#and I like art and I like talking about and analyzing it and if someone made it for me and it features my brain goobers I like it even more

[canisalbus]

My absolute favorite thing about your blog, even more favorite that Vachete, is the care and interest you put into each response. Be it an ask or an art piece, you always eloquently break down each individual aspect and comment on them. It always makes me smile.

.

[linoguy]

han is such a student of music. it's so nice to see how passionate he is about music and its creation

[reinemichele]

(Eep it's embarrassing to be perceived)

I exclusively make bad choices 😏😏😏 (I don't mind spoilers)

[sirfrogsworth]

Do you remember that Aussie sword guy who used to talk about medieval weapons?

And, like, he seemed pretty good at talking about swords and shit. He seemed to have a good grasp of the history and tactics. He'd analyze movie weapons for their realism and that was fun. He did demonstrations with real weapons. For a time I really looked forward to his videos popping up in my feed.

He seemed like a harmless sword-fighting aficionado.

But then I guess he wanted to spread his wings. So he started down an anti-woke path. Giving questionable critiques about media and feminism. He started defending boob armor by showing historical examples even though most of those were decorative and not battle ready like in the games.

Then he admitted he was a fan of The Daily Wire.

And that was disappointing.

I missed him nerding out about swords, ya know?

Well, Shad decided to spread his wings again.

He has become...

*bad French accent* An artiste.

You see, he types words into a little box. Then a little robot does a google image search and steals a bunch of art. Then that robot reconfigures that art to be nearly indistinguishable from the source material. Well... aside from the occasional artist watermark.

Whoops!

A.I. art is very difficult. Sometimes when you type words into the box you get a woman with 5 lopsided anime tiddies. Or 20 fingers on one hand. It takes time and effort and experience to type in the perfect magic words so that you get something close to your imagination that doesn't belong in some sort of Lovecraftian horror ripoff.

For example, check out this cool "pirate hat" I asked A.I. to place on my head.

Clearly, I am not skilled enough at typing words into a box to get a proper pirate hat.

It. Is. Not. Easy.

I heard someone say you have to type things in a box for 10,000 hours before you start getting truly masterful generations.

I mean, you can't type "marathon runners" and expect that to actually work.

THIS REQUIRES SKILL, PEOPLE.

And I am a lowly amateur. I can only dream of becoming the box-typist Shad has honed himself into.

The thing is... Shad is very upset.

He is upset that you don't like his "art" and he is ready to die on this hill.

So... before he croaks on a mound of bullshit, he has something to show you. He has created something truly brilliant and when you see it, he is convinced you will validate his considerable efforts.

Before I show you his "Not. Easy." artistic masterpiece I'd like you to sit with what he has said for a second.

Ruminate in the verbiage.

Process the ideas and points of view presented.

Digest his plea for you to accept and love his hard won battle after typing words into a box to manifest his imaginings.

.

.

.

.

.

.

.

.

Have you sat?

Ruminated?

Processed?

Digested?

Okay, here it is...

[jellyfishsthings]

Family Chaos

navigation , dc navigation

WARNINGS: funny miscommunication (not really)

requests are open

dividers by @cafekitsune

It started with a tweet.

@GothamTeaSpill: “BREAKING: Dick Grayson spotted with mystery woman near Blüdhaven docks. 👀 Trouble in paradise?”

Steph saw it first. She gasped so loudly, she dropped her cereal spoon into her mug of tea. “OH MY GOD.”

Tim peered over her shoulder. “Wait, isn’t that Dick’s old patrol partner from like... two years ago?”

“EXACTLY,” she hissed. “That’s not HER. Which means—”

“Scandal,” Cass finished, appearing behind them like a ghost with excellent eyeliner.

Within ten minutes, the photo had been blown up, analyzed, run through facial recognition software, and fed into a group chat titled 💔 EMOTIONAL DAMAGE CHAT 💔.

Jason was the first to react. “If he cheated, I’m keying the Batmobile. His Batmobile.”

Damian, with all the fire of a boy betrayed: “I will strike him from my mental family tree.”

Dick walked into the kitchen, blinking sleepily and wearing your oversized robe. “Morning. Why is everyone staring at me like I ran over Alfred?”

Silence.

You strolled in behind him, still brushing your teeth, glanced at the phone being waved at you, and blinked.

“Oh, yeah. That’s Ivy. She used to work with his department. She’s married. Nice girl.” You shrugged and walked away.

Everyone blinked at you.

Tim  whispered “Why is she so calm?”

Jason answered “Denial. It’s the first stage.”

What they didn’t know—and what you absolutely were not going to tell them—was that Dick had already shown you the photo the night before. Ivy had waved him down to ask about security for her niece’s art gallery. You trusted him. 100%.

But the theatrics were just too juicy.

So, naturally, you grabbed your phone and typed into the group chat: “We need to talk.”

Pandemonium.

Phase One: Interrogation

Dick sat on the couch with a confused frown while the rest of the family assembled around him like a very emotional jury.

“Dick,” Steph said solemnly, “is there something you need to tell us?”

“Did I eat someone’s leftovers?”

Cass turned on a lamp dramatically.

Tim held up a whiteboard titled: Timeline of Lies.

Jason handed him a stress ball shaped like a broken heart.

“Wait,” Dick said slowly, “Is this... is this about that photo?”

Steph gasped. “So you admit there’s a photo?!”

“There’s a photo of me talking to someone, yeah. Her name is Ivy. She’s married. My angel has met her before. We literally helped her move last year.”

"The betrayal" Tim gasped from somewhere.

“I remember her,” you said sweetly from the corner. “She made lemon squares.”

Damian narrowed his eyes. “Then why the secrecy?”

“There was no secrecy!”

You sighed. Loudly. “It’s not like he’s ever done something to break my trust... until now.”

Dick’s head snapped toward you. “Babe?!”

You didn’t answer.

Cass handed you a blanket like it was a courtroom shawl of mourning.

Jason muttered, “Say the word and I’ll help you disappear him.”

You wiped a fake tear. “I just don’t know who I am dating anymore.”

Dick looked like he was rapidly losing his mind. “I DIDN’T DO ANYTHING.”

“Tell it to the group chat,” Tim said coldly.

Phase Two: Emotional Damage

Later that night, you found Dick sitting alone in the Batcave, holding the same photo.

“Are you mad at me?” he asked, miserable.

You sat beside him, took the photo, and gently kissed his cheek. “No, baby. I knew it was nothing the whole time.”

He turned to you, eyes wide. “Wait—what?”

You smiled. “I saw the photo last night. You told me. But they didn’t know that. And honestly, watching them stage an emotional intervention with a slideshow? Comedy gold.”

Dick buried his face in his hands. “You’re evil.”

“You love it.”

He sighed, then laughed. “Tim used the phrase ‘emotional infidelity arc.’”

You giggled. “Jason tried to teach me how to key your car.”

“Which one?”

“Alright it was the motorcycle.”

He gasped. “That’s even worst.”

You looped your arm through his. “Don’t worry. I’d never let them touch the Nightcycle.”

He beamed. “You do love me.”

Group Chat Fallout - Bonus Scene

Steph: “Wait. YOU KNEW?!”

Cass: “She played us like a fiddle.”

Jason: “I am somehow both furious and impressed.”

Tim: “Next time I’m running background checks.”

Damian: “You are all clowns.”

You sent one final message to the chat:

Plot twist: I’m the mastermind. 🃏

Dick added: And I’m the himbo.

Everyone agreed. Even Alfred.

[astrolook]

🔬HOUSE PLACEMENTS IN SIGNS OBSERVATIONS 🔬

Note : These are all my personal observations and patterns I've seen over the years and based on western astrology. Take what resonates and leave the rest. One placement isn't enough to predict and should look at the whole chart to analyze what's in there. Lemme know in the comments whether it hits home or not!

1st house placements in fire signs loves the spotlight or at least love taking selfies and posting it on social media. If in earth signs, looks in the mirror frequently to make sure they look good when crying and takes mirror selfies. If in air signs, their style changes everyday and in some cases, loves to color their hair especially if they have moon in 7th, 9th or 11th houses. If in water signs, has this " cry now, think later" energy or " I'm fine" energy even if they're not.

2nd house placements in fire signs are prone to impulsive buys and spend recklessly. If in earth signs, affordable shopping or hoard things like there's no tmrw. If in water signs, holds onto things and get emotionally attached to stuffs like that's my grandma's watch or this recipe is from my great grandma from world war 2. If in air signs, cheap buys and looks for discounts, thrift stores, spends too much on something and then live on pennies for the next whole month.

3rd house placements if in fire signs, can jump to conclusions or interrupt without realizing it. If in earth signs, waits for their turn to speak which never comes if in retrograde motion, could be too blunt and brutal with their words and insult you wrapped up as a compliment. If in air signs, convos are all over the place and ends Convo abruptly and moves on to next and struggle with articulating words if in retrograde as mind processes 120 words and in 5 topics at once, they end up with speaking 20 words. If in water signs, overshares and take things personally even when others meant in a general way.

4th house placements if in fire signs, stubs their toe constantly or just prone to little/major accidents at home. If in earth signs, black sheep of the family, might seem too distant or emotionally closed off, selective affection. Constipated at times. If in water signs, can't let go of toxic people around them and pretends they're happy even though they're not. If in air signs, selective communication, gossips within family, argues sometimes and reconcile with the other person like nothing happened. Also forget things quickly like where is my key?

5th house placements if in fire signs, defensive and loves riding a bike to watch the sunrise or such. Short-tempered and into games. If in earth signs, stingy when it comes to spend for others they don't wanna spend money on. Classic "I have nothing to wear" energy. Loves desserts and likes to try new restaurants/dishes. If in air signs, smart and would navigate their way out of trouble. Doesn't like relatives showing up. Watches bad movies knowing it's bad like The Room or Neil Breen movies. The kind to spread a rumor for fun. If in water signs, never asks their crush out and daydreams about their crush like having kids and dying of old age together. Bathroom/Kitchen singer like sings while doing household chores. OCD in some cases.

6th house placements if in fire signs, watches at least 5 shorts/reels a day. Doomscrolls their feed. Watches cooking tutorial or natural skin care remedies. If in earth signs, has a schedule for when to clean and when to run errands and expects their kids to follow/help. Learns new hobbies later in life like in their 40's. Prefers a clean kitchen. If in water signs, breaks things accidentally and spills coffee or other drinks often. Religiously drinks coffee or at least into green tea and such. Into collecting things they like such as pokemon cards, art collections and such. If in air signs, they are their worst enemy and comes up with worst scenarios in their head which never happens in reality. Talks and smiles to self like if someone seen them smiling, talking to themselves, would be seen as a crazy or a weirdo. Inner voice is their best friend. Unemployed/underpaid in some cases.

7th house placements if in fire signs, has this "world is your oyster" vibe and grass is always greener on the other side for them. Has Plan B. If in earth signs, multitaskers. When comes to love, juggles between two people and also loves architectural designs like interior designs and all(eg: Pinterest and Zillow). If in water signs, never satisfied with things or people. Either a drunk or the sober friend. Also a hopeless romantic. If in air signs, struggles with decision making. Migraines and hate loud noises or loud people. If single, in a relationship with their bed.

8th house placements if in fire signs, sexual tension or sexual conquest. Loves the chase and an ego boost and defensive in relationships. One-night stands/flings. If in earth signs, picky with whom they let in. Asexual in rare cases. Transactional relationships or relationships based on sex rather than any real love in some cases. If in water signs, one-sided sexual attraction, BDSM and such. Fantasizes about their interest sexually and watches p*rn to get off. If in air signs, into hard-core p*rn fantasies, abused/cheated on in relationships, sex when travelling, aquaphobia if moon is placed, quickly jumps from one interest to another. LGBTQIA+ in some cases.

9th house placements if in fire signs, smells BS from a mile away. Likes k-pop or other culture movies/songs than their own. Would leave everything behind to pursue their passion and start from scratch. Into animal rescues and like action movies. If in air signs, prefers an apartment/penthouse/condo than a home in the suburbs. Loves to attend concerts, rallies, festival events and all. Not a homebody or gets depressed if stayed home for longer periods of time. Likes stand-up comedy. Watches true crime. If in water signs, loves to travel via water or at least swim in lakes or rivers in the weekend. Fishing/sea food in some cases. Potential to become a chef/ just food business or simply eat at buffets. If in earth signs, watches home building tutorials/DIY construction kits. Loves snow/rain. Spends at least an hour/day on shopping apps or might even sell stuffs online. Could be into vintage/futuristic fashion and buys gadgets/antiques. Into old model cars/scifi cars in some cases.

10th house placements if in fire signs, have a start-up founder like passion and energy. Moves away for career. Has Plan B,C,D like an accountant in the morning and comedian in the evening. Career change might happen later in life to follow passion. If in earth signs, two or more sources of income is possible. Strategist and an "insider". Knows things most of us don't have access to or not known by public. Sometimes becomes a stay-at-home parent after kids enter the picture and willingly takes a backseat in their career. If in water signs, values connections which sometimes gets romantic. Co-workers/colleagues are like family. Fakes their smile or acts friendly to people they don't like but do so to avoid being called rude. If in air signs, trusts people blindly sometimes, gets betrayed by people they knew well, unemployed/underpaid in some cases.

11th house placements if in fire signs, debates in the comment section, struggles to stand out from crowd/find their community or niche, feels lonely even when surrounded by people. One man army. If in earth signs, feels too old for trends like a grandma/grandpa to tech or live in the 2050s. Struggles to be heard in groups or spends time and money on people as what others think of them matters. If in water signs, talks to strangers online looking for love and connection. Long-distance relationships which might or might not develop further. Spends on celebrity products/merch in some cases. If in air signs, send pics to strangers online or an active OF account in some cases. Could get blackmailed/hacked in some cases. Probably has a troll account.

12th house placements if in fire signs, feels like the side character in their own life. Fire on the inside, calm and composed on the outside. If they do succeed in life, people around them won't even believe they can do great things. Hides their true self. If in earth signs, clean and tidy when happy, poor hygiene and unkempt hair/nails if depressed. Skin and food allergies. Body image issues/self-harm tendencies. If in water signs, falls for unavailable people, hypochondriacs, diabetes/blood pressure issues later in life in some cases. Dehydration/over-indulgence. Cries under the sheets or in the shower. If in air signs, might develop su*cidal thoughts/self-destructive tendencies, stalk exes online or gets stalked. Hides their true opinion on things and says what's acceptable in the society. Writes under a pen name. When 12th house placements move far away from native, they usually get seen/recognized by people there and loved more.

Wanna go deeper into the layers of your placements? DM me for a complete astrology reading or a 5 year/8 year marriage report🌙💬 and check out my pinned post for pricing + details 💫💸

Let’s decode your cosmic chaos together ⭐

[starlinggirll]

stanford!art except he's a bit crazy...inlove with you!

who...sneaks out of his dorm to sneak into yours. thankfully you got a dorm to yourself, so he can come in and out as much as he wants. his head resting against yours in his sleep has become a routine for him he's never getting tired of. and it also helps him make sure you arent with someone else at night.

who...is a bit friendly with other girls. he doesn't mean to! obviously. he's just naturally friendly, he didnt find it a problem until you mentioned how he let a girl in his class lean on him. he saw the way your usual bubbly persona turned into almost an insecure one. from that day on he beraly talks to other girls that arent you, and if he does, is because you're around. he cant risk losing you after all.

who...hates whenever he makes you upset. constantly asking you if you're okay, to the point where it kind of gets on your nerves but when you see his big blue eyes staring into yours, you cant help but smile. and sometimes if you're feeling needy, you shake your head just so he can coddle you more. and he loves that, loves that you think you're lying to him when instead he was waiting for you to do that. everything he does is for a reason, after all.

who...loves spoiling you! regardless if its snacks or expensive snacks, he loves gifting you stuff. specially since sometimes he feels like you arent satisfied with the way he treats you, he, in the most innocent pure way (hopefully), tries to buy your love.

who...hates whenever you talk to other boys. he always has his eyes on you, and when you talk to other boys he feels strong urge to drag you away. he doesn't know where it comes from, he has always been a territorial person, specially with patrick. but being with you, those thoughts and urges have spiked to the max.

who...gets irrationally mad when you go out without him. he doesn't get mad at you if you wear something revealing. if anything, he encourages. loves seeing you so confident and loves to brag about you. but when he isnt around he feels completely helpless. specially after you post a photo of the party, taking hours analyzing each picture to see if there's something/somebody that isnt supposed to be around you.

who...wants nothing but the best for you! he really does. he just...hates whenever you go out without him. the people that hangout with you? they dont know the real you. then dont know you the way he knows you. he knows whats best for you. or that's just what he tells you all the time he inside of you.

who...whispers sweet nothings in your ear while he'a fucking you. well kinda. from "i love yous" being shared between you two to "no one else gets to see you this way. no way. me and only me." you are too busy enjoying yourself to realize how he really does mean those words. how he's completely serious.

who...will never let you go now that he has you. he doesn't care what he has to do, threaten to kill himself? force you? he wouldn't think twice if it meant keeping you with him. but thankfully you love him too, obviously not in a creepy way like he does, but he has you hooked. and you have him hooked. its meant to be!

[certaimromance]

𝜗𝜚 The Other Boy Next Door.

Spencer Reid x Neighbor!reader

next chapter | series mastelist | main masterlist

Summary: Spencer is focused on not hurting you and keeping a healthy distance, but his whole world is turned upside down when he hears a male voice in your apartment.

Words: 3,9k.

Warnings & Tags: this is part of a series, check the masterlist to make sure you are in the correct chapter. mention of jail, gun, violence, alzheimer, blood. references to what happened with maeve (no direct mention). painter!reader. post prison reid (with so much trauma). lack of communication. angst. english isn't my first language (sorry for my mistakes, be kind please).

Note: This chapter was veryyy difficult to write because I really wanted to show both points of view, and I killed myself researching the deeper consequences of three months of confinement to be realistic with Spencer😭 I hope this makes sense to you.

Most days in apartment 23 were lonely and very decadent.

Generally, Spencer Reid woke alone in a bed that felt far too large for one person, the sheets cool and undisturbed on one side. Coffee came first, a dark, bitter brew that filled the air with its sharp aroma. He would stand by the kitchen window, staring out at the skyline, lost in thoughts that circled endlessly but led nowhere. His medical books were always on the table, their spines cracked and pages marked with notes and highlighter strokes. He pored over them not out of passion but desperation, chasing elusive cures for his mother’s Alzheimer’s. The phone rested nearby, a constant reminder of his work, its silence pressing heavier with each passing hour.

When there was no call, which was really weird, he filled the void with repetition. He’d toast bread or fry eggs for a meager breakfast, then venture out to the coffee shop on the corner. The routine was painfully predictable: the same stale donuts, the same barista with the tired smile, the same seat by the window. Thirty-two minutes, start to finish, every time. If the phone didn’t ring even then, he’d wander aimlessly to the library, where the scent of old paper offered fleeting comfort, or return home to let classical music fill the otherwise suffocating quiet. He was always pleased to hear songs without lyrics that could further suffocate his brain. It was a nice way to wait to be needed.

But one day, the loop cracked. Midway through his meticulous routine, something—or rather someone—broke through the fog of his predictability. You moved in next door.

And then, all of a sudden, his quiet time between classical sonatas, coffee, and huge books was interrupted by your cat, and consequently, you. His whole routine changed right away. He no longer woke up alone in his bed because you and Mittens took up all the space that was left and more. He didn't just buy one coffee anymore; now he bought two, with an extra brownie that you loved. He didn't lock himself away to read non-stop because he had you to talk to and give him the support that no book could ever give him. He stopped listening to so much classical music because you liked watching him analyze the lyrics of your favorite songs. He stopped waiting for calls from work to feel useful because you always seemed to need him.

And he welcomed all the changes, because the biggest one was his favorite: you.

Everything about you captivated him from the moment he saw you hauling an absurd number of canvases into your apartment. You were unlike anyone he’d ever met. Your presence turned the once-sterile hallway into a place of possibility, where running into you felt like a small miracle. But what amazed him most was how you transformed his apartment, a place he once thought of as lonely and very decadent, into a home. It wasn’t just the way Mittens treated his space like her second domain or how your art supplies slowly began to infiltrate his coffee table. It was the warmth you brought with you, the way you made him feel seen and understood in a way he never had before.

But since Spencer was used to it, nothing good lasted. But since Spencer was used to it, he'd rather leave than be left behind again.

You two were almost like strangers now. The warmth that had once filled his days was gone, replaced by a hollow silence that lingered in every corner of his apartment. There were no more mornings waking up together, no shared cups of coffee, or lazy conversations about nothing and everything. Even your casual hallway encounters had dwindled into fleeting moments, a rushed “good morning” as you passed each other without meeting his eyes.

Now, his mornings were cold and solitary once again. He sat alone at the small kitchen table, the other chair pushed neatly against the wall as if to erase any memory of you. The second coffee cup he’d grown so used to buying stayed behind at the shop, and the barista didn’t even ask about the brownie anymore. Instead, he carried a single steaming cup back to his apartment, where it joined the growing pile of books that had reclaimed their place as his only companions.

He buried himself in his medical texts with a desperation that bordered on obsession, but even the words on the page couldn’t hold his attention. He visited his mother at the nursing home you had helped him find, but the comfort he once felt from knowing it was close had turned into an aching reminder of how involved you’d been in every part of his life. And to make things worse, the job that had always been his refuge was gone too. Temporarily suspended, he had nothing to distract him, no cases to pour himself into, and no purpose to latch onto. He was adrift, waiting for his boss to negotiate with the bureau, waiting for his life to have some semblance of meaning again.

This morning was no different from the others. A bleak repetition of what his life had been before you. Spencer sat on his couch with a cup of coffee that had already gone lukewarm. His fingers gripped the edges of an open book, but his eyes skimmed the words without processing them. The air in the apartment was heavy, stagnant, broken only by the soft, repetitive scrape of Mittens’ claws against the fabric of a cushion. The sound grated on him, but he couldn’t bring himself to shoo her away. In truth, he was grateful for the small disruption, even if it came from a cat that seemed to sense his turmoil.

But something changed this time. From the corner of his ear, a sound, a voice, pierced the thin walls of the place. It was not so loud, but it was unmistakable. A man's voice. Deep. Low. Tense. And from your apartment.

His body tensed, and the hairs on the back of his neck stood up. His heart stopped for a few seconds. The voice was unfamiliar; he knew it wasn't one of his friends because he knew them all, but there was still something about it that made him uneasy. It was almost...harsh. The words, though distorted by distance, still had a tone that made Spencer catch his breath. It wasn't an argument, he didn't even hear your voice respond or even give the slightest sign that you were okay. It wasn't so loud, but the pressure of the voice, the possibilities behind it, didn't sit well with you. Especially since you were always reluctant to let anyone into your home.

At that moment, a deafening crash shattered the fragile stillness of the apartment. The sound reverberated through the walls, shaking picture frames and sending a cold jolt straight down his spine. It was the kind of noise that demanded attention, the kind that twisted in the pit of your stomach and told you that something was horribly wrong.

Then, silence.

No voices. No footsteps. Nothing.

It was the silence that gutted him most. His mind instantly spiraled into the worst-case scenarios. Blood pooling across the floor. Your voice screaming his name in pain, only to be silenced. The flicker of movement as someone fled the scene. He couldn’t stop the flood of images from invading his mind. They were vivid, visceral, and rooted in the darkest parts of his imagination.

The silence dragged him back to the nightmares. The ones he’d woken up to every night in that tiny, suffocating prison cell, his heart racing and his breath shallow. Nightmares of iron bars and shouts echoing down narrow corridors. Nightmares of blood in the courtyard, spilling from faceless bodies while the sun mocked him with its indifferent light. Nightmares of whispered threats and the press of a blade against his ribs. They had told him they’d hurt everyone he loved, and for months, he’d believed them.

He had learned survival then, how to block out the fear, how to guard his thoughts, how to endure. But the nights were a different story. He’d lie on that hard, narrow cot, willing his body to rest while his mind conjured the only thing that could keep him sane: the image of you. You smiling. Laughing. You safe. It was the only thing that had kept him alive in a place that wanted to devour him whole.

And now, this silence threatened to destroy that fragile illusion of safety.

Without even thinking, his hand went to the drawer where he kept his new pistol, and his fingers brushed the cold steel. He paused, thinking about how he never thought he would need it in a place like this, a safe apartment in a decent neighborhood, where the most dangerous thing that had ever happened was Mittens knocking over a vase or spilling his hot coffee. Yet now, everything felt wrong, the voice he’d heard earlier, the crash, the gnawing dread in his chest that whispered, you’re too late, for the second time.

His breathing quickened as his hand closed around the grip, pulling the gun from the drawer. The weight of the gun in his palm momentarily calmed him and made him feel in control again, but his mind was already racing, imagining the worst. What if something had happened to you? What if that voice was threatening you or, worse, trying to hurt you? What if that man had already hurt you and that's why your voice couldn't be heard? What if he failed you like he failed in the past? Spencer tightened his grip on the gun, his mind racing as his feet moved faster toward the half-open door of your apartment.

With his body paralyzed with fear for you and his mind screaming for him to come in and make sure you were safe, the door creaked open just enough for him to see inside.

You were standing in the middle of the room, disheveled but unharmed. The sight of you, alive and unhurt, should have brought him relief, but instead, it only stirred confusion. The kitten-faced shirt he had given you for Christmas was wrinkled, your hair wild and unkempt, and faint streaks of dust and paint covered your hands. His eyes darted past you to the man beside the sink, leaning casually over the counter, focused on his work. The sink was dripping steadily, water pooling beneath the cracked faucet, and there, next to it, lay a jagged shard of broken glass on a rag. The man, dressed in worn work boots and a faded flannel shirt, was tinkering with a wrench, his brow furrowed in concentration as he replaced the faucet head.

Damn.

For the first time, Spencer Reid realized something. His instincts were wrong. His mind had misfired. His thoughts, clouded by the lingering darkness of his past and the fear, had led him to the wrong conclusion. For the first time.

The man’s voice broke the silence. “Good thing you called me when you did,” he said cheerfully. “Could’ve ended up with water damage if this had gone much longer. Would’ve been a real shame for your paintings.”

At the mention of your paintings, your most cherished works, your soul poured onto each canvas, your body tensed, a chill running through you. Instinctively, you turned toward the wall where they were propped, vibrant colors peeking out from behind the half-open door, but it wasn’t the paintings that caught your attention.

It was Spencer.

Your heart slammed in your chest as your eyes met his. His face was tight with something you couldn’t decipher, but your gaze was drawn inexorably to the thing in his hand. The weapon he was awkwardly attempting to hide beneath his jacket. The sight hit you like a punch to the gut, your pulse spiking with a mix of confusion, disbelief, and raw fear. It was like the world shifted on its axis, everything around you turning to static, muffled noise.

You couldn’t speak. Your mouth went dry, your throat constricting. No words could come, not while your mind raced, trying to make sense of this moment that felt like a nightmare, and yet, it was all too real.

The man, Mike, your neighbor, remained oblivious, still focused on the task at hand. “All set here,” he said with satisfaction, wiping his hands on a towel, his back still to Spencer. “Just keep an eye on it, and let me know if anything else leaks.”

You swallowed hard, forcing yourself to stay composed. “Yeah…thanks. I really appreciate it.”

Spencer shifted his weight, and you saw his hand, tight on the gun, pressing it awkwardly against his side in an attempt to hide it further. It only made things worse. His actions were clumsy, frantic even, as if he couldn’t decide whether to conceal it or confront you. And you saw it all, the frantic, fearful energy that was pulsing in the air between you. But what stung the most wasn’t just the weapon; it was the confusion in his eyes, the distance that had grown between you, and the unsettling realization that he couldn’t, or wouldn’t, tell you why he was here. Why did he have to carry that gun knowing that you had never even liked to be near the drawer where it was kept?

Mike, noticing a subtle shift in the atmosphere but not understanding its source, glanced at Spencer briefly, his expression faltering slightly as if sensing the subtle change. But he said nothing. He simply gathered his tools and offered an awkward, polite nod. “Well, I’ll let you get back to your day,” he said, too focused on his exit to feel the heaviness that hung in the air. “Always happy to help. Just call me if anything else comes up.”

You didn’t speak. You just moved, stepping forward with a forced smile that felt more like a mask, positioning yourself subtly between them. Your movement was calculated, deliberate, blocking Spencer, hiding the gun, trying to maintain some semblance of normalcy. “Will do,” you said, the words sounding like a brittle lie in your own ears. The brightness of your tone was a poor attempt to mask the tightness in your chest, the hurt you couldn’t quite articulate.

With a nod, he headed toward the door, giving you a wave as he left. “Have a good day!”

“You too,” you managed to reply, your voice thin and strained. You barely registered the words before you were practically ushering him out, closing the door swiftly behind him, the finality of the click of the latch echoing in the silence that enveloped the room.

After a moment, you turned slowly, your hand slipping from the doorknob. Your eyes met his, and the look on his face stopped you in your tracks. His expression was raw, his brows drawn together, lips pressed into a thin line, his knuckles white where they clutched the gun now tucked awkwardly against his side. There was fear in his eyes, but also something else, something darker, harder that you never saw before.

“What,” you began, your voice shaking, “were you thinking?”

Spencer opened his mouth to respond, but nothing came out. His chest heaved, breaths shallow and erratic. His mind, racing at full speed, tried to make sense of the words he needed to say, the ones that would make everything okay, the ones that would make you understand. But nothing fit. Nothing was enough to explain the panic that had taken hold of him, the fear that had driven him to do something he never would’ve imagined.

His gaze darted between your eyes and the gun still clenched in his hand, and a surge of self-loathing flooded him. He looked like a madman. He felt like a madman. His hand twitched, as if it were trying to pull the gun back, to shove it into the recesses of his mind where it belonged. But it was too late. He had already brought it into your life, into your apartment.

You took a cautious step toward him, each movement deliberate, careful. Like you were walking on glass, afraid that the slightest misstep would shatter everything between you. Your eyes flicked down to the gun, and your throat went dry. You swallowed hard, trying to push down the sick feeling in your stomach. “Put it down, please,” you said, your voice steady but thick with unspoken emotions.

For a moment, he didn’t move, his fingers tightening almost imperceptibly around the grip. Then, as if the weight of your words had finally broken through, he blinked and seemed to snap out of a trance. His gaze dropped to the gun in his hand, and a wave of something, shame, regret, maybe even self-loathing, washed over his face. Slowly, carefully, he moved to the table near the entrance and set the weapon down.

The sound of the metal meeting wood was louder than it should have been, echoing in the oppressive silence of your apartment. The sharp clink made you flinch involuntarily, your body tensing as if bracing for something that, thankfully, didn’t come.

“You brought that into my apartment,” you said finally, your voice low and trembling.

“I thought—” he began, but you didn’t let him finish.

“You thought what?” you interrupted sharply, spinning around to face him. Your eyes were blazing, the fury in them cutting through him like a blade. “That you could just storm in here with a gun? That this—” you gestured toward him, your hand shaking, “—was the right thing to do? Even when you know how I feel about…this stuff?”

He knew, of course he did. He knew how much you hated his work and all that it involved, even though you tried hard not to show it every time he told you about it. Spencer knew that anything to do with violence gave you nightmares that only his company and many cartoons could alleviate.

“I thought you were in danger,” he whispered, his voice quieter now but laced with desperation as he took a tentative step toward you. His hands rose slightly, palms outward, as though to show you he wasn’t a threat. He wasn’t trying to intimidate you. “I heard a man’s voice, and then I didn’t hear you at all. There was a crash, something breaking…and I—” His voice cracked, and he clenched his jaw, trying to stop the panic that clawed at him. “I didn’t know what was happening. I thought—God, I thought you were hurt.”

God.

He didn't usually say that word.

“You didn’t know because you didn’t ask.” The words shot out of you like arrows, and the sting was sharp. You took a step back, arms crossed tightly over your chest, trying to shield yourself from the wave of emotion crashing over you. “You didn’t call, you didn’t knock, you didn’t think.”

At that moment, Spencer wasn't sure if he was more hurt by your words or the fear that still haunted your gaze. It was almost as if you were afraid of him, his own mind told him. And it hurt, like a wound that wouldn't stop bleeding.

You took a deep breath, trying to steady yourself, and your eyes narrowed as you stood there, fighting to regain control of your emotions. “If you weren’t ignoring me like the plague, you’d know that my apartment flooded a month ago. I’ve been trying to get the plumbing fixed, but I haven’t had the money until now. That’s what I was doing,” you said, your voice trembling but stronger now, the words tumbling out faster than you intended. “That’s why I had someone over today. He was fixing the leak. He’s just—he’s just a plumber, Spencer. He’s our neighbor from the fourth floor.”

His heart hammered in his chest, and for a moment, he just stood there, taking it all in, the weight of your words sinking into him like a stone. The irrational fear that had gripped him moments ago now seemed distant, almost laughable in the face of what he had just done.

He opened his mouth to apologize, but the words were stuck, tangled in the knot of regret and guilt in his throat.

You met his gaze, searching for something, anything, in his eyes that might show you he understood, that he truly realized how wrong he was. But all you saw was the same deep sorrow, the same painful awareness of the damage he had caused.

“I don’t know what you were thinking,” you whispered, your voice barely audible but cutting through the silence. “Or what happened these last three months that changed you so much.” You shook your head slowly, your eyes glistening with unshed tears. “But that wasn’t it. That’s not how you protect someone. That’s not how you show you care.”

The finality in your words hit him like a blow to the chest. Spencer’s shoulders slumped, and for the first time, he looked truly broken. He stood there, vulnerable and raw, his lips parting as if to speak, but all that came out was a quiet, defeated whisper. “You’re right.”

His voice was barely above a breath, but it carried the weight of every ounce of regret he felt. “I don’t know how to do it. I don’t know how to protect you…or anyone.” His gaze dropped, his hand flexing at his side as if he didn’t know what to do with it. “I haven’t learned.” He exhaled sharply, a sound that was half a sigh and half a plea. “I’m sorry.”

And with that, he stepped forward, each movement slow and deliberate, as if he feared any sudden motion might shatter what little remained between you. His hand reached for the gun on the table, the clink of metal against wood echoing in the room like the final note of a requiem. You flinched at the sound, a subtle but unmistakable movement that made Spencer freeze in place. He saw it, the fear in your eyes, the way your body tensed, and it broke him in ways he didn’t know were possible.

Without another word, he tucked the gun securely away and turned toward the door. His steps were heavy, deliberate, like a man walking toward his own execution. He didn’t look back as he opened it, his silence saying more than words ever could. The door clicked shut behind him, the sound reverberating in the room, leaving you in a deafening, suffocating quiet.

You stood there, frozen in place, the weight of his absence crashing over you. Your chest ached, your mind racing with thoughts you couldn’t stop. For the first time, you weren’t sure if he was still the same man who had made you fall in love.

Because your Spencer would never have hidden a gun in his apartment, even when he was supposed to be suspended and without one. He would never have brought it to your home, especially after hearing you say a thousand times how scared you were of arms. And most of all, he wouldn’t have left the way he did now. He would have stayed. He would have held you, kissed your forehead, and asked for forgiveness a thousand times over until you knew, without a doubt, that he regretted every moment of his mistake.

But he hadn’t. And as the silence pressed down on you, you couldn’t help but wonder if the man you had loved was still there…or if he had already disappeared, piece by piece, in the last three months.

You certainly didn't know a lot of things.

[hellspawnmotel]

I’m genuinely wondering here, but you’re not like, wholly obsessed just with the weird route and all the creepy, forced on romance stuff right? I say this as someone who’s known that you’ve done a lot of analysis on the weird route and such, from reposts mostly of your art, and I just wanted to ask that cause honestly, you never know if someone who talks extensively about vile things that happened to children in media are people who want to just analyze how media handles such grave and sensitive topics or just genuine creeps.

I know that sounds deranged and maybe pearl clutchingly puritan, but sadly it isn’t like it’s completely unheard. Like, some creator of Fnaf fan game for example, dormitabus or whatever, made the purple guy a child rapist and then it turns out the creator was a groomer themself. So I hope you understand why some people are always going to have their guards up when it comes to media that explores horrific things such Child sexual assault, suicide, murder and so on and even just discussions about that, in case some seem to be a little to off-puttingly obsessed with it.

I understand your apprehension, I've been on the internet (and in the world) long enough that I've seen plenty of examples of what you're talking about. it's often really hard to tell the difference between somebody who genuinely wants to talk about and analyze darker topics in a compassionate way, and somebody who's just being a pervert about it, especially when the phrase "I explore darker topics" has unfortunately become something of a red flag on its own. there are lots of creeps out there, and they can be really good at pretending theyre not (so they can keep being creeps easier). which is all to say, I don't blame you for worrying.

I don't know how comforting this is going to be for you, but the truth is that I AM more interested in the weird route than the normal route, generally. I've always been drawn to stories about people going through really horrible shit, especially the ones that do that using a lot of symbolism and metaphors (i.e. alluding to real-world issues using absurd or fantastical circumstances). I've liked that sort of thing since I was six years old watching digimon tamers on fox kids and acting out my toys dramatically killing each other. I like irreversible tragedy and trauma and seeing characters cope in the aftermath, but portrayed through the lens of fantasy so it feels safer to engage with. so of course that's something I want to also explore in my own work.

I will say though, that the weird route's forced romance stuff in specific isn't what draws me to it. it's the fact that it combines a lot of different concepts and themes I'm interested in- genre deconstruction, fantasy tropes, metanarrative, gender, autonomy, doing a "this comfortable and familiar story but Fucked Up" thing, I could go on. I would probably still be crazy about it without the weird divorcecore angle. it's just like, catnip for me lol. but my main goal is always to use the things I love to enrich the lives of other people and cause as little harm as possible while doing that.

but really I can't convince you of anything. the choice as to whether or not you're comfortable with my work and how I express these feelings, is not up to me. that's entirely your decision and I don't expect everybody who looks at what I make to want to keep looking at it. that's the risk you take when making art of any kind. I can tell you sincerely that when I discuss or portray "darker topics" I always try to do it with empathy and understanding, and without exploiting the situation or people involved, but it's entirely up to you whether or not you trust that I'm coming from a decent place with that, and whether or not I'm doing it successfully is going to change based on personal opinion too. but even though it's your decision, when you DO choose to put your trust in somebody like that, and that trust is broken, it's not at all your fault. we NEED trust in order to function socially, and somebody betraying that is never the responsibility of the person being betrayed. the burden shouldn't be on you to sniff out when a relationship, even the relationship between writer and reader, is being exploited or misused.

if you decide to trust that I'm being truthful and I have good intentions, and trying my hardest to be respectful, that's a massive compliment to me and I wear it as a badge of honor. if not, I won't take offense and I'll keep trying to do right by these subjects when I create anyway. ✌️

[the-cat-and-the-birdie]

Hobie Brown, Emotional Preparation, and the Art of Great Dialogue

Nearly all of Hobie's dialogue is written with his goal - protecting and preparing Miles for Miguel's abuse - in mind, even if it may not be obvious at first watch.

Here's an unhinged breakdown where I over-analyze literally every one of Hobie’s lines and explain how every sentence was written to contribute directly to Miles’ radicalization.

Hollywood. Pay your writers. (:

___________________________________________________

Hobie has around 10 minutes screentime total, but for the sake of introductions and this analysis, let's start at the end of the battle, and the beginning of the quantum hole.

Starting with his first line in the scene:

"I don't follow orders. Neither does he."

All morals considered, Hobie doesn't seem like the type to speak for someone who can speak for themselves - he's a punk after all. But here, he speaks for Miles. This line serves to tell Miles 'I don't respect them, why should you?', but funnily enough, it can also be a point to Jess, as if to say 'Miles isn't interested.' - even if he is.

"Bit much, innit?"

While, Hobie and Mile's next interaction is their exchange in the elevator, the scene leads to Mile's introduction to the Society. Miles gawks at the lobby, obviously impressed. Gwen affirms this awe, telling him 'this is just the lobby.' However, Hobie feels the need to chime in. His next dialogue 'Bit much, innit?' is a subtle nudge to Miles that the society is not a place to be in awe off. It's a spectacle, one that's a bit overdone. Knowing Miles now sees Hobie as cool, Hobie makes it known - he sees the Society as uncool.

"Gwendy, How much have you told him? About his place in all this? Maybe not enough."

'So what happened about that small elite strike-team?' - 'Most of these are part time.' This is by far one of Hobie's more interesting lines, and I wrote about it here. But in short, this is Hobie's soft but direct confrontation of Gwen. After Gwen lies to Miles in front of him, Hobie immediately asks how much Gwen has revealed to him. And when she tries to play it off, he openly says 'Maybe that's not enough.' He's not angry with Gwen, but he is disappointed, which in turn motivates him to have his discussion with Miles.

"Super humane, and not creepy."

One of my favorites, because it's hard to catch and to the point. After talking about Hobie and Gwen's mission history, they're taken to Margo and the control room. As Miles marvels at Margo and the Go-Home-Machine, and Gwen says she voted against it. However, Hobie says blatantly: 'Holy shit, Miles isn't this inhumane and weird???', validating that the Society is willing to do inhumane, hurtful stuff to those it deems 'misplaced'.

Next comes Hobie's confrontation with Miles.

Because Hobie knows this is his last movements with Miles before he meets Miguel, and this is where if final push of emotional support kicks in, before he goes quiet in front of Miguel.

And because this conversation is so well layered, I think it's best to go line by line. ______________________________

H: "Bet this doesn't even do anything." M: "Maybe it did before you ripped it out of a wall!"

Hobie has now confirmed that he'll be making an exit soon. And he begins his finally sweep of parts he needs for his watch, stocking up his pockets. He's not stealing to steal. He knows he's leaving and this is his last chance to get what he needs before he's out the door.

"Propaganda, bro! It's to distract you from the truth!"

HOLY SHIT I missed this one. Notice how in this shot, Gwen is not visible at all. Hobie notices they're out of hershot of her for the first time. And his first line is - 'Propaganda.' Their watches can take them anywhere. When Gwen needed to, she was taken to exactly where she needed in Mumbattan. But when they're heading towards HQ, Jessica makes them walk through the lobby. They could have been sent directly to Miguel's station, but instead she makes them do the whole tour, which serves as a flex of muscle. In order, Miles was shown the massive number of members in the Society, then their prisoners, then the go-home-machine. Only THEN can they see Miguel. All of which was intent to intimidate Miles on purpose. Hobie tells him directly: 'Everything you just saw was propaganda.'

M: And what's that?

"I ain't got a Scooby Doo, mate. Cause that's what they want."

One of the most iconic and notable of his quotes. Cockney aside, this line ties back in with his discussion with Gwen just a couple minutes before. They've done their tour and walk. Both Jess and Gwen have been given a chance to prime or explain to Miles anything, and both have chosen not to. So Hobie simply tells him, 'They want you in the dark. And they're sending you into a fight.'

The next line is:

H: Why do you want to be part of this lot? M: To get a watch. H: Make your own watch.

Miles sucks his teeth at Hobie.

Because of this - Hobie begins to change methods. Which I cannot stress is incredibly perceptive of him.

Miles is exasperated with him. So instead of dissuasion and making the society out to be uncool, he tries to turn Miles' attention towards his family.

"Bet you got a nice setup, huh? Nice parents?"

This line is a very well done one, with two things of notice. First, I find it interesting that the screenplay phrases this line as a question, not a sentence. Hobie is asking. He's taking a shot in the dark here. And this is backed up by his delivery; Hobie hesitates while saying this. The only line in which he does so. He may not know about Miles' mom and dad, because Gwen hadn't met them when she met Hobie. But still, Hobie asks, hoping the reminder of Miles' parents will dissuade him from continuing.

M: They're fine. H: [After this line, Hobie turns black and white momentarily. Potentially a nod to the fact that this conversation is the only 'black and white' one Miles has had so far.] M: But we got into a fight. They just want what's best for me, so...

[Hobie frowns. The scene and dialogue REALLY starts to pick-up from here.]

"That's a bloody shame. Because you're not ready for everyone else."

As the scene progresses Hobie goes from behind Miles, to beside him like an ally. Then, when Gwen finally comes back into frame, Hobie crosses in front of him. When Miles mentions his parents wanting what's best for him, Hobie warns that everyone else does not want what's best for him. At the same time, visually Gwen has her back to Miles, and Hobie puts himself between Miles and Gwen, trying to block his path. The scene is set up to show that in Hobie's eyes, Gwen is turning her back on Miles. She does not have his best interest in mind. Hobie is telling Miles 'They're using propaganda on you, they're keeping you in the dark, and they do not have your best interest at mind. You're not ready for this." And he physically tries to block Miles from continuing, one last time.

Miles goes through Hobie, and now within earshot of Gwen again, this is Hobie's final chance and push to get as much information into Miles as he can - without freaking Miles out. Above all else, he needs Miles to be prepared, confident, and willing to fight back.

His voice becomes more serious, and he starts speaking more straight-forward and a lot less cryptically.

"Listen to me, bruv. The whole point of being Spider-man is your independence. Being your own boss, you don't need all this!"

I think Hobie saying this reveals a lot about his character, especially understanding the context where he's from. While many Spider-men would agree that being Spider-man is about responsibility and power - to Hobie, it is about independence, and freedom. Hobie is a freedom fighter, and one of the only Spider-men besides Noir that knows how to fight systemic threats as well as physical ones. To him, being Spiderman is about being able to free yourself and others. It's about independence and freedom, and he's trying to nail that in Miles' head one last time.

M: Then why are you here?

"Looking out for my drummer, is all."

As the scene is coming to a close, the writers chose this time to reveal some of Hobie's motivations, starting with the independence comment, and now this. Despite knowing about Gwen's deception towards Miles, he is still looking out for her - and Miles. This is the writers' and Hobie's last push to solidify himself as an ally to Miles and the viewer.

M: I want to be in a band. I want to see my friends, and I need a watch to do that. G: Guys, come on.

"Alright, Squashed. Just don't enlist until you know about who you're fighting."

I genuinely had to sit and ask myself why the writers would choose to leave Hobie's collective effort - a LOT of effort - with this line. And honestly, I think it's a perfect segway. Hobie chooses his words very clearly; He doesn't say 'what', he says 'who'. The next scene leads into Miguel's intro, and up until this point, Miles doesn't know who he is. He only knows about the Society, but never who is at the top. We know about Miguel, but all Miles knows is his name. That's why Hobie says 'who you're fighting'. Because the Society isn't really a Society, and this isn't really between Miles and the Society at all. It's a dictatorship - and the person he's enlisting to fight is Miguel. The perfect introduction and warning to the person he's about to meet. He's telling Miles, 'Don't rush into it. Wait until you meet Miguel first'. And when Miles does meet Miguel, he finally sees that this isn't the place he thought it was, just like Hobie said. ALSO EVEN MORE INTERESTINGLY - THIS is one of the lines that is changed between the two versions of spiderverse (there are two theatrical versions on release.) In the alternative he says 'Don't enlist unless you know what war you're fighting.' And I think that the fact the writers chose to publish two different versions of this line goes to show how powerful they knew this line would be in Miles' characterization. There is so much Hobie has left to say to him, but only one line - and so we get two versions. How fun!

With the scene now over, we see a change in Hobie's demeanor, and I love the writers' choice to have the shot linger on Hobie.

We see him give Miles a look that isn't exactly full of confidence, but from this point forward, Hobie chooses to hang back, no longer having any motivation to instigate. He knows his work here is done, and now all he can really do is wait for Miguel to reveal his true colors, and hope that he got through enough to Miles that he will react, and fight back.

And closing out the scene - I noticed that when Peter B. arrives Hobie pointedly says

"Oh boy, Humbling Reality Spider-man has arrived."

All I'll say about this is Hobie has to be Jamaican cause that was so mfing rude shgjfkghjgjkdfjk

Hobie has about three lines between this point and then end of his screentime - Two of which were his lines to Mayday, and his comment during the canon events.

But there is one shot of him before it all happens. And after this shot the movie begins staging Hobie in specific a very different way than anyone else.

The moment begins with Miles' line 'My Dad is about to be captain.'

The camera pans to each character. Gwen, Peter, and Jess all avert their eyes. Miguel looks at Miles. And Hobie is the only one who looks at all of them. Instead of looking down, he looks to the others, in anticipation of whats going to happen. It's also important to note that this was probably news to Hobie. He probably didn't know Miles' dad was a cop - or at the very least going to be captain. So the understanding of just how much trouble Miles is in kinda multiplies in this moment.

Then, this happens

From this point forward, every time Hobie is portrayed, he is shown as separate from the other characters, always being divided from the group - with Miles as the divider. Even as the camera moves, Hobie visually remains - quite literally - as the only person in Miles' corner. And as the scene goes on, he moves farther and farther into that corner.

Until finally the scene comes to a climax, and Hobie gets two shots to himself - delivering his final lines.

"Here we go." - "Hobie, You're not helping." - "Good."

GUYS IM GONNA CRY OKAY IM GONNA CRY

This is Hobie seeing his work pay off. This is him knowing that he got through to Miles and that it was worth it. He's proud of him.

Hobie knew what he came to do, and he used literally every line he said to Miles to the FULLEST extent. He doesn't give a fuck if he's not helping the Society. He's helping Miles. And now he knows his work is done.

Being a punk is not about being a hero, it's about empowering those who feel powerless. HE UNDERSTOOD THE MOTHERFUCKING ASSIGNMENT.

IN SHORT - HOLLYWOOD PAY YOUR FUCKING WRITERS I SWEAR TO GOD.

if you read this far let me know :) thanks bye

[kxsagi]

Hello! May I perhaps request one for Reo Mikage? I'm so disappointed there are not many fanfics about him. Anyways, maybe a story where him and the reader have been dating for a while. But when Reo introduced her to his parents they didn't approve of her. Make it a happy ending pls I've been writing so much Reo angst in my notes app I need him to be happy for once 💔

“𝐥𝐨𝐯𝐢𝐧𝐠 𝐲𝐨𝐮 𝐥𝐨𝐮𝐝𝐞𝐫”

a/n: nooo not the reo angst 😭 he deserves a happy ending and i am gonna write one 😼

(i don't know art credits so sorry)

you knew the moment you stepped into the mikage estate that this wasn’t going to go well. 

reo’s hand was warm in yours, his grip a little tighter than usual, like he already knew too. the place was massive with high ceilings, marble floors, and a silence that felt too heavy for a home. you could practically hear your heartbeat echoing off the walls. 

“you okay?” reo whispered, leaning down slightly to catch your eyes. he always did that, checked on you like it was second nature. 

you gave him a soft smile, nodding. “yeah. i’m ready.” 

but you weren’t. 

his parents were polite at first. distant smiles, tight handshakes. his mother looked you up and down like she was analyzing a stock portfolio. his father barely said two words, and when he did, it was only to reo. 

the dinner felt like walking on eggshells. 

you laughed at the wrong time. spilled a little water. tried to talk about your job but got cut off with a dismissive comment. when his mom said, “she’s… sweet, reo. but is this really what you’re looking for in a partner long-term?” you felt your heart drop right into your stomach. 

reo squeezed your thigh under the table, but he didn’t speak. not right away. 

you left that night in silence. you tried to smile like it didn’t bother you. you tried to act like it didn’t feel like someone had just labeled you not enough. 

reo didn’t let go of your hand the entire car ride back. 

“i’m sorry,” you said quietly, staring out the window. 

he pulled over. 

“don’t,” he said, turning to you. his voice was soft but serious. “don’t ever apologize for being yourself. they were wrong. you were amazing.” 

you shook your head. “they hated me.” 

“i don’t care.” 

“but they’re your parents, reo –” 

“and you’re the person i want to spend the rest of my life with.” 

your breath caught in your throat. 

reo cupped your face, thumbs brushing over your cheeks like you were something delicate. something precious. 

“i love you,” he said. “and i don’t need their approval to know what my heart wants. if they can’t see how lucky i am to have you, that’s their loss. not mine.” 

you blinked back the tears that were threatening to fall. “you’re really gonna pick me over them?” 

he smiled, leaning forward to press his forehead to yours. 

“i already did.” 

weeks passed since then. things were awkward. reo didn’t visit home much. you told him he didn’t have to choose, that you didn’t want to be the reason he drifted from his family, but he kept saying the same thing: 

“you’re not the reason. they are.” 

and then, one quiet saturday, there was a knock at your shared apartment door. 

reo opened it. it was his mom. 

you froze in the hallway, unsure if you should hide or come out. 

reo looked back at you and smiled gently. “it’s okay. come here.” 

you stepped into view, heart pounding, but his mom looked different this time. her expression was softer. nervous, even. 

“i wanted to apologize,” she said, looking between the two of you. “i was wrong. i judged you before i even tried to know you. that was… unfair. and rude.” 

you didn’t know what to say. you just stared, mouth slightly open. 

“reo didn’t talk to us for weeks,” she continued. “and i realized… if someone like him could love someone this much, maybe i was the one who needed to reevaluate.” 

reo reached for your hand again. like always. 

“i’d like to get to know you,” she said, gently. “if you’ll let me.” 

you blinked, a little dazed. then nodded. “okay. yeah. i’d like that.” 

reo looked so proud. like the sun had finally come out again. 

later that night, when it was just the two of you tangled up on the couch, you turned to him and whispered, “you really would’ve given it all up for me, huh?” 

he laughed softly, brushing his lips against your forehead. “of course i would’ve. but now i don’t have to.” 

you smiled into his chest, heart full. 

maybe love didn’t always come easy. maybe it had to fight through cold stares and awkward dinners and too-quiet car rides. 

but with reo? 

you knew you’d always win in the end. 

© 𝐤𝐱𝐬𝐚𝐠𝐢

[sylus-shivanika]

Let's talk about Sylus's poetic lines in the upcoming memory card.

As a poet myself, I often find myself unraveling the layers of meaning hidden within words, and Sylus’s poetic expressions are no exception. Every line he speaks carries an ocean of emotions, veiled in metaphors that reflect his innermost feelings. He doesn’t express love in simple words; instead, he turns it into an art form, embedding his emotions in verses filled with depth and sentiment.

In his upcoming card, Magnum Opus, he delivers a breathtaking line: "If you were also an art piece, then whoever created you must have loved you dearly." At first, this felt like a poetic compliment—a beautiful way of admiring the MC. But the more I pondered, the more I realized there was something deeper hidden between the words. My initial instinct was that he was speaking about himself in an indirect way, and after hearing that he had shared half of his soul with her, everything clicked into place.

This isn’t just a poetic metaphor—it’s a confession wrapped in art. By calling her an art piece, he acknowledges that she isn’t just someone beautiful or extraordinary; she is his creation in a way, formed by the very essence of his soul. And when he says "whoever created you must have loved you dearly," he is, in truth, referring to himself—admitting, in the most poetic way possible, how deeply he cherishes her. He didn’t just give her his love; he gave her a part of himself, making her his magnum opus, his greatest and most beloved masterpiece.

Sylus is a hopeless romantic, but not in the conventional sense. He doesn’t rely on grand, dramatic declarations of love; instead, he weaves his emotions into poetry, making every confession feel like a timeless work of art. The fact that he chooses to express such an intimate truth this way makes it all the more profound. Love, for him, isn’t just about words—it’s about creation, about giving someone a piece of your soul and cherishing them as if they were the most precious artwork ever made.

I swear, I need a man who can love like this—who can see me as his masterpiece, not just in words but in the depths of his soul. I never expected this line to carry such an overwhelming depth, but the more I analyzed and discussed it, the more I realized its true meaning. It’s not just a poetic compliment—it’s a love story in itself. Sylus isn’t just admiring her; he’s revealing the unbreakable bond they share, the way their souls are intertwined. And that is what makes this line so breathtakingly special.

[love-byers]

alright. i'm taking it upon myself to put something to rest.

there is a new mlvn argument on the market, and i have to say, it is the absolute most BACKWARDS, IDIOTIC, WILFULLY IGNORANT take i have ever seen from them. and it is so easily disprovable that i need to make a post about it and put it in the ground early on.

if you've been around since s4 vol1 era, then you've seen the evolution of their arguments surrounding the monologue. first it was "mlvn was love at first sight, because mike said so". they were all posting the clip from s1 ep 1 of mike finding el in the woods, clips from all throughout s1, and saying "this mike was in love with el!!" because mike said so. in the monologue. when bylers pointed out that this claim from mike directly contrasts his behavior in s1, we were called delusional and told we were just coping. i was even told by someone on reddit that mike wasn't acting like he loved her because he was afraid of being made fun of by dustin and lucas, which deserves it's own separate post, but anyways...

after what finn said at the paris con, aka this:

bylers obviously took this as a win, because it very obviously completely dismisses the idea that mike was being truthful in the monologue. because of this, mlvn's argument has shifted. now, they are claiming that what mike said in the monologue, "I knew right then and there in that moment that I loved you." was not a lie, but HYPERBOLE.

here's just a few examples of this.

holy fuck. where do i even start with this...

i guess let me start by saying that i am an english major. i am a creative writing student. english language arts has always been my forte. it's been my best subject my entire life. i was the kid people went to for help in ELA (english language arts). i was the one tutoring my friends. i was the one explaining things to them. in college my friends would line up to get my help with their english work. i edited and revised their essays. i spent close to 10 hours a week in english classes discussing literary devices and analyzing different stories, which i excelled at.

i am not trying to 'flex', i am simply providing context as to why i believe my opinion on this is worth something. mlvns try to say being a writing/film student means nothing in this argument, but it really really fucking does. i, and countless others in the byler fandom, are LITERALLY more educated in this sort of thing than those who did not spend thousands of dollars to study it. sure we may not be renowned writers with masters degrees, but who do you think we learned from?? our professors, who ARE renowned writers with masters degrees. its no different than trusting the opinion of a biology major when talking about biology. of course ELA is more subjective and free, but when you actually study it you find that its more concrete than you'd think. there are definitions, there are guidelines, there are rights and wrongs. of course you do not have to obey those rules, but in the world of publishing and analysis there are things that make sense, and things that don't make sense.

for example. you can totally write a story where a character says "i knew right then and there in that moment that i loved you" and add whatever explanation or nuance that you want. you can write that with the intention of the character being truthful, but maybe exaggerating a bit. whatever you please. you have the creative freedom to do that whether it makes sense or not.

what you cannot do is claim that that phrase is a hyperbole in that context, or any context, because that is OBJECTIVELY wrong. that is incorrect and inarguable. there are phrases that could potentially be debated between those educated in ELA on whether or not it could be considered a hyperbole, but that would requite the phrase to have ambiguous wording. the phrase in question does not check those boxes. it is not ambiguous in any way shape or form. it's not hyperbole. it's not even hyperbolic in any way.

here's a link to an article with 50 different examples of hyperboles. i promise you that our quote in question will not be there, and that nothing on that list will be remotely similar to it.

"I knew right then and there in that moment that I loved you."

i mean you are genuinely a fucking doofus if you're genuinely trying to claim this is a hyperbole. i need you to be so fucking for real. mike is referring back to a specific moment, remember? maybe you don't because i know y'all don't even watch the show, so let me refresh your memory:

"But the truth is, El...I don't know how to live without you. I feel like my life started that day we found you in the woods. You were wearing that yellow Benny's Burgers shirt, and it was so big it almost swallowed you whole. I knew right then and there in that moment that i loved you. And I have loved you every day since."

el even has a flashback to that exact moment in the scene right after he says it, and right before he says "I knew right then and there etc..."

he literally starts it off with "The truth is"

not meant to be taken literally.

would it make sense to say "The truth is, I'm so tired I could sleep for a century." or "The truth is, I'm so hungry I could eat a horse." or "The truth is, I'm dying of laughter."

NO! IT WOULDNT!

mike's monologue was written/approved by the duffers. the same duffers who graduated from a very prestigious film school and created the biggest tv show in the world. they know what a fucking hyperbole is and that you don't preface one with "the truth is". it is genuinely ridiculous to suggest that they let that stay in a scene where a character is supposed to be finally revealing the truth to both another character and the audience.

let's circle back to those screenshots of dumbass mlvns cosplaying as ELA students

"i fell in love with you instantly" vs "i fell in love with you mere days after we met . ur arguing semantics when the point is that they fell for each other really fast"

please tell me, in WHAT fucking world does someone say "I knew right then and there [in the first moment I saw you] that I loved you" when trying to explain that they really fell in love a few days later. and in WHAT UNIVERSE would a WRITER choose to have their character, who is supposed to finally be telling the unfiltered truth, say that. the answer is, there isn't one. that is so fucking backwards and idiotic that i can't believe i'm even having to explain why. the monologue is fabricated. it was written and approved by professional writers and directors. if mike fell in love with el at some later point in s1, or realized it at some later point in s1, then he could've just fucking said that. he could've just told her the moment he fell for her or the moment he realized. they didn't have to make it all twisted and confusing for no reason. he has absolutely no reason to lie or exaggerate (if he is straight and in love with her).

DING A LING A LING A LING!!!!! THATS A BELL!!!!!!!!!!!!!!

"this feels like taking mikes words too literally"

oh, my apologies for taking his words literally during a fucking CONFESSION OF LOVE that he gave her while she was DYING. sorry for taking a line prefaced by "The truth is" literally. you are totally right and i will never do that again!

"when looking back on it it probably does feel like he loved her from the start"

cute sentiment, but that's literally NOT WHAT HE SAID. for the millionth time (see how i just used a hyperbole in a place where it makes sense? where i didn't preface it by saying it was the unfiltered truth?) he said "I knew right then and there in that moment that I loved you." he is saying he saw el in the woods in the rain in her yellow benny's burgers shirt, and KNEW he loved her. he realized it in that moment. that is what he wants el to believe. he is using specific language to pin point the moment he realized it on that moment. like im so serious when i say that if you try to say anything else you genuinely have worms for brains.

any way you logically look at this, it is crushing for mlvn. even if it was a hyperbole, which it is NOT, why the hell would the writers have him exaggerate his feelings to cater to her when it would be much more meaningful for his ACTUAL feelings to save her life?? why would mike feel like he needed to exaggerate?? and i'm sorry, i dont buy the heat of the moment bs. mike has nearly lost el multiple times because he kept lying to her. they had a bad fight days earlier because mike wouldn't tell her the truth. so he finally gets another chance to tell her the truth, and he EXAGGERATES?? HE TELLS A WHITE LIE??? that would also be crushing for mlvn. but none of that matters, because it's not a hyperbole, it's a lie. a flat out lie.

let be me clear, that does not make mike a bad person. in fact, it actually makes him an incredible, caring, selfless person. (remember the synopsis for s4 ep9? "With selfless hearts and a clash of metal, heroes fight from every corner of the battle field to save Hawkins ---and the world itself.") he lied because he knows he doesn't love el the way she wants and he feels like his actual love for her (which is platonic) would not be enough to save her. he devalues his own feelings because they are not what el wants. this is why he nodded after will said "It's scary to open up like that, to say how you really feel. Especially to people you care about the most. Because...what if they don't like the truth?" he feels like he owes el the love she wants, and he is willing to lie to her if it means saving her life. because he truly does love her and care about her, so much that he will do whatever it takes to not lose her.

and i know a lot of mlvn's devalue literary/media analysis and english/creative writing, and our opinions in general, so in case all that wasn't enough, i also asked mlvn's old friend about this. their friend being AI.

mlvns, everything with a lick of sense, including artificial intelligence, is proving you wrong. you are incorrect. what finn said at the paris con put the nail in your ships coffin and you know it. so please stop embarrassing yourselves on the internet and making dumbass claims like this when you know nothing about the subject. you look stupid.

this rant isnt just coming from a place of byler truther anger, it's english major anger. LEAVE MY SUBJECT ALONE. PLEASE.

[sandflakedraws]

Okay I’m not even into trolls or anything, but that height analysis was pretty cool and interesting lol

Any more things you analyzed? (Or even a fun fact, idk, just wanna see people talk about things they like)

i've analyzed quite a lot but one thing i haven't seen other folks fully explore is the horrific living conditions in that bottle.

i know why it's not covered in film, cause again, this story is a silly musical comedy for kids! and if it were given it's full appraisal, the tone of the movie would be absolutely shot.

...

but like,,,, it's so dang bad in there my dude. it's SO bad.

like, in it's upright position, the diamond's base isn't big enough for floyd to lay down on, without cricking his neck severely.

so even when we see him drifting to sleep, he's sitting. minimum 2 months of trying to sleep sitting up. (against a cold/hard surface no less)

(he's also got an instant-wake response to . someone lightly tapping on the door. . .)

oh and also! the air in there has gotta be super thin, as there is but a single breathing hole at the top of it, not even as wide as a troll finger.

and that's ! when it's not capped off ! most of the time, it's got the spritz cap on, making it even harder for any air to circulate in there.

while we're at it ; since that's the only opening (no clasps, no grooves, no visual indicators that it can open via any other method at all, hence the film's conceit that the brothers need to hit the PFH to free him), i'm inclined to believe that it's also the only way to get food to him...

... which is to say you can have your pick of many terrible options for that. whether velvet & veneer tried to mash something through there, or have him sip from the world's worst gerbil feeder,

or they just. didn't feed him at all. and he's only alive because it's a magic world.

wHICH IS STILL SAYING NOTHING ABOUT HOW THEY ACTUALLY HANDLE HIM

plugging those excerpts cause. y. yeah... they're not gentle with him at all. bro is Bruised to all hell.

.... and none of this has to do with the actual core threat in the movie, which is having his core forcefully ripped from his body, leading to the whiteness and crystallization we see goin on.

in conclusion i need way more art/fics covering floyd's recovery okay? okay.

[gladiatorcunt]

- # 🍁 THE NEMEAN LION !!

feels so ugly when i’m honest

cw: afab reader, ambiguous era, dubcon coded, insp. by this ask, patrick and reader have noncon somno fantasies about the other (so rlly it’s more cnc), patrick is gross and mean, situationship/roommate!patrick, unprotected p in v sex & relying on the pull out method, weed mention and wine mention, art guest star appearance (patrick mentions him), oral (afab reader receiving), hints of: foot fetish, dacryphilia, cnc in general, plus sized!reader, mythological themes, 3k words of me losing my marbles, one use of daddy, we don’t gotta be in love you knowweeeeee i don’t gotta be the oneeee you knowweeeeeeeeew

You’re making him crazy, Patrick knows it. He shouldn’t spend his mornings humping his pillows that you hold in your lap during movie nights. He definitely shouldn’t be stealing your panties and strangling his cock with the lacey fabric that’s going to end up smelling so foul from how much he’ll use the same pair over and over. He thinks he can catch your scent on his clothes when you’ve never actually been close enough to leave a reminder of you behind. Sometimes Patrick gets so frustrated with continuing at this same snail’s pace that he wishes he could just grab your face and smush it into his musky crotch. He’d let you go if you were about to pass out, maybe. You can’t get shit twisted if you’re unconscious.

He’s telling you another one of his stories, hoping to see a twinge of… something swirling in your irises. You just hum too much and squirm a bit, ever the overactive listener. Patrick would cut off his balls if it meant that he could hear anything resembling a moan from you, not just little signs that you’re listening and not speaking. The transformer movie’s reached a point where you don’t really have to pay attention, so you cutely shuffle your mess of blankets around on the couch so you can give Patrick your undivided attention. He’s had to start keeping space in his closet for the large throw blankets you bring along even though you refuse to let him turn the fan off.

“Yeah, I was with Art actually. We ate each other out back in the day, y’know, to see what it was like. He sat on my face and fuckin’ almost broke my neck, his thighs were gripping me so tight.” He coyly tilts his head to the side, pretending to be shy about the whole thing.

He narrows his eyes and analyzes your reaction. You dart your gaze around the room for a split second, struggling to tamper down the blossoming warmth in your stomach and the insecurity that comes with never being able to catch up with Patrick. You’ve confessed to it a couple times, usually after a couple of bottles of whatever cheap alchohol he’s got on hand. His nails shred into his palms with the effort it takes not to give you something to talk about, even if you think they’re only dreams.

“When was the first time someone ate you out? I can’t be the only one shoving my foot in my mouth here.”

God, what he’d give to have your feet in his mouth, and vice versa.

You play with the fluffy black blanket in your lap, making eye contact with one of the cartoon nutcrackers on it and not Patrick as you answer his question. “Oh… I’ve actually never been eaten out, maybe that’s why no one’s made me cum.”

It’s a like his world has been hit by an unexpected asteroid and blown to smithereens, bits of membrane and curdled dna scattered across the milky way. The gross-ness imbued in his bone marrow leaks out into vaccum of space as he processes this truly fucking suprising piece of information. Never in his life has Patrick been told something that just can’t be true, not when there are still good things in the world. Not when that helpful little tidbit will split him open and take over his every waking and sleeping thought.

He shakes his head, blinking rapidly. “What? What the hell do you mean no one’s ever eaten your pussy?”

“I, I don’t know. The people I've been with have just never gone out of their way to do it and I didn't make a big deal out of it.”

His heart’s breaking in half and you clearly have no idea. Patrick scrambles to sit up and grabs your hands to stop them from fiddling with the blanket anymore. There are a thousand things he wants and needs and just has to say but all he can do in the present moment is keep shaking his head and crowding you against the right arm of his tattered gray couch.

“Then they’re so fucking stupid, I can’t believe you don’t know what it feels like to have a tongue up your cunt.” He states, a firm declaration that has you throwing out a hand on his bicep to ground yourself.

Patrick looks crazed above you, dark hair impossibly soft and pupils steadily expanding outward. You slide your hand up his arm (trying to ignore the muscle there, what it’d be like when they flex as he picks you up by your ass) to place it on his firm chest. You open your mouth, trying to cobble together any kind of response you can think of but your mind is blank. Patrick seizes the opportunity and smahes his mouth against yours, when the clashing of your lips is over there’s more blood than spit. He flicks his tongue out to catch the little drops of blood dripping from your lips, moaning after he swallows each one.

You’re catching your breath, “You… you can’t… just do that.”

He rolls his eyes and grins, “I did. I can hear you through the walls at night you know? Rubbing your pussy on one of my pillows that you think I don't know you stole, crying for me.”

Damn, that’s what you get for making risky decisions while you’re ovulating. You knew you washed it and should’ve snuck in while he was out to throw it on his plaid comforter and act like it never happened. The longer you kept it stuffed between your plush thighs, smothering it in the natural scent of your pussy, the more your shyness grew. It was easier to spend your nights like that then explore the possibility of doing something else with your time, but now you’re just wishing that you hopped on Patrick’s stupidly huge dick while he was passed out and snoring and called it a day.

“I… I’m sorry, okay? You can have it back.” You say and keep the grumpiness out of your tone, having to come to terms with hoarding nothing that smells like him anymore.

“Just shut up and be happy, be good for me.” He punctuates it with a mean squeeze to your face, slowly sliding his hand down to hang around your throat and falling to his knees in front of the couch.

Maybe it’s the cheap white wine, maybe it’s the subpar edible you had earlier, but you throw caution to the wind and sink your fingers into Patrick’s hair. Your breath happily flies out of your lungs when he pushes your knees apart, coaxing your white lace panties off with his teeth. The bright lights from the TV cast a glow around him, and you hate how pretty he looks. Like if Hercules was a modern porn star, muscles rippling and eyes spearing through you as he catapults you to the stars.

The roughness of his fingers feels heavenly as he smooths them down your inner thighs, “Nice and fat pussy, dripping all over the place. Saying hi, right? It’d be rude of me to not say anything back.”

So he does, spitting right on your clit and spreading it all over your pussy. Patrick shuffles closer and takes several big lungfuls, humping the air with every whiff of your artificial body wash combined with your much more attractive musk. He opens his mouth wide and latches onto your soaking folds, flattening his tongue and licking broad stripes up your cunt. He laps up your juices sloppily, almost wagging his tongue wildly in an effort to suck up whatever he can.

There’s a coil forming in the pit of your stomach, winding tighter and tighter with every swipe of Patrick’s wet tongue. Your face flames in embarrassment once again, you don’t really know if you look bad from his point of view but you can’t stop yourself from throwing your head back against the couch and scrunching your face up. He gives your asshole an open mouthed kiss, half to tease you even further and half because he just couldn’t resist. It was glistening and winking at him and everything.

“Fuck! Fuck! That’s so- how are you so good at this?” You mewl, raking through his hair thoroughly like you’re searching for something you lost.

Patrick’s ego grows in size and he smiles as he moves to your clit, hollowing his cheeks and suckling rapidly. He buries his face in your pussy and drinks you down in several gulps, picking up speed when you resign yourself to telltale moans about much you need to cum. He flicks the tip of his tongue against your swollen clit and slows down right when you’re apart to fall over the edge. He actually chuckles into your mound and winks when you glare at him. He cuts off whatever bratty retort you armed yourself with by going back to nearly inhaling your clit without warning.

“Ungh- I really-really fucking hate you, but don’t you dare stop, I’ll kill you.”

Each suck sends pulses shooting up your core, and that scary coil in the depth of your guts tightens blissfully. You squirm, the very definition of a hot mess as you grind against his face. The friction was never enough but you keep corralling his nose into your pubic hair, fruitlessly rutting your hips with no end goal other than the urge to hump whatever’s available. You panic for a second that you’ll suffocate him or he’ll be grossed out by you not shaving, but you shouldn’t underestimate him. If anything, Patrick groans at the heady smell. Getting it straight from the source and fucking the air during his suckling.

His eyes never stray from you. Your agonized face straight out of a renaissance painting, too strung out and burning with pleasure to resemble anything normal. Your thick thighs, jiggling with every move you make, you can’t seem to decide between humping his mouth like a bitch in heat or trying to squeeze his head like a watermelon. Your sounds, wails and cries and moans and whines, he’ll have to record you next time, play it anytime and anywhere in case you misunderstand what this is. The first documentation of how much cum and fluid you can paint him in, whatever color or thickness you’ve got for him. He’ll wring it all out of you eventually, film a home movie series to chronicle every squirting session and the like.

Gun to his head, you taste like those old fashioned butterscotch hard candies. Decadent and sweet, if he could he’d sink his teeth into the slippery supple flesh and pull and rip.

After several rounds of cruel edging, your brain whites out so hard, you can almost form the blurry shapes in your peripheral vision into a red spiked tail and horned wings. Patrick’s ruining you entirely, you know that now, and the movie’s already over but you don’t spare the scrawling credits more than a weary glance. Your soul is probably cartoonishly swimming through the putrid air towards your body, but your sweaty body is shaking too much to receive it. There’s a ringing in your ears as you blink yourself into awareness, Patrick unbuckles his jeans and a blunt pressure stretches your hole out.

“Sorry, ‘m out of condoms, I’ll pull out, baby.” He huffs out, praying to whatever’s listening that he doesn’t just start pummeling your shit.

You feel your stomach bunching up before you see Patrick’s dick disappearing into you. The feeling of being split open on something so thick has you reeling, no one else you’ve been with has left you spiraling quite like this. In a room full of dicks you’d be able to spot his, you’d just have to find the one that has the back of your throat tingling and going dry just from a sniff and a look. You’d cry if he pulled out now, it’s already too late for you. This is such a stupid decision, sloppy rough sex with your roomate-turned-situationship on his worn out couch that’s older than the both of you combined.

It’s one hell of a story, and maybe some moments in life should be allowed to boil down to that. The hand loosely wrapped around your throat tightens its hold, you welcome the thumb pushing into your mouth without prompting. The depravity of it all makes you feel owned, has you seriously considering living your life as some guy’s exclusive pet whore. The ‘squelch’s and the ‘schlick’s that come with his savage thrusts and milk white strings connecting the base of his cock to your puffy pussy.

Every breath you think you’re going to be able to take, he steals from you and mocks your whimpery “unh-unh-unh~”’s in his raspy mid-fuck voice.

“This is the only dick you’ll be hanging off of from now on, got it? Can’t let some lousy jackass try to sew his balls to this pussy when it’s not even gonna cream around him.” You say yes to that hissed demand, yes of course, Daddy.

Patrick plunges his cock to the hilt into your cunt in one sharp stroke, gasping and gripping your hip to distract himself from the way your walls are clenching around his length. Every part of you is greedy apparently, you’re perfect for each other then. The position he has you in is so filthy, he’s standing and hosting your legs up over his shoulders, folding you in half on the couch. His dirty levi’s pool around his feet and the sound of his belt hitting the floor inspires awful thoughts in you. Your sweat mixes together and trickles down your legs, sticking to his leg hair.

You can have it soft once he’s gotten this demon off his back and out of his system, you can ride him while you’re cozied up in bed, lazily rolling your hips until you get tired a couple minutes later and clinging to the caresses on your love handles. Patrick has to destroy something before he can even stand to think about putting it back together, your insides and you yourself are no exception. Your walls feel like the finest quality silk around his throbbing cock, leaking inside of you as he clutches onto your ankles. The TV’s automatically shut off by now, and the lack of background noise enhances his animalistic grunts and deep moans.

“Gonna fuck your tits next time, fuck-what the fuck-you’re too damn tight, massage them for you after, rub your cunt raw-“

Patrick fucks like he’s staking claim on a spoil of war, you’re learning, as if the pale ferryman’s hot on his heels and this sliver of time is the only sacred thing he’ll ever get in his wretched mortal life. All his, gone limp between bloody jaws and killing hands. He snarls in your face as he pounds your pussy, angling his hips to stab deeper in you than should be medically possible. You don’t when you start tearing up, but Patrick does nothing to wipe away your tears, not even lick them up. He just fucks you to the point where you’re crying, shutting his eyes as he throws his head back so you can’t see that he’s crying too. The both of you borrow from different sources of emotion.

“You sounded so scared when you were cumming, made my balls twitch, was cute.” Patrick tells you in between messy kisses, more focused on almost eating your face than properly locking lips with you.

His tongue hangs out of his mouth as he abruptly yanks himself out of you and lavishes your belly in ropes after ropes of cum. You’d reach down to dip a finger in and taste it, but you’re too annoyed at the thought that he’s depriving you of an orgasm again. You haven’t even decided whether you’re going to pout or flatbout get up and leave when Patrick’s sliding home once more. You give him a punched out gasp, sort of pained and kind of relieved, in response. He hisses through his teeth, grinding them together like it’s burning the flesh on his cock to plunge back into your searing pussy. Actively breaking and remaking you. Both of your muscles tense up as the wave threatens to crash over you.

“You can cry some more, if you want, I'd like that a lot. Beg me to save you from what I’m doing to you, to this tight pussy.”

Happy or sad, doesn’t matter. He knows you like it when he keeps you from fighting back, you suit being manhandled and made to take dick better than anyone else he’s slummed it with.

He hunches his back forward to kiss you again, and you claw red stripes down it as your tongue maps out every inch of his mouth. He pulls back and you spend several seconds like that sharing breath. You don’t realize what you’re saying out loud, things like ‘Holy shit you’re so fucking big-so good-it’s so fucking good’ and ‘Feels better than i thought it would, how is that even possible?’ It’s like your own little sex obsessed podcast, centering every episode around how situationship dick is on another level and will irrevocably destroy you. Patrick chuckles, he can’t wait to hold every treasured compliment from you over your head. You could say you’re done with whatever this is when he leaves the toilet seat up again but he’ll never forget you howling for him and his cock to never leave you.

Patrick will swing himself over the net into overstimulation before the next time your pussy’s clamping down on his thick cock and spasming, but he’ll be damned if you’re not gonna end up passed out and drooling while the sun rises. You can spend future movie nights cockwarming him, if you can stand to endure the sickeningly perfect stretch without being allowed to get your cunt beat. You’re mewling when you froth the base of his dick again, your walls pulse around him like you’re a cat laving up your favorite cream. Tonight’s not the night where you’ll be getting it straight from the source, maybe when you’re willing to take certain risks. His smiles are the most genuine when you drag out your whine to follow the speed in which he pulls out to paint your body. Tangy ribbons hanging over your love handles and dripping down to your ass cheeks.

[somerandomdudelmao]

OKAY SO GENERAL THOUGHTS AND SOME HYPOTHESES BASED UPON THE INFORMATION WE HAVE:

Holly is from Teegarden; a place where either all of his species can shapeshift or he himself is some kind of priest of whatever god they worship that has given him the ability to shapeshift. If ALL of the Teegardenians have innate shapeshifting, this makes the bird hunting Inherently More Sinister, but it makes far more sense to me for Holly to be special, because he says he's from a temple and attributes his shapeshifting to god. It also makes sense for Holly to be special amongst his species because Sculptor asked Oscar and Ward 'Which of you is smarter?'

They're keeping higher quality/more unique specimens in The Vault and maintaining them for some reason.

When Ward is still Very Much Ravaged by whatever the fuck the Science Scrapers were doing, we see probably-Sculptor saying they should put him specifically with 'someone peaceful'. We don't know why they have taken this consideration beyond determining he's not going to be a danger to a more peaceful inmate, but we do know Holly is also missing an eye, which means that must be part of the 'forcibly extracting information from a creature's body and brain' process. Ward was not doing any talking, they got the information about Oscar's laptop via stealing it out of his brain. Sculptor was not separating the dangerous smart one from the harmless stupid one. The Echolocators (this will be my shorthand for the rest of the Q) fully believe themselves to be above both these weird little dudes, but they know from experience they can get more, better information about humans out of the smarter of the two.

Holly sighs sadly and says 'they've found another civilization to destroy', and he's been kept alive alone in the vault for an indefinite period of time while the general ecosystem of his planet appears to be intact enough for regular hunting excursions. Either the Echolocators circle around regularly between planets they've previously colonized to keep the base resources on each planet fresh, or they are in the middle of ravaging specifically Teegarden beyond livability, and will move on to Earth next now that they've conveniently found some fun new pets. I believe the use of 'civilization' is significant enough to suggest it's the former, which is Way Scarier because they've also noted humans are edible and taste good.

A species of colonizer aliens being set up in an ant-like colony is delightful by the way. Also I saw someone in the notes saying 'oh no she doesn't know about The Incident' over Ecliptica being like 'I didn't really check on Ward, science is boring to me' and would just like to say No. Ecliptica absolutely knows about the unethical Whatever That Was and The Vault. She just doesn't know if Ward survived or is any semblance of okay. Because Oscar is a cute fun novelty and Ward is some guy she does not particularly care about.

Oh, my God, I want to express my thoughts on your hypotheses so bADLY. But that would be the wrong way to present information that should be shown in a story. But I still want everyone to see it, because carefully analyzing a story is one of the greatest forms of art that amazes me every time🧡