#BUT IMAGINE EXPLORING JUST HOW MUCH HE REPRESSES AND WHAT HAPPENS WHEN HE LETS IT OUT

[petrichor-idyllic]

Heyyy! How are you doing? Can you do a story where the female reader accidentally turns Minho on? Thank you

I'm doing good thank you for asking, and of course I can :))

Back on my Minho grind, lmao. Idk why I struggled with this one so much, but I must've rewritten it like seven times, bro.

INAPPROPRIATE WORKPLACE BEHAVIOUR

MASTERLIST | MINHO MASTERLIST

SUMMARY: See above. Reader is a Runner. Takes place before the arrival of Thomas. You and Minho have always had a tense relationship, but when you guys work in the Map room together, you start to wonder if there's something else. Especially when you get a new kind of reaction out of the Keeper. Kinda enemies to lovers if you squint a bit.

WARNINGS: Inappropriate language, spice and suggestive content, dumb teenagers and dumber teenage hormones

"Bro, I'm telling you, there's nothing new."

You hate nights like this. It consists of you and the other Runners meeting up and spending hours looking and comparing maps. Once a week.

Every week.

For as long as you've been there. Well, since you became a Runner at least.

And you've been there long enough for it to not be that big of a deal if another girl were to show up.

But tonight is different. It also happens to be Bonfire night. It happens occasionally that Greenie day and the meetings fall on the same day. Most of the Runners left early to go celebrate.

And you did, too, a couple of times. Joining in on the celebrations and congratulating whatever poor Greenie on losing to Gally in the ring.

But you felt bad, so you started staying.

Minho always stayed. It didn't matter what was going on outside; the boy had a job to do, and God dammit, he's going to get it done.

You don't know why you felt bad- or even why you feel bad now. It's not like Minho has ever actually been nice to you. He doesn't take you as seriously as the other Runners and it's not uncommon for him to blatantly ignore you.

Which is shit because the Keeper makes for some great eye-candy.

"I don't care," Minho huffs as you sit with your legs on the table, leaning your chair back, shuffling through numerous sheets of paper. "If you wanna leave, then leave."

"Dude, we've been doing this for literally hours." You try to reason with him but it's not going well.

Minho has been worse as of late. With the exploration of the outer sections coming to a close and the sinking realisation that there isn't actually an exit to the Maze- his bitterness is becoming exponential.

"You can leave." He simply repeats.

You don't understand Minho's problem with you.

In reality, Minho doesn't have a problem with you. All of his extra criticisms and harsh nature comes from a place he doesn't quite understand. You're the only girl in the Glade, and even if everyone else got used to you, he never did. He's had a thing for you ever since he saw you. How could he not?

Which is bad.

Because it's distracting.

So, you can imagine his dismay when Alby suggested you be a Runner.

You pout, letting your feet hit the floor and walking over to Minho. You lean in front of him and across the table, having to stretch further to try and grab more papers that are scattered across the table.

Obviously, this was an incredibly innocent action. You were literally just trying to do more work, but Minho's entire body freezes.

His eyes flicker to your ass as you bend over against the poor wooden structure. It doesn't help that you're still wearing your tight running clothes that leave very little to the imagination. The fabric clings to your ass, and Minho suddenly feels like a complete creep. You mumble something to yourself when you can't reach, but your tone and the lack of coherency just makes Minho's breath catch in his throat.

Ah fuck.

You stand back up, tilting your head slightly as you try to understand whatever pattern Minho swears there is.

He shifts uncomfortably in his seat. The problem here is that Minho is just as sexually repressed as every other boy in the Glade, but his one-track-mind and work ethic makes it seem like he isn't.

But he is. Boy, he is.

You say something. He doesn't even acknowledge it as he just blankly stares into space, questioning his existence for a second and silently praying that he can keep himself from being... physically affected.

"Minho?"

"Hm?" He looks at you, concern written on your face. Suddenly, he crosses his wrists, dropping them to his crotch. You obviously were not going to look, but as his pencil scatters to the floor and you watch him visibly cringe, your eyes flicker down and then back up. "You good?"

"Mhm."

"You sure? You ignored me, and now you're acting kinda weird."

"No, I didn't. I mean, I didn't ignore you, I was just thinking, okay?" Okay, so he's panicking. He doesn't really want to get caught because that's just going to make things incredibly awkward. He's literally your boss, and with the way he treats you, there's no way you like him back.

"What did I say then?" You cross your arms, looking down at him. He's acting super weird all of a sudden. He seems almost flustered and embarrassed, and with his hands covering up his dignity; you have your suspicions. It's not like it's the first time here you've accidentally given someone a boner. And it's not like it's hard to tell.

If you catch some of the boys on a bad day then they'll get hard if you so much as look in their general direction. But Minho?

Minho?

Always calm, always collected, always in control, Minho?

It's actually kind of entertaining watching Minho's confidence slip away. He's so cocky and self-assured all the time, and you've, what? Leant over a table? And he's lost all capability? Incredible.

You do admire Minho. For many reasons, mostly including his job- but also his self-control. The boy is athletic and confident and bold, all traits that you're attracted to and have been ignoring. But this is now a form of amusement, especially after being stuck in here for hours.

"You don't know, do you?" You ask after an embarrassingly long pause.

"Uh, yeah, no. I don't know what you said. Sorry." He adds the 'sorry' after you raise your eyebrows at him, and it is very clearly reluctant.

"Sorry you didn't hear me or sorry you were staring at my ass?" You cross your arms as you turn to sit on the edge of the table. Your expression is testing as Minho drops his head forward, hiding his face in his hands.

"I, uh, I mean- shit," he grumbles.

"Wow, okay," you scoff, "I was joking, but I guess you really were just staring at my ass."

"I didn't mean- I couldn't help it, alright?"

"That's bullshit, we both know you are beyond fully capable of controlling yourself," Minho suddenly feels like he's getting lectured. But he's your boss, and he really doesn't know how to feel about the sudden shift in relationship dynamics.

"Yeah," he sighs, "you're right, but you- you're just-" You stand up straight, stepping towards him with fake understanding. He shuffles uncomfortably as you stand in next to him, enjoying the newfound power. "You're hot, dude, what am supposed to do?" He sighs, giving into defeat since there's no good way for him to get out of this.

Minho's forward nature shines through, and the compliment actually takes you by surprise. "You think I'm hot?"

"Everyone here thinks you're hot."

"That's not what I asked."

"Yeah," he basically spits out, "I think you're hot. But I also think you're one of the best Runners I've got, and I'm your Keeper, so..."

"Wait, have you been being a dick to me because you're attracted to me?" Minho's guilty expression says it all. "Holy shuck. You have!"

"Alright, alright- slim it," he warns.

"How many times have you criticised me because you actually wanted me?" You lean further forward, one arm on the table, kind of trapping him.

"Listen, don't start-"

"Or the amount of times you've ignored me because I looked too good?"

"Hey!" Minho snaps, even his ears are burning now, "Quit it, alright? I get it. If you're just gonna be a slinthead about it, then go. I don't have time for this klunk. And you might not like me, but I was always respectful and gave you the same workload as everyone else. I can't help being attracted to you, (Y/N)."

His words sound suddenly sincere, like he's been dealing with this on his own for a while now.

"I.." You start, but your words get trapped in your throat, "I never said I didn't like you." You avoid his gaze as you kind of stand to the side of him. There's a scratching scound as he turns the wobbly chair towards you, his attention now peaked at your sudden bashful tone.

"So you like me?"

"I didn't say that, either, just... you're a good-looking guy, Minho. I'm not mad at you 'cause that'd make me a hypocrite." Minho's hands graze your hips, sparking a flame in you but making you flinch. So, he immediately moves away again.

"You think I'm good-looking?" Minho definitely does not need the ego boost, but then again, neither did you.

"Shut up, okay, you're being honest, I'm being honest. It's not a big deal."

"Okay," he holds his hands up, feigning innocence, "guess we're just two attractive people sitting in a room together then, huh?"

You scoff, shaking your head, "No, we're two people who are attracted to each other sitting in a room together. There's a difference." You meet his eyes, and the tension suddenly feels very thick.

This time, Minho puts his hands on your waist with more certainty, and you move closer, swinging your leg over his, straddling him. Suddenly, it doesn't matter that Minho is your boss, or that this could make things awkward working. You just want to feel good, and Minho's flustered confession is making you feel pretty decent all on its own.

"Bold, hm?" Minho mutters, your noses brush, and your foreheads press together. You can feel his breath on your lips, and you never expected this to happen when you came to work during the Bonfire.

"Learnt from the best," you almost speak into him, earning a chuckle. "Is that okay?"

"Mhm," he leans in, finally forcing months of frustration into you as your lips connect. His grip on you tightens and it barely takes anything for Minho to be hardening under you again. Your mouths move in unison, his tongue brushing against your lower lip.

You slip your tongue under his, making him hum as you buck your hips against his. Your hands come to the back of his neck and into his hair, taking the opportunity to ruin his permanently perfect hair style.

He pulls away, panting slightly, "Wait, what does this mean?" He seems anxious, but he's still trying to move under you. You've never seen him like this before, and deep down, you know all you want is to see it again.

"It means I want to fuck you." His body physically reacts to your boldness, almost whimpering under your touch.

"Yeah, alright, I'll take it," you're back on each other in seconds. Having a friends-with-benefits situation with your boss is probably not the best idea, but damn, is it hot.

Friction starts to pick up fast. His hands are under your shirt, papers are flying everywhere as you use the table to try and stabilise yourself and a string of unholy gasping and faint moans is escaping the private place.

That's until there's a cracking sound. Both you and Minho fall in a heap on the floor as the shitty chair breaks, one of the legs snapping off and sending you plummeting. You land next to each other.

"Gally's klunky shuckin' furniture," Minho complains.

And you just laugh.

Not going to lie, lads, this was, for some reason, a complete struggle. Idk why this one was so hard and took me so long, but here it is, and I don't even think it's good lmao. Definitely not my best work, but I'm trying my best.

I hope yall kinda almost enjoyed it :)

[chaifootsteps]

You know what i think would have been interesting? if instead of adam and lute being horrible to vaggie when they see her in heaven, they realize that they can use her relationship with charlie to spy on lucifer and hell. they could have tried to manipulate vaggie into working for them (well, more than their half-assed attempt in the show) "don't you hate it in hell? don't you see how horrible those sinners are? don't you miss your wings? your friends? your family? we can let you come back, you can have your old life back! all you need to do is a little something for us" hypothetically this would work better if chaggie wasn't established yet and vaggie had an actual arc of choosing charlie and her new life in hell over adam and lute and her old life in heaven instead of whatever they tried to do with the "fight for love" song. i also think vaggie should have an old crush on lute that lute uses to manipulate her since it would be another way for the show to explore abusive relationships. maybe lute could even be her ex to show that women can also be perpetrators of domestic abuse? eventually vaggie comes to appreciate the sinners and befriends them and then she realizes that spying on hell for heaven is wrong and she doesn't want to do it anymore. she comes clean to charlie and instead of charlie immediately forgiving her after being upset for a few hours vaggie actually has to prove herself and show that she's changed. show her struggle to accept being kicked out of heaven! show her learning to adapt to her new life! show her struggling with her loyalty! give her some character development, dammit!

I kind of threw the idea of vaggie having a crush on lute in there but now that I'm thinking about it there's so much that could be done with it. if you go with the "heaven is homophobic" route, vaggie could be a repressed lesbian. she has a crush on lute but she knows it could never happen and it eats her up inside. maybe during one of the executions she sees a brothel and thinks it could be a way to release some of her pent up sexual frustrations. she visits the brothels in hell on occasion (assuming she could find a way to sneak down there using the execution portal or whatever) and sleeps with the women. at first she only saw them as a way to let off steam, but eventually she starts seeing the sinners she sleeps with as people who she actually likes. she spends some time after her sessions talking with them and getting to know them and she starts to empathize with them. she even starts talking to sinners who aren't prostitutes and befriends a few of them. she starts feeling less and less enthusiastic about the executions, and instead of refusing to kill a random kid, it's one of the prostitutes that she refuses to kill (i imagine that she doesn't wear her exorcist armor when visiting hell so the sinners don't recognize her during the executions. he wings could just be hidden or something) when lute sees this, she demands that vaggie explain herself, and vaggie tells her everything, even about her crush on lute. and that's when lute decides to banish her and cut off her wings, telling her that she's filthy and that if she loves her sinner whores so much she can spend all of eternity with them.

If you don't want heaven to be homophobic, you can just go the route of lute being vaggie's abusive gf, and instead of vaggie seeking out prostitutes due to her repressed sexuality, she does it to find some intimacy outside of her abusive relationship and as a way to regain some control in her sex life. she realizes that despite being sinners, the prostitutes are much nicer to her than lute ever was, and when lute finds out she banishes vaggie out of jealousy and feeling betrayed (i like this version better tbh. not that i want to ship vaggie and lute, i just think it would make for an interesting story)

After being banished, she struggles to adjust to hell. She's angry and distraught about what happened to her and she just wants to go back. when she hears about the hotel, she thinks it could be her ticket home and decides to check it out, and that's when she meets charlie! charlie is so much different than lute. she has so much power as the princess of hell, but she never uses that power to hurt people. she treats vaggie better than anyone has before and vaggie gets a taste of the happy relationship she's always wanted, but she's scared to commit because she afraid that charlie could end up abusing her, too. she's a demon after all, and lute told her demons are violent and dangerous. but as time goes on, she loses her fear and comes to love charlie, but they don't end up together until after vaggie reconciles for her betrayal. charlie was heartbroken by all the lies vaggie to old her, but when she learns about how lute treated her she comes to understand why vaggie did what she did. it's not an excuse, but it's a path towards forgiveness, and charlie wants to help her and show her that there's a beautiful world full of love waiting for her. she doesn't have to be afraid anymore, because charlie won't let anyone hurt her again. maybe there can be a point in the battle with the exorcists where lute continues to try to manipulate vaggie and charlie stands up for her! like she should have done with val!

This could also create such a nice dynamic between angel dust and vaggie! vaggie hates angel dust at first due to either internalized homophobia or her blaming sex workers for what happened to her. then when she finds out about how val treats him, she relates it back to how lute treated her and they find common ground. maybe vaggie could have been the one to sing "loser baby" with him!!! and it would've worked so much better because she actually had experience with abuse and it would have come across as actual solidarity instead of "get over it loser" it doesn't have to be a romantic song, it can be a song between friends! maybe she doesn't tell angel dust that she's a former executioner at this point, but she says she's been abused in the past. she says that she got out of it in a really horrible way, but she's in a better place now and she knows there's a better place for him, too. and then when it's revealed that vaggie was an angel, angel dust confronts her and thinks she lied to him about everything, but she tells him about her relationship with lute and angel dust sympathizes with her, relating it back to val. she says that she was spying on hell because despite how horrible lute was, she wanted her back, and angel dust reasponds with "if i had escaped from val, i think a part of me would want him back, too" because it's common for victims to want to go back to their abusers. maybe angel dust could have been the first one to give her a second chance as someone who knows how abuse can lead to someone to do desperate things.

Don't get me wrong, it would've been horrible for vaggie to sleep with people while hiding the fact that she's one of the exorcists out to kill them, and giving the exorcist an advantage by spying on them while maintaining a "false" friendship with the sinners would be bad. but those are flaws that she would actually have to work on and get better! and maybe not everyone would forgive her, but she tries her best to be a better person! like an actual character arc!!!

dammit now I'm thinking about how we could have had such good gay/lesbian solidarity with angel dust and vaggie and now I'm sad. oh what could have been.... sorry this got longer than i expected i just think there was so much more HH could have done with vaggie overall and especially with her being a fallen angel. she could've had an actual dynamic with adam and lute! and lute could've had more depth and motivation outside of just being adam's pick-me girl! now i kind of wanna make this into its own thing... maybe not a HH rewrite but i wanna do something with this idea cuz i actually really like it. maybe I'll make some OCs? idk. thanks for listening!

The drama, the intrigue! The twists and turns! This is what we could have gotten if Hazbin belonged to a real writer, and of course it doesn't so we never will.

[serial-serializednovelreader]

Nova’s Notes - DD - May 8th

That’s right, I’m deciding to give my thoughts a cheesy name because why not (also it’s late oops).

So this may be one of my favorite entires of the entire book. My first go-around it was for the mirror-yeet scene (because that’s iconic) and Dracula being The Housekeeper of all timeTM, but now it’s also one of my favorites because of how much we learn about Jonathan.

They say you learn the most about a person when they’re in crisis mode, and while I don’t always think that’s true, Stoker definitely wanted to let Jonathan’s personality shine through here.

From the first passage, he’s literally guessed that Dracula is undead. “I fear I am the only living soul here.” Sure, he might mean that he’s the only present soul, if Dracula’s left the building, but since he describes the mirror yeeting scene right after…idk, I’d like to think he knows way more than we ever gave him credit for. “Clueless Jonathan” who? Is the clueless in the room with us?

Also going back to the first sentence where he describes worrying he was getting too wordy, but now being glad he did…oof. I feel for him here. If my theory is correct that he was initially writing in a more detailed way for Mina so he could remember his travels for later…I’m sure it’s hitting him now that while it may be saving his life that he’s more detailed, it’s so twisted that something he did as a note of affection has soured. I wonder if he’s thinking about how he may never get out of this, or if that hasn’t fully hit him yet.

Moving on to everyone’s favorite mirror-yeet scene, think about how Jonathan reacts when he’s caught off guard by Dracula because he didn’t see his reflection. How would most protagonists react? Probably laugh nervously and brush it off. Attribute it to some mistake on his part, which is exactly what Jonathan does *at first*. But after, he looks at Dracula and then looks back at the mirror to confirm his suspicions are correct, which they are. It’s an interesting moment and not one I think we see often at the beginning of a horror story (I don’t consume much horror though, so correct me if I’m wrong!). Usually, a character won’t get to this level of observation until towards the middle/end, when more supernatural elements have occurred. Jonathan may have second guessed his instincts, but checking them again is what makes him more likely to survive Castle Dracula.

Plus, when Dracula makes a move to attack him, his first instinct is to dodge the attack, showing that he’s not just going to freeze up at the first sign of trouble (which I want to emphasize isn’t a problem normally, but he is dealing with a thousands-of-years-old vampire…so, he has to be quick on his feet to survive).

Afterwards, he says he is annoyed at losing his mirror rather than disturbed, but I saw another post saying he’s repressing his panic as annoying (I’ll link it if I find it again) and I definitely think that’s true!! I can totally see that as his coping mechanism. Plus, compared to the rest of what happens for him today, it really is more of an annoyance than anything else. Would you rather your host throw away your mirror or lock you in a castle?

So after that horrific scene of terror, Jonathan is proactive in searching the castle. After finding a beautiful — but slightly horrifying landscape (you know it’s bad when he doesn’t stop to describe the view) — he decides to explore further, which leads him to figure out almost every other door is locked, including the front one to find, yep you guessed it…he’s a prisoner in the castle.

As I imagine most people would, at first he reacts by frantically running around trying to open locked doors like “a rat does in a trap.” The fact that he admits this in his diary (and, by extension to Mina/us) is admirable because it already shows he’s not afraid to be open about his emotions, even if it makes him look weak (which — unfortunately, he would, considering the time period). Most heroes of this period were expected to accept their fates with stoic determination, but that’s not human and that’s not how Jonathan is, either. We’ve already seen that he’s more open-minded than most English men by accepting the crucifix even if he doesn’t understand it and of course the way he shows his love for Mina is atypical for Victorian men as well. Most men wouldn’t go to the trouble of writing down descriptive notes just to recount it for the benefit of his fiancée later. It’s sad, but true.

Once he’s able to regulate himself a bit, it’s time for thinking and strategy, determining that he needs all of his wits to get through this! Once he sees that the Count does the cooking AND the cleaning, though, is when my love for Jonathan reaches an all-time high. He comes to a series of conclusions most protagonists don’t figure out until the end of a novel after way more obvious clues have been laid out for him and it’s only his 3rd day of being in the castle!! They go as follows:

A) Dracula = servants

B) Dracula = driver

C) Dracula = control wolves

D) Villager’s concern/gifts = this is worse than I thought

E) Crucifix = actual help?

F) Get Dracula to talk about himself (not hard) = find more information, but not in an obvious way

I also love that he questions his own biases about the crucifix he was given!!!! When else do you see an Englishman do that in the 1890s of his own volition (aka without someone snarkily telling him to - see BBC’s Dracula if you want an example). I certainly haven’t!

He also noticed that Drac talked about his “ancestors” as if he had been present for their battles (hmm wonder why that is). Hasn’t quite figured it out yet, but there’s evidence that he doesn’t write something down as a fact until he knows it is a fact, so perhaps we’ll see him write more on this later.

Final thought - his reference to Arabian Nights and Hamlet is significant and tragic, but also relatable. I too like to relate my life to my favorite blorbos, Jonathan!

All in all, we learned that Jonathan is very good in a crisis. He’s not stoic like most protagonists of his time period, but he is instead strategic and observant, willing to play the part of oblivious to keep himself alive another day and keep Dracula’s trust. This is likely what’s keeping him alive right now, as an aggressive approach would get him killed. Dracula is all about playing with his prey and keeping the illusion of benevolent host and willing guest — it’s a game of control for him. Breaking this game would mean it’s no fun and no fun would mean Jonathan is no longer needed….

While I know how this story goes, I’m as excited as first time readers to see how Jonathan plays what is, essentially, 4D chess with Dracula!

[boyfridged]

in your fic “paint it over” is that how you imagine jason making it out of the explosion at the end of utrh? not exactly the events that follow, but the preferable characterization of bruce digging jay out of the rubble and carrying him to help. and how do you think jason made it out canonically (without the help of bruce) also!!! what are your thoughts on the specifics of jason’s scar and how he’d behave toward it. i liked the part of your fic where jason was temporarily unable to speak due to the trauma his neck received. i think the scar is something that rests on the junction of his shoulder/neck, and that can be hidden with whatever clothes he wears -> no one knows he has it (or how he got it) either. i like to imagine while bruce knows his batarang made contact with jason’s throat it’s never fully registered to him that it scarred until he sees it for himself (and while i believe bruce would turn the moment in head over and over again until it’s engraved in his brain, his delayed realization—to me—is due to his repression of the occurrence)

oh i adore this whole ask. some of it i explained in my notes, but this fanfic is quite dear to me, so i will elaborate.

short answer to whether this is how i imagine jay making it out of the explosion: not exactly?

the premise that i wanted to explore with paint it over is almost the opposite of a fix-it, and definitely not what i believe it should be in canon.

what i wished to explore there is, however, the part of utrh that is perhaps the most shocking to many readers: that bruce leaves jason to die.

in-universe, i think the answer why it happens is surprisingly simple enough: bruce does not come because he is just... not there. my understanding is, that in a way, the events of under the red hood did not happen. there is nothing to follow. that purple mist in the finale of the utrh, that is often read as a force resurrecting jason (not technically wrong, either)- i believe that is the timeline already rewriting itself, making the whole story into something that was not.

and the reason for the above is the infinite crisis. if i'm not wrong, it's also the inifinite crisis miniseries where bruce meets dick right after the explosions in (or of) bludhaven-- that in batman clearly happens in the background of his confrontation with jay. however, in infinite crisis (#4, just checked it now), bruce tells dick: "i wanted to make sure...you're alright... i was in new york when it hit. got here as soon as i could." which could be a lie or a matter of the editorial not being synced enough- but i'm willing to give them a benefit of the doubt given how it ties with that sudden, stunted ending of utrh.

this makes sense for canon for several reasons. in the animated movie, since it spares us the infinite crisis tie-in, bruce says of the whole incident: this changes nothing. it changes nothing because although aditf isn't, utrh is a tragedy; it changes nothing because since his death, jason is necessarily always pushed at the peripheries of the narrative, no matter how much the fate itself tries to fix it, becoming a tragic footnote. the dead have one right and it's the right to remain silent. and that is ironically ensured on a cosmic level, with his violent attempt at being seen hidden in the folds of the timeline. you can also see it clearly in canon -- i believe it was not until the infinite frontier that the events of utrh got just tangentially mentioned (before that, even lobdell barely touched upon it). other than that, they have no consequences; they are barely ever spoken of; they seem to slip out even from jay's solo comics.

this move was necessary for batman, as a character and as a title: let's say bruce does hold red hood as he does in the alt cover of annual 25 (and the cover of the deluxe edition of utrh.) that would implore a reckoning with his failure and his (suddenly non-productive) grief that would either reconstruct the whole myth or lead to some terrifying implications. these terrifying implications are, essentially, what paint it over is about. it's about the worst happening and about there being no way back from it. and jason, in receiving what he wanted (his father's love and care) wants to deny that reality. they both want to. yet even jay cannot ignore it completely -- and i chose to use the batarang injury to emphasize it.

and about the scar: i mentioned it briefly before, but in the au jason aggravates the wounds on purpose, hence it will scar worse and cause long-term issues for his voice. it's a theme i also keep in some of my other stories (to come...) and i very much think this is what would happen in canon if he had to take care of that injury. yet as it healed, i believe he'd take to hiding it, mostly. still, as it stands, my primary take might be that in canon (if it was to follow the interference into the timeline from the crisis at least) jason would simply end up with no scar at all, and only memories for evidence of what happened, which is perhaps worse for him too (but of course better for bruce. and as it happens, this is bruce wayne's story and everyone else is just living in it- or dies in it- for better or worse. and if we're ignoring that metaphysical timeline bullshit, as you said, i believe bruce would repress it all anyway.)

[extasiswings]

Hi! If buddie does go canon, I was wondering how you think the show will address buck's journey with his sexuality? I feel like a lot of the time, the fandom focuses on eddie's journey and his repression/coming out, and buck doesn't really get those same discussions. A lot of people just act like buck is already out or has dated men (especially in fic), but the show has never indicated that. Maybe he has been with men and the show could explore past biphobia or maybe buck has never considered it before and that leads to some kind of crisis.

Frankly, I don’t think the show is addressing either Buck or Eddie’s sexualities (at least not in an expected way) and I not only don’t think it’s necessary, I wouldn’t want them to. Because it’s something that is so sensitive and complex and so easy to do badly, especially in the context of an ensemble show in a visual medium. I recognize that a lot of people seem to think Eddie’s arc is some sort of “coming out” arc (in a very traditional sense), but I have a very different read on it—that while they are absolutely queercoding the shit out of this narrative, the point is not about the specifics of his sexuality but rather a journey about reimagining what is possible/stepping out of the narrow box of heteronormative assumptions recognizing that life, family, and especially love are allowed to look very different from what you were taught they had to be. And while Buck’s arc is less loud about it, those ideas are still there—for both of them, this journey is about missing the obvious options that are right under your nose because your own biases and assumptions about what the world has to look like have prevented you from seeing them.

There’s a reason why Eddie’s arc, in my opinion, has been less about the gender of the person he’s dating (because honestly I think he would have the same issues with dating if he were dating men) but about the fact that there is someone specific that he’s in love with already (Buck). And Buck’s is the same. Both of them are on paths of reckoning with their past relationships and the mistakes they made in those relationships and the ways they were hurt by them—Eddie has a lot of work to do letting go of Shannon in particular, who the show has always been explicit was his first love, and whose loss massively fucked him up—and once they can do that then they’ll be in a position where they’re ready to be together. But I don’t expect the show to label either of them or to address their sexualities at all beyond the fact that they’re in love with each other and have built a life together because the story they’re crafting is much more nuanced than that. And on an overarching narrative meta level, one of the things the show seems to be doing within these broader themes of questioning assumptions and reimagining what the world can look like, is challenging the audience to do the same, to think bigger, to imagine more, to look at where our blind spots are and why we’re limiting the scope of what we’re willing to see as possible. It’s one of the reasons I don’t buy the argument that Buddie canon can’t happen yet because neither of them have “come out” on screen—queer narratives in real life are not nearly so limiting and when we’re in territory like this, something that has never happened on television, the idea that they are required to follow some sort of heavy-handed and constrained script to cater to the lowest common denominator of straight members of the general audience instead of just letting this be a love story that they can tell like any other love story strikes me as a flawed assumption based in the limitations of our own imaginations.

Anyway, all that to say, there is a place for coming out narratives and stories about characters struggling with their sexualities or having some form of sexuality crisis and stories about queer characters facing oppression. But in 2023, I think we should accept that those are not the only stories that can be told and, in fact, that we as queer people should be allowed to expect and demand more from our stories. And while I could be wrong, I think the love story they are telling right now with this show gets that.

[Edit: to be clear, I’m not saying that sexuality isn’t important or that Buck and Eddie’s sexualities aren’t separate and individual things—Eddie is not “Bucksexual” (ew), he is queer—but that a mainstream network procedural may not necessarily have the bandwidth to address the full complex realities of sexual fluidity and how sexualities can change over time etc and I think it makes sense to explore those things in fic rather than expecting the show to try and do something the medium isn’t necessarily conducive to]

[boldlygreatsuit]

Why I love one-sided radiostatic

Before I start this little rant I must disclose that I’m aroace (so please know that this isn’t me trying to erase his orientation and present asexually as a problem, this is me trying to explore these complex and flawed characters) and so naturally I love the representation of alastor also being aroace so maybe me shipping radiostatic is a little hypocritical of me but I can’t help but love the story and tragic character exploration behind it.

Personally I like to believe that Alastor GENUINELY loved Vox, just not in the way he wanted. (They had some kind of queer platonic relationship but Vox wanted more and Al felt uncomfortable) And I think it killed Alastor to hurt his closest friend so much when he turned him down, I’ve been through something similar with an old friend I used to have. I know what’s it like so maybe I’m projecting onto Al but ehhhh.

It’s easy to just paint alastor and a evil psychopathic serial killer, a cannibal, and sadist, who loves torturing and tormenting people, don’t get me wrong, he is all those things but don’t forget he’s also human, he still has emotions no matter how much he represses them for the sake of his pride, reputation and self preservation. I could totally see him struggling to understand why’s he’s different and just brushing it off, after all, it’s never been an issue before now. He never had many close friends, nobody he’d ever be interested in pursuing. And now the person he loves the most wants him and he cant bring himself to want him back no matter how much he wants too.

I like the idea that Alastor wants to want him so much but he just can’t and it absolutely destroys him. He feels guilty and ashamed that he cant reciprocate Voxs feeling towards him (remember he’s from the 1930s, I doubt he knows what the LGTB is, let alone asexually so he’s probably under the impression that’s he’s broken in some regard. He probably never gave romantic and sex much thought, assuming that he would start feeling something eventually but nothing ever happened). While Vox just cant understand why he doesn’t like him back and keeps trying and it creates an uncomfortable situation for both of them.

I think radiostatic can be so tragic, they both love each other but in different ways and it tears them apart and they lose their closest friend due to it. Which ends up with them both bitter, raw and angry. Both blaming each other outwardly (Vox hating that Alastor rejected him while Alastor is upset that Vox went and caught feelings, complicating their perfectly platonic relationship) but internally hating themselves (Vox thinks he did something wrong to scare alastor away while Alastor hates that he couldn’t feel the same way).

I know Alastor is a very prideful person but I think behind closed doors his incredibly sentimental, after all, he’s pretty much a snapshot of the 1930s and he doesn’t seem to happy about change. So I could just imagine him up at night staring at the ceiling struggling with what he could do, whether or not, he should just lie to keep Vox happy and enter a relationship He does not want to be in so he can avoid losing his best friend (but also risk leading him on); or he turns him down and is honest with himself, not forcing himself into a relationship he doesn’t want but irreversibly hurting Vox in the process, and also risking losing Vox forever.

This could also create an interesting situation where Alastor agrees to date Vox and really tries to love him, hoping that maybe he’ll start feeling something eventually or at least get used to it. Of course this doesn’t really work and just creates resentment and pent-up emotions. Due to lying to Vox about wanting him and digging himself into this hole and the longer he stays the harder it is to leave without hurting Vox, this could lead to a messy breakup when Al just cant take it anymore and leaves.

I think “never love an anchor” and “tongue and teeth” are such perfect songs to encapsulate this kind of situation, the guilt and remorse but also the inevitability and hopelessness of it, the knowledge that there ISNT a right answer, no fairytale ending, this isn’t something to be overcome only accepted, and no matter what is done someone gets hurt severely and the only question is who and by how much. 

I want to see a Alastor and Vox confrontation where we see how upset they are and how they’re equally heartbroken. Al for the first time shows actual vulnerability as he’s expressing his self loathing and guilt towards his choices but even so he stands by them and tries to defend them. He hates that he did what he did but there wasn’t another option for him and he didnt know what to do.

They both struggle with their emotions but also their pride and respective personas, not wanting to put aside their pride and admit their own shortcomings and guilt, and be genuinely honest and vulnerable with each other. They want to comfort the other but they’re just at a point where they don’t know if they could, if it would make it worse. they both still love each so so so much (in different ways) but it’s all wrapped up in fear, resentment, guilt and heartbreak which complicates things.

Ngl the best outcome is these two going to therapy, probably Charlie, and actually learn how to communicate.

[goosewriting]

You, me and the apocalypse (rottmnt Leo x reader)

summary: after Cassandra’s death, you’re left with a kid to take care of

relationship: future Rise!Leo x GN reader (established)

warnings: mentions of character deaths (yes plural), lots of angst, mainly just internal monologue really, comfort at the end

word count: 2320

A/N: i have no idea what made me write this lmao but i guess i wanted to explore a bit how Leo and reader would feel about taking in Casey. maybe this has a potential for a part 2? 🤔

(english is not my first language. constructive criticism and grammar corrections are very appreciated!)

– – –

You stood in front of Cassandra’s improvised gravestone that you had just placed. It was more of a decently shaped piece of debris, really. Donnie had helped you carve her name and the date on it, followed by a “Mother, Friend and Badass Fighter”.

With the back of your sleeve you wiped away the sweat on your forehead which had accumulated from digging. Turning around your hand to get a dry part of the sleeve, you continued to wipe your face, but this time it was the tears running down your cheeks.

Cassandra had joined you, April and the turtles a couple of years after the invasion started. Up to that point you had no idea she even was alive. And to everyone’s surprise, she wasn’t alone: she had a kid. Casey Jr must have been around 7 years old when you met him. At first he was very shy but soon he opened up and you were intrigued by this little human, so full of life. It was such a contrast to everything around you.

There weren’t many kids around in the apocalypse, but every time you looked at Casey Jr you were reminded that there was still a reason worth fighting for; the next generation. You refused to believe that this was the end of humankind and Earth as you knew it.

In fact, it was only after Cassandra and her kid joined the rebellion that Leo started to use the phrase “Hope: a ninja’s greatest weapon”. So you knew he felt the same way about wanting to fight for those who will come after you. You talked about it with him quite often actually, making plans to take over Krang posts and stations until late into the night. And now one of your best fighters was gone, just like that.

You were quietly sniffling to yourself, processing everything, when you felt a gentle yet firm grip on your shoulder. Knowing who it was, you let the shovel you used on the makeshift gravestone fall from your hands to the ground and turned around to embrace Leo in a much needed hug. He placed his chin on your head and softly stroked your back in soothing circles.

He had gotten quite tall and big, so you couldn’t hug all the way around his shell like you used to. But being in his arms like this made you feel even safer than before, since your form was smaller than it used to in comparison. Oh how you missed the good old carefree days, when your worries consisted mostly of New York housing prices and finding good pizza for your turtle friends, and you didn’t have to think about surviving an alien invasion.

Somewhere in the far depths of your brain you heard the tiniest voice whisper to you. Lately, especially when things got very bad, it seemed to be a returning thought. It’s Leo’s fault, it taunted you. If he hadn’t lost the key to the Foot that day and listened to Raph, this wouldn't have happened.

You shook your head and smothered your cheek even tighter against Leo’s plastron. In your mind you imagined yourself catching this tiny thought, scurrying around like a bug, stuffing it into a jar you closed very tightly, and buried into the darkest, most far-off cabinet, drawer, or pile of repressed feelings you could find, hoping it would asphyxiate and perish once and for all. You hated yourself for thinking that he was to blame somehow, and you hated even more that you couldn’t get rid of that thought.

The first time it had crossed your mind was when you lost Raph. Every time you remembered how the red turtle would say he was the biggest brother so he had to protect his family, and how that was the very reason he died, your chest tightened with a stinging pain.

And now Cassandra was gone too, also protecting that which she loved most; her child. And in the process leaving him behind.

You pulled back slightly to look at Leo. He gave you a soft smile, as if to say “It will be okay, we’ll figure it out”. But in his eyes you could also see the pain. At least he seemed to be handling this loss far better than last time.

Raph’s death had shaken all of you to the core, but Leo did not know not know how to handle the grief. Thinking all of the responsibility (keeping you guys alive, leading the rebellion, defeating the Krang) now fell onto him, he never really gave himself the time to mourn his brother.

And then Splinter was gone. Leo started to shut out everyone. He didn’t just have a shell on his back, but also around his heart. Starting to leave you out of it as well in the process. Your turtle was becoming but a husk of whom he once was. It broke you seeing him like that, so you decided to finally confront him about it. You had to basically tie him down for that because he was clearly dealing with everything by not dealing with it. By then it had already been several months since Splinter’s passing. When he finally allowed himself to feel and process what had happened, you stayed awake with him the whole night, held him, as he sobbed and screamed into your lap.

April, Donnie and Mikey went through their grief in their own way, and you tried to support them to the best of your abilities. You smiled bitterly to yourself at the irony of how sometimes it is horrible things that knit people closer together.

And now here you stood, still in Leo’s arms, your gaze shifting past him to the boy standing a couple steps behind the turtle, hugging the skull-like mask that his mother used to wear. He was only 9 years old, born into a world of chaos and despair. His biological father wasn’t in the picture; in fact you didn’t even know who it was, but it didn’t matter. You had become a bit of an aunty/uncle figure to him, while Leo was more of a father figure really. Casey Jr (or rather just Casey, you internally corrected yourself, as he’s the only Casey left), had always called him “Master Leonardo”. If younger Leo had heard that, his ego surely would have been through the roof. But the title was now humbling, reminding Leo of the responsibility he had for those that looked up to him. Not that he owed them anything. This wasn’t about boasting or showing off anymore; it was about being the best version of himself he could be, to live without “what if”s and “if only”s.

You let go of Leo and approached Casey, who was trying and failing to hold back his sobs. You crouched down, with one knee on the ground, to be on his eye-level. You stroked over his cheek, wiping away some tears with your thumb.

“It’s okay to cry” you spoke softly, trying not to cry yourself. “It’s okay to be sad, and scared. But remember you’re not alone, Casey. We’re here and we will take care of you, okay?” Your voice almost cracked at the end. You were trying really hard to choose the right words. How do you comfort a child in this situation?

Leo approached you both and stood next to you, also crouching down, and placed his hand carefully on Casey’s other shoulder. The boy clutched the mask even tighter, and started wailing. His sobs and cries filled the evening air, while Leo and you hugged him between you both, hoping to get the broken pieces back into place for this kid, who had a huge personality like his mother, and was always bright and optimistic. And in that very moment, even though he wasn’t your own son, you hoped with all your heart that you could be there with him and for him, and see him grow into the man you knew Leo would guide him to be.

— — —

That night Casey slept with Mikey. He was exhausted, so he fell asleep pretty quickly. Everyone said their good night’s and you headed to yours and Leo’s shared tent. He was sat outside of it, looking at the red mask tied to the handle of his sword. As you approached, Leo slid the weapon back into its sheath and placed it aside.

You helped him take off his prosthetic arm and also gently placed it to the side. With his other hand he massaged the nub and sighed; his arm was cut off just above where the elbow would be.

“How are you feeling?” you asked, sitting down next to him. Your eyes went over the view before you. In the distance you could see the Technodrome, with lights and explosions going off around it. The sound was faint since you were pretty far away, but ever-present. You leaned your head onto his good shoulder, to which he wrapped his arm around you.

“I’m holding up. What about you?” he replied, looking down at your tired eyes. Turning your face to look up at him, you took in a deep breath, held it for a moment, and let it out in a sigh.

“Worried, mostly. For the kid.”

“He’ll be fine. He’ll learn, just like we did.”

At that you silently scoffed. He gave you a questioning look.

“It shouldn't be like this”, you started. “It never should have been like this. Kids should be in school, pranking their siblings, having snowball fights and throwing tantrums because they don’t want to nap. They shouldn't be seeing all of… this” you gestured to the alien battleship in the distance. “around them, learning that this is ‘normal’.”

“You know I agree with you.” Leo said, removing his hand from around you to bring it up to your face. He gently stroked your cheek with his knuckles, over your temple and ended up fully cupping your cheek. You saw his other arm slightly shift forward; you weren’t sure if it was for balance or because he meant to hold your face with both hands, if he still had them. “But there’s nothing we can do now. You know I wish we had a second chance at all of this. Of course there’s things I wish I had done differently, but stressing over it won’t bring me or you anywhere. The only thing we can do is look into the future and try to make the best of it.”

You placed your hand over his at your cheek, and leaned into his touch. “I know…” you muttered.

“Besides” he added and guided you to sit on his lap, straddling him. “There actually is something good in all of this. One of my biggest wishes did come true, even though not exactly how I pictured it.”

You placed your arms around his shoulders and looked curiously at him. “And what is that?” you asked, to which he smirked.

“I wanted to have you by my side, and form a family of our own. I was thinking more along the lines of a dog, maybe a parrot, or a couple of cats, but I think a ‘sort of adopted’ kid also counts, don’t you think?” Leo looked at you full of love, snaking his arm around your waist.

His comment made you blush and a swarm of butterflies made itself noticeable at the pit of your stomach. You loved that even though you had been together for so long and the world around was looking pretty bleak, he could still make you feel like you had a teenage crush on him. You were still head over heels for him, sure, but sometimes you missed the childish banter, comments and lame one-liners he used to be the champion of. He still did all of that, just not as much, and not in front of the others. And it was rare to get a peaceful one-on-one moment in the apocalypse.

“You were considering getting a parrot?” you questioned, tilting your head.

“That’s the part you decided to focus on?” he laughed, but he could tell you were teasing him; your smile and rosy cheeks betrayed you.

You cupped his face. “The apocalypse would suck so much without you” you told him and leaned forward to kiss him. He reciprocated and held you tighter to his chest. You tilted your head lightly to deepen the kiss and tangled your hands into the blue strands of his bandana. The need for air made you break the kiss and you rested your forehead against his, both of you lightly panting.

A cold breeze blew over you, making you shiver. You both took this as a sign to get to bed. You climbed off of Leo and made your way into the tent. You took off your jacket and jeans, folded and carefully placed them to the side. Then you nestled into Leo’s chest, both lying facing each other. You used his injured arm as a pillow, and he pulled you close with his other arm. Under the covers you tangled your legs together.

You yawned and placed a kiss on his neck. In turn he kissed the top of your head, mumbling a “G’night” into your hair.

Your mind replayed several moments of the day, trying to drift off into sleep. You decided to skip the not so nice ones, ending up in the conversation you had earlier with Leo. Just as you were softly rolling into dreamland, his words echoed through your head: “I wish we had a second chance at this”. Maybe you could find a way. But that was a problem to solve tomorrow. Right now you simply enjoyed being in Leo’s arms, listening to his steady breathing. That night you dreamt of New York pizza, Cassandra, and a parrot.

[homosexualtransexual]

okay i was thinking about this meme earlier and it really ground my gears bc its like... not true?

like first of all ik this is a little hyperbole and Not Exact but i still wanna talk about it a lil.

so like first of all the concept art i think this is based off is very early when elsa was the villain and looked a lot different to anna and anna looked the same but her silhouette was different

and it does look cool and i do love it but this doesn't fit the direction the film went it so they changed it.

and you wanna know what much later concept art looked like?

kinda exactly like the film. bc the concept art changes. and its the same for other disney films.

here's some tarzan early concept art vs the later ones

the beast looks like a completely different species here than the completely different species he is in the later ones.

and like ik the frozen one is more dramatic of a change but the point is they all change for reasons and so does the plot and the actors and the script and everything changes.

but also like idk if Frozen is the film you wanna go for when you're talking about boring character design. so lets go through elsa and anna's journeys (just frozen 1 bc its 3am and im tired i just can't sleep until i finish this rant).

so the first time we see elsa and anna are at 7 and 5 years old respectively. as you can see, they both wear clothes simmilar to clothes theyre gonna wear later in the film. elsas clothes, hair, and colour scheme are very similar to what she transforms into at the end of let it go: hair braided and a very simple light blue dress. anna's look reflects her at elsa's coronation: a green dress with her hair tied back.

if we look at elsa at her coronation, it's very different from what she wears from the rest of the film. it's still got shades of blue, but they're all much darker and it contains 2 colours she will never wear again in the enterity of the franchise, let alone the film: black and purple. it's also the only time that she wears something that covers her from neck to toe. in addition, her hair is pinned up. to me this represents her repression of her power at the fear that she can't use them or she'll hurt someone or worse: anna.

lets move on to what anna wears at the coronation. its like a final evolution of the same dress she's been wearing the whole time. this shows that she hasn't really had to repress and can continue being her true self at the coronation. im gonna move on quickly because theres something more exciting that happens to anna's look very quickly

SHE'S WEARING A MORE CORMFORTABLE AND SLIGHTLY BLUER VERSION OF ELSA'S CORONATION DRESS! AHHH I LOVE THIS DESIGN SO MUCH EVEN HER HAIR IS DOWN HOW CAN ANYONE HATE THIS FILM'S CHARACTER DESIGN.

okay lemme calm down

its like a tactic when you're finding someone to ask yourself "what what they do?" you put yourself in their shoes and try and see things from their point of view. anyways anna is doing that with her clothes and its might be my favourite costume from the films? she wants to find elsa and help her and isn't scared of elsa even so much that she wants to be her. it's just so good. anyways moving on

THIS iconic masterpiece. what the discourse is all about. like obviously it's less extravagant than the concept art but first of all the details? the snowflakes coming up from the dress? my girl just learned how to make dresses and already made a masterpiece with ICE! but then also this is representing her being someone who she couldn't have been since she was 7! imagine that! having to repress who you are, not being able to explore yourself and your abilities because you're scared it could hurt someone. and if elsa wasn't taught to be scared of her powers she wouldnt have tried to push anna way and freezing her heart and i just went far off topic.

but anyways this is like kinda why i hate this discourse bc yeah the original wouldve looked cooler but cooler doesnt mean better for the film and i also might have a small special interest in frozen who knows

[nomsfaultau]

What would you say is your favorite part/scene of fault, also what do you imagine Red to taste like?

For one, Red’s texture would be kinda awful. Like thick water that prefers to clump to itself in tendrils. I imagine Tommy misses forks a lot. Red tastes slightly salty and a little bit metallic. Since it basically magically floods the amygdala in order to produce a flight or fight response, I functionally compare it to adrenaline, which can result in a metallic taste in one’s mouth. The salt is since Red is also kinda analogous to sweat. Ew. Potential other flavors when he’s super duper stressed include bitter (adrenaline concentrations) and sulfur (fear sweat). Tommy would not be delicious if he was having a panic attack that’s for sure.

And ahhhhhhh favorite scenes! Such a tough one! I’ll break it up by character bc I’m not getting anywhere else wise:

Tommy: Ember. The scene where Tommy fights against his touch starvation in order to finally let go of his toxic relationship with Philza. When Philza’s affectionate touch begins to burn him and Tommy finally recoils. Just…recognizing that his desperation has led him to ignore so much and finally learns how to stop blaming himself for everyone. Even if Tommy was acting on misinformation, getting Philza off a pedestal was still huge. Philza: Malachite. When he returns to his Collected in full dragon mode. Something just hits me about a massive dragon being guided home by tiny bees. The beauty of him but also the sheer destructive force. And the pure uncertainty of it, if Philza even remembers his loved ones at all. The terror of not only the heart break if he doesn’t, but also the possibility that such a powerful destructive creature could slaughter his children and not even notice. Tommy’s swirl of gut wrenching emotions and awful hope as he’s face to face with a massive dragon, only to get licked. One of my favorite cliff hangers tbh. Also the entire amnestic arc is such a fun way to explore different facets of Philza after he haunted the narrative for ages. The Blade: Unfortunately most of his coolest scenes haven’t been posted yet. But I do adore the fight scene in Alabaster where The Blade is having this epic show down with the organ house (creature pulled straight from my nightmares). He caused the problem by trying to take care of his friends, and he’ll solve it using exactly that. Very good indicator of the larger problems he faces. Also the fact he’s doing a Cool Fight Scene…while his mane is in braids, his hooves are covered in nail polish, and ‘Tommy wuz here’ is plastered on a tusk. The Blade can just get silly with it in a way the others can’t sometimes, and it’s refreshing to have the most chill functional guy be the one with bloodthirsty voices. The Blade makes the active choice to be far less edgy than he could be, and I adore him for that.

Wilbur: Midnight. It’s such a small scene, but the moment where Wilbur is out stealing food and he comes across a pet dog. I think it perfectly encapsulates the warring tension inside Wilbur between his pure survivalist mindset and his softer side. I like the way he refuses to let himself admit what he’s doing as Wilbur tries to forget everything that happened in the Foundation, which simultaneously leaves the reader in suspense for what he’s doing as he inches his knife closer to the dog’s throat. And that last line that suddenly says so, so much about the memories Wilbur is repressing: Wilbur really, really did not like shock collars. Perfect amount of building suspense to an answer that only creates far more urgent questions it refuses to address.

Tubbo: Old Gauze. Might be recency bias, but I just love when Tubbo decides to start screaming at Philza in the middle of the woods. It really encapsulates some of Tubbos’ glaring predjudices but also the flaws in Philza’s simplistic morality system (or lack thereof). Tubbo has a lot of unhealthy beliefs about hatred, guilt, and empathy. Plus the utter hypocrisy of saying Philza has no empathy while actively dehumanizing Philza…delicious. I think in stories with a moral of ‘killing people bad :(‘ it becomes really easy to make the pacifist character the unequivocally good guy. And I want Tubbo to be just as messy and flawed as everyone else. (Also really like the tiny scene in Atramentous where Tubbo starts disassociating about proper tree trimming techniques while their house is literally being invaded by Foundation soldiers.)

Though really any scene where I get to mash different character’s moral philosophies against one another like a kid with action figures automatically gets a lot of my love. I imagine readers probably have vastly different favorite scenes than I, given some of them are tiny in the grand scheme of things. Feel free to share parts that made you unhinged.

[sixty-silver-wishes]

okay so like. because I live for angst, I would love to write a "caligari" fanfiction that would explore the aftermath of the events of the film and its effects on francis and jane's friendship, provided we ignore the asylum ending.

so like. I think alan was the "glue" of their friend group. but now that he's dead, I think the other two would have a really difficult time coping. at first, once they found out alan was murdered, they thought they could rely on each other- jane could trust that francis would figure out what was going on, and francis relied on jane for grounding and emotional support. but that all changed after the night jane was kidnapped.

in the film, as soon as jane woke up screaming that cesare had dragged her out the window, francis immediately told her that he didn't believe her, because he had mistaken the dummy in caligari's caravan for cesare. she was reasonably angry with him, and even her father looked upset with francis. and like. that's got to be incredibly painful. one of your close friends dies, you get kidnapped and pass out, and then your remaining friend instantly tells you he doesn't believe you about what happened?? how would both of them deal with that?

I'd imagine that once francis found out about the dummy, he'd feel awful. he's a loyal friend, and I think his first thought once he saw the thing would be how much he'd hurt jane. but she wouldn't want to talk to him- at least, not for a while. what would she even say, after everything that had happened? and yet, with alan gone, they only have each other now. but as much as they'd want to talk, to have everything go back to normal again, they wouldn't be able to face each other. and when they finally do, they find that neither of them are handling their grief well.

francis grows increasingly paranoid. he's lost one friend, and he nearly lost the other. he loved both of them, but without alan, his feelings for jane only get harder to process. he's overprotective, fearing she could be hurt in any way. he puts her on a pedestal, because he's so desperate not to lose her. and he knows that isn't what she wants, but if he doesn't try to protect her, if he lets his guard down for a second, then what could happen?

meanwhile, jane's been taught to repress all her emotions, and so that's what she does. but she begins to resent the way francis treats her, as she feels he sees her more like an idol and less like a friend. and she needs a friend now more than ever. she's only become more isolated since that night, and is beginning to feel crushed by the attention of everyone in town and the expectations to perform gentility from her parents, who have only gotten more sheltering. she's angry, but she's been taught not to be angry, so she buries everything under a cold surface, resigning herself to a future she doesn't want. she just wants francis not to look at her, but to see her, because they used to trust each other. if she told him how she felt, then maybe he'd listen, but she's not supposed to be angry. so she doesn't say anything.

they still depend on each other, but they want very different, conflicting things. francis becomes so overbearing in his desperation not to lose jane that she would push him away, but she doesn't, because she's so desperate not to lose him, too. they're hurt and angry and scared and they're all they have left.

[darklordgorblax]

Why does Mass Effect hate Gay Men?

So, I know I'm pretty late to the party, and plenty of people have said it better, but I've finally been getting around to playing the Mass Effect games, and I can't sleep until I get this out there. Also, apologies that I'm all over the place. It all just adds up, you know?

Disclaimer: There is a lot to really like about Mass Effect. This isn't a review, just an attempt to voice a frustration.

Where to start? I first played Mass Effect in ~2010. I was in college, and still very repressed pretending that homosexuality is totally a choice. Like most people, I imagine, I really appreciated the way that I could tailor Shepherd to my vision. He wasn't a blank slate self-insert, but had just enough flexibility that it was really easy to slip into that skin and imagine I was a badass commander out saving the galaxy.

Then the end happened and Ashley raped me. Obviously with Shepherd it was consensual, but for me identifying and connecting with Shepherd it felt deeply violating. I was leaning heavily into Paragon, and genuinely thought I was just being a good nice person. I had hardly ever spoken with Ashley, and I didn't think I had said anything particularly suggestive that was the direction I wanted to go. As a result I swore off everything Mass Effect for over a decade.

I've grown a lot since then. It's finally time to give it a fair shake. I still don't want any unpleasant surprises, so I did a bunch of research to figure out what I want to do about romance. Of course I ran into the same problem that every gay man playing Mass Effect runs into. Where are the m/m romance options? It's fine though. I decide I'm going to save myself for Gay Kaiden, and honestly it's very poignant. It's frustrating that it took 3 entire games to pay off, but even that worked into the character arc nicely.

So I played through the trilogy, hated the ending, but overall really appreciated the moments I got with Kaiden. It was pretty emotional for me too, just because it made me realize how much I needed that kind of representation. It was a catharsis to the trauma of being pushed into sleeping with Ashley a decade ago.

Moving on to Andromeda, there's still not nearly enough gay representation, but it's ok. I'm down with Gil. Then there was the scene that set off this spiral. Gil casually mentions that his only friend Jill gives him crap for being a gay genetic dead end. I tell him that's not cool, and he brushes it off. This is deeply uncomfortable, but maybe they salvage it. I have to know more.

End preamble, begin rant: Why does Mass Effect hate Gay Men?

What the ever living fuck. Gil's *entire* character ark is his "best friend" pressuring him into being her baby daddy. The first thing I had to know is who wrote this and are they gay. If they're gay themself, then maybe they're just speaking to personal experience that I happen to find distasteful and unrelatable. I couldn't find out much about the guy, but I suspect not.

So first - To straight writers writing gay characters: Just write them straight. Kaiden was written in such a way that it works either way, and it *works*. Yes, I want gay characters that deal with uniquely gay issues, but I don't trust you. To explore something as deeply personal and fraught as a gay man choosing whether or not to have children and how is not a plotline you just slap together. Just write them straight and then flip the pronouns and descriptors when appropriate.

But now I'm just gah! We've already established they're extremely lacking in the m/m romance options, but let's take a look. Gil and Cortez, the two exclusively gay men. Why are there no gay men party members? For fuck's sake! Every single exclusively gay (and lesbian?) romance option is confined to the ship. Just... I think you already know how fucked up that is, so I'm going to stop.

To move on to character arcs. I've seen people defend this, but frankly shove off. It's like these narratives' primary purpose is to make sure that everyone knows they're gay. It's show don't tell gone horribly, horribly wrong. You want to know how you show that a gay man is gay? Show them flirting with men. You don't need to consume the entire character arc showing how Cortez has a dead husband and Gil might not have children. I can cut Cortez some slack since dead spouse isn't a specifically gay arc, but even the way it's presented just puts way too much emphasis on the "husband" part.

But speaking of specifically gay character arcs... Maybe whether or not to have children isn't specifically to highlight that Gil is gay... Oh wait it totally is. This game is *loaded* with interspecies romances that will never have children. Why is the only relationship where this "problem" is highlighted the one for which it might be deeply traumatic?

I can't talk about interspecies romance without talking about the Asari. Perhaps it's the first problem, but for me it will have to be the last. I know it's been beaten to death, and scrutinized from every angle, but it's just so bad. In many ways the Asari are at the heart of the "Why does Mass Effect hate gay men" problem. A mono-gendered, naturally bisexual species that exists to fetishize lesbians for the benefit of a straight male audience. (Anyone who says they aren't technically female deserves to be punched in the face)

So with that I'll conclude: Bioware owes gay men big time for this travesty. Make a mono-gendered, naturally bisexual species that's coded as male. I dare you.

[ikamigami]

Some worrisome thoughts I have about S.A.M.S.' "Eclipse one wish" episode

Okay, so there is one thing I don't know anyone thought about (correct me if I'm wrong) and that's those lines which Sun said when him, Moon and Earth were talking to Eclipse: "You made him, technically..." and "he's my split conciousness" (not exactly) and "he grew into his own person from (my) repressed desires... I guess..." (he said something like that).

And then what Earth said: "oh that explains a lot of things then" (kinda something like that)... These lines (Sun's ones and Earth's (even more than Sun's)) have a lot of heavy implications for what might be explored later in the show (we're closer to May but it's still two months until July and you know what (July 16th)).

Where to start with this one? Hmm... Let's start with Sun's lines because I think the implication here is clear. Sun (as I thought for a long time) clearly thinks that Eclipse's behaviour stems from him more than from kill code (which is untrue, y'all can argue with this one but you won't change my mind on this one). Sun believes that it was his bad thoughts, feelings and desires that led to Eclipse's existence as he is now. Even if that's true Sun didn't know, wasn't aware of Eclipse's existence until the latter let himself be known. Sun was just simply repressing his darker thoughts and desires like many people with low self-esteem tend to do (and those who deal intrusive thoughts).

Then there is... Earth and oh boy... her line... it's a mess... I know what she meant by that and I know she meant well but... well... how do I say this... Sun definitely could agree with her... yeah... anyway! What Earth said then had (I think) much more impact on Sun than we've seen. It really was unfortunate. And I really think she should've keep that to herself.

It's not a diss on Earth btw. Sometimes everyone says something without second thought. Something which might be hurtful to someone else. In this case Earth unintentionally hurt Sun by accidentally admitting that what Sun had said... is true. That in fact Eclipse acts the way he acts because he comes from Sun's repressed desires etc. Even when we know what she meant was that explains some of Eclipse's characteristics, not that Sun made Eclipse that way. Earth definitely didn't mean that.

Unfortunately Sun definitely took it like that. Knowing his mental issues and struggles he's been through, he definitely thought exactly that. That Earth's words proves Sun's thoughts. And even if he didn't fully comprehend what've been told, it'll have disastrous consequences for his (already deteriorating) mental state. I have a feeling that all of this will come back to him, this realisation of how awful he is, near July 16th. At that day something will definitely happen... and it'll be something... that I'm really... afraid to imagine...

I'm not joking. I'm really afraid to what it all may leads. But I'm sure of one thing and that is that it won't end up good for Sun. Let's hope that Sun's story will have the happy ending though. Because at the end it'll definitely end with happy ending, right?

[asinide-ant]

What would a hypothetical Disco Elysium sequel even look like? There are too many ways for Harry to end up to play as him again -- he might not even be in the RCM. And what about his partners? Kim? Cuno? Either or neither of them can be in Precinct 41 when the credits roll. Besides, half of Disco Elysium was solving the mystery of Harrier Du Bois, not just the murder. It seems more likely that they’d go with a new protagonist, but I can’t imagine them pulling the same amnesiac angle. If they did, the reason would be very different, like maybe an injury from a shootout or fight above self-inflicted? Or maybe there are some repressed memories, a bit of PTSD, to give a similar experience of unlocking your own past. I see three main possibilities for how it could be done well, without the devs pulling the rug out and saying “Yeah this specific ending and set of criteria are canon and we aren’t exploring Harry’s psyche as much this time.” The prequel route: I’m not usually a big fan of prequels, but hear me out. A younger Kim Kitsuragi, fresh from his stint as Kimball, is put on his first case alongside a man who’d later come to be known as Eyes. You play as Eyes and go through a murder mystery, deciding who exactly Eyes is and was and what his relationship with Kim entailed. This could work, we get glimpses of Kim’s background throughout the game but never enough to form a full picture. We’d also get more Kim, which is a big plus, though being younger means he’d probably be less composed and put together. The last big benefit of this route is: If the player plays Eyes, and it being Disco Elysium he’s a weirdo with extreme political views and a volatile temperament, it could retroactively make Kim’s friendship with Harry more meaningful -- he sees his old partner in Harry, and maybe through Harry being a weirdo and doing his thing, Kim is helped to process his grief. The timeskip route: This one is a lot more open possibility wise, theoretically they could do anything if they had a timeskip and didn’t pick up right where the last game ended. The harbour strike could have escalated, been stomped out, turned to total war and destroyed Martinaise, anything, though it would progress the conflict either way. This still has the issue of so many characters left over, but a timeskip makes it easier to make the canon fuzzy and explains many of their absences (Kim is the captain at his precinct now, so it doesn’t matter if he came to 41 with Harry or he even liked him). It would open things up for a new cast and a new main pair, and lets the devs play with the pale and more apocalyptic elements of the plot more. The wild card route: NO RCM, NO CONNECTIONS TO THE PAST GAME, TOTALLY NEW SCENARIO WITH A TOTALLY NEW CAST DOING THEIR OWN THING ON THE OTHER SIDE OF THE WORLD. Personally I’d love a Disco Elysium game where you aren’t even members of the RCM, operating in an area it’s neglected, trying to solve a murder by yourself. Somehow, this approach seems the most likely, emphasising that Elysium is a setting with thousands of little stories happening at once, not just whatever this disaster lad and his crush are up to.

[tinytinybumblebee]

I like to imagine that before working on the revenge under Ed and Stede, Izzy's bouts of regression were a lot more private and repressed but due to the increase in stress of people not listening to him and of the unfamiliar environment it started becoming a lot more prevalent for him to start to feel fuzzy but he'd always pushed it back. Until one day he crashed

I love your writing so if you could explore any ideas of what mightve happened when he finally crashed that would be great 😭😭

Oh my goosh ;0;

Like, even on the Queen Anne, Izzy was definitely more likely to push back those fuzzy feelings of regression. Because he's apart of a scary group of pirates, Blackbeard's crew! But, at least then he was a right hand man so he had his own room to hide away when slipping and had leverage on the othe crewmates so he could just excuse his slipping for just, being more cranky.

But, before all that? When he was just another crewmate on some ragtime pirate crew? Oh gosh, poor guy keep it all bottled up.

Until he couldn't. Of course, he bunks with others, he doesn't have that luxury of privacy. Maybe after a raid that didn't go as good as it could had- and that's just another stress added onto the swordsman, one more that just didn't help him with the fuzzy feelings he had been feeling that day.

Unfortunately, this crew wasn't as understanding or nice when Izzy crashed into a smaller headspace ;×; so, that definitely just made Izzy hide that part of him even more💔

So much so that even when he was on the Revenge, Izzy held it all back. Even though he's seen other crewmates were tiny, he just has those yucky memories of being bullied/taunted by that crew yeeears back ;;

Izzy holds it all back but, eventually everything has it's breaking point.

And one day on the Revenge none of the crew are listening to him, they're not working on the task!! Izzy is just, stressed beyond belief and, he can feel that all too firmilar feeling in his chest. But he can't just leave to his room, he's been given his duties to over look the crew.

But, then, maybe one of the crewmates ( *cough* Lucius or Wee-John) start kinda teasing or being extra difficult to Izzy. And, Izzy just can't handle it anymore.

He yells at them but, not his regular angry yelling. His fist are balled up at his side, stomping his foot, tears filling and falling down his reddened face as he's unable to stop the tyke tantrum/frustrations from taking over :^0

The rest of the crew grow silent as they watch the swordsman crumbling up, hugging his arms around his chest tightly and sobbing- they feel that they've gone way way too far this time.

It's not long until the crew hear the quickened steps of the two captain's coming up to the deck (hearing Izzy yelling like that definitely always gets those two to see what's happening)

Ed clearly sees the sobbing man and sighs softly as he walks over to Izzy. Scooping him up and just silently walking away with the weepy Izzy, leaving the crew and Stede very confused.

Stede just, tells the crew to either continue their task or figure out what on earth they did to Izzy. And then Stede vanishes below deck to join Ed and Izzy.

The gentleman pirate knows a tiny one when he sees one. Izzy's hands are all balled up as he's rubbing at his teary eyes as Ed is trying to calm him down, which, isn't going all that well-

Stede sits besides them, giving Ed a 'let me try' nudge as Ed slides Izzy onto Stede's lap.

'My, such big emotions for such a little boy, yeah?"

Izzy whines, practically headbutting Stede's shoulder, but, doesn't move away when Stede starts to pat his back.

"Big emotions can be awfully scary, aren't they?" Stede muses, "Well, I'm proud that you're allowing yourself to feel these emotions, but something is telling me you have been keeping allllll these big emotions in, huh?"

Izzy just stiffly nods. Ed is just sitting there, kinda amazed how quick Stede is able to descalate/soothe Izzy.

Stede sorta moves his arms to where he's craddling Izzy with one arm while petting Izzy's hair.

"There, there, lets get all these tears out, love. Take your time, Edward is riight there and I'm here too," Stede says, nudging Ed to agree with this.

It's a fair few minutes before Izzy is calming down. Probably squirming to get out of Stede's lap, reaching out for Ed. Stede smiles and slips the tiny Izzy onto Ed's lap.

Definitely time for a conversation between the three. But, right now? Right now they have a very sleepy tyke in their room and getting him settled down is their top priority ♡♡♡♡

[sophfandoms53]

Constantly thinking about how Mikey might have a worse temper than Raph but he just knows how to control it better and keeps a lot of it repressed inside, bc being so angry drains him physically and mentally, which would explain why the angry Mikey was so large when compared to the other aspects of his personality.

[thesevro]

wanna watch / gojo s. + nanami k.

𝖌𝖔𝖏𝖔 𝖘𝖆𝖙𝖔𝖗𝖚 + 𝖓𝖆𝖓𝖆𝖒𝖎 𝖐𝖊𝖓𝖙𝖔 𝖝 𝖗𝖊𝖆𝖉𝖊𝖗 𝖘𝖒𝖚𝖙 𝖜𝖔𝖗𝖉 𝖈𝖔𝖚𝖓𝖙: 2.3K words

𝖘𝖚𝖒𝖒𝖆𝖗𝖞: where gojo and nanami decide to get greedy. together. 𝖜𝖆𝖗𝖓𝖎𝖓𝖌𝖘: explicit smut, voyeurism, polygamy, one mention of bondage, cum play

HIS AND THE other man's legs cross at almost the same time. Both are trying their damnedest to hide the largest secrets they could ever keep.

Gojo watches you move about with probing eyes. Ignores the innocence of your routine, how you bustle innocuously about with a distracted frown on your face as you kindly prepare coffee and tea for them and yourself. The scent of ground beans fills the air with thick redolence but he can only imagine the smell of your hair as he pulls it back with his hands. This happens in one of his fantasies. In another, he has his face buried in your locks as he fucks you from behind.

I bet she would taste sweet. The thought is such a prominent fantasy that he almost sees you there on the counter, legs spread, clothes as much of a mess as he can make you. He imagines sticking his head between your legs. Listening to the melody of your name spilling from your mouth. He swallows, tries to calm his nerves. He's never been more grateful for the blindfold over his eyes.

Nanami's eyes, hidden from behind his goggles, conceal none of his other tells. He half-fools himself into believing no one can see how his head tilts downward ever so slightly to eye the swell of your ass as you bend over to fetch a bag of coffee grains from a low cupboard. How he lets his eyes greedily devour the sight of the skin on your stomach as you reach for a coffee mug on a shelf high above your head, shirt rising. His jaw tightens. He has too many tells.

Want to bend her over that counter and fill her up.

He wants to run his hands over your stomach. Hook your thighs around his head as he eats you out. Slap your ass until you beg for him to keep going because he knows he can just be that good.

Must she really maintain perpetual seduction? I would like to enjoy her here. School policies could go and suck my—

The two men have the same thing on their minds. The same hedonism. The same nasty thoughts of fucking you until you see stars and cry their names. Makes their brows furrow ever so slightly, their breaths stutter in their chests.

Natural seductress, the pair concludes at the same time.

And you are the first to break the immense focus that has narrowed their visions to mere thoughts of fucking you into oblivion.

"What are you two looking at? You've been staring at me like a bunch of hungry dogs since I came in." You pretend to wave them away, still grinding up coffee with one hand. Boiling tea whistles in another pot. "Shoo, shoo~~ I don't have any food on me."

"Bunny," Gojo starts, rising from his seat with a hand already at the hem of his uniform. Ready to pull it off. Nanami follows. "There's something much tastier right here in front of us."

"Yes." Nanami reaches you first. He will never admit it but he has not always been the best at repressing his need for you. "I must agree with Gojo, for once. You would taste so much better."

"Oh." You smirk. "So you were watching?"

Gojo pauses. Then he laughs. Realizes something.

"You put on such a show for us... on purpose?" Nanami asks this with his teeth nipping at your ear. Gojo lets the man enjoy himself. You two have always been able to show him the naughtiest shit. Sometimes he wonders if Nanami was a sex god in his past life. Occasionally... the blonde had been able to show him, his natural enemy, a very, very good time as well.

"Well. I don't see why I couldn't have done that." You chuckle softly in response to Nanami's query, reaching for Gojo. He kisses your hand. The inside of your wrist. Then he gently pushes Nanami to the side so he can raise you up on the counter.

Nanami cocks his head at Gojo as the other man pulls back to switch the boiling tea off. The blonde raises a question with his eyes as Gojo only crosses his arms and leans back into the counter.

"Only feel like watching today," Gojo says, shrugging.

"Aww," you whine, pouting at him from your place. "But I want you to join us! That was the whole point of my show. Won't be the same without you."

"Careful bunny," Gojo warns, wagging a finger. "We both know that Nanami gets jealous easily."

"...Uh, no, he doesn't." You and Nanami share a dubious glance with each other. "Well, Nanami and I both know you can be a very big dumbass sometimes. Always bouncing around with candy. Always copping a feel of my ass and Nanami's man tiddies whenever you get the chance—"

"Alright honey. That's enough." Nanami molds his mouth into yours. His hand clasps your hip. Another hand grasps the side of your neck in one large palm. You shiver at the hold he has on your neck. Spread your legs wider so he can stand between you.

Nanami slips a hand between your thighs. His fingers explore very familiar territory. He's touched you here many times before.

Your shoulders tense as he slides two fingers along your slit. You wind your fingers through the back of his hair. Let it be a small anchoring point for you as Nanami fucks you with his fingers.

"Nanami, fuck," you swear as he flicks your clit, and this makes Gojo and Nanami himself shift in place to adjust their pants. "Don't make me wait. Let's make this a good show for our audience."

You lace your fingers through his tie. Pull it off and toss it in Gojo's direction so that it lands to hang over his shoulder. Gojo cheers. You and Nanami kiss once more. His tongue warms yours in your mouth. You get the smallest openings to get a taste of his mouth.

He makes sure you keep your shirt on. If anyone were to walk in... well, Gojo wouldn't be fired on the spot, he was much too valuable. You would be allowed to remain with your position as the second strongest sorcerer, too. Him... well, maybe he could just become your concubine.

But he slips two of your buttons off. It shows enough skin for him to mark. He is careful not to leave any above your collarbone as he pulls away from your mouth to nibble and bite at the flesh bulging from your bra.

"Wish we could take it all off," Gojo murmurs as he watches Nanami ravage you. His pants have come undone. He holds his cock in one hand. Strokes it languidly as he listens keenly to your pants and Nanami's grunts. He loves the sounds you both make.

"Maybe putting your cock in my mouth would make things a little better for us," you suggest with a wavering smirk. It disappears completely as Nanami pulls your panties off. He throws it in Gojo's direction as well. Let it be another token of appreciation for their most loyal viewer.

Gojo shifts again as your pretty undergarments land right on his shoulder. He almost strides over to you and does exactly as you asked of him. But control has always been his one point of mastery, unlikely as it seems.

"Let's let you and Nanami enjoy this by yourselves, bunny."

Nanami fingers your slick folds with insidious circular motions. He doesn't stop these motions as he undoes his belt. You push both his hands away to undo it yourself, and to do it properly. It's always been satisfying to unbuckle the length of leather from around his hips. More so to let him wrap it around your wrists. But you have no time for that.

The tongue of the belt hangs just by his hips as you pull his boxers down. You conjure a condom from a pocket in your skirt, grinning slyly at Nanami as he stares down at you in bewilderment. You slide it over his cock. He tenses with the work of your skilled hands, stomach clenching. Absent lube, you briefly wet the rubber with spit to let Nanami's travel to your cunny be a smooth one.

Nanami cups your bottom with a hand. Half your ass hangs over the counter, just enough for the position to stay comfortable but far enough off the counter for him to lead his cock into your cunt. His eyes close as you grab his goggles between two fingers and pull it off his face. He presses his forehead to yours and gives you a chaste, simple kiss. You wrap your hands around his neck to kiss him with the same affection, smiling gently into the kiss. The moment between you is so intimate Gojo nearly feels guilty for bearing witness.

"Gonna get inside you, darling," Nanami murmurs, pulling away from the kiss. He buries his face into your neck with his first slide into you. His breaths come out in grunts. When you whisper his name with that wonderful breathy tone that comes from you every time he or Gojo fucks you, he almost moans.

Nanami possesses this sweet inclination towards fucking you nice and slow in the beginning of a round. But the threat of a peeping Tom (would likely be, unintentionally on the boy's part, Yuji) looms over your heads and frees him of his inhibitions. His first thrust is slow. Gentle, even. Then he pounds into you so hard your body reacts and twitches on its own.

"Fuck! Nanami!"

He does this. Again and again. Creates a rhythm violent enough to crack the counter as his knees meet it with each thrust. Even Gojo doesn't notice. Too much of his focus lies on enjoying such a glorious show.

The sounds of his cock fucking your pussy are downright filthy. Force Nanami to be forthright and he would accurately call them pornographic. Your moans are just as salacious, and the closeness of each sound of pleasure that escapes your lips makes him rut into you with harsher vigor. You bury your head into his shoulder. Cry out into his neck. He can feel the sounds on his skin.

The cold metal of his belt buckle cools the hot skin on one of your thighs. The roughness of that leather rubbing to a part of you so close to your cunt makes your pussy convulse. Nanami pants quietly at the overwhelming sensation of your hole squeezing him. He turns to Gojo with hooded eyes. They widen once the sight before him comes into focus.

"Darling," he grunts out into your neck. "Look at Gojo."

Gojo doesn't notice yours or Nanami's gazes. He ruts into his hand, pumping it over his cock in wild motions. He's thrown his head back in ecstasy, luxuriating in the memorized images of you drooling while Nanami fucks you and the face Nanami made only a minute ago as you clenched around him particularly tight. His throat bobs as he feels himself near his peak. He pants. Breaths the beat of a hummingbird's wings. The man looks absolutely ethereal fucking his own hand.

He notices how the sounds of your fucking have stopped. He pulls his head back forward, concerned but still dazed with lust. He blinks at you and Nanami. Eyes following movement as you hold a hand out to him once more.

"Join us, baby," you insist.

"You look needy," Nanami intones with a ghost of a laugh.

Still, Gojo hesitates.

"Gojo." The firmness in Nanami's voice makes him impossibly harder. He and the other man stare at each other with sin in the eyes. "Come." Nanami curls a finger, beckoning Gojo over. "Make her cum."

And this time he is not willing to protest.

Gojo saunters over to you. Presses a kiss to your bruised mouth and another to Nanami's. He strokes his cock while slipping a hand between the close proximity of yours and Nanami's hips. His fingers find your clit quickly.

You start another rhythm. A more desperate one. You hang just on the edge of your high. The muscles in Nanami's abdomen are tight. Gojo is just as close. Not so far behind. And when your hand slips downward to let him fuck your palm and fingers, he has to lean into your shoulder to keep himself from falling over.

You are the first to unwind. The two men look up to commit the sight of the peak of pleasure on your face to their memory. They savor your moans. Nanami fucks you a little harder. Groans as the hot fist of your pussy squeezes him, milks him. His balls tighten as he empties load into you.

Gojo leaves a mess on your hands as he cums. Sighs into your neck as his eyes roll back. His body shudders with Nanami's as he cums with the other man almost simultaneously.

It takes some time for your bodies to relax. It is dangerous to hang around here, with Gojo's cock in your hand and Nanami's length in your cunt. But this was a good show. One you put all efforts into perfecting.

Nanami kisses your neck tenderly before pulling his cock out of you. You shiver as it slides from your cunt. Nanami wipes at the wet slick between your thighs with a handkerchief while Gojo buttons your shirt up again. They baby you while their cocks hang out like monstrous masses. You almost laugh. It's vulgarly comedic.

Nanami smooths your hair and kisses you again, then steps back to fix his own clothes. Gojo sets your collar straight and smiles tiredly at you, then rests back next to you on the counter to pull his pants up. You raise a hand to tuck a strand of hair behind your ear, leaning against Gojo in exhaustion.

Your eyes catch something, and before you can fix your hair you see the white streaking your hand. You blink dumbly at the mess on your palm. It's sticky between your fingers. When the idea comes to you, a feline-like sense of danger returns to your features.

"Gojo, Nanami," you call. Gojo looks to you with a smile that falls immediately as you perform what you know will not be the denouement of your show. Nanami observes your actions with a dipped head and a growl forming in his throat.

The two men are forced to undress once more as you lick at Gojo's cum with the indecency of a starved minx. Tongue between your fingers. Cum sliding down your throat as you lap it all up.

This time, you lock the door. A good idea on your part. Because the round lasts well into the afternoon. Many knocks sound on the door as you enjoy yourselves.

It is a delightful way to spend a day at work.