up!                 SEUNGKWAN             (proximity makes his voice loud)         Okay! A rustle. The camera is laid down, cloth (Seungkwan’s jacket) obscuring part of the footage. After a nudge, the cloth disappears from frame. Another figure, barefoot, joins you.

D–119

Jeju has officially been declared abandoned, lost for some other country to use as farmland. The radio announced the treaty ratification today. Seungkwan is a spectre around the house, listless and heartbroken. 

Months ago, when the conflict began to escalate in earnest, he began whatever arrangements he could to ensure his family was safe, moving them as near to the farming areas as he could manage and encouraging them to share whatever techniques they knew could help former cities now learning how to farm. The news does not make the sharp pang of grief dull any less.

He is at the age when he is to receive a conscription notice; Korea has since shifted its system to split soldiers into those who will either fight on the front lines of the Resource Wars, or serve by tilling the land and ensuring that there is enough corn for the population, however dwindling. There is no guarantee on which one he is to get, even if he did register himself as head of household (and should hypothetically be assigned the latter), but he is due to receive news in a few months’ time.

The promise of the notice hangs over both your heads. In the mornings, you spend ten more minutes just looking at him, as though you were memorizing the shapes and contours of his features. At night, he curls into you more tightly than before; once you’d have complained that it was too hot, now, you simply wrap your arms around him and let him sink his face into your hair.

“Hey, Seungkwannie.”

“Mm?”

“Let’s go on a trip.” The hand mindlessly running through your hair falters. 

He pulls away, looking at you with a furrowed brow. You keep your head low, pressed against his chest. “What?”

“Let’s go south. Yeosu, Mokpo, whatever, just near the beach, as close as possible to Jeju. Just…just see it, even from afar.” At his silence, you barrel on. “If we walk enough, we can make it in two weeks—a week if we can hitch a ride with one of those crop trucks or something—and then just another two weeks back, if we don’t settle in Mokpo outright.” 

“Food—”

“I can pack us as much as I can. We’ll need to ration, and possibly trade, but we can do it. The treaty is in place, and it’s most dangerous up north right now. Going south isn’t as big of a risk, and the weather has been looking good lately.” Finally looking up, you cup his cheek, tracing the skin with your thumb. He presses his lips to your wrist.

“It’s okay if you don’t want to Kwannie. I just thought you might want to say goodbye.”

“I…” he falters. It’s tempting. Unbearably so, despite the nagging at the back of his head that it would be better to leave it at that, keep his memory limited to the days you spent there dodging dust storms and falling in love. He doesn’t know how much it’s changed. How much the ocean might have even dried up. He doesn’t know if he can stomach to see it. “Give me a few days to think about it?”

“Of course, Kwannie. All the time you need.”

D+29

Seungkwan’s life has been demarcated into two. Before, and after. He goes through the motions of the government-run fields: waking up, clocking in, eating breakfast, tilling the soil, weeding, lunch, the occasional drills in case they were still expected to fight, transporting corn from one warehouse to another, dinner, sleep. Repeat.

Not a lot of people are here; many prefer to till fields they own, or collectively own; for once, agrarian reform straightened itself out at the start of the Blight. Yet with the dwindling population—slowly withering family trees—those lands acquired by the government grew.

Sometimes, Seungkwan thinks of home. He was lucky enough that the head of the center, Seungcheol, was kind enough to register his name as part of the deployed cadets under his supervision, despite the incomplete paperwork he had when he stumbled into his field, frail and dehydrated from lack of food and water.

Home remains now only in his memory, and in every replay of the Christmases he captured on camera. The soil is more unforgiving than before; it distracts from the loneliness.

EXT. A SMALL FIELD, WEDDING VENUE – DAY The wedding is humbly decorated with dried corn leaves fashioned into flowers, as there are no real ones anymore (none within the budget, anyway). Guests came as they are, though everyone has made an effort to clean up more than usual. It is currently the reception, and the speakers are playing a quick beat. The guests are dancing, laughing, and cheering, though their movements are blurry and almost smeared onscreen (step-printing effect). In the middle of it, you stand, the only still figure in the frame. You’re smiling softly to someone behind the camera, very clearly in love. Cut to Seungkwan, in a similar position, the guests around him dancing as but blurs. He is wearing a similar expression. He begins to walk forward.

You meet in the middle, still the only clear figures to the camera, and begin to dance.  As though the dance were a spell, the surroundings cut to: INT. A MEDIUM-SIZED LIVING ROOM – NIGHT EXT. SEOUL STATION, IN RUINS – DAY INT. YOUR TENT (MAGICALLY ENLARGED) – NIGHT EXT. LONG STRETCH OF BEACH (UNPOLLUTED) – MOKPO – SUNSET Hold this image for a moment. The sea laps at your ankles. The bottom of both your garments brushes against the saltwater, but neither of you seem to notice. Both you and Seungkwan close the gap to meet in a tender kiss. Suddenly, cheers. You part, and are back to: EXT. A SMALL FIELD, WEDDING VENUE – DAY The newly-married couple smiles and waves. The bottom of their garments are damp.

D+167

It seems surreal to have all the batteries he wants, and even a computer where he can replay all his footage—more than 4000 hours’ worth of it. It took a few months of work to earn enough credits and rank to access it, but Seungkwan pursued the goal with single-minded purpose. There is enough electricity in this center to run a few computers, and Seungkwan is its most regular customer, painstakingly going through each clip on the dozens of SD cards he has.

For footage so far back, from when you had just been married, there are parts where he no longer remembers what happened after the clips end. They remain in his memory as but colored ghosts, warm-tinged with nostalgia. Cabinets that would never be opened again, now filled, in his dreams, with infinities.

The house of his memories blurs with the house of his oneirism. In both, he subsists on sleep and daydreams. But memory will betray; it won’t tell him if the house he remembers has been altered by each remembrance. So he watches his videos. He walks through his house, now only alive in video and reconstructed by memory. He sees himself and he sees you, in all the different iterations you both were. Wonders if he could stitch both into narrative. Wonders if he could even bear to cut any scenes. He’s never thought about the violence of that act until now.

Inventories do not just catalogue possession; they also measure the potential of loss. It was a quote from one of your writing workshops, discussed over a late dinner. You could still afford some meat then; Seungkwan had saved just enough for a small slab of cured pork, which you would cut tiny slabs from for both of you to enjoy before bed.

He has five minutes left of his designated slot with the computer.

Seungkwan watches, and he catalogues.

D=0

Seungkwan only remembers in flashes—a gunshot. A scream. It’s only when he replays that moment in his mind that he realizes it was his voice. Barely a thud as your body is cushioned by the corn leaves. Dark red liquid, somehow both grainy and slippery on his hands as he drags you into the thick of the field, away from the path, trying desperately to stem the blood while minimizing your trail. Until finally, he collapses, feet unable to bring him a step further.

More flashes—your eyes, only ever kind. Even at your last moments. The way you hold his hand and place it over the pocket you keep his SD cards, as though reminding him one last time. The way your eyes search his face, first desperate, and then resigned. The way he leaned in when you opened your mouth, to hear your final words, only to feel the ghost of chapped lips brush against his ear. The gush of blood that dribbles past your mouth that tells him you’re gone.

(The Resource Wars felt like more a backdrop than anything else; you had come this far without any altercation. Yet even as you screamed that you were not thieves, just travellers, the gunshot rang. 

The cornfields weep with him as he leaves you behind, SD cards clutched in his bloody hand.)

D–4

TIME CUT TO: It is twilight, now. The camera is trained on the horizon. The sun has fully set, and night is beginning to settle in the sky. Only the barest hints of orange remain. The footage has already become slightly grainy due to the lighting. Neither you nor Seungkwan are on the camera. Instead, voices are heard while the darkness arrives. It is not evident whether the footage was taken accidentally, or on purpose.                 SEUNGKWAN (O.S.)             (softly)         I’m glad we came. Really, even if we couldn’t get to Jeju. I’m glad. I’m glad it’s with you.                 YOU (O.S.)             (just as softly)         I’m glad too, my heart. You filmed the whole sunset, didn’t you? Start to finish?                 SEUNGKWAN (O.S.)         Yeah. Yesterday and today. I have so much footage that I don’t know what to do with.

Breath.                 SEUNGKWAN (O.S., CONT’D)         Actually, that goes for all the BOO-logs. Even the ones from high school and college.                 YOU (O.S.)             (surprised)         You never tried editing them?                  SEUNGKWAN (O.S.)         I have, but what then? There are hardly any theaters now. Nowhere else to post. And electricity is expensive.                 YOU (O.S.)         Okay, but if we both die, what do you think’s gonna happen to this camera? Seungkwan is many things; a prideful badminton player (before the Wars stopped sports events), a videographer, casual vlogger, and a corn field worker. You are also many things; an editor (before your company closed from too little employees), author, copywriter, and occasional tiller.

Both of you still enjoy nurturing sparks of creativity when they come.                 SEUNGKWAN (O.S.)         Mm. someone picks it up and it gets immortalized in a post-war museum. And our videos will be a special feature.                 YOU (O.S.)         Oooh. And the war museum would be on a spaceship, with funky gravity and new plants and meat the astronauts domesticated from a different planet.                 SEUNGKWAN (O.S.)         And there’s a new jokbal. Call that out of this world delicious.                 YOU         Stop! Despite the terrible joke, you both laugh, then let the conversation drift into comfortable silence. The sun has fully set. Nothing much can be discerned visually from the footage.                 YOU (O.S., CONT’D)         Hey, Seungkwannie.                 SEUNGKWAN (O.S.)         Mm?                 YOU (O.S.)         If you had the chance, like computers and steady electricity, would you edit all the BOO-logs into a short film?                  SEUNGKWAN (O.S.)             (skeptical, but thinks about it seriously)         What would the plot even be? A married couple traveling to Mokpo, dodging dust storms and chasing each other through cornfields? Watching the stars at night?                 YOU (O.S.)             (earnest)         Yeah! Or, y’know, make it semi-autobiographic, like two lovers wanting to visit where they first had their honeymoon. Or maybe I’m sick and you want to take me to the sea one last time? The footage earlier could fit with that storyline.                 SEUNGKWAN (O.S.)         Don’t even say that!                 YOU (O.S.)             (laughing softly, apologetic)         Sorry, sorry. But if you do make a short film, I want to be the first to see it. It’s been so long since I’ve seen you work.                 SEUNGKWAN (O.S.)         What about you, then? Would you write a book about us?                 YOU (O.S.)         Oh, definitely. And you’d be the first to read it. The footage cuts.

D+182

Seungkwan replays the footage again. Beside him, Vernon fiddles with a pen.

“What do you think about making this a short film?” Seungkwan asks. 

Vernon stops. 

Seungkwan may be their newest addition, but the rest of the crew has grown protective. He brings light to their conversations, effortless in his ability to entertain and bring laughter. Mingyu asks him of his favorite foods, especially the ones he misses from Jeju, even if recreating them is near impossible. Seungcheol reprimands anyone who tries to bully him into giving up his share of rations. Junhui has begun to joke more, noticing how Seungkwan seems to be particularly into his humor. 

Yet everyone recognizes the sadness that still clings to his heels.

Vernon looks, for a long moment, at the monitor, frozen with a picture of a smiling face he’s never known—never personally, only ever through the screen and Seungkwan’s stories, always shared in quiet whispers in the privacy of his room.

He knows, though. Knows that this person was real. They loved, and were loved. It speaks in how the camera follows whoever is in the frame. The cuts of certain clips, as though either the person behind the camera joined their partner or had a moment that could not be captured in film. Most of all, it was the way whoever was in the frame would, without fail, smile at the person behind it. 

“I think,” he replies, choosing his words deliberately, “that you are in a unique position to dictate how someone is to be remembered by those who never knew them. And…” he hesitates, wondering if two months of these quiet conversations is still too little to be so candid with his friend, especially when talking of loss.

So, so much loss.

Seungkwan answers that question for him. “It’s okay, Vernon-ah.”

“…Well, I just wanted to say that it’s a burden to bear, is all.”

EXT – A CORNFIELD UNDER THE STARS – NIGHTTIME The stars have emerged, visible in all their glory. After the start of the Blight, when the population began to dwindle, electricity and many other resources became scarce. Much of the light pollution that was once a problem has disappeared. Brilliant dots twinkle overhead. To you and Seungkwan, it could pass for the Milky Way. The POV seems to be at a low point; stalks of corn are visible at the edges of the frame. Yet the stars are bright, captured exceedingly well.

You’re softly speaking aloud Laura Gilpin’s The Two-Headed Calf. It was one of the poems you memorized in college, as a creative writing major. YOU (O.S.)             (as though from far away)         Tomorrow when the farm boys find this freak of nature, they will wrap his body in newspaper and carry him to the museum.

But tonight he is alive and in the north field with his mother. It is a perfect summer evening: the moon rising over the orchard, the wind in the grass. And as he stares into the sky, there are twice as many stars as usual. Long beat.                 SEUNGKWAN (O.S.)         Twice as many stars as usual…let’s look up together.                 YOU (O.S.)         I see the stars, my heart, but I’m tired…

A breath hangs in the air. Some rustle of cloth, as though someone had adjusted so you fit together. A soft sigh.                 YOU (O.S.) Good night, Kwannie.                 SEUNGKWAN (O.S.)         …Good night, darling. End.

note. are the screenplay bits from the short film? the raw sd card clips? his memories? distorted memories? guess we'll never know. nonlinear bc grief is nonlinear. pls tell me your thoughts (even/esp if u didn't get the story lol) take care of yourselves always <3

[burntblueberrywaffles]

No cause Artoo is the FUCKING MVP of the Star Wars saga and his relationship with Anakin is literally so precious and the fact only 118 fanfics have the R2-D2 & Anakin Skywalker tag is a fucking CRIME

[sashisuse]

THE VOICES.

[my-mom-named-me-duck]

i think its stupid that you can feel lonely yet be surrounded by people who love and care about you

its a fukin scam

[backpackingspace]

WAIT DO WE THINK ATHENA KNOWS ABOUT THE SECERT PASSAGEWAYS?!

[luthwhore]

Wonder Woman (2016) #22

by Greg Rucka & Mirka Andolfo

[autumnrory]

i rmr when all the initial meta around endgame was coming out people were talking about steve being depressed and whatnot and it's like well yeah but he's BEEN depressed, like he woke up alone in this century and he kept going, now i can understand it being worse this time after finding a family and getting bucky back and losing them all except of course that's not why endgame steve was on about so like......the people writing meta were trying to connect these things that of course weren't really there on screen because that simply wasn't our steve

but i think it really could've been SO interesting to see this is the thing that finally makes steve stay down like he's lost so much and he just CAN'T keep fighting like i get some people think that's what they were going for but considering the ending......it's really not. and so i'm just thinking about a version after iw, maybe he gets some of the thor treatment except not turning his depression into a dumb fatphobic joke lol and maybe nat and others are trying to get through to him and it just doesn't work and then we get some flashbacks (which you could have done for all the original avengers actually which would be particularly important for bruce and nat and clint who did not have their own trilogies) including his mom telling him "you always stand up" and THAT being the thing to finally get him moving like it would've been such a perfect way to finally show sarah rogers some respect and ACTUALLY show steve really struggling instead of whatever they tried to do with him in that movie

[imminent-danger-came]

Sandy: "Hurting others isn't a measure of one's strength—took me a really long time to realize that. As long as I'm doing something to help out a friend, I don't mind what it is! I just want to be there for 'em when they need me. Because at the end of the day, helping my friends is more important than anything else in the world!"

(2x08 To Catch a Leaf)

-

Macaque: "She's completely out of control! If there's a time to go, it's now." MK: "NO! Mei is my best friend, I'd never abandon her when she needs me! We're heroes, it's what we do!"

(3x10 The Samadhi Fire)

-

Azure Lion: "I thought I arrived in time to contain the curse, but, based off of your expressions I would hazard a guess that Sun Wukong has already been consumed, along with your friends." MK: "But it's fine right!? We'll just pop this bad boy open and get them back!"

Azure Lion: "It's too late to save them, we can't risk unleashing the curse into the world!" MK: "You don't know, we'd risk it for sure! I won't abandon them when they need us."

(4x02 New Adventures)

-

Yellowtusk: "I know full well what will happen should Azure fail, but- but he is my brother. I owe him my life." Sandy: "We get it! I'd do anything to help my friends, but at the cost of the world?" Pigsy: "I'm sorry pal, but NOTHING is worth that price!"

(4x13 Rip and Tear)

-

Being there for your friends when they need you, but at the cost of the world.

[al-luviec]

still haven't moved on from zane in this episode (aka I hit tag limit again and am unhappy about it)

[selfinflictedgunshotwound]

sorry for only saying this type of shit lately but i kinda wanna drive a car straight into a brick wall at the highest speed possible

[skitskatdacat63]

Aforementioned Napoleonic AU! Martian !! I said it would just be a wip but then oops, I basically finished it! Ty to everyone who was interested :D

Really really proud of these I'm ngl! I rendered in a really different way than ever before and I'm very satisfied with it :D

Ramble about historical influences(basically me being a nerd about who I consider the F1 drivers of the Napoleonic era):

So I wanted to explain my thought process because I think that the specific context behind the uniforms I drew is very relevant, as I didn't just pick them on a whim.

I drew them in Hussars' uniforms(Austrian Empire = Red Bull, but like obviously not 100% accurate because the uniform colors are based off the RBR racesuits.) Hussars are, in my opinion, the F1 drivers of their time. Let me quote several things that led me to this conclusion:

"During the Napoleonic period, hussars, as in all armies, were employed as scouts, given raiding missions or despatched to harry and pursue a defeated enemy on the run. Mounted on light, nimble horses..."

"...Their flamboyant costume and their reputation for daredevil acts..."

"...developed a romanticized image of being dashing and adventurous.

Okay....so they're dashing and adventurous, riding specifically on fast, light horses, dressed in flamboyant outfits committing daredevil acts...sir that is literally an F1 driver!!! Tell me they aren't the historical predecessor to F1 drivers!!!

I have this big book of Napoleonic uniforms(yea I'm a nerd) and I was paging through it to see what uniforms I wanted to draw(I have a habit of drawing my one oc in the Napoleonic era. So when I started drawing fanart, I'm like of course I must draw them as this!) Austria's normal uniforms in this era are soooo boring compared to France's, so I was really 😒 about drawing them, but then I came across the Hussars, and then started noticing all these similarities and thought it was perfect. Also I need to mention the fact that Austria's royal cipher at the time was literally this:

IT'S "F1", IT IS LITERALLY FUCKING F1, WHAT THE HELLLLL!?!?!?!? I had like a partial mental crisis coming across this, at that point it was destiny for me to draw this

*I forgot to include actual ref images 😐, so here you go!!

*I wrote most of his around when I started this drawing, which was all the way back in April. And it's really interesting to consider now that I was basically immersed in the history of the Austrian Empire for a month. I apologize to everyone in my life who had to endure my lecture on why Hussars are the F1 drivers of their time. But god I could not hold it back when I saw some of these uniforms in person. And it was cool to pull out this drawing, even if it was just a wip, and be like "oh hey I've drawn these!!" Anyways, I digress.

Obviously the martian drawing is a direct reference to this pic from Malaysia 2010:

My thoughts on this picture:

I almost wanted to draw Seb in the Austrian Kaiser's outfit, but it is nowhere near as slay as the Hussar uniform, so Hussar uniform it is!

I have many thoughts and opinions on the lore of this au so pls ask if you're curious but it's also just a lot.

[talkorsomething]

I have Got to get more transgender

[icewindandboringhorror]

Everytime I face a new character limit on a website that didn't have them before/used to have really long ones... AUGHHhhh the modern social media world was not made for people like me (lovers of details, rambling, elaboration, thorough explanation, and nuance)