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goodbye, i thought. you sad, strange creature. if i could, i’d kill them all. i’d wipe them out. and then you’d never have had to exist at all. / highly selective and private punisher writing blog, written by edwin (he/they, 25, white). 21+. ©

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corey sitting in allyson's lap in that photobooth 🤨

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some muses im thinkin of adding, lol

ramona vega (jlo's character from hustlers lmao)

christopher moltisanti

tony soprano

annie january / starlight

talia al ghul (basically headcanon-inspired bc canon is tragique)

lara croft (once im finished w the survivor trilogy!)

jack marston

charles smith

claire redfield

levi & dina from tlou2

stu macher

amber freeman (seems i have a thing for gay murderers)

amy elliot-dunne or nick dunne (this is my not-so-silent plea for someone to write either of them bc i dont think i'd want to interact w most other charas outside of each other - give me that Hand In Unlovable hand content PLEASE)

allyson strode-nelson (another not-so-silent plea for someone to write michael or for someone to write allyson w my michael lmao rip)

margot verger (my slightly book-inspired former drag king trans masc margot... why r bryan fuller n thomas harris such messes lmfao)

(femboy) charles lee ray (u already kno im trying to write chiffany so what's up)

what do we think... any1 have any suggestions or recs? even when it comes to movies/books... always looking for new content!

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some john marston braindump:

was born to an ashkenazi jewish mother & father in new york - his mother died during childbirth which left himself and his father to their own devices. he was born in new york but his father emigrated to chicago due to transient railroad work.

john's name at birth was jonathan markowski, but his father started going by marston once they moved to chicago for the sake of finding work. after his father died in a bar fight on their tenement floor when he was 8, john simply started going by john and the records at the orphanage he lived in for several years (from when he was 8 until he was 12, aka when he ran away) have him down as john marston.

john wouldn't be in touch with his jewish identity until being taken in by dutch, who helped/encouraged him to celebrate high holidays as much as they could. that fell off as the years went on until beecher's hope.

john and arthur are the epitome of the golden child/scapegoat (respectively), until john became dutch's scapegoat. john's never been academically inclined but has always been cunning and skeptical. have lots of thoughts but i do definitely think that the stark age difference between dutch and john (dutch is 30-ish when he takes john in vs being only mid-20s when arthur is taken in) + the fact that dutch is quite literally the only father john has ever known makes this even more apparent. dutch is arthur's father-figure but he's always had hosea; while john has always had hosea as a father-figure, there's always been an intrinsic bond between john and dutch. dutch taught everything john he knows about gunslinging and hunting and fishing, areas where john excels compared to arthur.

as for high/low honor, my john is probably medium, teetering very close to low honor. while i think arthur's story and arc is about redemption, john's has always been about survival. he's never quite believed he's had a choice. some trees flourish, others die. and he's done whatever it takes for his family, whether it's the van der linde gang, arthur, or abigail and jack, to live and thrive even if it's all been in vain, and even if it's involved doing the worst things a person can do. also a habit he's learned from dutch, lmao.

speaking of which - so many of the toxic, manipulative habits and tendencies he's taken on as a father are learned from dutch and somewhat unlearned in beecher's hope with jack. will elaborate more l8r.

also -- my john is blind in his left eye, with some light perception, and by 1911 regularly wears an eyepatch to aid in gunslinging and hunting. the visual impairment occurred as a result of being attacked by wolves in 1899; it also means he has no depth perception and is susceptible to being ambushed by those who know about it (looking at javier for throwing that box on top of him in rdr1, lmao).

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              fall / autumn / halloween themed prompts

                                                 ( because it’s that time of year ) 

☃ — [sender] offers [receiver] a cup of hot cocoa/apple cider ❄ — [sender] and [receiver] take a hayride together ☁ — [sender] and [receiver] roast marshmallows over an open fire ☂ — [sender] offers to share their umbrella with [receiver] ☆ — [sender] snuggles [receiver] under a blanket for warmth ◐ — [sender] and [receiver] take a hike through the woods ☽ — [sender] and [receiver] stroll through a farmer’s market ♢ — [sender] convinces [receiver] to enter a three-legged race with them   — [sender] and [receiver] go apple picking ✔ — [sender] and [receiver] get lost in a corn maze ☀ — [sender] and [receiver] visit a pumpkin patch ✿ — [sender] and [receiver] carve a pumpkin together ☹ — [sender] jumps in the pile of leaves [receiver] just raked ☏ — [sender] and [receiver] tailgate at a sports game ♡ — [sender] and [receiver] try to bake an apple/pumpkin pie ⇧ — [sender] convinces [receiver] to climb a tree ✖ — [sender] invites [receiver] to watch a spooky/scary movie ♪ — [sender] and [receiver] listen to spooky music while they decorate  ☺ — [sender] arrives at [receiver’s] home with freshly baked bread ☞ — [sender] drags [receiver] to a haunted house ✦ — [sender] and [receiver] search for ghosts ● — [sender] grabs [receiver’s] arm because they are scared ☮ — [receiver] does not recognize [sender] in their halloween costume ♛ — [sender] knocks on [receiver’s] door asking for some candy

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Ben Barnes in The Punisher (1.04)

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going through my screencaps and… the extended eye contact, the absolute fascination here, the absolutely unnecessary way michael is holding one of her hands with both of his huge hands that are clearly not even putting nearly enough pressure to drive the knife in for a killing strike. just. a lot. 

i think it’s just the way they both look at each other in such an unrelenting way for me. what is it that you see, michael? what is it that allyson sees? 

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@failedcrown said: nothing lasts forever: we know this. / for butcher. → richard siken sentence starters. / accepting.

"you've never been more right," what could she possibly be referring to? there's their sobriety, which they've mutually thrown to the wind tonight. there's the other shit, too - homelander, namely. his first thought when he wakes in the morning is homelander, the last thought before he sleeps at night is homelander, too. could anyone else hate as much as he does?

and when he's all gone - what else will there be?

he's never been one to get too far ahead of himself, though. for now, he pours the rest of the bottle of vodka down the drain of the sink as if that makes a difference, back to maeve to give her a semblance of privacy to get dressed as if he hadn't seen her entirely merely moments prior.

"thank you, for the compound v," he sniffs, turns back to face her, "you know, tomorrow's a new day. for our sobriety, anyway."

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DEXTER  /  7x08 “Argentina”

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 AMBER ROSE REVAH as mika bakhash in last light (2022)

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Seriously, you gotta take that kid back to where you found her.

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SIKEN’S ‘WAR OF THE FOXES’ SENTENCE STARTERS

Sentence  starters meant to be used as roleplay prompts & sentence starters.  These are from the book War of the Foxes by Richard Siken.  Please feel free to change pronouns and words as needed!

the paint doesn’t move the way light reflects.

what is there to be faithful to?

i am faithful to you, darling.

some people don’t understand anything.

you see the man but not the light.

you’re easy to desire, there’s not much to you.

no one wants to know what’s in my head.

land a man in a landscape, and he’ll try to conquer it.

what do you do with a man like that?

crown yourself with leaves and stake your claim.

i turned away from the darkness to see daylight, to see what would happen.

why take more than we need?

you’d break your heart to make it bigger.

will you defend yourself? from me, i mean.

i prefer to blame others, it’s easier.

it helps to have an anchor.

all these ghosts come streaming down, and sometimes i wish i had something else.

what is a ghost? something dead that seems to be alive. something dead that doesn’t know it’s dead.

can we love nature for what it really is: predatory?

ask for a blessing? you can try, but we will not remain unscathed.

abandon your will and let the world have its way with you.

you should disappear and save everyone the bother of a dark suit.

color bleeds and gravity pulls so make it work for you.

when you have nothing to say, set something on fire.

i wanted to explain myself to myself in an understandable way.

something’s not right about what i’m doing but i’m still doing it.

my inner life is a sheet of black glass.

the enormity of my desire disgusts me.

want something to chase you? run.

you need me for the moment you need me.

you saw a bird and found him beautiful.

your heart is a metaphor for your heart, as everything is a metaphor for itself.

the fear: that nothing survives; and, the greater fear: that something does.

this is how we measure: walking away.

a map without landmarks is useless.

dead things cannot hurt me.

history is painted by the winners.

accidents never happen when the room is empty.

everyone needs a place.

people like to think that war means something.

who will master this love? love might not be the right word.

let’s admit, without apology, what we do to one another.

you cannot have an opponent if you keep saying yes

all stories are the wrong story when you’re impatient

in the wrong light anyone can look like a darkness

lovers look, and strangers look away.

how much can you change and get away with it, before you turn into someone else, before it’s some kind of murder?

difficult, to be confronted with the fact of yourself.

see me, not through me.

it’s hard to talk about what you believe while you are believing it.

this is also part of the story: how the story changes.

i think that you might like it here.

i tell you these things because i love you.

none of it is real, darling.

i will not cross you, and you must move on.

everyone needs a place. it shouldn’t be inside of someone else.

i turned my back on the story.

we smuggled ourselves into ourselves, hunted by each other’s knowledge.

to hide somewhere is not surrender, it is trickery.

i try to guess your trajectory and end up telling my own story.

what happens when i no longer want to meet you?

nothing lasts forever: we know this.

you asked me to hold this for you.

i want to give you more but not everything. you don’t need everything.

someone has to leave first.

what does all of this love amount to?

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VOICE / SPEECH HEADCANONS: FRANK CASTLE.

NO. OF LANGUAGES: english, conversational (and very americanized) sicilian-italian, conversational yiddish & hebrew, high school level spanish, rudimentary pashto and arabic, some knowledge of basic phrases in ASL.

TONE OF VOICE:   high  / average /  deep.  

ACCENT: yes /  no   — it’s clear frank’s from queens as soon as he opens his mouth.

DEMEANOR:   confident /  shy  /  approachable  / hostile /  other.   — it depends but frank mostly keeps to himself and makes sure to convey that to everyone around him.

POSTURE: slumped  /  straight /  stiff  /  relaxed.   — frank spent over half his life in the military, at this point. his posture is usually immaculate, but it varies.

HABITS:  head  tilting  / swaying  /fidgeting /  stuttering  / gesturing /  arm  crossing /  strokes  chin  /  er , um , or  other  interjections  / plays  with  hair or  clothing /  hands  at  hips / inconsistent  eye  contact /  maintains  eye  contact  / frequent  pausing  /  stands  close  / stands  at  distance

COMPLEXITY.

VOCABULARY:                     ⬛  ⬛  ⬜  ⬜  ⬜  

EMOTION:                         ⬛  ⬛  ⬛  ⬜  ⬜  

SENTENCE STRUCTURE:       ⬛  ⬛  ⬜  ⬜  ⬜

NOTES:   frank can be articulate about the things he’s well-versed in - such as logistics, resupply, and the literature he’s interested in. however, while thorough, he’s succinct, and doesn’t attempt to fluff up his vernacular with complex vocabulary very often. he also suffers from a speech impediment that causes him to stammer and has several verbal tics, listed above.

PROFANITY.

FREQUENCY:        ⬛  ⬛  ⬛  ⬛  ⬛ 

CREATIVITY:     ⬛  ⬛  ⬛  ⬜  ⬜    

NOTES:  he’s a marine, therefore has an arsenal of creative vulgarities at the ready at most times.

BOLD ALL THAT APPLY.

arse. ass. asshole. bastard. bitch. bloody. bugger. bollocks. chicken. crap. cunt.dick. frick.fuck. horseshit. motherfucker. piss. prick. screw. shit. shitass. son of a bitch. twat. wanker. pussy.

GIVEN PROPER RELIGIOUS CONTEXT.

christ  on  a  bike.  christ  on  a  cracker.  damn.  goddamn. godsdamn.  hell.  holy  shit. jesus. jesus  christ. jesus  h  christ. jesus  h.  roosevelt  christ.  lord  have  mercy.  jesus ,  mary  and  joseph.  sweet  jesus. jesus  fucking  christ.

THIS OR THAT.

straightforward   or   cryptic?  |  finding  the  right  word or   using  the  first  word  that  comes  to  mind? |  masculinity , neutrality ,   or   femininity?  |  formalities or   abrasiveness?  |  praise   or   equivocation?  | frankness or   lies?  |  excessive or  minimal hand  gestures?  | name – calling or   magnanimity?  | friendly or  blunt | nicknames?

IMPORTANT QUESTIONS.

DO PEOPLE HAVE A HARD TIME UNDERSTANDING OR HEARING YOUR CHARACTER?  almost  always  / frequently  / sometimes / rarely  / never.

DOES YOUR CHARACTER’S POINT COME ACROSS EASILY WHEN THEY SPEAK?   almost always / frequently / sometimes  /  rarely  /  never.

WOULD YOUR CHARACTER INITIATE CONVERSATIONS?    almost  always / frequently  /  sometimes  / rarely /  never.      

WOULD YOUR CHARACTER BE THE ONE TO END CONVERSATIONS?     almost  always  / frequently /  sometimes  / rarely  /  never.

WOULD YOUR CHARACTER USE ‘WHOM’ IN A SENTENCE?    yes  /  no /  yes, but it’s always wrong

YOUR CHARACTER WANTS TO MAKE A COUNTERPOINT. WHAT WORD DO THEY USE?    but /  though  /  although /  however  / perhaps /  mayhaps / maybe

HOW DOES YOUR CHARACTER END CONVERSATIONS?    walk  away  /  ask  if  that’s  everything /  say  that’s  everything / give  a  proper  goodbye  / tell  their  company  they’re  done  here  / remain  quiet /  they  don’t. 

HOW DOES YOUR CHARACTER ADDRESS OTHERS?  titles / first  names  /  surnames  /  full  names  / nicknames. - depends on the person tbh, but it’s usually surnames or nicknames. if it’s a title, it means two extremes: frank has immense respect or is mocking.

IN WHAT WAYS DOES THE WAY YOUR CHARACTER SPEAK STAND OUT TO OTHERS?   accent / vocabulary /  tone / level /  politeness  / brusqueness  /  it  doesn’t.

TAGGED BY: no one, moving this from an old blog to this one. TAGGING: i'd love to see others do this - maybe @godblooded @failedcrownown & @shelassos but whoever wants to should!

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HAVE I RUN TOO FAR TO GET HOME? / SEASON 2 WRITE-UP. cw for mentions of pedophilia, human trafficking, and graphic violence.

as i mentioned in my divergences for the punisher season 1, frank did not give up being the punisher post-dd s2. instead, he gives it up after the events of the punisher season 1 and starts living the alias of pete castiglione. while working at a construction site in the bronx, where he’s stayed since the ending of season 1, frank meets donny chavez. though frank has kept his head low and has effectively isolated himself from everyone in his life (including curtis, david, and madani) for their own safety, he can’t help himself when a group of men from the site try to kill donny after robbing a mafia-affiliated (gnucci) poker game. frank brutally murders them all and kills all of ma gnucci’s sons thereafter, in what he excuses is to protect donny. realizing he can’t stay in new york city without possibly ruining his pardon, frank leaves to drive upstate to the canadian border.

upon arriving in buffalo, frank rents a motel room for a few nights after travelling non-stop for nearly a day, having taken detours through pittsburgh and cleveland to lay low and attempt to enjoy the travel he’s been encouraged to partake in. on his first night, frank attends the bar next to the hotel because he was drawn in by the live music show from his motel room. it’s there that he happens upon a young girl clearly uncomfortable with an older man who acts invasive and generally menacing toward her. it’d be easy to ignore if he didn’t run into her again later that night with the same man, who was clearly staying with her. finally, the next evening, when he watches the girl try to escape into the women’s room while the man follows behind her, frank steps in to confront him. he has no idea that there are several other people in the same group that night, apparently with the man and the young girl, and a chaotic fight ensues in which frank and the girl narrow escape, but not before his enemies and some bystanders are killed and the patrons of the bar terrified. out of fear, she tells him her name is rachel and she’s eighteen, but once she realizes he’s not law enforcement she tells him her name is actually amy bendix and she’s sixteen. frank discovers she was one of many girls all over the country and that she stole footage that would implicate the philanthropist and CEO of dynaco, a wall street financial firm, harry ebbing in the crimes as well as the son of a new york senator, david schultz, from the man trafficking her. she also reveals that she was in touch with a social worker in new york city and planned to expose the information to her. the man she was staying with was trying to leave the trafficking ring and kidnapped her to bring with him, and she planned on stealing the flash drive to escape on her own after her friend died in the process of trying to expose the footage to said social worker.

while on the run with amy, the two finally stop at a motel in albany, where frank seeks to divulge more information from amy and tells her his real identity. while amy sleeps and frank watches over her to figure out their next move, police cruisers approach the room and demand to come inside. before frank can think to answer, they shoot up the hotel room in a spray of bullets, barely giving frank time to cover amy to protect her. the two of them play dead on the floor when the officers enter the room, which is when frank surprises the officers by shooting them with a gun hidden under the bed while amy hides in a nearby closet. they leave the scene of the crime. from there, several new york state police unions as well as the commissioner of the nypd denounce the punisher as a cop-killer and start a state-wide manhunt. he is also accused of kidnapping amy bendix.

the two consider crossing the border while frank thinks to call dinah, who is the SAC of the new york homeland field office. at first, she refuses his call, but locates the two of them from frank’s cell signal and flies to them via helicopter once she sees the reports about the manhunt for the punisher on television. she takes them back to new york to stay with her to work with frank and amy once she realizes the value of the information amy possesses. while dinah urges frank to stay put for his and amy’s own safety, he leaves her apartment to find more information. after spending a day looking for intel on traffickers in the area, frank finally comes back to ask amy for the social worker’s name from amy after getting nowhere. she reveals her name is jen cooke, a social worker and lecturer. frank sits in on one of her lecturers and follows her into her office, where he gives her the flash drive. after some reluctance, and driven by her own frustration at the inaction of the nypd and corruption clearly from a level above her pay grade. she has also been threatened multiple times, including via snuff footage sent to her that included amy’s murdered friend. frank tells her that once he finds whatever kids that may be captive, he’ll bring them to her, and pursues the names she gives him - first, he starts with a russian diplomat who’s staying in a hotel nearby. frank kidnaps him with amy’s help and from there, they get the address of a house in brooklyn where the girls are kept. frank sends amy back to dinah’s place and goes on his own.

meanwhile, dinah looks into ebbing and schultz on her own and ends up, much to her dismay, faced with similar roadblocks as with the kandahar investigation. she is approached by brett mahoney who immediately suspects her as having something to do with frank castle. the two of them work begrudgingly together as brett is the only man in his unit who remotely is interested in the truth surrounding the punisher manhunt.that is when brett and dinah are approached by jen cooke while at the precinct together, who tells them frank told her to see mahoney for protection and about how she’d told frank about the house’s location. dinah realizes what frank’s done and brings jen back to her place along with brett, only to find only amy there. dinah convinces brett not to call for back-up about the house, who is only convinced due to the nature of the footage dinah finally has a chance to watch herself along with brett for the first time. it’s brett who immediately recognizes schultz and ebbing, and it is dinah who recognizes william rawlins.

meanwhile, frank prepares for a total ambush on the house in brooklyn, and has sent amy to go back to dinah’s place. he manages to kill the men inside and keeps one alive for information. it’s there that he finds a group of young girls and boys, varying in age but mostly teenagers, and escorts them outside, where dinah and brett are waiting. frank insists they leave without him and they do, to bring them back to dinah’s place where jen is also hiding. after frank tortures information about the video and the other traffickers out of the man he keeps alive, he sets him on fire to burn to death. as he drives away, a mercenary hired by ebbing known only as barracuda shoots at his tires and sends frank crashing into a ditch, where he barely manages to pull himself out. after a brutal fight, barracuda beats frank to a pulp, and frank only manages to get away but gouging out barracuda’s eye with a knife. completely worn down, frank calls curtis before passing out in the middle of the road and wakes up on dinah’s couch, with curtis, dinah, amy surrounding him.

frank tells dinah about the corruption and complicity from within the nypd and the location of schultz’ wife’s office, where she runs her operations out of. dinah informs him about rawlins and ebbing. dinah instantly recognizes barracuda’s name, as he is a widely known mercenary in the intelligence community wanted for multiple atrocities, which is only an added complication to their issue. however, dinah and brett have both managed to arrange for a warrant to be issued for ebbing’s arrest. after recuperating in dinah’s place briefly, frank leaves to pursue schultz’ wife and curtis takes amy to safety with him.

after frank plows through schultz’ wife’s office, he tortures her to death. as predicted, barracuda is there in the wake of the carnage, where he and frank fight again. meanwhile, the nypd arrest ebbing and schultz, and the two of them are kept in holding cells amid a media frenzy. frank gets the upper hand on barracuda until barracuda slams his face against a desk corner, effectively also gouging out of one frank’s eyes. he stabs frank in the stomach two times until frank shoots him. as the cops arrive, barracuda escapes, leaving frank to be taken into police custody at the hospital. it’s there that david lieberman arrives, impersonating foggy nelson, revealing that the entire time the punisher manhunt has occurred that he’s kept a distance, but could no longer ignore it when the news of his arrest circulated on the local news. the two manage to arrange a power outage and for frank’s escape with dinah’s help, and it’s together that they get the news that ebbing was found murdered in his holding cell before further information could be had and schultz is nowhere to be found.

completely frustrated, the three of them contemplate their next move. that’s when they decide to expose the footage as well as the footage of kandahar to all to finally incriminate rawlins and uncover the conspiracies that have linked the three of them since the beginning. david releases both onto the deep web. while the public comes to terms with the footage, dinah, who has now become as public of an icon as frank, steps down from her role as SAC of the new york homeland office and becomes acting SAC of the new york FBI field office, where she also is able to be closer to billy russo, whose public shaming and scapegoating has now become such public knowledge that there is a movement for him to receive clemency. brett declines to arrest frank, who has become an internationally known icon and whose name is partially cleared, and steps down from the NYPD. with curtis’ help, frank sends amy to diving school in florida, leaving he and david to work together once more to track down schultz in canada, where frank kills him and returns to new york. now, he has fully accepted and embraced his role as the punisher and is left to reconsider what exactly his role should be as a very wide variety of people start to idolize him as a hero figure.

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ROSTER & TAG DROP.

michael myers / he/him / #humanshaped

john marston / he/him / #loneprairies 

bruce wayne / he/they / #vespectral

joel miller / he/him / #sundownpromise

clarice starling / she/they / #lambtales 

villanelle / they/them / #hairpins

isaak sirko / he/they / #whitewolv

gustavo fring / he/him / #porsangre

frank castle / he/him / #goldenbook

claire temple / she/they / #sutures

billy butcher / he/him / #scorchedearth

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SCRATCHEDMIRRORS > MUTUALLYASSURED.