#so it doesn't have a lot of time saving stuff

[mygloriousmoon]

Work can't end fast enough

Domestic fluff with Jackson!Joel

Jackson!Joel x Reader

Rating: slightly nsfw (suggestive)

word count: 2.3k+

Summary: Joel wants to go back home to his wife but work keeps delaying him.

(Inspired by that episode of Modern Family where random stuff kept cockblocking Jay and Gloria lol)

────── ⋆⋅☆⋅⋆ ──────

It had been a hard month for the both of you. Not just hard in the way this world could be — not just chaos and survival. This was something else. The upsurge of new people in Jackson meant many things had to change in the town you loved, starting with the basic constructions that Joel oversaw. You, meanwhile, worked together with the council in charge of looking over the rations and quotas, as well as the living situation for these new arrivals. Moving around some old ones here and there, changing a rule or two, you looked it over with your diligent heart and a strong desire to give back to the community who had given you this life. One in which you could be privileged enough to worry about things like salt and sugar passing around rather than being another grave, unmarked and forgotten.

Your rubbed your tired eyes over your glasses,  one you and Joel took turns wearing. Your sight landed on your husband, hand on his hips, talking to the young men in charge of doing things he at his age could no longer. You smiled to yourself; he hated admitting that. Always preferred "Well, had to save somethin' for the youngins. Boosts morale." 

It was adorable as much as it was concerning— how much extra work he would take up just to show you that he still got it, the man he met you as, the man you grew older with. Like you needed any convincing at all with how he lit the tendrils of desire inside you every time he looked your way. It would, however, always end with him taking extra rest days which you didn't complain, those days were your favorites: just the two of you, quiet and close, wrapped around each other in bed. Talking. Touching. Loving. 

But the past month… well, the latter hadn’t happened as much as you would’ve liked. But you can't blame anyone, you two were just so busy. Most nights, you would come home and find him knocked out cold in the bed, his shoes not even off. And there were just as many nights you remember falling asleep on the couch and waking up in the bed, the other side cold and empty. 

You missed him. 

Joel turned his head to the window, as if he heard you thinking about him. When his eyes met yours he smiled. The kind that instantly made his face 10 times warmer. It melted you instantly. You missed his warmth. 

He gave you a little wave, subtle, almost shy — careful not to let the boys notice, then turned back to his work, the stoic expression returning again.

You stand up abruptly from your desk. Housing meeting be damned, you were going to sleep with your husband.

-

"That ain't how ya mix concrete." Joel grumbles, grabbing the shovel from one of the boys. "Here, lemme show ya how it's done. Back in my day, we had this tool called—ah, forget it. Just watch how I do it."

"Your wife." The scrawny one mumbled. 

"Whatd'ya say?" He frowns glancing up from his work. The biy nodded behind him. Joel whips his head back and there you are, walking towards him, arms wrapped around yourself. You give him a little smile, which feels private regardless of the 6 other pair of eyes on you. 

He lets the shovel fall to the ground and walks on up to you. 

"Hey, you alright?" He wipes at the ink smudge on your cheek. You have been working so hard. He would have told you how proud of you he is if he had any time. You look tired and god knows he looks like he could use some sleep. But he knows this town needs you and him. So he doesn't complain. Even though he misses you a lot. Going to sleep without asking you how your day was or waking up to a cold pillow was hell, even though his body got the message late he managed to take care of himself in the quiet moments in the shower, thinking of you.

You nod, "I am Joel. You have eyebags. I should be the one asking you."

He laughs softly, "You come 'round here just to make fun of me? I’ll have you know half that’s from worryin’ ‘bout you. Came home late last night?"

"Yes... this thing is taking more time than I thought. Wish I had a damn calculator that I didn't have to bump every other time I needed something new done." 

"I'll tell the patrol team to look out for one next time." 

"Joel?" You said softly.

"Hmm?" 

You looked up at him, shy smile on your face. He recognized that look instantly; he felt blood rushing to a place quite inappropriate for the time and place. He felt stupid that this could even happen to him at this age. You could still make him feel like that.

"Think you can make it back home early tonight?" You paused. Joel remained quiet, wanting you to lead the moment. "I will try as well. Since, you know-"

His eyebrows shot up in a faux cluelessness. You smile, flustured.

"Well, I want you."

He couldn't help the smirk that followed, "That so?"

"A lot. Do you?" 

"Hon, you got no idea—if it weren't for all these folks 'round us right now..." he shot a discreet glance back, "I'd have you backed up 'gainst that wall, lettin' you know exactly how I feel."

You feel your cheeks warm as you cough to cover it up, eyes darting to the teenagers behind him, trying way too hard to act uninterested in whatever you two were whispering. You gave Joel's shoulder a loud pat. "Alright Miller, get the job done." You leaned forward to give him a kiss on the cheek. "Don't make me wait." You added in a whisper, watching the familiar sparkle in his eyes return. 

"Will do Mrs. Miller, I'll see you at home."

-

Joel could not have been faster if he had been 10 years younger. He made a mental list of the things he had to move along. 

Laying foundation on this house.

Framing the house on that street. 

Deliver blueprints to Tommy.

The list went on. Normally he would have found this therapeutic, going along the list one by one at the pace he liked. 

But today, no. Today he was on a mission.

"Goddammit, give me that damn trowel!" He snatched the tool of the hand of the unfortunate fool who had the bad luck of being right in front of him. He wasn't doing nothing wrong, just was too goddamn slow. He bent down too quickly, knees cracking in a pop that had the younger man looking at him in concern. But Joel just continued on, quietly with a pace, the younger man couldn't help but admire.

"Quit starin' and grab the other one—get to work, we ain't got all day." 

-

"Boy, I swear—if you turn that board one more time, I'm goin' to lose my damn mind. That ain't a puzzle, it's a board. Set it down and drill it!" Joel barked out.

"I'm just double-checking the marks, Joel. I don't wanna mess it up." The guy, Trevor, defended himself.

"I want that sill plate down and bolted by the time I return back from Tommy's—or so help me god, I'll put this whole frame up myself with one bad knee and a box of rusty nails." 

"Woah Joel, chill out." Trevor looked over at the older man, "You got somewhere to be? Why you barking at me all of a sudden?"

Joel rubbed his forehead, exasperated. "My bad. Just get it done 'fore I'm back."

"Roger that." he chuckled.

-

"You okay Joel? You're all huffing and puffing. The stairs did a number on you?" Tommy chuckled, opening the door wider to his older brother. Joel just shot him a glare before shaking his head as he walked past him.

"Blueprints. Four houses—down the street. Need your signature here." He dropped the materials on the table and turned to his brother impatiently.

"Woah woah woah. Brother you just got here, sit down. You look like you'll blow up your lungs."

"Not today Tommy I just need you to get at that pen of yours-"

"Joel, wait." He grabs the prints from the table. "These need to laid over on top of the older print so we can tell where all the pipeline goes."

"Alright then you get on with it-"

"Yeah well I'm going to do this once I deliver these boxes to the canteen."

Joel exhaled hard through his nose. He glanced at the boxes — two of them, not that big — then back at Tommy like he was considering murder. "Give me the damn boxes."

"What? No, I got it—"

But Joel was already picking them up, one under each arm like they weighed nothing. "Ain’t got time to crawl through the day with you."

He was halfway out the door before Tommy could reply, boots thudding on the wood.

"What's with you getting all snippy on me?"

"Missus waiting." was all he said.

"C’mon now, don’t tell me you’re runnin’ off just ‘cause you miss her."

Joel stopped just outside the door, back still to him. "Got somewhere better to be, that’s all." And with that, he disappeared down the steps , quick, purposeful, stubborn as hell. 

Tommy just shook his head, chuckling to himself. "Old man’s still got it bad."

-

He could not push open the door faster. He took off his work boots to the side carelessly. 

"Honey I'm home." He hoped his eagerness didn't seep through too much. He looked forward to seeing you, the thought of you waiting here, warm and soft, laid out just the way you get... it made the work even more distracting to say the least.

He stepped into the room, his coat barely off his shoulder when his eyes caught to your hunched over a mess of paperwork on the table. You looked up at him, your eyes apologetic. 

"Oh baby, I'm so sorry... I'll be done soon just—" you sighed, rubbing your forehead. 

He walked over to you slowly. "It's alright my dear." He smiled softly, pulling a chair next to you. "Mind if I take a look?" You scooted your arm so that he could look over. "Gimme that." He gently took the glasses off your nose and put it on himself. "Let's see... hmm—" he rubbed along his chin looking over the papers carefully. "Deer this season, right right... dry rations look alright as well."

You watched him immerse himself in your work with a smile on your face. He looked so good like this. This was just how he was, making your life easier, a little more bearable, always finding a way to lighten your load. You leaned in to kiss his cheeks unable to help yourself. He smiled, eyes still reading the list carefully. 

"Beans, rice... yes, in order." You kissed along his jaw now as he listed the items one by one, suddenly overcome by this desire to have as much of his space as possible.

"Wheat— fuck darlin'" he grunted as your hand slowly unbuttoned his shirt, slow and purposeful. your mouth still hungry on his neck. 

"What?" You whispered along his neck during the little time you separated your mouth from him, "Don't act so coy now. Like I didn't see you barking orders all day today." 

He turned his head slowly to you, wanting to catch your mouth. "Don't wanna tire ya out sweetheart, know you had a long day." 

"What a gentleman," you smiled, biting your lips. "Never too tired for you." You wrapped your arms around his shoulders.

Joel turned fully, big hands anchoring your waist, pulling you closer, off the chair then finally to his lap. He pressed his mouth on you all desperate, like he was starving all day.

"God, I been thinkin’ ‘bout you all damn day... You can’t just show up at a man’s job, sayin’ you want him, like that ain’t the kinda thing that’ll knock a man clean off whatever he was doin’." He whispers gently between kisses.

"Maybe I wanted to knock you around a little." You smile, your practiced hands already getting rid of his shirt, fingers brushing skin like you know exactly where he needs to be touched.

"I was tryin’ to take it slow. Be respectable."

You laugh softly, brushing your nose against his. "When have you ever taken anything slow with me?"

He smirks, hand sliding around your waist. "First date. You had your hair down, in that god awful bar back in Boston."

You raise a brow. "You kissed me in that alley twenty minutes later."

Joel shrugs like that proves his point. "Felt slow at the time."

That makes you both laugh, heat and affection tangled up together. Then you shift your weight against him. You moan softly when you feel him below you. "I missed you so much." you murmur, all teasing melted into truth now, your voice quieter as your lips graze his neck.

He pauses for a second. "I missed you too." He says. It comes out quiet, earnest, like a truth he never says unless he means it down to the bone.

"Take me to bed cowboy." 

He smirks, "and your work?"

"I gotta take care of you first."

He let out a quiet breath— not quite a laugh, more like a surrender. "Darlin’..." His voice was rough, cracked open at the edges.

You didn’t need more words.

Joel stood, arms firm under you, lifting you like you weighed nothing. Your legs wrapped around him instinctively as he carried you to your shared bed. Every step was steady, like this was the part of the day he trusted most— not the work, not the talk, just this.

At the foot of the bed, he paused for half a beat, forehead resting lightly against yours. His voice dropped lower than a whisper.

"Ain’t nothin’ more important than gettin’ home to you."

Then he laid you down gently.

And for the first time all day, Joel finally let himself slow down.

[backwardshatnick]

in which they never define what they have in high school, but they were confusingly happy.

Her thumb tapped repeatedly over the black ballpoint pen, the click sound resonating throughout her bedroom which almost drove her crazy when it echoed. Laid out in front of Bloom's eyes was her journal, a stretch of words written– no, scribbled in cursives only comprehensible to her as she continued to decode what was it that she had with Matt.

The scent of the lavender candle that she had lit continued to waft in the air, the gentle crackle of the fire slowly, but surely calming her nerves down as she tried to reread what she had already written down.

He’s not my boyfriend. We don’t even talk about stuff like that. But he sits next to me every Tuesday at the bleachers when his coach tells his team to hit the showers early. He ties my shoelaces when I’m carrying too many books. He notices the different shades of red when I wear a new flavour of Chapstick. And he gets weirdly quiet when I compliment his stupid middle-parted hair. His stupid, middle-parted, fluffy and soft hair. It’s like… we orbit each other. I think maybe he’s the only person who really sees me, but he also disappears sometimes. I don’t know what we are but I keep waiting for the moment we’ll look at each other and just know that we're definitely not strangers, but instead something else.

Her phone subtly lit up when a Snapchat notification popped up, the screen showing the time: 02:19. It was not a a school night, so Bloom was definitely not surprised that her best friend was still up during her late-night journalling session. Clicking on it, Stella had sent a photo of her watching Shrek, with the caption "donkaë".

She laughed at the caption, her humour clearly broken, as she typed out a response, Stella's Bitmoji now floating at the corner of her phone.

stella, do u think that when i save ur texts and snaps on here that it means smth a lot more?

whats with the deep question r u ok bloom this is about matt isnt it im getting my earbuds hold on a sec n we can def talk

"It's about the Matt thing again, right?" Stella said, her face only lit up by the blue glow of her phone.

Bloom slid further into her chair, blowing out the loose strands of her hair, "It's not a thing."

She rolled her eyes before giving Bloom a knowing look, "Girl, he's the reason why you started buying and wearing more cherry-flavoured Chapstick. You know you've always liked the vanilla and coconut ones."

"Well, maybe I'm just evolving. Nothing's ever wrong with that, right?" Bloom laughed.

"Ugh, whatever you say then," Stella answered, her tone stretching out and teasing before panning her phone's camera to her laptop screen, "Want to watch the rest of Shrek with me?"

"I can never say no to my favourite short king."

Like parallel lines, Matt was also not asleep. Instead, he was inside of his car at an empty car park of a 24-hour Burger King with his brothers, Nick and Chris.

The cool air accompanied them as it blew onto their faces and in between bites of day-old chicken nuggets and slurps of ice-cold root beer, Matt finally voiced out.

"We're never a thing, you guys know that, right?"

"Sure, keep on lying to yourself, Pinocchio. Hand me some more fries, please?" Chris asked, hand held out to the seat behind where Nick was sat.

"I don't know what it is that you guys have, but thing or not, you literally made her a bookmark using mum's flowers from the backyard. Told everyone you pulled out the roses as a joke, but that doesn't sound like a joke to me..." Nick chimed in, his voice trailing as he gave his younger brother a side-eye.

Matt sat the paper cup back down to the console box and groaned, "She doesn't like me like that!"

"You're such a fucking buzzkill."

"And a pussy too at that," Chris added to Nick's remark.

"Because I know she's going to another state for college and I'm not brave enough to ask her to stay," Matt uttered, his forehead now resting on the steering wheel, "Or wait. Or choose me."

"So we just exist and not talk about it. And I'm just taking whatever I can get while we're still happy."

Everyone thought Matt was the funny and confident golden boy of their team. Always down for parties and always the first one to charm a girl into cheering for their team. But they never paid attention to the small, subtle ways he had used to guard himself. The way that he would fight back the urge to argue when someone makes fun of the "nerds of the Geography club", the way he would constantly check his phone at practice, or the way he would try his best to hide the smile by biting the inside of his cheeks when someone makes a joke about 'blooming' flowers.

Or even the way he would dip out of the post-practice hangouts at the diner earlier than the rest.

Until one day, a friend of his saw Matt pack his bags carelessly, his sneakers just thrown blindly in the drawstring bag as he continued to crumple his jersey into the backpack.

"What's with the rush, Sturniolo? Got a secret, impatient girlfriend that we don't know about?"

His heart beat rapidly against his ribcage, threatening to jump out but Matt simply responded with a grin that was too fast, "What? Pfft, nah. Got a lot of homework to do at the library. Mrs. Clarence's already grilling my ass about it."

Matt was not fully lying, and while he did have a free period with Bloom waiting inside of the chilly library, he never told anyone that he had left in his car to quickly fetch her favourite snacks during study time, listening to their co-curated playlist as his head bobbed to the beat of the song.

But his mind was not fully committed to keeping the rhythm as a thousand and one thoughts circled his head, starting off fully onto the party that their midfielder is hosting to celebrate their first victory against a neighbouring school. Matt had decided against coming, adding on further to the suspicions of his friend when the reason he gave was to finally have a proper night's sleep after weeks of constant training at the field.

"She wouldn't fit in with my friends," Matt mumbled under his breath, despite being alone in the car with the music now long forgotten.

"Not because she's not cool, but because she's Bloom. She's too cool for them. The Bloom I know won't laugh at Spencer's awful drinking games, nor would she appreciate the dumb lacrosse party rituals we have after every win. She'd probably just subtly cuss them out and leave without anybody noticing."

"But then what? They'll all know just how much I like her if I disappeared after. She's her enough that it makes me feel safe to stop faking it. I want her in my world. But I just... don't know if my world even deserves her presence."

His train of thoughts finally came to a halt when his car similarly stopped upon the red light. Matt inhaled deeply and let it linger in his chest until he felt ready to let it go.

"Nick and Chris were right, I am just a fucking buzzkill and a pussy."

notes: middle part matt you will always have a special place in my heart 💞💞💞💞 edited this on my phone so apollocheese if it looks weird..... the grudge i have against the mobile tumblr app is really smth else.

masterlist for this au can be found here :)

gif credits to @mattsturnioloarchive <3

ꫂ❁ @oopsiedaisydeer @bbgirlmatt @courta13 @mattspillowprincess @loverboysturn

[deadmercenaryslover]

ok maybe you know. WHAT is going on with ol istys nobleman status? some stuff indicates he was always one and other that sigismund gave him a title after he saved his ass. What Is The Truth?

Oof, I definitely wish I knew that, because I could really use the information for fic-writing purposes, but unfortunately, I don’t. I suppose no one knows the whole truth, except maybe some lorekeeper at Warhorse, assuming they have one.

That said, there are a few in-game hints that could be used if someone wants to form their own headcanons.

Here are some of the tidbits I’ve used while shaping my personal take on Ištván’s background for the fic I’m currently writing, probably in a fairly random order. Just keep in mind that I’m going to veer pretty heavily into headcanon territory here, and I’m not claiming any of this is canon. Just some random thoughts put together.

Thanks for asking, though! 🖤 I just love to yap about Ištván and KCD in general, I’m just usually a bit too shy to share my thoughts unprompted.

(It's going to be a pretty long post, so I'm going to put the whole thing under a cut.)

So, what we do know for certain is that Ištván was born in Banat, his parents were killed by the Turks, and his father had a fortress, which somewhat implies that Ištván was originally highborn.

I think this is where we have a gap we can fill with whatever we want and veer deep into headcanon territory, since he trails off and never finishes the sentence. Personally, I feel like it's quite heavily implied that whatever happened to him after his family was slain and his home destroyed must have been deeply traumatizing for him. I know the devşirme theory is quite popular, though I believe becoming a war captive and ending up in regular slavery is just as plausible an option.

I don’t know if it’s just me, though probably not based on what I’ve seen, but I get the feeling that Ištván is kind of dancing around the issue here, despite usually being all about tough talk. To me, that suggests there's deep trauma behind it, likely connected to sexual abuse.

I also believe that what Henry says to him, "You pretend to be cruel, but you take good care of Erik. Someone must have really hurt you, am I right?" also points in that direction.

Another thing we know for certain is that, at some point, he fought the Turks, as we hear from both Ištván himself and Erik (in KCD1), and that he also fought in the Battle of Nicopolis in 1396. There's still a lot left open to individual interpretation, but I think one possible reading is that the events at Nicopolis led to Ištván, who might’ve been just an ordinary mercenary back then, becoming personally acquainted with Sigismund.

I imagine it's also possible that Sigismund rewarded him for his service by elevating him to the nobility, despite the battle itself ending in disaster. Saving your king’s life has to count for something, right?

I think this bit is also interesting to take into account. More often than not, Ištván seems to look for connections between himself and Henry, but here he draws a rare distinction. The way I see it, this doesn't necessarily contradict the possibility of Ištván being noble by birth. I could see it implying that he simply lost that privilege at some point in his life, likely when his family was slain and his home destroyed.

I imagine noble blood doesn't count for much when you are all alone and have lost everything. With his family gone, and the possibility of him being taken into the Ottoman Empire and kept there for some time, would he even have had any way to prove he was of noble origin? Even if he had surviving relatives, they might not recognize him after so many years and could be inclined to think he was just some impostor trying to get his hands on family wealth or something.

I don't know, just some food for thought.

And then there's this small detail. I just find it interesting how he says "the noblemen," not "we noblemen." Again, we can't be sure whether he's simply trying to influence Henry by highlighting their supposed similarities, or whether he genuinely relates to Henry here, even though he's a nobleman himself. It could just as well be both, I suppose. This doesn't have to mean anything, but I wanted to include it because it supports my personal interpretation that Ištván might personally not relate much to those nobles who have led easier lives than he likely has.

And from there, we come to another aspect I’ve been thinking about lately, one that’ll probably need its own post at some point: taking a sociolinguistic approach to Ištván’s background. I don’t have the screenshots at hand to support my theory yet, but it seems to me that he can switch between appearing as a rough mercenary and an eloquent nobleman, depending on what the situation calls for (and yet, he's often being clocked for this, too.) The clearest example of this, I think, is the way he code-switches during the prison scene in Nebakov while speaking with Sir Jaromier.

This doesn’t have to mean anything in particular, either. We could just draw a parallel between Ištván and, say, the Dry Devil and leave it at that, but as a language nerd, it’s just something that’s caught my attention. If anyone’s interested, I could ramble some more about it.

[bitofanupsidedowner]

food in season four is so interesting because every time el mentions branching out (pineapple pizza, the burritos, her milkshake) with what she eats mike is so?? off?? about it (blasphemous, weird, mine is better) but also, he brings her (soggy) eggos (calling back to the beginning of their friendship) without her asking for them and she doesn't eat them.

will is eating cotton candy (fairy floss? hmm?) at the rink and sort of chewing it a bit in between dejectedly watching el and mike. he takes a bite of the risotto while looking at mike. he takes a bite of his eggs at breakfast directly after watching mike walk away but not until that point.

jonathan, murray, joyce and argyle have no hangups and indulge freely in the food offered

mike takes a drink at dinner but seems to be mostly just pushing his food around in the plate. he drinks el's milkshake but criticizes it. he ignores his breakfast in favour of bringing el some eggos. at the end of the season he is forcefully fed pineapple pizza and admits he likes it??

i kmow this sounds like i'm thinking too much but food is just mentioned a LOT and it's not even subtle alright big potions of argyle's dialogue including just... how he answers the phone is talking about pineapple pizza and broadening your mind. "we're hungry" is literally how they end up being saved by argyle

eddie is starving most of the season and when he does try to eat it usually comes with some sort of problem. the hawkin's crew is sent out looking for food too.

murray makes risotto and it's a conversation piece. there is a huge emphasis on hopper and the peanut butter, hopper and fantasizing about enzo's, hopper offering a piece of bread to a russian who mistakes it as a coded request for gay sex. suzie's family cooking for their father. peanut butter in general since joyce also tries to use as a weapon of sorts in yuri's plane. then there's the feast before the russians release the demogorgon.

in other seasons there's stuff like lucas talking about new coke, benny and el bonding over burgers and ice cream, hopper using food to bond with el in season two, mike and will being placed in the fruit aisle, syrup comes back a few times. (erica pours too much, mike's syrup use is called gross, will's putting syrup on his pancakes when he says he won't fall in love) max and el switching ice cream cones. lucas and will both being confused bowls are not in the cereal aisle. (that ones just kind of funny)

im not saying it means any one thing in specific i'm just 🙌thinking thoughts 🙌 because it's interesting to think about when and how food is portrayed and what (if anything) it means when it is. it doesn't always mean something but the fun part is that sometimes it literally does in the text so I'M the weird one for thinking about it too much??? yeah probably. but it's still Rude To Say

anyway. food. the concept of hunger... of need... want... 🤷‍♀️ yada yada.

[tropiyas]

this really is one of the best panels of all time i couldn't get over it when i first read it

So Falin is this Damsel In Distress on account of her being dead or turned into an Evil Dragon for 3/4th of the story. But you already know it's decently done and not shallow from the start - lots of flashback sequences and the way the characters speak about her from the first chapter give her agency in the story.

You don't even think twice about the implications of "teleportation magic" when she sends the entire group to the surface to save them at the start of the story. It's just some standard Escape Spell that RPGs use all the time, and she sacrificed herself to do that, good stuff.

But then you start learning about the magic system in DM and realize how it's fairly limited and mostly grounded to reality. Mithrun is our second encounter with teleportation magic, and he immediately makes it clear that it's both extremely difficult and also very dangerous (teleporting preserves mass so it is really just "swapping" out two objects across space).

After that, it's kind of on the backburner again, we just know why it's rare and also that the Special Forces Elf is a big threat to the protagonists for having it.

FINALLY, we get this panel that recounts the Chapter 1 scene with a few extra moments of what happened before the spell. She knows she can teleport the party to safety, and is fully acknowledging the possibility of harm. The best case of harm, she teleports them above some people and they fall and hurt them. The worst case - she sends a few people to take the place of the party and get eaten by the dragon in their stead. She knows and she doesn't care!!! She's always been good at respecting the lives of other people and even monsters, but that expression shows just how much it was a desperation play, how far she was willing to go against her own values to save her loved ones.

You can't get much more agency in a story than "do something selfish and set off the events of the entire series" and she's even rewarded for this decision because she ends up getting saved in return because of just how important everyone sees each other in this found family

[cipheramnesia]

Being wrong on the internet in an imperfect world doesn't have a perfect approach, but sometimes things can help.

1. Does it even need a response? Take awhile to think about it. Let your heart rate slow down. Save large amounts of energy by just waiting 30 minutes and figuring out it doesn't matter what you say. Maybe it's not an important topic, maybe you lack knowledge, maybe someone is clearly just angry or having a bad day.

2. Ask if myself if I was wrong, unclear, careless or so on. Shockingly easy to go damn, my bad. I can't control making mistakes 100%, but I can at least offer an apology if it was a full blown error or correct mistakes or whatever. Someone correcting me or getting mad at me doesn't make them a dickhead, and being a dickhead back generally doesn't fix a mistake or make someone less angry. Now there's two angry people. See item one. I can't un-angry someone, I can recognize a fuck up and step away.

3. Was it really malicious or just annoying? Neither person actually needs a response, but damn it really sucks burning someone's house down just because they commented about their favorite annoying pop music start on a ten thousand note post.

4. People be excited. Between different languages, different dialects, slangs, tones, writing styles, etc it's a pretty solid guarantee we will all read innocuous statements as intentionally hurtful. If you must reply, consider it might not be meant as hurtful. Worst case scenario you do something hilarious being sincere and kind to someone who hates you. It's 100% of the time a better response because it enrages the malicious and stops you being too much of an ass.

5. Damn this argument is so long. Yeah. You gotta let them go. I know what they said you said. I know what they said. And what I said. And what you said. Our participation in arguments stops mattering at a certain point. They are gonna keep saying as long as you keep saying, it's okay to just... leave. Just quit. Take the whole mess and cut the They Said and Their Bad Takes out of it. Nothing requires contextualizing your ideas in the framework of people who think everything you say or do is wrong.

It's really subjective and imperfect and stuff but it's like reblogging misinformation, it gets a lot easier if you stop and ask if it's worth the effort of getting stuck into it, and also just making an effort not to tell people they're stupid assholes in the process. It's not even necessary to be especially polite or tiptoe per say, huge leaps can be casually taken by resisting the urge to make up creative insults.

[redballon01]

I just spend 2 and a half hours animating Some black and white eyes blinking. UGHHHHHH.

[amygdalae]

My partner wants to go to Spain w me this summer that's scaryyy

[coddda]

Hiiiiiii. Episode 25/26 lawlight analysis rant thingy here. I don't know how to write an intro for this so let's just get to it LOL

I think one of the reasons that the rain/foot scenes stick out so much (the. Sheer insanity of a Foot Massage Scene in an anime revolving around two guys trying to kill each other aside 💀) is the fact that the anime specifically suffers a bit in terms of adapting a few of the "emotional" moments in death note.

And I don't mean "emotionally impactful" exactly. For example I think the adaptations of scenes like Raye and Naomi's deaths were very impactful and the atmospheres of their final scenes were great, but I mean more from a characterization standpoint (if that makes sense). Being more focused on mind and logic games, Death Note as a whole isn't as invested in individual characters' deeper feelings as it is in its action (which isn't necessarily a criticism per say, it's simply part of the nature of a mystery thriller series). But just because they're fewer and farther between doesn't mean there are none at all. In the manga we do get to see, for example, how much Light actually cared for his family and especially Sayu, and how he actually felt more conflicted and suffered lack of sleep/appetite when he first used the Death Note.

The anime specifically as an adaptation is pretty good at adapting the main mind fuckery and action of Death Note, but its lacking in properly adapting scenes like the ones I mentioned above is a criticism I see somewhat often, and it's pretty fair imo. Compared to all the other adaptations, it certainly seems to fall short on an emotional level: the musical has entire songs going in depth about the characters feelings and relationships, the 2015 jdrama is. Insane and has its emotional moments in spades (because it's a TV drama, which are more focused on portraying emotional conflict and the like), even the 2006 movies has its emotional beats and L Change the WorLd is. Well. Oh Man.

Anime Light to a lot of people is like. Light but he's "already evil" (which I have my own thoughts on but I digress). Light but after using the Death Note for like 2 minutes he's already like "fuck yeah time to kill criminals". Basically the anime doesn't take as much time to delve into his less cynical sides or really delve into his already vague and harder to decipher feelings in general, he is noticeably colder from the get-go here, etc.

But that's part of why I think episode 25 manages to stand out so much tonally (apart from it being, y'know, the episode L literally Dies). I love the episode so much and could probably rant for hours about how much I love the artistic choices made in it but what I'm trying to get at here is that it's one of the very few moments where the show tries to go deeper into specific character's emotions, and one of the very few moments where the show Attempts (emphasis on "attempts" because, well, you'll see in a bit) to get more in-depth into Light's feelings apart from his cynicism/apathy/justice. ness.

L in these two scenes in episode 25 is, well, pretty damn open about how he feels. It's usually interpreted as him knowing that he's going to die, and you can see it. He visibly looks/sounds lost, somber, etc. He never really had much to hide around Light to begin with (since he doesn't really care about hiding himself the same way Light does) but especially not now and it Shows, and I personally thought it was pretty cool to delve into his thoughts/show how he feels this way. The somberness can be felt throughout the entire scene, even people who don't already know the plot of Death Note from the manga could probably tell that he's about to die.

In the manga, once L starts suspecting Misa again and Rem realizes what Light is trying to do, it goes straight to Watari and L's deaths, but the anime instead gives a distinct and unexpected pause in the middle of this where L contemplates his own death. It's fucking great, and the shift from straight action to slower emotional weight makes these scenes stand out a lot, since, like I said, the show usually focuses more on the former. But it's kind of ironic, too.

Not only does the anime open up L's feelings more in these scenes, but it also tries to dig deeper into Light's feelings as well through L. And it's really funny honestly because while, yes, these are the more "emotionally open" scenes of the anime Light still manages to be Incredibly avoidant and contribute almost nothing to the entire ordeal.

L is visibly upset -> "Yeah Ryuzaki, you're not making any sense at all" (Not addressing the obvious conflict from L)

"Tell me, Light. From the moment you were born, has there ever been a point where you've actually told the truth?" -> "[The most stale, over-explained, avoidant answer to a "yes/no" question that you could ever hear + blatant attempts to reframe the question]"

(L's half-smile here kills me) "I had a feeling you'd say something like that" -> [Nothing]

"I'm sorry" -> [Nothing]

"It'll be lonely won't it? You and I will be parting ways soon" -> [Nothing]

^ From this point Light continues to say literally Nothing for the rest of the scene. I'm not even joking, from then on the rest of Light's voicelines are reduced to nothing but vague noises of confusion.

Everytime L calls Light out as a person ("Has there ever been a point where you've actually told the truth?" / "I had a feeling you'd say something like that." / "Won't it be lonely?") he doesn't actually acknowledge anything. Out of those three lines, he only answers verbally to if he's ever told the truth, and even then it's the most blatantly people-pleasing answer ever, as it usually is with Light. And I don't think it's because Light just. Doesn't care about any of what L's saying at all, or that he doesn't know what the hell he's talking about (questioning Light's authenticity as a person, saying it would be lonely when they part), instead he's choosing not to acknowledge any of what this means about himself or him and L at all. He's like a fucking wall.

And like, for the truth question in particular, the show makes sure that you know it's not something that Light just. Doesn't care enough about to answer. The hard cuts to silence are a very rare but extremely effective way that the show conveys an extremely important moment (see: Light regaining his memories, Matsuda noticing Light opening the warehouse door before he escapes (not as much of a "direct" cut to silence but still)), and cuts to multiple angles/framings/zooms of the exact same shot are also used for the same purpose (see: Light hugging Misa when she was crying, Matsuda aiming his gun to shoot Light, Light regaining his memories Again). Just like the scene where Light gets his memories back, the moment L's question finishes the show utilizes both. That question cut Deep. There's is a solid Almost 5 seconds of silence before the sound of the rain gradually starts fading back in, and honestly that should be telling enough as is (but of course Light doesn't actually admit that. Or anything at all really, so). Oh also another fun detail! We do not see Light's face At All (except for the shot where you can see his mouth moving but not his eyes), for the Entire time that he's going on his spiel to L. We Will Be Revisiting This Later, by the way. This is not, in fact, the first time you're going to see this detail from Light.

The only sort of reciprocation that we see from Light during Any of these two scenes is when Light dries L's hair while L dries his feet. Biblical meanings/references aside it's interesting because it's the only time he directly does anything "for" L in these scenes, but even then he doesn't try to pass it off as anything meaningful really the same way L does ("You're still soaked", a purely neutral and factual statement. It doesn't Add Anything compared to L's. Sin atonement loneliness grieving stuff. While Light is showing his own reciprocation to this more personal moment he also tries to keep it impersonal enough that it doesn't actually have to mean anything deep). And when L says "I'm sorry" after he once again gets no response from Light. It's also after this that L gets that pained look on his face, like he knows that at this point he's not actually going to get anything meaningful from Light (again, very significant and rare from L in the show. We've seen him in distress (see: when Ukita died, hell, when Watari dies), but even then he mostly manages to keep his usually neutral expression), we never see him "look sad" like he does here):

I just think it's interesting that this is one of the few scenes in this particular adaptation of Death Note where they try to open up the character's thoughts/feeling (especially considering the fact that they. lowkey blunder in adaptations of original scenes from the manga), and L himself is being rather open (not that he ever really tries to hide what he thinks nearly as much as Light), and yet all Light contributes to it in return is like. Actually nothing. Bro fumbled it. There is no resolution to any of this, to any of what L asks at all, to any of the many opportunities for a meaningful conversation, and the only thing even relatively close to an answer that you can get from Light is what you can infer from how he acts in the episode after L dies, where he's just going through the motions, but hardly acting as if he's actually living at all.

(Honestly I think the transition from this scene with the taskforce to the subsequent scene with Misa says enough on its own. Light's expressions and tone says everything:)

(Oh sidenote but. This shit again:

"Light, this is our first date in forever. can't you enjoy yourself a little more?" ('Why don't you seem happy? We can finally be together since L is dead') -> No response, Light instead changing the topic to him wanting to move in with Misa without changing his mannerisms at all

Also there's that one detail again. You pretty much don't see Light's expression when he speaks here at all, except for one shot of his eyes, which is quite literally the exact same shot they used when he "saw" L, just altered for the new setting. You have No idea what he looks like when he's responding to Misa, although it's probably fair to assume that it's the same empty stare he has for the whole Two Shots where you can clearly see his whole expression in the entire scene.

Something something Light Yagami bad at feelings I think you get the point though)

I guess Light's Kind of showing what he's feeling now? He'll admit to himself that it's boring without L, but no more than that. Light never actually admits to anything "significant", and L's dead already anyway, so what would that even do?

And then we get, uh. Basically nothing from Light. For the next 5 Years. Except that he joined the NPA, so, uh, yay? Good job, Light you totally nailed it! Thank you for allowing us as an audience to delve deeper into your inner thoughts and feelings as a character so we can find out more about you as a person! Very helpful! Thank you for not sabotaging one of your few dedicated opportunities to look into yourself as a person and reflect on your relationships with others and being 100% honest with yourself! We stay winning guys.

Anyway, this got way too long for a scene that's over a decade old, and I've probably just said everything that everyone else has already said in this fandom before. But unfortunately this has been living in my head for way too long and I must scream. I just think this episode's neat is all :)

tl;dr Part of the reason why the rain/foot scene (tbh episode 25 in General) stands out so much is because the Death Note anime specifically was a bit robbed in terms of its more emotional character moments compared to the other medias, which makes more somber/introspective scenes like the ones in episode 25 stand out a Lot in comparison. But it's also incredibly ironic because it's one of the few moments where the show (or specifically L) tries to look deeper into Light's character, but because he is so avoidant for the entire duration of these two scenes he adds basically nothing at all. It's almost funny. Mostly sad. It's also very gay. Aand post

Okay actually nevermind one more thing I talked about how the jdrama is supposed to be more emotionally in-depth because it is a TV Drama and just for the record, same thing happens there! I could probably do an entire analysis of the Blue Scene in this context like I did with episode 25 but I'd literally be here forever, so uh, just take this iconic line as my main example:

Same Thing. L's statement "I wish we could have met some other way" is personal. It's his own wish, his own regret that he is expressing to Light. While Light's reply obviously has that same regret implied it's also phrased in a specifically impersonal way. It's closed off. "This is the only way we could have met" it closes off the topic and simply renders L's wish as ultimately futile. Light does not say that he Also wishes he could have met L a different way even if it was likely impossible, instead it's a cold statement of cynical fact.

Idk just. Something something L being able and Willing to be more openly sentimental/emotionally open towards Light/about Light vs. Light's inability to be honest with anyone including himself and his own nature preventing any form of meaningful reciprocation. Something something self-sabotage, y'know the drill. God don't even get me Started on how sincere L's tone is when he says "It'll be lonely won't it?"(at least in the eng dub) in the anime I could talk about his tone in that scene for ages. Also yes all of this relates to L Change the WorLd too by the way. Don't ask how it just does okay.

I do think that scenes like these (rain/foot scene, The Blue Scene. Uh. L Change the WorLd The Novel Adaptation) show, at least in those adaptations, that L does genuinely care for Light, and show that he values him as a friend not just in the mindgame-equal sense but also just like, a more sincere sense you know. Idk if that made any sense and that's a whole other topic for another day but you guys just have to believe me on this one alright please please believe me buries head in hands. Okay post over finally thanks for coming to my tedtalk hope you enjoyed my very-unnecessarily long analysis of the week

[vaguely-concerned]

I don't know what I love more, the fact that as rook you can make a statement in NO uncertain terms that you are NOT responsible one way or the other for the theological implications of the shit you're discovering in the 'regrets of the dread wolf' memories. not my jurisdiction. quite simply none of my business. not my chantry circus not my chantry monkeys. irrelevant to the matter at hand here we'll kill that god if we get to him he can get in line. or if the best thing about it is seeing the lone little 'lucanis approves' that pops up right after choosing it. corvid with a knife about to commit deicide keeping it real and sensibly, pragmatically, wilfully agnostic with me here in this magical lighthouse today

[italyveneziano]

Finally getting the answers to what the plans for HetaOni were honestly feels like this

[maddymoreau]

🌍 + Unknown ^_^

Send 🌍+ a series and I'll tell you a fact about my self insert!

Songs that make me thing of her:

Exist for Love - Aurora

Under Your Spell - Snow Strippers

Tw: Character threatening noncon (over the phone) and strangulation.

( ☞ ˙ワ˙)☞ As a heads up, all my Self Inserts are named Madison/Maddy, including my Unknown Self Insert. Also, in order to explain my Self Insert I have to talk about Grant, since the two are the opposite of each other when it comes to three things.

Grant is eight years older than the player. So for my Self Ship he's thirty-four years old. Grant has lived a very full life with multiple past relationships, friends, and a successful career.

He used to be in the Army until his Lieutenant made a bad call, resulting in all of Grant's Squad/Friends getting killed. The only survivors were Grant and his Lieutenant, who he drifted apart from after the Army.

Note: That's the Lieutenant's messed up photo from another game.

When Grant left the military, he moved into his parent's old log cabin. Later, he sees the player in town, starts stalking them, and eventually kidnaps them.

Meanwhile, my Unknown Self Insert is a twenty-six year old who has struggled with issues isolating herself (social recluse).

She recently moved to the city/town for a fresh start, sometime before Grant. Unfortunately, the quote, "Wherever you go, you take yourself" reflects her situation. As moving to a new place didn't change anything.

She isn't happy with where her life is at. She feels behind others her age, both career-wise and socially.

Madison works as cashier for a home improvement store (like Home Depot/Lowes/Ace Hardware). She's working at a dead-end retail job until she can figure out something else. Her dream job is being an artist, which feels unattainable since it won’t provide her with financial stability. This has caused her to suffer from art block.

She's unsure what to do to since her future feels bleak.

Before being kidnapped, Madison was an extremely lonely person. She doesn’t have any friends, isn’t close to any of her coworkers, and has felt disconnected from the rest of society for a very long time. She feels like there’s something wrong with her that she can't pinpoint but everyone else sees. That everyone got a manual on how to be human except her.

Madison is extremely insecure. Due to her lack of confidence, she tends to put walls up since she's afraid of rejection and failure. However, she desperately wants to break out of this self-destructive cycle she's in. She's TRYING to change, but is struggling.

Her insecurities about herself, her passions, and future are a HUGE contrast to Grant, who is EXTREMELY confident in himself.

For example, in the game, Grant calls the player under the ruse of receiving a fake number.

He'll call them again and ask, "Hi there. Yea, it's me again. I just had to ask. Why would someone who was hitting it off with someone else turn around and then give them a fake number afterwards?"

The player can later say, "Sometimes it's cause they just don't find the other person all that attractive."

To which Grant responds, "What? No. I'm plenty attractive. Lots of women find me attractive."

Also, insulting Grant doesn't really work as he tends to turn it back onto the player.

Player: "You're a fucking creep! YOU'RE SICK!"

Grant: "Mmmm . . . That I am dear. But only for you."

Player: "Getting off on just my breathing huh? You must be a two pump chump!"

Grant: "Whether I am or not, there's other ways to make you scream. And either way. I'll still be filling you with my hot cum. Wait. . . . right . . . I was suppose to be insulted, wasn't I? I'm sorry dear, let me try again. Oh . . . forsaken me . . . Woe is my manhood."

He chuckles to himself as if he was incredibly funny. I don't find myself laughing though.

Grant: "I do love talking to you sweetheart. But I think it's time now."

However, his confidence isn't like a stereotypical egotistical cocky character, but rather it's something he views as simply a fact. Like yes, he's objectively attractive and hasn't struggled to date.

His confidence is what makes him so terrifying. That he without a doubt believes the player will eventually submit to him.

Grant is so convinced the player will given in, that he can accidentally kill you. Since he believes you'll stop resisting and sleep, if you refuse and try to stay awake he'll accidentally strangle you to death.

It's one of the few endings where you're killed.

There's also two scenes where the player can threaten Grant with a knife. However, Grant doesn't take your threat seriously at all.

Player: "Stay the fuck back!"

He doesn't listen though, instead he starts to walk forward towards me.

Player: "I said-"

Grant: "Yea, I heard you sweetheart. But we both know you don't have what it takes to use that thing. So, why don't you just put it down."

Depending on the player's choice he CAN get stabbed:

The other scene where you threaten him with a knife:

Player: "STAY BACK!"

He lifts his hands slowly but without caution.

Grant: "Sweetheart . . . This is very disappointing of you. Why are you fighting me?"

Player: "Stay back or I'll stab you!"

He lets out a long sigh but continues to slowly walk towards me.

Grant: "You wouldn't stab me my beloved. Now put the knife down."

I find it interesting the way Grant is so confident that you won't stab him that he approaches you without any caution. Technically, Grant does have military experience, which could add to that. However, I'm pretty sure that lore wasn't added until after the game's release. So it's not that Grant believes he can handle you, but that he 100% believes you don't have what it takes to do it. Something he's so confident about that could end with him getting stabbed.

Grant feels very optimistic about the future and is convinced after kidnapping her, that, in his own words: "We're going to be the best couple there ever was."

While Madison felt very grim about her future. When Grant kidnaps her, he takes her away from all her problems and fears. While unintentionally giving her a new fear (him) and a new goal (escaping).

Since she's isolated (and possibly restrained):

She's now no longer dealing with the issues that plagued her for so long. The stress of paying bills and figuring out what career path she wants to follow. One that will both pay well, and she's happy with.

Art that was once the skillset she never felt good enough at now has turned into a creative outlet for the situation.

Also, since Grant kidnapped her, she's not able to interact with anyone outside him. Which also means she is no longer is at risk of facing rejection or judgement from others.

As horrible as the situation with Grant is, it's one of the first times she's ever felt fully accepted. Since she can’t turn to her coping skills by running away or isolating herself after being kidnapped. She’s forced to spend time with him and be vulnerable. It’s very jarring since she has so desperately craved to connect with another human being. Yet it’s happening with the worst person imaginable.

Due to her low self-esteem she has mixed feelings over Grant's obsession with her. She tries to rationalize it in her head, but it just feels so nice to be desired. To be complimented and praised.

Grant: "You're so beautiful. So precious. I knew you were the one for me the moment I saw you. You're perfect. In every way."

Due to not having very high hopes for her future overtime, she subconsciously develops a fear of returning to society. After all, if she escapes and Grant is arrested she'll truly be alone again.

There's this HUGE fear of restarting. Just because you've been kidnapped doesn't mean the world stopped moving. You still lose your apartment and job. Everyone else continued to live their lives and the world you already struggled to feel a part of functioned fine without you.

So, when you so desperately want to be loved and accepted, having someone say that they unconditionally accept you and all they want in return is for you to love them, sounds so enticing.

Grant: "I'm going to take real good care of you. You don't have to work anymore. Or do anything. All you have to do, is love me. There's nothing to be afraid of. I'm going to be real good to you."

It doesn't help her and Grant have this natural chemistry. That he also desperately wants the player to reciprocate even though it's super unrealistic they would. To the point you can use it to your advantage in the game.

In one of the routes after Grant breaks through your apartment window, you can scream for help and he'll grab your mouth. He'll then pull you over to the couch and telling you to not do that again. The player afterwards can try to stall for time with the hope that one of their neighbors has called the police after hearing you scream.

Grant: "I have to get you home."

Player: "Can't we just stay here?"

I pat the couch invitingly.

Grant: "Nice try. We both know you don't mean that."

He starts to dig for something out of his pocket.

Player: "But what if I did?"

He pauses before he pulls it out all the way.

Grant: "What if . . . you did?"

He thinks it over for a moment.

Player: "You could . . . come sit with me. Watch some tv . . . talk?"

He eyes dart around the room in contemplation.

(HE'S ACTUALLY CONTEMPLATING ADFN;LAKDJ. She was screaming for help two seconds ago there's no way she actually wants to- BUT WHAT IF?!!!!!!!)

Grant: "Why the change of heart?"

He's not foolish enough to fall for it that easily and the police arrive before you can answer but oH MY GOD.

In the beginning, Madison would occasionally fight against him. However, she quickly stops since she doesn't want to constantly be punished and is scared he's going to accidentally kill her. Instead, she plays the waiting game looking for an opportunity to attempt to escape. Until she just has one moment where a flip switches inside her, wondering what she's even fighting to return to.

A life with Grant she's guaranteed to know what she gets. Meanwhile, life outside is scary and filled with uncertainty. Even though Grant is the thing she should fear most overtime he becomes a source of comfort and the outside world is what scares her.

As long as she stops fighting then everything will be okay :)

Grant: "I know, it's really scary but I'm not going to hurt you unless I have to. Everything's going to be ok."

Grant: "I don't want to hurt you Maddy. That's not what I want."

Player: "Please don't hurt me. Please . . ."

Grant: "Shhh . . . I'm not here to hurt you. I could never hurt you."

He pulls my head backwards and places a kiss on the top of it.

Grant: "There's no need to be scared. See?"

Somehow I just can't agree.

Grant: "Let me make this simple for you Maddy. You don't want to get stabbed. I really don't want to have to stab you. So come quietly and neither one of us have to do something we don't want to. Just cause I don't want to, doesn't mean I won't. You're likely to be easier to handle if you're wounded."

I try to showcase her transition in some of my commissions:

Unaware of the stalking: Drawn by Saccharineheartx

The night of the kidnapping: Drawn by Toxictrashdump

Being held captive at Grant's log cabin: Drawn by Ohmenthamo

Confused about her feelings: Drawn by Eliotlime

I gave Eliotlime creative freedom with what the Mini Maddys would be doing, but asked if they could have mixed emotions. Like one angry, scared, shy/embarassed, and the other lovey/affectionate.

Madison initiating affection: Drawn by Bebbyb00

Acceptance: Drawn by UnusualMuffin-Art

Shown through them being silly and lovey-dovey together.

[llycaons]

that tweet was so funny but I don't even think verge was ever mocking dante for being gay it more like 'why are you, as a gay person who has experienced homophobia from the church, still with these fucking people given everything that they've done to you? wow you've really betrayed yourself AND me huh. you've really lost yourself. also I never told you what they did to me but you obviously know so fuck you' and well. deserved

[pickaropoprocks]

Fighting battles that have ABSOLUTELY been seen before (wanting to restart my Animal Crossing New Leaf town so I can begin the game from scratch and as myself as I am now vs. not wanting to restart my town because nostalgia and I'd miss my villagers)

[hakusins]

(vent in the tags) me thinking i've finally escaped financial problems: :DDDDD

life:

[bunnyboy-juice]

its so fun to me that literally everywhere i exist i am inevitably associated with Cuteness and Joy