#fable major swift

[jaymilepland]

[mrs-theirin]

“I cut myself upon the thought of you And yet I come back to it again and again.” — Amy Lowell A timeline of Sparrow and Reaver's relationship, as well as a study of Sparrow's character, her more pleasant relationship with Walter Beck, and her feelings on her children.

CHAPTERS I. | II. | III. | IV. | V. | VI. | VII. | VIII. | IX. | X. | XI. | XII. | XIII. | XIV. | XV.

[ariwa003]

Um a Major Swift enjoyers??? Anyone? [I believe he was killed by trying to drink Sprite no cap. Thats my headcanon... But all in whole seriousness he was a legend. Even if he didnt knew him too well and he was "cut" off quite quickly lol...]

[youcantdateosmosisjones]

stubbed my fucking toe while posting this

[thisisntreaver]

Does swift have a first name

[bubblegumfanfictions]

Hi all! Thinking of starting a page dedicated to the release of oneshots for fable characters from all 3 mainline games!

[iwannascreameurekaa]

valgrace angst playlist ! Contains all the sad songs from my valgrace playlist

@erosjournal

fluff playlist smut playlist full playlist

Something in the Orange by Zach Bryan 

Stick Season by Noah Kahan

Fourth of July by Sufjan Stevens

All I Want by Kodaline

Home by Edward Sharpe & The Magnetic Zeros

Line Without A Hook by Ricky Montgomery

Tears over Beers by Modern Baseball

Mr Loverman by Ricky Montgomery

ocean eyes by Billie Eilish

Dear Arkansas Daughter by Lady Lamb

I Don't Smoke by Mitski 

This Year by The Mountain Goats 

Wolves by Selena Gomez & Marshmallow 

Happy News For Sadness by Car Seat Headrest

Wet by Dazey and the Scouts 

What Was I Made For? by Billie Eilish

Inarticulation by Rio Romeo 

The Adults Are Talking by The Strokes

Break by Alex G

Stressed Out by twenty one pilots 

Two Birds by Regina Spektor

TV by Billie Eilish

Things to Do by Alex G

Take Me to Church by Hozier 

the way things go by beabadoobee 

Mind Over Matter by Young the Giant

I'd Rather Sleep by Kero Kero Bonito

anything by Adrianne Lenker

Heaven Knows I'm Miserable Now by The Smiths

Pretend by Alex G

Nothing's New by Rio Romeo

Good Looking by Suki Waterhouse 

Time Moves Slow by BADBADNOTGOOD & Samuel T. Herring

Bruno is Orange by Hop Along, Queen Ansleis

Twin Sized Mattress by The Front Bottoms

Be Nice To Me by The Front Bottoms 

I Bet on Losing Dogs by Mitski

Brother by Madds Buckley

Where Is My Mind? by Pixies

Shut Me Up by Mindless Self Indulgence

Lone Star by The Front Bottoms  

the fruits by Paris Paloma

Girl With One Eye by Florence + the Machine

Who Lives, Who Dies, Who Tells Your Story from Hamilton

Symphonia IX by Current Joys

Somewhere Only We Know by Keane

Run Boy Run by Woodkid

Washing Machine Heart by Mitski

Sarah by Alex G

Race by Alex G

lucy~ by Corbon Amodio

Waiting Room by Phoebe Bridgers

Not Strong Enough by Boy Genius 

Gilded Lily by Cults

The Archer by Taylor Swift

BritRock by McCafferty

Beachboy by McCafferty

Bottom by McCafferty

Fentanyl by McCafferty

Trees by McCafferty

Candy by Alex G

Your Best American Girl by Mitski

You're My Best Friend by Queen 

Abbey by Mitski

Vampire Empire by Big Thief

Vampire Empire by Adrianne Lenker

That's Life by Frank Sinatra 

Wasted Summers by juju<3

The 30th by Billie Eilish

Me and the Devil by Soap&Skin

Static by Steve Lacy

The Gold by Manchester Orchestra & Phoebe Bridgers 

It's Called: Freefall by Rainbow Kitten Surprise

Little Lion Man by Mumford & Sons

Habits by Genevieve Stokes

Best Friend by Rex Orange County

Revenge by XXXTENTACION

Over & Over by Rio Romeo

Heather by Conan Gray 

Freaks by Surf Curse

Goodbye, My Danish Sweetheart by Mitski

Exit Music (For A Film) by Radiohead

forwards beckon rebound by Adrianne Lenker

Creep by Radiohead

Feel Better by Penelope Scott

Casual by Chappell Roan

Never Enough from The Greatest Showman 

Rewrite the Stars from The Greatest Showman

Sailor Song by Gigi Perez

Once More to See You by Mitski

Back to Life by Mother Mother

Black Hair by Alex G

Sandy by Alex G

Stay Behind by Mother Mother

Wait for Me (Reprise) from Hadestown

Cold as Ice by Blacklite District  

Brown Shuga by Sir Mix-A-Lot

Fable by Gigi Perez 

Arms Tonite by Mother Mother

Death Cup by Mom Jeans.

She Knows by J. Cole

Christmas Kids by Roar

Seventeen Going Under by Sam Fender

I Love You So by The Walters 

Midwests Best by Nik Salah

Picture You by Chappell Roan

Cop Car by Mitski

St. Chroma by Tyler, The Creator 

No One Noticed by The Marias

we can't be friends (wait for your love) by Ariana Grande

Apartment by Modern Baseball

Au Revoir (Adios) by The Front Bottoms 

Bag of Bones by Mitski

Bobby by Alex G

Brand New City by Mitski

Brave as a Noun by AJJ

Broken Cash Machine by Modern Baseball

Burn from Hamilton

Change by Alex G

Come into the Water by Mitski

Cupid by Jack Stauber's Micropop

Dancing With Your Ghost by Sasha Alex Sloan

Dead-Bird by McCafferty 

deja vu by Olivia Rodrigo

Dial Drunk by Noah Kahan

Dread in My Heart by Mother Mother

Dream Sweet in Sea Major by Miracle Musical

Fifteen by Taylor Swift

First Love / Late Spring by Mitski

Fool by Frankie Cosmos

Francis Forever by Mitski

half return by Adrianne Lenker

Hickey by Nik Salah

Would You Fall In Love with Me Again from Epic the Musical

[luminary-rainchii]

What's a scent that you associate with whomever has the braincell rn (that isn't their perfume/cologne)?

not gonna lie, they're all stinky. except for google, who wears that new car smell. that's out of the egos anyway.

ocs?? I'm thinking about my partners bab, Magnolia,, who, as cliche as that might sound, gives me coffee vibes, and whatever smell you'd associate with both books and "i just killed a monster in a forest"

and non-egos, I'm thinking about Walter and Major Swift from the Fable series,,,,,,, I love them, though they'd smell of gunpowder and trauma-

[ryhmus]

HEADSPACE residents

(Short summaries of the main bosses in the fic without major spoliers)

SWEETHEART

[she heavily insisted-on threat of imprisonment -that we used this font for her introduction...]

The prestigious doughnut princess of PYREFLY FOREST, the one and only of a kind-SWEETHEART. Was the fourth successful attempt D.R.E.A.M. made in bringing creatures into the real world. And the last for a while, when she promptly took over the lab and overpowered the scientists, leaving them trapped in the observation room while she ventured outside into the surface of a strange new world for the first time.

Her immediate thoughts? 'A city for me to rule? You shouldn't have!'

Nearbye city was suddenly invaded and quickly overrun with an army of SPROUT MOLES lead by a very familiar pink princess once thought to be only of comics and various media. Her takeover of the city was swift and with little resistance (ordinary humans can not harm HEADSPACE beings without a HEADSPACE version of one's self or a strong enough bond with that being) she quickly established herself as the self proclaimed Empress of her new kingdom of Sweets and Hearts in the span of a single night.

Prideful of her new accomplishment, SWEETHEART hosted a grand gala and had party invites sent to everyone in the surrounding area, including Faraway town. This would be how OMORI and the Dream Friends would come to learn of her plans and would venture out with the Faraway gang to confront and stop her in their very first adventure.

The loss of her original home has not put a dent in SWEETHEART'S massively inflated ego. Narcissistic, arrogant and vain as ever, the doughnut dutchess flaunts her superiority over everyone she meets and rules with an iron fist, any who defy her are sent to the NEW DUNGEON. She has a soft spot for her family back home...

If her loyal guards don't get you, then her spiked heart mace will...

Her appearance in the real world also caused an insurgence of closeted weebs and Sweetheart enthusiasts who were entranced that their favorite anime girl was now real and leading a revolution and joined her as loyal zealots.

Some even gaining the ability to inflict EMOTIONS, such as Tucker of Faraway town, otherwise calling himself 'Weebkage, Empress's Aegis'.

CAPT. SPACEBOY

The fabled space captain of the comso and pilot of the MERCURY RETROGRADE, (and part-time resident of OTHERWORLD.) SPACEBOY and his crew along with PLUTO were transported into D.R.E.A.M.'S hands at some point to both work as workers and in the captain's case, a troubleshooter for loose ends. After the entire SWEETHEART incident, PLUTO would come across incredibly important secret information and would escape. In response, one of the leading directors, Dr. Yen, would instruct CAPT. SPACEBOY to track down and capture the rogue planet at any cost and equip him with a strange belt-telling him of he were to attempt take it off before mission's end or tamper with the device, it would explode and cut his freedom short.

SPACEBOY'S new mission however was no easy task, an electric short in the prototype EMOTION AMPLIFIER, caused him to rapidly experience fluctuating EMOTIONS. This would greatly addle the captain's mental state and force him to focus on capturing PLUTO.

The rogue planet, wounded by a close call with SPACEBOY'S MERCURY RETROGRADE would touchdown in Faraway Park in order hide out in the lake area to avoid being found by his pursuers. It would only be when the gang came across and got caught in the crossfire of SPACEBOY'S confrontation that sparked the second adventure.

CAPT. SPACEBOY reluctantly took on the job of hitman for D.R.E.A.M., eliminating potential threats for the organization before they could be discovered. But he did all of it to keep his crew safe, no matter how grisly the jobs would get. Otherwise, he is noble, kind and always eager to help out those in need. He is a crack shot with his blaster. He keeps a spare in case he needs to dual wield them.

His alter ego, SPACE BOYFRIEND, is much more dangerous, he's angry and easily provoked to violence. The unstable EMOTION amplifier only making this other self's outbursts even worst. Caution is advised.

SPACEBOY remains dedicated to SWEETHEART, but understands that they don't belong in a relationship together...his heart being broken twice over.

MR. JAWSUM

The card shark of the formerly renowned LAST RESORT. JAWSUM wasted no time in setting up shop in Nearbye in the Seaside resort area, turning it into a booming casino resort in over half a week. MR. JAWSUM played an important role in D.R.E.A.M., half of the casino's funds would go into the organization's own funding for new equipment...and in return, they keep some of his more shady dealings under wraps.

His personal magnum opus, GILDED CLAMS made from pure 14 karat gold are what helped him strike literal gold. His casino used a unique system where goers would use their real money to use the slot machines and get CLAMS, afterwards, they would be allowed to use these CLAMS to trade for real prizes. The golden shells were rare and could be kept as souvenirs or traded for better prizes.

A single GILDED CLAM is worth millions in dollars...

Hero, Kel and his family went on a family vacation to get away from the crazy dream shenanigans...little did they know is that they had stepped into treacherous waters when they got into JAWSUM'S sights.

MR. JAWSUM is the very picture of corrupt capitalism. He values profits over all else, and has scammed dozens of their wallets. What he lacks in fighting skills he make up in cunning in spades-and is not above using dirty tricks and schemes to get what he wants out of people. While he prefers not to get into direct fights, his GATOR GUYS do the dirty work for him. Though calm outside, JAWSUM is prone to losing his temper when people disrespect or get in the way of his business.

But despite his greedy values and manipulative methods, JAWSUM is a true to his word businessman who recognizes and values good employees and rewards them respectively for the effort.

to JAWSUM, a healthy happy workforce makes more money...and plenty of money makes the world go round...

UNBREAD TWINS (DOUGHIE and BISCUIT)

The ancient bread-makers of ORANGE OASIS'S BREAVEN. Not much can be said about these twins before they were assigned to come along with Dr. Yen to Faraway Town for her research trip. The twins were then told to use their powers over bread to bring the bakery's supply to life and direct them to collect the Dream Friends for Yen's experiments, causing an unbread apocalypse.

The Twins possess the power to animate bread and control them, in small droves is easily done, but larger numbers and control starts to become harder. Interestingly enough, both DOUGHIE and BISCUIT each have their own individual SKILLS alongside their own abilities, but can only use them if they are apart from one another...which they rarely ever are. Wherever one twin is, the other is usually not far...

DOUGHIE is the sister of the twins. She acts as the voice of reason for the two, translating her brother's language. Her knowledge of all things bread is unmatched and can name over 50 types of bread just from memory.

DOUGHIE is calm and collected and speaks plainly, though she shows a more curious side when confronted with something that is not bread related. She tends to let her mind wander sometimes.

BISCUIT is the brother of the immortal duo. He communicates only in moans and groans, which DOUGHIE claims is an ancient dead language that only she can understand. BISCUIT has not uttered a single understandable word other than a his moans since the beginning of time.

He is often sullen and sluggish but is described by his sister for being very smart and thoughtful of others. BISCUIT tends to get easily frustrated, as shown by his colorful 'words' that his sister scolds him for using.

UP NEXT; THE SOMETHING

[oblivious-aro]

Brief overview of Carrie and Lowell and this project: Carrie and Lowell, released in 2015, is the seventh studio album by Sufjan Stevens. In 2012, Stevens' mother (Carrie) died from stomach cancer. He had a very complicated relationship with Carrie, who suffered from schizophrenia, depression, and alcoholism. She left her first husband when Stevens was a year old and was absent for the vast majority of his life, but from the interviews I've read she seemed to be a relatively pleasant person to be with when she was around.

This album calls upon a lot of symbols and imagery whose meaning seems to be very personal, so it can be difficult to say exactly what is meant by some lyrics, which makes it very interesting to try and interpret some of the nuances of what he's saying.

I've never had someone close to me die, but a lot of the ways Stevens talks about pain and sadness in this album have really resonated with me. Many of these songs are my go-to when I'm feeling down. It's also one of the few albums that I'll listen to front to back.

Since I feel so strongly about these songs, I thought it'd be fun to go through each one and write down what the lyrics mean and how they resonate with me. Starting, of course, with Death with Dignity:

--------------------------------------------------

Spirit of my silence I can hear you, but I'm afraid to be near you And I don't know where to begin And I don't know where to begin Somewhere in the desert there's a forest, and an acre before us But I don't know where to begin But I don't know where to begin

The singer starts off by talking about a presence he is aware of, but hesitant to face (obviously grief and complicated feeling about his relationship with his mother).

He doesn't talk about these heavy feelings with others, and likely doesn't acknowledge even in private (spirit of my silence), but their presence is still constantly felt, and he knows he probably should be doing something about them.

He knows he's neglecting some important things, but his issues feel too big and intimidating to face, so he tries to avoid dealing with them. Again I lost my strength completely, oh be near me tired old mare With the wind in your hair

Of course, just because you aren't dealing your problems doesn't mean they aren't affecting you. These feelings are heavy, and he's carrying them all the time. He may not be properly facing with his feelings, but they are still there and they still drain him.

The mare's been around a long time and the singer still thinks she's beautiful and her presence is a comfort, but she's probably not the same as she once was.

Amethyst and flowers on the table, is it real or a fable? Well I suppose a friend is a friend And we all know how this will end

He questioning a memory here. It's not likely that the flowers (that probably some family member had out on their table when he was a kid), were actually adorned with jewels. His brain is making this memory seem even better than it was, and he's aware of this. The flowers certainly might have felt that decadent at the time, or maybe he's inflating the positive feelings in the present because he wants something pleasant to give him a break from the pain he's in.

In the end he concludes it doesn't matter either way. He's here for comfort and escape, which the image is providing it. Does it matter if the memory is totally accurate? It's only a temporary distraction, he won't be thinking about it for long either way. No point in wasting time worrying about it.

Chimney swift that finds me be my keeper, silhouette of the cedar

He fantasizes about receiving relief from a stranger. He wants someone to stumble upon him and offer him help rather than reach out to someone he already knows. Asking for help can be daunting, and sometimes it's easier to talk to strangers than those that are close to us. Lower stakes.

Not really much to go off of on the cedar bit, but I assume the silhouette is another image whose beauty evokes strong feelings of comfort.

What is that song you sing for the dead What is that song you sing for the dead

At first I thought he was looking for another memory to take comfort in, to distract him. He remembers this one evoking some feelings in him, but he can't quite remember how it goes. Might be a suitable distraction if he remembers how it went and can see what he saw in it again.

Then I realized he's saying he doesn't know what to do to grieve properly. That would tie it back to the whole I don't know where to begin thing. That makes more sense. Both lines even repeat. He seeks reassurance and comfort from past memories a lot in this song, so it fits that he's looking to his past for guidance on grief too, rather than the present.

I see the signal searchlight strike me, in the window of my room Well I got nothing to prove Well I got nothing to prove

This ties in a bit to the chimney sweep and the spirit of my silence bit. He's hiding his feelings from the people around him, and himself (in his hesitancy to properly face them), but he can't run from his feelings forever. He's going to face the feelings he's been pushing away eventually.

Acknowledging them feels jarring, like he's being called out. He's been keeping his feelings hidden for a while, then suddenly they're not.

Maybe bringing things to light wasn't actually as big of a deal as he feared it would be, or maybe he's playing off like he doesn't care to try and minimize the distress.

I forgive you mother I can hear you, and I long to be near you But every road leads to an end Yes every road leads to an end Your apparition passes through me, in the willows and five red hens You'll never see us again You'll never see us again

(Fun Fact: I thought the lyric was But I'm afraid to be near you, sowing that he's drawn to thoughts and memories of his mother, but they can be as painful as they are pleasant. Guess not.) He's reaching for her, even though he knows she's out of reach.

I imagine the hens were on some kind of decoration that he doesn't have anymore (like one of those fancy plates in your grandma's kitchen), rather than actual chickens. His Mother's gone, just like the plate. He's never going to see either of them again. but the memory is so vivid that it almost feels like he can reach them. They feel almost in his grasp.

--------------------------------------------------

Some Final Words: When I listen to this song, an image of a sunny field shows up in my head. The amethyst and flowers are on a wooden table inside a simple wooden house with big windows that gets lots of sunlight. I usually picture the flowers as yellow or purple. The signal searchlight also takes place in a simple wooden house, shining through one of the upper floor bedroom windows at night. It makes sense that the part of the song where he talks about feeling exposed takes place in the most personal room in a house.

Death with Dignity is about Stevens' difficulty facing his grief. Carrie's death left an emptiness that's difficult to fill because of just how little she was actually in his life. Despite her long absences, her relationship with Stevens is still very significant to him, and her absence is very much felt. He grasps at pleasant memories, what little pieces of Carrie he does have, to fill in the hole she left when she died.

Like most of the songs in this album, Death with Dignity ends with a sustained visceral ethereal noise. This one is very choral. It's beautiful but tinged with sadness and longing. Still very gentle, especially compared to some of the later outros.

[herrage]

/ . . . FILE UPLOAD. OVERWATCH ARCHIVES: ANGELA ZIEGLER.

general physicality.

ectomorphic in nature. what little clings to her bones is packed in dense muscle built from the weight of the valkyrie swift response suit. she is gangly, lanky, boney—as a youngling, she was always inhabited by an inherent awkwardness, a soul who hadn't grown into the length of its limbs. unlike the fabled ballet dancers, so thin and brittle, there is no grace in angela's movements. and still, there is an urgency in every step she takes and every muscle she deigns to stimulate. energy is precious, she does not waste it: for a woman who has so little of it, she does an awful lot that requires a lot of time and energy.

her hands are boney and pale. fingers long and slender, but nails trimmed short and pointedly bare. they are dry, they are the hands of a doctor who sanitizes constantly and obsessively. she does not adorn with anything, not without thinking of the molecules that cling to jewelry or the inevitable chipping of nail polish. the only jewelry the doctor wears is a silver star of david that is perpetually around her neck; although it remains hidden underneath the clothes she wears.

enhancements.

the only visible changes to her body are the ports adorned along the column of her spine. they line the majority of her thoracic vertebrae and connect directly to the swift response suit. these same ports also allow angela to utilize her own technology—but it is not overly necessary due to the state of her health which is... unique, to say the least. since the addition of the revival system in her suit, the extensive testing which pushes her nanobiotics to the limit were not fit for any true research subject to test. the consequences could have been fatal, life-changing and potentially impairing—after the fall of overwatch, in a fit of desperation, angela opted to use it on herself.

three fundamental things happen to angela:

1. by every medical definition, she dies. all life functions cease.

2. nanobiotics are pumped into her veins for much longer than was originally planned, and in larger amounts.

3. her heart is shocked back into v-fib. it remains like this: angela now has a surgically implanted pacemaker to manage it better, but her pulse remains much slower than it should be and rather... odd. it lends to the pallor of her skin and the lack of energy.

angela is not able to function without her nanobiotics at this point. without her technology, her body would not be able to support life sustaining measures such as blood flow and oxygen supply. however, her healing factor is much, much faster, and repairs even the most egregious of wounds in a matter of minutes or hours. the only thing they do not do is prevent scars: at the unnatural rate of cell reproduction, the strain on her body leaves prominent scars rather than natural ones.

[for-the-love-of-avo]

And part two immediately after, aren’t I productive today

[fablesexymanshowdown]

ROUND ONE!

[eddiesringset]

Shut up Ben

(Ben finn x Female reader)

The friendship between you and Ben only grew stronger each day, he was the first one to make you feel welcome in the mourningwood Fort and was always the first one to check on you after a night battle with the hollow men.

You two always annoyed each other in a playful way but if you was in a bad mood then Ben would give you your space unless he really needed to tell you something.

Today was like any other day, you was sat near the statue in the middle of the fort sharpening your sword when all of a sudden you see a shadow blocking your light.

"Morning beautiful" Ben said with a chuckle.

You looked up at him and he knew you didn't sleep as it looked like you had bags on bags under your eyes.

"Shut up Ben" You mumbled and looked back down.

"Not a morning person I see" He chuckled and sat down next to you.

You only shrugged and went back to sharpening your sword, Ben playfully gasped at you ignoring him but soon smirked at an idea he came up with.

You saw Ben get up from the corner of your eye but you didn't mind, you finally had your peace again. Ben quietly picked a bucket of water up and quietly walked over to you before tipping it over your head.

"What the hell Ben?!" You yelled and stood up.

Ben chuckled before going quiet when he saw you was wearing a white shirt with no jacket, Ben started to stutter as both of you heard whistles from around the fort.

You groaned in annoyance before pushing past Ben to go somewhere private, once you reached a secure area you took your shirt off and changed it for a dry one. As you was getting changed you heard Ben getting scolded by Major Swift.

Ben hanged his head low as he felt a wave of shame and guilt wash over him like a tsunami, he let out a quiet sigh and looked over at you before walking over.

"Hey, can I talk to you for a second?" Ben asked and looked at you.

You looked at him and saw how low he was now, he looked like a puppy that has just got told off. You nodded and felt Ben gently grab your wrist and lead you just outside the fort.

"I'm sorry I dumped water over you just then, I just wanted your attention" Ben admitted and kicked the floor.

"There are other ways to do that you know" You told him and folded your arms.

Ben nodded his head and slowly looked up at you, you looked at him and smiled a little before looking back at the fort gates.

"Do you forgive me?" Ben asked.

"As long as I get to tip water over you to make it fair" You said and smiled.

Ben nodded and smiled back before heading back in the fort with you.

"I do have to say though, you looked good like that" Ben said and smirked.

"Shut up Ben" You said and rolled your eyes before chuckling.

Ben chuckled along with you and was glad that he was able to sort everything out, over the weeks you and Ben slowly realised that you two were getting feelings for each other as the playful annoyance became playful flirting and then the playful flirting became actual flirting.

You knew that your relationship with Ben was going to be a wild one but a good one, you just hoped that you both got to live to see where it leads to in the future.

@ofhergrandfeelings

[thisisntreaver]

Anyway remember how when swift and Walter are talking when you first meet the brigade and they bring up Daisy, Swifts love intrest?

You guys think she was there for his execution?

[memelzebub]

im going to kill fable iii with my bare hands for gay coding ben finn and major swift and then having swift publicly executed while finn watched