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cat0901h3 · 5 months ago

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Goosebumps Books 1-10

Can't believe that it took me nearly two years to just do 10 covers for the books. Will be posting more Goosebumps in the future, along with other stuff.

Read more to know my personal opinions and critiques on my fanart for each book:

Welcome to Dead House: I wanted to make the house look alive like Monster House, so I gave it more human characteristics (ie: the people in the windows to form eyes, or the finger-like branches.) Also paid homage to a horror film by styling it after The Amityville Horror house.

The Benson children themselves look a bit depressed, that's because the first book is actually more scarier than the rest of the series, so they're a bit angsty.

Stay Out of the Basement: This one killed a lot of my green markers lol. I tried to make Dr. Brewer as menacing as possible while still showing that he is a father with the photos, There were going to be more plants reaching out, but I decided that the leaves hidden on him would be enough.

Though I have to admit my disappointment with the lighting. It still looks a bit too bright, and not dark enough. That's just my own critique.

Monster Blood: Honestly, pretty mixed about this one. While I'm proud of the bubbling ooze that looks like a skull, which is outlined by one of my colored pens. I'm not proud that everything else is so muted with brown. Almost all of Jacobus' works are vibrant and saturated, so it being dull in colors feels like a disservice to him.

Also, Andy's last name was made up by me, she apparently just doesn't have one. It's inspired by Stephen King. Btw, hope you love banana and strawberry dyed hair, you'll see more of it soon in future batches.

Say Cheese and Die!: One of my favorite books, and of course it gets the best fanart imo. The screaming skeleton form of Greg Banks with red bg in the polaroid, contrasting with the dark background is just super cool, coolest shit I've ever done. Though I might be biased, I really like skeletons. Like Curly.

I actually made concept art for a Say Cheese and Die! graphic novel, which includes drawings of the photos and Spidey! Let me know if you're curious.

The Curse of The Mummy's Tomb: Not much to this one honestly. Just a mummy casually busting down a wall filled with hieroglyphics. Though I will say, I was experimenting with shading with purple and blues like Jacobus. As you can see, didn't stick for long.

This is also the book that I discovered that if the protag doesn't have a last name, then there is an official one either in the Presents novels, the mobile app, comics or other.

Let's Get Invisible!: This was pretty tricky to draw. Drawing someone turning invisible maybe easy in Photoshop or Procreate, but this was traditional art. Sure Jacobus did it with airbrushes, but I all had were pens and markers. But I somehow managed to pull it off, which is insane that I even managed that in the first place.

Night of the Living Dummy: Ah, the infamous Pamela Vorhees book, where the main antagonist isn't the mascot, but instead some other puppet lol. I've seen a lot of fanart of Slappy, but never of Mr. Wood. So I wanted to do justice for Wood while still showcasing Slappy. While I am proud for how it mostly turned out, there are two things that bother me. 1. This is the night sky that is black, the rest are either blue or purple. 2. I forgot to add the lines that make the jaw on Mr. Wood, whoops.

Aside from that, I hope guys like that Misfits poster in the background and Kris's cool hair cut. The green was inspired by the comic adaption not 2015 Jacksepticeye.

The Girl Who Cried Monster: Please forgive me for the small thumbnail, I wasn't using a ruler at the time. The design for Mr. Mortman wasn't much of a challenge. I loosely based it off of the French rendition of the cover and gave him a large leech-like mouth.

In my headcannon, the teeth spin like a garbage disposal, making easy work of the turtles.

Welcome to Camp Nightmare: Another one of my favorites, and I think I did a decent enough job, too. The lighting is perfect, the clouds look alien enough, and you can just barely see the screaming campers inside the tent. I do have one issue though, and that is the size of the monster, Sabre. In the original sketch I did, he was supposed to blend in like a bush, but instead he looks like Sasquatch Sr. Oh well.

While they did give Billy a last name in the Presents books, I had to make up one for Dawn. Just based it off Gwen Stacy lol. Also, hope you enjoy the little bonus pictures down below.

The Ghost Next Door: The original Jacobus art was perfectly vague enough to keep the twist there but not spoil anything. Of course to do the same thing, but with a twist of my own. The "ghost" shadow that you see in the street is the Dark Figure that follows Hannah around or when Danny is near. I wanted it to look like it was constantly on fire, since SPOILERS: someone in the book does die in a fire.

Another headcannon is that the Dark Figure isn't actually a ghost or whatever, but instead the embodiment of Misery.

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rainrot4me · 12 days ago

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*pushes my nerd glasses up* you wrote LJ saying the word fanfiction, does he. does he read fanfiction.

Also what kind of books do the rest of the creeps read :3 HOPING TO SEE SLENDER <3333

✦ . jeff the killer

Genre: Dark thrillers, true crime, and weirdly intense romance novels (but he��ll die before admitting it).

He reads Fight Club and American Psycho like they’re autobiographies.

You catch him with a dog-eared copy of a raunchy dark romance once, and he just shrugs and goes,

“It’s got knives in it. I can relate.”

He likes manga. Especially violent seinen series like Berserk or Tokyo Ghoul.

✦ . ticci toby

Genre: Graphic novels, horror comics, psychological thrillers.

His brain doesn’t love big blocks of text, so he gravitates toward visual storytelling.

Junji Ito is his god.

Reads horror manga and creepy short story anthologies under the covers like a middle schooler with a flashlight.

Secret soft spot for children’s books from when he was little. Sometimes rereads Coraline or The Graveyard Book when no one’s around.

✦ . eyeless jack

Genre: Medical textbooks, classic literature, Gothic horror.

Reads Frankenstein and Dracula like they’re comforting bedtime stories.

Has a shelf full of pathology and anatomy books with pages marked and notes in the margins.

Also quietly enjoys poetry—especially the bleak kind.

“The heart has its reasons, of which reason knows nothing.” He pauses, “…Did Pascal say that or did I just make that up?”

✦ . masky (tim wright)

Genre: Crime fiction, survival manuals, and conspiracy theory paperbacks.

Think The Girl with the Dragon Tattoo, Stephen King, and weird militia zines.

Writes notes in every margin like he’s preparing for a field test.

Not above reading dense political thrillers that feel like work. But secretly… he really likes John Green novels.

“They’re depressing and feel like dying. It’s perfect.”

✦ . hoody (brian thomas)

Genre: Philosophy, history, and… frat memoirs (from the “old days”).

Reads like he’s trying to become a tragic antihero. Thinks The Stranger by Camus is “comforting.”

Smokes while reading The Art of War.

Also has an insane shelf of old Greek tragedies and Nietzsche.

“Suffering is art. So are keg stands.”

✦ . kate the chaser

Genre: Military thrillers, dystopian fiction, survival handbooks.

The Hunger Games, but she roots for the Career tributes.

Has read The Road five times and didn’t cry once.

Keeps The Art of War (borrowed from Hoody) and Women Who Run With the Wolves next to each other on her nightstand.

Occasionally reads romance… but only if someone dies at the climax.

✦ . ben drowned

Genre: Cyberpunk, game-based novels, and spicy fanfic.

Ready Player One is his Bible, but he hates the ending.

Has read Homestuck. Won’t elaborate.

Spends hours on AO3 reading Link/Reader fics and then roasts them.

“God, this is awful—keep going. I want to see if they make me the top again.”

✦ . clockwork

Genre: Mystery thrillers, feminist horror, and true crime.

Loves Gillian Flynn (Gone Girl is her personality).

Eats up revenge stories with ruthless female leads.

Also digs supernatural horror like The Silent Patient or The Haunting of Hill House.

Has a soft spot for Sylvia Plath and writes angsty poetry in the margins.

✦ . laughing jack

Genre: Fanfiction, horror satire, and circus-themed horror.

Favorite book is Something Wicked This Way Comes.

Obsessively reads fanfiction and smut. He’ll quote it at you.

“And then the clown used the merri-go-round as a torture machine… I mean, come on! Brilliant stuff.”

Enjoys weird bizarro fiction like House of Leaves or anything by Chuck Palahniuk.

✦ . slenderman

Genre: Ancient philosophy, high fantasy, and eldritch horror (like reading a mirror).

Reads The Divine Comedy in Latin for fun.

LOVES The Silmarillion and will absolutely compare himself to Melkor.

His bookshelf is filled with tomes that hurt your eyes to look at too long. Sometimes reads old spellbooks just to remember “the good old days.”

“Cicero was a bore. Plato had potential.”

꩜ .ᐟ

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mariacallous · 1 month ago

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So here it is. The habeas explainer you shouldn’t need. Not because you should be well-versed in all things habeas, but because we shouldn’t even need to talk about whether Donald Trump can suspend the rule of law so his administration can more effectively terrorize immigrants. But that’s where we’re at.

On Friday, the staggeringly ghoulish White House deputy chief of staff, Stephen Miller, told a press gaggle that the administration was looking at suspending habeas corpus.

“The Constitution is clear, and that, of course, is the supreme law of the land, that the privilege of the writ of habeas corpus can be suspended at a time of invasion,” he said. “So I would say that’s an action we’re actively looking at.” (Watch below.)

Miller is at least correct that the writ of habeas corpus appears in the Constitution, but he’s wrong about most everything else.

Habeas corpus is Latin for “you have the body.” A detainee or prisoner can challenge their detention by petitioning for a writ of habeas. That requires the government to produce the person before the court so the judge can determine if their imprisonment is unlawful.

Habeas is such a foundational part of Anglo-American law that it well predates the nation’s founding. When England’s King John signed the Magna Carta in 1215, a provision stated that “no man shall be arrested or imprisoned ... except by the lawful judgment of his peers and by the law of the land.” In the United States, the right to habeas appears in the very first Judiciary Act in 1789, giving all federal judges the power to grant the writ.

Everyone has the right to petition for a writ of habeas, including non-citizens. In the immigration context, it can be used to challenge detentions and removals. Indeed, the Trump administration has already argued in court that petitioning for a writ is the only way that detainees can fight their imprisonment.

The problem here, of course, is that the administration doesn’t believe noncitizens are owed any due process. Last month, Trump complained that “we have thousands of people that are ready to go out, and you can't have a trial for all of these people … And a judge can’t say, ‘No, you have to have a trial.’”

Immigrants challenging their removal don’t get trials, a thing Trump would know if he had the least bit of interest in how government works. They have limited rights under an expedited removal process created by Congress. But even that circumscribed process is too much for the White House. Hence Miller’s musings about how the administration is looking into suspending habeas, allowing them to deport people without even the meager protections they currently have. It would strip the courts of any power to order an immigrant’s release.

The Constitution allows habeas to be suspended only in “cases of rebellion or invasion the public safety may require it.” It has only been suspended four times. It was suspended for the whole country during the Civil War. The remaining three times, the suspension applied only to specific locations. During Reconstruction, it was suspended in multiple counties in South Carolina that were under siege from the Ku Klux Klan. In 1905 it was suspended in part of the Philippines during an insurrection there. Finally, after Pearl Harbor was bombed, habeas was suspended in Hawaii.

You’ll notice that each of those situations was actually a rebellion or invasion. But now, the administration is contemplating suspending habeas based on its nonsense theory that America has been invaded by Tren de Aragua, a Venezuelan gang they allege is acting in concert with the administration of Venezuelan President Nicolas Maduro.

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literaryvein-reblogs · 17 days ago

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Two Kinds of Writers

When planning novels, writers generally fall into 2 categories: “plotters” and “pantsers.”

A plotter - is someone who meticulously plans and outlines their story before they begin writing.

If you’re a painstaking outliner who spends a large amount of time in the prewriting stage charting out plotlines, devising characters, and worldbuilding, you fall into the plotter category.

Most successful writers do plotting to some extent.

If you take any bestselling published author, chances are they’d fall into the plotter category.

If you’re new to writing, trying out writing as a plotter can give you a good sense of how pre-writing can prepare you before you dive into the writing process.

If you’re the type of writer who likes to fly by the seat of your pants and write without a roadmap, chances are you would identify as a “pantser.”

A pantser - doesn’t spend a lot of time evaluating writing methods or planning out story structure, nor do they follow a paint-by-numbers approach to novel writing.

It is the preferred method for Stephen King and many other successful writers.

Pantsing can be a great way to quickly get into the writing process and beat writer’s block.

Whether you are working on your first novel or a followup to your most recent bestseller pantsing can be a great method for jumpstarting your process and getting your creative juices flowing.

How to Approach the Writing Process as a Plotter

There are many ways to approach plotting, and you will probably experiment with many different techniques over the course of your writing life. If you’re just getting started trying out writing as a plotter here are some steps to get you on your way:

Generate ideas. The first step in writing a novel is generating story ideas. Some writers like to freewrite and brainstorm, others prefer working with writing prompts. Whichever approach you take, it’s important to spend time coming up with a variety of ideas and choosing a strong premise that lends itself to an effective plot.

Start with a simple, compelling premise. Once you have a basic idea, it’s time to develop a story premise. One way to develop a small idea into a basic story is called the snowflake method. The snowflake method involves starting with a core premise or theme upon which you build every other aspect of narrative and character as you flesh out the big picture.

Trace out general story arcs. Start to lay out a storyline. You don’t have to worry about building the whole thing at once. Rather you can focus on each act within your story arc—or even simple scene descriptions—and piece these together as you build out a full-length narrative.

Don’t neglect character development. Character is an incredibly important part of a story and helps to balance out plot-based narratives. Before you start writing you should make sure that you have detailed character arcs and a main character with a clear motivation and backstory. Part of building a good character is choosing a strong and nuanced point of view. Balance out the plot portion of your writing process by taking some time to analyze your characters and make sure they are strong, realistic, and nuanced.

Build subplots. Once you have a good sense for your main plot it’s time to layer in subplots. Subplots can often be character-specific, so this is a good time to think a bit about the characters you’ve populated your world with and how each individual backstory might come into play. Good subplots will weave seamlessly through your main arc and help advance your action rather than distract from it.

Write a detailed outline. Before you start writing, you should have a detailed plot outline. This should catalog the main story and individual plot points. It should be comprehensive enough that someone who has no knowledge of your story could look at the outline and piece together the narrative of events, identifying your inciting incident, rising action, and climax. It can also be useful to write individual smaller outlines such as a chapter outline or act outline that you can piece together to create a macro story outline.

Tie up loose ends. Once you have a detailed outline, it’s time to tie up loose ends and fill any plot holes. One common misconception about writing is that editing comes at the end of the process. Editing is something you should return to throughout your writing process, and it’s important to edit your plot and outline before you start writing in earnest.

How to Approach the Writing Process as a Pantser

There are many different ways to approach pantsing. The most basic principle of pantsing is to just start writing. Pantsers fly by the seats of their pants, whether they’re writing a full-length novel or a short nonfiction piece. That being said, there are some basic steps you can follow as you launch into writing a novel as a pantser:

Start with a concept. When you approach the blank page, it’s good to have at least a vague idea of what you want to write about. Part of pantsing is allowing your impulses and feelings to guide you, but having a basic sense of what inspires you can help focus your writing.

Follow your impulses. Once you get into your project, feel free to follow impulse and get lost in your project. One of the joys of writing fiction as a pantser, whether you’re working on short stories or a full-length novel, is to immerse yourself in the work and discover where your mind takes you.

Take pauses to evaluate your work. It’s important to take stock of your work as you go. This way you won’t leave any plot holes or loose ends that you forget to tie up in the second half.

Don’t be afraid to edit. Just because you are essentially freewriting doesn’t mean that you shouldn’t edit your work. Editing and revising can help you work out of dead ends and structure your story around a cohesive arc with a clear turning point.

Come to a resolution. Part of being a successful pantser is sensing when your work is approaching its endpoint. Pay attention to how your story is progressing and find a natural place to resolve your plot and tie up loose ends.

Source ⚜ More: Notes & References ⚜ Writing Resources PDFs

#writing tips #writeblr #literature #writers on tumblr #writing reference #dark academia #spilled ink #writing prompt #creative writing #writing advice #on writing #writing inspiration #writing ideas #light academia #lit #writing resources

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vampirecorleone · 8 months ago

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Horrorween Day 22 / 31: Tales from the Crypt (1972) dir. Freddie Francis "Stephen King and George A. Romero considered remaking this movie together. Their work together resulted in a completely separate, but similar movie, "Creepshow (1982)."" | "Robert Zemeckis said this is his favorite movie to watch on Halloween since it was released. He produced the HBO series Tales from the Crypt (1989), based on the comic book series."

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bitterkarella · 2 months ago

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Midnight Pals: Magic

HP Lovecraft: everyone, this is harry Houdini the famous magician Harry Houdini: hey Stephen King: you know harry Houdini? Lovecraft: oh yeah we've been looking for a project to work on together for a while King: Lovecraft: we already established he's not really italian

King: so you must really believe in magic, huh? Houdini: nope! King: nope? Houdini: it's all flim-flammery! King: flim flimmery?! Houdini: and tomfoolery! King: well i knew it was flim flammery King: but to think it's tomfoolery too--!

Alan Moore [appears in a clap of thunder]: what fool dares to doubt the existence of magic? King: the arch magus! Lovecraft: the arch magus! Poe: the arch magus! Barker: the arch magus! Koontz: the arch magus!

Houdini: i am that fool Houdini: fie on your so-called magic! Houdini: why, it's nothing but a lot of humbug and ballyhoo! Houdini: i believe, my good sir, in facts and logic Houdini: by my calculations, magic is a flapdoodle of a fraud!

Moore: MAGIC NOT REAL?! Moore: A FLADOODLE! Moore: A FRAUUUUUD!?!?!?!??!!? King: uh, harry King: you might want to speak a little more uh King: respectfully King: to the arch magus Houdini: balderdash! hogtits! Moore: HARRY HOUDINI Moore: DO NOT TAKE ME FOR SOME CONJURER OF CHEAP TRICKS

Moore: [sky darkens, thunder sounds] now observe the awesome powers of the magus… unleashed! Moore: ok check it so please note that these 3 rings are NOT connected

Houdini: bring your best magicians! i'll defeat them all with the power of facts and logic! Aleister Crowley: i got this bro Crowley: I'M THE GREAT BEAST!!! Crowley: DO WHAT THOU WIIILT!!

Crowley: ok first you need a giant hat shaped like a pyramid Houdini: really? this is the best you got Crowley: wait wait i'm not done Crowley: then you need to draw a big ol' eye on it Houdini: NEXT

Grant Morrison: see, magic is about collecting all 8 chaos emeralds- Houdini: NEXT Charles Williams: it's about following the dictates of god's holy Anglican church- Houdini: NEXT Eve Harms: wait wait wait check this out Harms: just wait til you see what i can do to these base metals Houdini: NEXT

Houdini: i look around and all i see Houdini: are charlatans and frauds Houdini: OH YEAH Houdini: is there no one here with the strength to defeat me in the arena of knowledge? Arthur Conan Doyle: NOT SO FAST!

Charles Dickens: prepare for trouble! Doyle: make it double! Dickens: we are Doyle & Dickens: [standing arms folded, back to back] GHOST CLUB Doyle: blasting off at the speed of light! Dickens: surrender now or prepare to fight! Robert Aikman: Meowth! That's right!

Dickens: we're a team of paranormal experts dedicated to investigating the uninvestigatible Dickens: determining the indeterminable Dickens: and canning the uncanny Doyle: and also fairies Dickens: no no no Doyle: yes we look for fairies too Dickens: no Arthur we talked about this, we're not doing fairies

Doyle: ok harry i know you think magic is all "fake" and "lies" Doyle: but if that's the case explain The Lost World (1925) Houdini: what the Houdini: are those REAL dinosaurs?!?! Doyle: mmmmaybe

#midnight pals #the midnight society #midnight society #stephen king #clive barker #edgar allan poe #dean koontz #hp lovecraft #arthur conan doyle #charles dickens #harry houdini #eve harms #aleister crowley #grant morrison #robert aikman #alan moore #charles williams

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mikeflanaganuniverse · 10 months ago

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First look at Mike Flanagan's upcoming film, THE LIFE OF CHUCK (2024) (Based on the work of Stephen King)

#the life of chuck #mike flanagan #ours #by vanessa #tom hiddleston #karen gillan #userfilm #userstream #filmedit #filmtvtoday #usermorgan #janielook #usertj #dixonscarol #userk8 #usermandie #userlarri

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scary-grace · 2 days ago

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The Yawning Grave - a Shigaraki x F!reader fic

Tomura and his friends might look like a team of paranormal investigators, but they're actually professional hoaxers -- every episode of their hit show has been faked. The episode they're filming in an abandoned town in a temperate rainforest is no different. At least at first. Rated T trending M in later chapters, found footage horror tropes, filmmaker!Tomura. Title/chapter headings based on The Yawning Grave by Lord Huron.

omens and signs

Tomura wakes up slowly, but he’d rather not be awake at all – and what he hears when the grogginess starts to fade doesn’t do much to change that impression. “I’m not pulling over again, Dabi. Take your Dramamine.”

“How am I supposed to take my Dramamine if I can’t stop hurling long enough for it to work?”

“Maybe we should pull over long enough for Dabi to take his Dramamine and then digest it,” Twice suggests. “No, that’s a bad idea. Let’s make him throw up until he’s empty and we don’t have to stop again.”

“How about we don’t do any of that,” Toga says. Her voice sounds sweet, but Tomura knows just as well as anybody what she sounds like when she’s about to cut a bitch, and it’s a little too close for comfort. “Dabi, keep your mouth closed. Spinner, don’t floor it around the curves. Jin, don’t laugh. Tomura, don’t –”

Tomura pretends he’s asleep. Toga reaches into the backseat and punches him in the arm, at which point he sits upright in a hurry. “What?”

“Tell Spinner to drive slower,” she says, smiling at him, “and tell Dabi to stop talking.”

“Stop talking,” Tomura says to Dabi. Dabi gives him both middle fingers, way, way up. “Spinner has to drive fast. We need to be there and setting up camp by nightfall.”

“Yeah. Otherwise our nighttime shaky-cam breakdowns won’t be anywhere near as scary.”

“Right.” Tomura doesn’t need to be awake for this. He can film a found-footage documentary hoax in his sleep.

Tomura used to be into debunking this stuff. Then he realized that he could make a hell of a lot more money faking it, and have a lot more fun in the bargain. Now, instead of trying to prove that reality really is as boring as it looks, Tomura and his friends have turned their professional skeptic side-hustle into a full-time business faking the stuff they used to debunk. And because Tomura’s still a skeptic at heart, he knows how to skeptic-proof his hoaxes.

First step: Pick a spot that’s no more than locally famous. Find some local legends – there are always at least a few. Case the joint, figure out what type of haunting or infestation would be the most believable, and then make it look and sound as real as possible. Sometimes that means wholesale making shit up, which is fine. Tomura and his crew have gotten called out plenty of times, but they’ve never been caught before.

“I don’t know, guys,” Twice says as Spinner takes another curve at slightly less than warp speed. “I feel weird about this one. That guy at the gas station acted like we were nuts.”

“Gas station guys always act like that.”

“Not exactly like that.” Dabi sounds like he’s speaking through clenched teeth. “He said it was a paper town. Named after that book. But I looked it up before Spinner started auditioning for fucking Formula One, and it’s been on the map since before the book was published.”

The book – ’Salem’s Lot, by Stephen King. Tomura read it, liked it, and then, when he was scanning maps looking for a place to plan the next hoax, he spotted it. A rain-drenched dot on the map, in America’s Pacific Northwest, labeled Jerusalem’s Lot. Same as the town in the book that gets overrun by vampires. “So he named the book after this place,” Tomura says, and Dabi twists around to glare at him. “Come on. Don’t tell me you’re getting spooked.”

“Twice is right. There was something weird about that guy,” Dabi says. “We spooked him, not the other way around. There’s something going on here that –”

Spinner zips around another bend in the road, and Dabi scrambles to roll the window down. “He does have a point,” Toga says, like there’s not rain and wind whipping through the car and Dabi gagging like a cat with a hairball. “There aren’t legends about this place or anything. We’ve gotten the dumb-college-kid treatment a million times –”

“Which is dumb,” Spinner puts in. “We’re not in college.”

Toga ignores him, too. “But that guy looked surprised at first. Then he looked nervous. And he said something weird.”

“Play it back,” Tomura instructs. Toga digs out the camera.

Gas station guy looks like every other gas station guy they’ve encountered, but as Toga plays it back, Tomura watches the same emotions she named cross his face. Surprise, then nerves. “Salem’s Lot is a paper town.” There’s a pause. “Ain’t nothing living up there that’s human.”

“Nice work getting that line out of him,” Tomura tells Toga, who was doing the interview. “It’ll be great for the promos.”

“Nothing living up there that’s human. He could just mean animals,” Twice pipes up. “The more rural it is, the weirder everybody talks. Remember those old guys with the accents?”

Even the films Tomura’s made in rural Japan has featured old guys with accents. They’re practically a genre staple. “It’s true. People use different syntax in rural areas than in the city,” Spinner says. “Still, though. It’s –”

Dabi pulls his head back in through the window and rolls it up. “It’s easy to hear that line as meaning that there’s something inhuman in ’Salem’s Lot.”

“Which is why it’s perfect,” Tomura says. “Don’t crack up on me. Any of you. If something had happened here, there’d be legends about it. Local myths. Something other than an old guy at a gas station talking about paper towns.”

“There’s one reason why there wouldn’t be legends,” Spinner says from the front seat. “If nobody made it out alive.”

Tomura doesn’t expect that kind of shit out of his crew, and for a split second, he wonders if there’s anything to what they’re saying. Then he spots the blinking red light of one of their pocket cameras, and a mic settled down in the hood of Toga’s jacket, and swears. “You all think you’re fucking hilarious, don’t you?”

“You should have seen your face,” Twice wheezes. “We got you so good –”

“How much of it did you just make up?” Tomura snaps. “Did you bribe that old guy while I was taking a leak?”

“No, he just said it,” Toga says. “All the stuff we said is true. And if it spooked you for a second, Tomura-kun, it’s definitely going to spook the audience.”

She’s right. Still, Tomura doesn’t like ending up on the wrong end of a hoax, and he’s pretty sure he knows whose idea this was. “Did you fake being carsick, too?”

“Did I fool you?” Dabi asks – and then Spinner whips around a corner too fast, and Dabi lunges for the window again. The carsickness is for real. Tomura wonders if he can convince Spinner to drive even faster.

They make it to Jerusalem’s Lot just past four o’clock, which leaves them enough daylight to poke around, record some B-roll, and get a few exterior shots in. The guy at the gas station was bullshitting them – there’s clearly a town up here. Houses, a main street, buildings, streetlights, all of it well on its way to being swallowed up by the rainforest. “How fast do you think stuff like this grows in?”

“These are all native plants,” Spinner says from where he’s crouched down, examining a nest of ferns. “This is their optimal environment. So if nobody was cutting them back, this could happen in – a few years, maybe. Most of these buildings are wood. If we came back fifteen years from now, there’d probably be nothing left.

Which means it can’t have been abandoned for very long – well within living memory. Tomura rolls his shoulders, limbering up. “Let’s find an establishing shot and get this done.”

Tomura calls the big shots, but everybody else fills in with smaller ones they think they might need in the editing process. Tomura puts up with two or three extra shots from everybody before they refocus. He should have written a script. What’s going to come out of his mouth is probably going to be pretty stupid.

“I’m Shigaraki Tomura. We’re the League of Villains. Today we’re investigating Jerusalem’s Lot, an American small town – which, according to the locals, doesn’t exist.”

They asked one local. They’ll go back with the camera on the way out and bother some people until they pick up enough footage to make it look like they’re trying to hide something instead of just trying to get away. This is where they’ll splice in Gas Station Guy with his creepy comment. “As you can see behind me, Jerusalem’s Lot is very real – or it was. Join us as we try to figure out what happened here, and if there’s anything alive in Jerusalem’s Lot after all.”

“Nice, boss,” Twice remarks. It’s a good thing it’s cold out. Tomura gets sweaty when he’s on camera, and he needs to air his armpits out. “The mic might have gotten fuzzy because of the wind, but we can dub over it in post, easy.”

“I like the lighting out here,” Toga says. “There are some holes in the canopy where sun will get through. If it’s ever sunny.”

“It’s supposed to be sunny tomorrow,” Spinner says, shivering. “It better be. I’ll freeze to death.”

Dabi rolls his eyes. “Sure you will.”

“I will. And then you guys will probably use my body to jazz up a shot, because you all suck –”

Tomura tunes them out and goes picking his way up what was probably the main street of ’Salem’s Lot. He’s visited a lot of small towns, even more ghost towns, but there’s something different about this place. Maybe it’s all the greenery. Ghost towns in other places fall to dust. It’s not usual to see one that’s actively being eaten alive – or dead – by the woods. People lived here. People either got up and left or they died here. The former, almost always. Tomura identifies a couple houses that look semi-structurally sound as potential filming spots for tomorrow, then makes his way back to the others.

Coming to Jerusalem’s Lot was the right choice, and as they set up camp and build a fire, the League’s mood is good. Unusually good, given the conditions they’re camping out in. “I think this one is going to be awesome,” Toga says, the firelight glinting off her teeth. “This place would be spooky even without the buildings. All the moss and lichen – and the fog –”

“We could do a haunting for this place,” Spinner suggests. “Ghosts and stuff. We haven’t done that in a while.”

“Yeah, the last time was that mansion in New Hampshire,” Twice says. Then he frowns. “We didn’t have to fake that one.”

No, they didn’t. They all saw things in that house, enough for them to scrap the episode and not come back. Tomura has a strict hoaxes-only rule these days. “Ghosts are easy to do in post-production, but for a town this size, we’d need to fake multiple ghosts,” Dabi says. “And if we have that many ghosts, we have to explain where they came from.”

“Maybe an epidemic?” Toga suggests. “We haven’t done disease in a while, either.”

“That would be tough to pull off, unless we invented something,” Tomura says. “They don’t have the Ebola virus up here.”

Nobody likes it when Tomura mentions the Ebola virus. He sees their expressions and decides to pay them back a bit for their bullshit earlier. “There’s always plague, though. Pneumonic and septicemic plague could both kill fast enough that they wouldn’t have had time to get help.”

“Then we should keep an eye out for skeletons tomorrow,” Spinner says. “And somebody’s gonna need to hold Twice’s hand so he doesn’t freak out and drop the camera. Again.”

“That was one time!”

“We can’t fake skeletons,” Dabi says. “We can fake creatures.”

Tomura rolls his eyes. “You know how hard it is to fake creatures. What would we even fake around here?”

“Vampires,” Twice offers. “Like that book.”

“That would be really hard to fake,” Toga remarks. “Isn’t there some kind of cryptid that’s native to this place? Something tall and furry?”

“Yeah, it’s like a –” Tomura thinks back on his notes. “Sasquatch. Or a Bigfoot.”

“We can’t use that,” Spinner says at once. “It sounds too goofy.”

“Yeah, the airport kiosks were selling it on t-shirts,” Twice agrees. “No vampires. No big furry guys. So that leaves – uh –”

“We could try crawlers,” Toga suggests, and Dabi starts to argue. “I know we’ve used them before, but – why can’t there be different subspecies? Crawlers in a temperate rainforest wouldn’t look anything like crawlers in the Andes mountains.”

It’s quiet for a second. “If you guys are going to make me wear the crawler suit again, I want overtime,” Spinner mutters, and Dabi grins across the campfire. “So what are we doing tomorrow, then – film documentary stuff in the morning, crawler stuff in the afternoon?”

“Works for me.” Tomura yawns. “I’m tired. Don’t forget to put the fire out.”

Inside his tent, Tomura sets up his personal camera to record. He’s not sure if everyone else does, too, but they’re supposed to – to pick up any weird things that happen during the night, any inexplicable sounds or shadows, whether they wake up to it or not. Usually it just catches him tossing and turning, and he deletes the footage in postproduction. Tomura unzips his sleeping bag, shuts off his camping lantern, and closes his eyes. This shoot is going to go well. There’s enough here for a solid hoax. Aside from Spinner in a crawler suit, they’re not going to have to make anything up.

Tomura sleeps solidly, straight through the night. He wakes up without an alarm, better rested than usual, and fumbles for his phone, which he’s pretty sure he left on the pillow next to him. The phone’s not there, but something else is, something small and cold and metal. When Tomura blinks sleep out of his eyes, lifts it to inspect it, he finds that it’s a heart-shaped locket, clinging to life on a frail chain.

Tomura’s friends are going to be on their bullshit for this entire shoot, it looks like. Still, the locket’s a nice touch, and if they fuck with the shot of Toga planting it on Tomura’s pillow, they can make it look like it appeared out of nowhere. Even if they’ve decided on crawlers, it won’t hurt to wave a red herring about ghosts.

But when he shows it to Toga, he gets a blank look and nothing else. “I didn’t put that there. I’ve never seen it before.”

Tomura’s about to tell her to cut the bullshit when he realizes that Dabi’s camera is on. No way is Toga dropping the story while she’s being filmed, and Tomura might as well play along. “Take a look at it. Maybe it’ll give us a clue about what happened here.”

“Hmm.” Toga lifts the locket out of Tomura’s hand and starts inspecting it between sips of coffee. “14-karat gold – not bad, but not over-the-top expensive. It’s on a box chain, which is interesting. They’re not as common as other varieties of chain, but they’re sturdy. See how tightly they’re interlocked? Something like this wouldn’t break easily. And the clasp’s still intact. The person who owned this took it off on purpose.”

She glances up at Tomura, eyes exaggeratedly wide. “What’s inside it?”

By this point, they’ve drawn Spinner and Twice over. They and Tomura hover over Toga’s shoulders as she pries the locket open. “There are photos,” she starts, and then her shoulders slump, her voice going small. “This was a kid’s. A little girl’s.”

Toga’s the best actor on the team. The rest of them need to take lessons. “How do you know?”

“On this side –” Toga holds it up, and Spinner digs up his phone to zoom in. “There’s a picture of two people. Based on their age, I’m guessing they’re her parents. And on the other side – that’s her dog.”

“Right. An adult would have photos of their spouse,” Dabi says from across the fire. “Or their kids. Parents and dog says kid. How do you know it’s a girl?”

“How many boys do you know who’d wear a heart-shaped locket?”

Dabi starts ribbing Toga for being sexist, and she argues back that he wouldn’t wear a locket if she paid him, and under cover of an argument that’s only half-staged, Tomura inspects the locket a little closer. It’s definitely a dog on one side of the locket, some goofy mutt-thing with bright eyes and floppy ears, and looking at it pulls Tomura’s vocal cords tight. He’d maybe have worn a locket as a kid, if his sister or somebody else had given him one. And he’d definitely have put a photo of his dog in it.

But Tomura’s got a couple screws loose. His family made that crystal clear. He snaps the locket shut, then cuts off Toga and Dabi’s stupid argument. “Hey. How old do you think this is?”

“Um –” Toga studies it. “Not an antique. More than ten years, less than thirty.”

“That’s within the time frame,” Spinner says. “How did it end up on your pillow?”

Tomura’s getting tired of this bit. He waits a second or three, then calls cut. “We have a lot to do today. Let’s get going.”

They have an evidence bin for stuff that shows up on shoots, but since the locket’s a joke his friends are playing, Tomura doesn’t feel bad about pocketing it. They left it for him, anyway. Tomura wonders what’s gotten into his friends. They’re a lot more into this shoot than they’ve been on other ones, but maybe that’s a good thing. If there’s one thing Tomura’s work has taught him, it’s that every good hoax needs a small piece of truth at the center of it. The expression Dabi’s camera probably caught on his face when he opened the locket is a good start.

taglist: @shigarakislaughter @lvtuss @deadhands69 @xeveryxstarfallx @cheeseonatower @agente707 @warxhammer @handumb @atspiss @f3r4lfr0gg3r @shikiblessed @evilcookie5 @dance-with-me-in-hell @babybehh @boogiemansbitch @baking-ghoul @minniessskii @issaortiz @aslutforfictionalmen @lacrimae-lotos @stardustdreamersisi @koohiii

#shigaraki x reader #shigaraki x you #tomura shigaraki x reader #tomura shigaraki x you #shigaraki tomura x reader #shigaraki tomura x you #x reader #reader insert #man door hand hook car door #found footage au #a bisquared production

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yanderedrabbles · 4 months ago

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My list of ideas, requests and fics that you can expect soon.

Yandere Roommates [dubcon] With your boss mysteriously firing you and your job applications getting lost in the mail, it's no surprise that you can't afford rent this month. Lucky for you, your roommates have a very generous offer.

Yandere Wild West Sheriff: Ain't you just the sweetest lil thing?

Yandere Dictator: He's a high ranking member of the ruling party, with all the wealth and power denied to the working class. And when he says he wants you, that's exactly what he gets.

Dairy of a Vampire: You've found a strange book in your husband's library, and on closer inspection, realise every entry is all about you. [Sequel to Letters from a Yandere Vampire]

Yandere Aztec Warrior x Āhuiyani Reader: His body is sworn to war and yours to pleasure. How strange, that you find comfort in each other.

Yandere Sugar Baby: It's not uncommon for a wealthy, older woman to take a younger lover. But the way he looks at you isn't normal at all.

Yandere Witch Hunter x Witch Reader: In a last ditch effort to save yourself from execution, you cast a love spell on the town's witch hunter.

Yandere Aliens [noncon] Human women are the most prized slaves in the galaxy, and when your ship crashes on an unknown planet, it's inhabitants are keen to find out why.

Yandere Southern Gothic Cowboy: He doesn't come to church and you never see him out in the sun. Who exactly is this stranger?

Yandere Rockstar: He's a rockstar punk who wants to fight the whole damn world. But all his songs seem to be about one special person.

Yandere Dragon x Princess Reader: This fairytale isn't what you expect.

Yandere Slasher [noncon] With all your friends dead and no way to escape, you offer the killer something else in exchange for your life.

Yandere Ex-boyfriend [noncon] You wake up to a ship over five hundred million kilometres away from your home planet and an ex desperate to prove his love.

Yandere Pirate x Mermaid Reader: You've seen her time and time again, leaning against the stern and staring out at the horizon. She always seems so melancholic. Maybe a song will help?

Yandere Soulmate: So what if you don't always get along? So what if he leaves bruises on bad days? You're meant to be his and he's not letting you go.

Yandere Firefighter: You owe him your life. Aren't you going to repay that debt?

Yandere Stripper: Beautiful, confident, deadly. When she says she wants you, she won't take no for an answer.

Devil Dogs always bite: A green card marriage to a US Marine ends badly. [omegaverse]

Yandere Harpy: Didn't your mother warn you that birds like shiny things?

Yandere Carnie: The only redeemable part of spending holidays with your distant and erratic father is the amusement park. You've loved it since you were a kid, but sinister disappearances and mysterious letters lead you to believe the carnival isn't quite as fun as it seems.

[Requested by @/saltyearthquakedeer and based on Stephen King's Joyland]

#Val's masterlist #Upcoming works

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insanityclause · 16 days ago

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DESPITE THE FACT that Tom Hiddleston plays the titular role of Chuck in the new film The Life of Chuck, he was only on set for five days. And despite the fact that The Life of Chuck is written and directed by Mike Flanagan (a modern horror master best known for his terrifying limited series on Netflix) and based on a novella by Stephen King (whose name is practically synonymous with the morbid and the scary), Hiddleston's time wasn't spent screaming, fighting off evil clowns, or navigating a post-apocalyptic world.

No, Tom Hiddleston spent most of his time on The Life of Chuck dancing.

"I learned how to moonwalk, and then we were off to the races," Hiddleston tells Men's Health on a Friday evening in late May.

Despite what the names involved might have you think, The Life of Chuck really isn't a horror movie at all. Instead, it's a story about life and death, a look at the impact small moments in one life can have on another, and the things that stand out in a memory when it all comes to an end. And as the film slowly but surely lays out, a number of those moments in the life of a regular guy named Chuck Krantz (played by Hiddleston with a gentle, compelling kindness) come when he's given an opportunity to dance.

Chuck isn't someone you'd expect to start busting moves, though; he's an accountant in a suit holding a briefcase. But in Hiddleston's most intensive scene in the film (which took up four of his five days on set), he put far more on display than just his newly-acquired moonwalking skills. The sequence, which Flanagan had originally composed by drummer The Pocket Queen (who appears in the scene) and choreographed by Mandy Moore (not that Mandy Moore, but rather an acclaimed professional who worked on movies like La La Land), combines elements of jazz, swing, salsa, cha-cha, Bossa Nova, and Polka dancing; the Moonwalk was part of a freestyle element.

Before production, Hiddleston had a call with Moore to discuss the sequence, who then set him up with assistant choreographer Stephanie Powell in London. The two would practice for a few hours every day, and getting to the majestic point of the lengthy dance featured in the film wasn't all smooth sailing.

"I found out that jazz and swing were very close to home, and Bossa Nova was a little further away, so I had to work on that," Hiddleston says. "Some things come naturally to every human body and other things don't. Some people can kick a ball and it just goes in the goal, and some people can just pick up a dance step. But it was such an education, because dancing is completely instinctive. It's not intellectual. It's not a brain thing, it's just a body thing, and the body responds."

If you're mainly familiar with Hiddleston from his role as Loki in the Marvel Cinematic Universe, you'll be shocked by what he achieves in The Life of Chuck. The film is split into three acts, and Hiddleston only significantly figures into the second. But despite not having a massive amount of screen time, he's the face of the character; everything we know about Chuck brings his image to mind, and the impact he makes in that middle section is enough to last for the entire 111-minute runtime.

As The Life of Chuck hits theaters, Men's Health had the chance to catch up with Hiddleston to talk about bringing a story about life, death, and mortality to the screen, how his Marvel career may have inadvertently prepared him for learning that intense dance sequence, and a tease toward his next adventure as Loki.

MEN'S HEALTH: I have to tell you—I was talking to your old Loki friend and co-star Owen Wilson yesterday for a different story.

TOM HIDDLESTON: Amazing. How was that?

MH: He was great. Very fun, and very much how he seems on screen.

TH: He's the best. He's actually the best. He's one of the great men. I love that guy.

We've been through many, many times together. I know you've seen the work, but we made Loki in the pandemic, and so sometimes he was my only human interaction, and I was the same for him. We've talked about pretty much every subject under the sun.

MH: It's a very specific type of bond. Speaking of bonds, you seem to have drawn a very close connection to your character in The Life of Chuck after just a short period of time on set. Why did you want to get involved with this movie?

TH: Honestly, I read the script over Easter of 2023, and I remember exactly where I was. I read it in one sitting, and I was overwhelmingly moved by it. The wisdom in it really struck me.

I understood what Mike's extraordinary screenplay and Stephen King's short story was trying to say, which is that every seemingly ordinary human life is magic. And that inside the soul of every human being is an internal world of connections, both real and imagined, connections to people we love, to experiences we've shared, to memories we've made. And that in the last hours of our lives, as much as our lives are often full of struggle and grief and loss and pain, what remains is love and those moments which might seem small, but actually create a kind of constellation of connection. I found that so profound, and I really related to it.

I really relate to the idea that no human being is one thing. We're not just the job we do or the role we have in our family or our group of friends. We all have an internal world of infinite possibilities, and maybe when we're children, those possibilities feel closer. But as we get older, it's easy to allow those possibilities to start to feel reduced. The great joy of being alive, though, is that you're always alive until you're not. There was something about the soul of this film. It was about life and the consideration of what life means, especially as life comes to an end. And maybe that's only when it comes into focus.

Hiddleston isn’t in The Life of Chuck much, but his presence is felt throughout the movie.

MH: People tend to push away themes of life and death, and this movie is eager to tackle them head on. And almost ironically, because it's by Stephen King, by the end it's something that's not even scary to think about.

TH: I don't mean this to sound morbid, but any consideration of death inspires a consideration of life, and what the purpose of life is. Any human life contains this great range of experience, and it takes great courage to hold onto what's good when it feels like the world is falling apart.

Life is brief and precious and often fragile, and it's our privilege to grab hold of it with both hands. If you're in a position where you're able to, you should do whatever it is that makes you feel alive. For Chuck, it's dancing. He's an accountant. He's Mr. Businessman in a business suit walking to the business conference and staying in the business hotel, but suddenly he remembers he's also a dancer, and that gives him joy.

When I was making it, I kept thinking, "I wish everybody could feel the urgency of that." That's the uncertainty of being alive—we wake up every morning and we don't know the day or the date that our lives will come to an end. We live in that uncertainty all the time, and we do the best we can with what we have. But whatever inspires that feeling of joy and that feeling of connection, whether it's math or dancing or football, do it with everything you have. Because in the end, that's all that remains.

MH: Did you have any specific influences approaching this performance?

TH: It was something I really took from the script and I thought a lot about. I thought a lot about Chuck's childhood and how it would have informed the man he became. He was someone who was talented at math and good with numbers, but also this really gifted dancer, and it gave him joy, and it connected him to his grandmother.

But he also had these very early experiences of loss. He lost both his parents very young, and he lost the sister he never had at the same time. And he had all of those experiences of the joyful and beautiful relationships he had with his grandparents, and the films he loved to watch as a kid. I thought about the films I loved that were similar, like all the great movies of Fred Astaire and Ginger Rogers, the Gene Kelly movies, Singing in the Rain, An American in Paris, Cover Girl.

I thought about my own love of dancing, which I've always loved to do, but just as a guy with my friends; I was hoping I could synthesize all these things. I knew the dance sequence had to be this explosion of joy and spontaneity, but I also wanted it to be a great tribute to those influences. I was doing my bit of Gene Kelly and doing my bit of Fred Astaire, even if I don't move with quite their level of elegance and grace.

MH: I'd say you came pretty close. How did trying to prepare for that kind of intense, lengthy dance sequence compare to past experiences training for roles?

TH: It's so interesting. Over the years as a performer, the thing I've learned about movement is that agility is your friend. Having a baseline range of motion and being able to be adaptable is something I've really valued. If I'm training, I hope I don't get stuck in a singular way of doing things, because the body loves being surprised.

The baseline of my routine is running, because it keeps my stamina up, and it keeps me on an even keel. Practicing for this gave me such enormous and lasting respect for dancers, because truly great dancers are among the most elite athletes in the world. There's such extraordinary strength and stamina and flexibility and precision required. So in doing the training, I was like, "This is super intense." It's different from combat training in a way, and it's certainly different from training if you're trying to build a body that doesn't come naturally. But in lots of ways it was quite similar.

In my experience of playing Loki particularly, some of that stunt choreography is quite similar to dancing. In some of those really epic confrontations in the Marvel movies, often we're doing stuff on wires, and Loki's spinning and twisting. And his whole thing is that he's like a mercurial element. You can't pin him down. And so often in the confrontations with Thor or with the Avengers, the fight choreography was more akin to dancing than fighting. In a way, some of that prepared me really well for this. It's just that Loki doesn't do his fights to someone standing behind a drum kit and whacking out a Bossa nova.

MH: Although you do get some fun music stuff in Thor: Ragnarok.

TH: Yes, that's true—Led Zeppelin!

Hiddleston, second from the left, with Mike Flanagan, Karen Gillan, and Chiwetel Ejiofor.

MH: One of Mike Flanagan's signatures is that he uses reuses many of the same actors frequently. Would you want to work with him again?

TH: 100%. I found his leadership extraordinary. He creates such an atmosphere of trust. He innately understands that when you're directing a film, you're conducting an orchestra of people all bringing their own immense skill and imagination to the table. And it was extraordinary to be on that set and to be surrounded by so many people who've worked with him time and time again and there's a shorthand. And to be welcomed into that family, I had the most wonderful time. He's so impeccably prepared, but also that preparation gives him great freedom on the day because he knows what he's looking for, but he's open to being surprised by what he doesn't know.

My time on this film was relatively short—I was filming for just one week. And it was the first week of principal photography, so I left and handed the baton over to Chiwetel Ejiofor and Karen Gillan, and then they handed the baton over to Mark Hamill and Benjamin Pajak and Mia Sara. My lasting feeling as I flew home was just of immense gratitude for a really joyful experience. It was a very happy time, It was really good people telling a story that we all felt really passionate about. So, yeah. Hoping it's not the last.

MH: You mentioned Karen and Chiwetel, who have also been in the Marvel Cinematic Universe, and you've already been announced as part of the cast for Avengers: Doomsday, which should be a major 2026 movie event. Any chance we'll see a Life of Chuck reunion there?

TH: It's a great question, and it's one I don't know if I'm allowed to answer, truthfully. But you are correct in that I will appear in Avengers: Doomsday. That I can confirm. And that I'll be working opposite some other actors in that film, that I can confirm. I can't tell you which actors.

It's very exciting. I have loved playing Loki. Loki's been a companion for a long period of my adult life. Loki's a character of such depth and range and complexity, and it never feels like the same experience. It always feels new, and this one will be new in its own way. I'm grateful that I'm still on the team.

This interview has been condensed for content and clarity.

#tom hiddleston #the life of chuck #interview

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hwangjoanna · 2 months ago

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Teasers for upcoming fics!

I don’t have an exact date these will be released but I’m hoping to finish my squid game AU before I post these but if any of them are finished before that then I may 🫶🏻

‘Hack Into My heart.’

slow burnish | office romance au | nerdy IT guy Hyunjin X Boss f!reader | colleagues to lovers | awkward, angst, love, smut. 18+ mdni.

Two Part One Shot

Beneath a composed exterior, the company’s powerful CEO Y/N thrives on control until a sudden cyberattack threatens to bring her entire empire crashing down. With her life’s work on the line, she turns to the only person who might save it: Hyunjin, the quiet and awkward but brilliant I.T. technician. In the glow of midnight monitors, unspoken tension simmers between them as Hyunjin works tirelessly to unravel the hack, his steady hands and sharp mind battling the digital enemy. Yet it’s the closeness of his determined, captivating boss that sends his heart racing. Y/n watches this soft-spoken genius pour himself into protecting her company, and with each passing hour she glimpses the passionate soul behind his shy exterior. As firewalls fall, so do the walls around their hearts.

‘Stray Things.’

Mini-Series loosely based on Stephen King’s Novel ‘Needful Things.’

When Y/N is walking home from a work night out, the last thing she expected was to be drawn into the orbit of a mysterious antique shop and its even more enigmatic owner, Hyunjin. With hypnotic charm and a knowing smile. Stray Things, a quaint little store that seems to offer the perfect item for everyone who steps inside… for a price. Y/N is skeptical until she finds something on his shelves from her past. As her connection with Hyunjin deepens, so too does the darkness spreading through the town. Neighbors turn on each other. Secrets are unearthed. Whispers of bargains and debts begin to circulate. Caught between the pull of a man who knows her heart’s deepest longing and the growing realization that not everything is as it seems, she must decide: how much is she willing to pay for what she truly desires?

‘Only Lovers Left Alive.’

Mini Series loosely based on the film ‘Only lovers left alive.’

When Y/N moves to a quiet city for a fresh start and new job opportunity, she visits an old record shop tucked between forgotten streets and timeworn brick. There she meets Felix - charming, playful, disarming and Hyunjin, his silent tortured artist, brooding counterpart. She’s intrigued by the mystery of them, by their strange hours, their intensity, the way they seem to orbit each other like something ancient and unfinished. There’s something about them, something inhuman. Secrets and a hunger they’ve long tried to control and Y/N? She’s more than just temptation. She’s the breaking point neither of them saw coming.

All tag lists are open now! Please let me know which one you’d like to join, you’re welcome to join all three 🖤 I’m excited to share these with you as well as some exciting collabs that are currently in the pipeline!

Tag lists-

All 3 - @fairylix @hoes4minho @lilileen25 @akindaflora @tirena1 @stayjinnie @jehhskz @alittlebitofeverything04

Hack into my heart -

Stray Things -

Only lovers left alive -

#hwang hyunjin #hyunjin #18+ mdni #hwang hyunjin x reader #skz au #hyunjin x reader #lee felix #skz felix #stray kids felix #felix x reader #skz hyunlix #hyunlix fanfic #hyunjin smut

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