#Muse Stuff;

[ao3-crack]

(x)

[melanthaeunomia]

Do y’all ever reread an old unpublished fanfic you wrote and then get invested on the storyline but get sad because you never wrote the next part of it, just me?

[dragonzzilla]

[melamemea]

send me 🕯️to hear my character's inner thoughts about your character.

[tiafrye]

For Bloodweave reasons I'm posting them together.

The forbidden fruit of referencing from VAs has consumed me.

[tofixtheshadows]

So I've been thinking lately about how Mithrun is Kabru's dark mirror (more on that another time- it needs its own post), and I thought it interesting that one of their parallels is that they were both cared for by Milsiril, but in opposite directions. She took Kabru in as her foster after he was orphaned and tried to convince him not to become an adventurer. On the flip side, she helped rehabilitate Mithrun specifically so that he could rejoin the Canaries.

And I kept wondering: why?

For Kabru, obviously she loves him a whole lot- despite any other shortcomings in their relationship, I do believe that.

So I get why she tries to convince him not to go dungeoning, and, failing that, at least prepares him as thoroughly as she can.

But why help Mithrun? She used to hate Mithrun, but after realizing what a secretly twisted person he was, she actually thought of him more positively (oh, Milsiril). So it wasn't as if she held the kind of grudge that might motivate her to make his already-depleted life even more miserable by sending him back to the dungeons. And it wasn't that she felt bad for him either, since she didn't visit Mithrun for the first ~20 years of his recovery.

The Adventurer's Bible says that Utaya was the impetus for Mithrun returning to the Canaries, but Milsiril is the one who made the trip to see him and tell him about it.

Why would Milsiril work so hard to get her old coworker back into fighting fit? Why encourage him to return to such a dangerous lifestyle, when she was the one who chose not to mercy-kill him?

That last panel is such a crazy thing to hint at and then never elaborate on. Without it we could have just thought that Milsiril wanted the Canaries' work to continue without her, even if it seemed out of character. I think some people even assume she's just a natural caretaker as a foster mom and handwave it to include nursing Mithrun too. What could Milsiril's suspicious motives be? What does she gain from Mithrun joining the Canaries that isn't an altruistic desire to see dungeons safely sealed? Feeling a sense of responsibility for the work she left behind isn't an ulterior motive.

My theory is: Milsiril, knowing that Mithrun was empty save for the burning desire to face the demon again, wound him up like a clockwork doll and pointed him back at the dungeons.

Hoping that he'd eliminate the biggest threat to Kabru's life, before it was too late for him.

Milsiril the puppetmaster.

[wyrmsgatebait]

Astarion being an embroiderer breaks my heart, because traditionally it was a skill so tied to daylight. If you looked at illustrations of embroiderers before the advent of electric lights they're always outside or near large sunny windows. Placing intricate stitches with nothing but candlelight to guide you would be a nightmare. In fact, it was outright forbidden in most professional workshops. An artist couldn't be sure of the stitch placement and most importantly the colors were dulled.

[giveamadeuschohisownmovie]

It just dawned on me that the Netflix “One Piece” show using the original anime voice actors for the Japanese dub is a lot more complex than it seems. At first glance, it looks like the voice actors are just reprising their roles. They are already familiar with their characters, so it shouldn’t be too difficult doing the dub.

What makes things complex is that, technically speaking, these aren’t their characters. When Mayumi Tanaka goes to voice Luffy in the anime, she’s only working off of the script and directions from the director. When Mayumi goes to voice Luffy in the live-action, she’s actually working off of Iñaki Godoy’s performance. Even if you’re the greatest actor in the world and can replicate another performance perfectly, there’s still going to be distinct differences that will make you stand out. These differences could be anything, from dialogue changes to make the pacing work for the show to Godoy’s own little nuances that he adds to his version of Luffy.

It’s strange to think that even though Mayumi Tanaka is doing the Japanese dub for Luffy, she has to approach the same character from a different angle since this isn’t her Luffy, it’s Godoy’s. Same goes for the entire cast and their respective characters. It’s like they’re starting fresh.

[khickuwa]

a momentary respite.

[gentil-minou]

Thinking about band au wangxian where their "gimmick" on stage is extremely sexually charged flirting like I'm talking wwx straight up grinding against lwj in the middle of his solo or they stare directly into each other's eyes everytime a song mentions love or sex

Except they haven't confirmed their relationship so like half the fans are diehard shippers screaming while the other half think it's a fake publicity stunt and point out all the bts vids where they look like they hate each other and argue constantly

Neither of them mention their relationships in interview, always redirecting questions back to the music or their advocacy and so for years it just goes on like this.

They're the most popular band in the world when suddenly they go on a long, three year hiatus.

And so everyone thinks oh gosh maybe they were together but they broke up and their tears are heard around the world.

Then they have a comeback tour and reveal all: of course, the hiatus was because they got married and adopted a son.

They drop this randomly in the middle of a set btw, Wei Wuxian just smirks at the audience and says "this is for my husband and our son" and then he winks and blows a kiss at Lan Wangji who catches it with all the seriousness in the world and presses it against his chest

Later on, the band's Instagram posts a photo of wangxian with their backs turned, each holding the hand of a little boy wearing little bunny eared headphones between them, as they all walk put of the venue

[basslinegrave]

when im waiting for a call i like to draw bunnies

[melanthaeunomia]

Don’t you just love writing a 16 paragraph fanfic but cant even write a 3 paragraph essay for a school topic

[soapskneebrace]

imprimatura

muses - part one - next

Pairing: John "Soap" MacTavish x f!Reader Word Count: 2.8k Rating: Mature (mostly Soap being Soap) Warnings: please see this post for notes about this reader character Also on Ao3.

An artist meets her muse, and a solider meets his.

He arrives early as you’re setting up for your students, in jeans and a tight t-shirt, and the first thing that crosses your mind when you lay eyes on him is Jesus, he’s fit. 

You are no stranger to bodies. Hundreds of them have cycled through your studio, all shapes and sizes and colors; you think you may know every dip, every roll, every hard angle and soft curve that a human body is capable of holding. The mystique of defined muscle has long lost its novelty. Bodies are bodies, and each holds the same value as the next when subject to brush and canvas. It never matters, you teach your students, what a body looks like in the modeling chair. It only matters if they can reproduce it accurately.

Even so, when a body like this walks in, you really can’t help but take notice.

Decadent muscle, fed and worked well, round and full with hydration. It’s impossible to miss, even through his clothes; each group delineated clearly, gracefully, as if sculpted rather than built, and alive with soft, subcutaneous movement. It’s indulgent to look at, the comfortable breadth of his shoulders and chest down to that slight taper of his waist and bulk of his thick thighs. It’s a physique no hard-bodied gym rat could hope to achieve merely with extra time at the racks—a physique that is easily, harmoniously attractive in its makeup of muscle and healthy fat.

The man is also mohawked and suntanned, and his mouth rests at an angle that suggests he often smiles—as if he knows that Michelangelo would have swooned at the sight of him. He comes into your classroom, saunters over to you, and stops precisely two paces away from you.

“Sergeant John MacTavish,” he says, offering his hand. “I understand you’re the instructor?”

He has gorgeous, vivid blue eyes (pthalo and cremnitz, with a touch of hamsa). You blink several times. Fit is still rattling around your skull, and begins knocking against sergeant at the same rolling frequency as his warm Scottish brogue. You realize his hand is still outstretched and quickly take it to shake.

“Yes!” you say. His palm is tough, callused, and not soft in the slightest, but very warm. “Nice to meet you, sergeant.”

He gives a grimace. “John’s fine. Or Soap.”

“Soap?”

“Nickname, y’know.”

Neither of you have released from the handshake. Soap’s grip is firm, the kind of firm that suggests he can squeeze much, much tighter if he needs to. And if the grip isn’t any indication, the broad forearms, dusted soft with dark brown hair, certainly are.

Black lines, a sword and helmet framed in laurels, catch your notice. The ink has the soft edges of having lain in the skin for a few years. You turn his arm to see it more fully. “Oh. Nice tattoo.”

He looks at the ink as if it is entirely new to him, and then gives an easy grin. “Thanks. I’ve got a few more too. Hope they aren’t hard to draw.”

When you loosen your grip on his hand, he releases you immediately. You still feel the squeeze in your bones even as you drop your hand to your side.

“So, then, Soap,” you say, “have you ever modeled before?”

He shakes his head, tucking his hands into the front pockets of his low-slung jeans. It tugs the waistband just a bit, revealing a sliver of warm, tan skin (raw sienna, flesh ochre, naples yellow). “Should have, honestly, with how much it pays.”

“It gets very boring, very fast,” you say. “What do you plan to wear for the breaks?”

“Was I supposed to bring that m’self?”

You are unable to suppress a laugh. “Yes, unfortunately.”

“Oh,” he says, rubbing the back of his neck and going a little sheepish—as if expecting a reprimand. You suppose it’s a valid expectation to have, in his world. You aren’t terribly familiar with the military, but you do know it’s one hell of a stickler for rules.

You also can’t help but admire the appealing pull and stretch of his bicep and deltoid, the flex of his pectoral as he lowers his arm. 

“Why don’t you wait here, and I’ll go see if I can find something for you?” you suggest kindly, letting him off the hook.

“Sorry,” he says, pretty blue eyes filled with genuine apology. “I’ll remember nex’ time. Thanks.”

The expression is so hangdog that you almost want to pat his head and noise at him reassuringly, like an actual dog. You press your lips together to hide a smile, and leave the studio.

When you get back from the models’ changing room, you find Soap with one hip against the counter where you’d been organizing your supplies, one knee loose and shoulders set at a relaxed angle. You want to laugh at his easy contrapposto. He’s going to be an excellent model. You can feel it. 

It looks as if he’s moving around the sticks of vine charcoal with one outstretched finger; he pulls his hand guiltily away when you reenter the studio, crossing his arms over his chest as if to hide the evidence of his snooping. It makes his pectorals bunch and round out, gathers the thickness of his biceps up into chiseled, full definition.

You lift one brow at him as you walk over.

“Never could keep my hands to m’self,” he admits, still sheepish.

“It’s alright,” you allow, smiling back. “Do you draw?”

“Used to,” he says. He looks back at the charcoal. “No time, now.”

“Are you deployed often?” you ask, taking the opportunity to look at his face. 

Beauty is cheap in art, but you notice it all the same—appreciate the strong brows, the hard angle of his jaw, the dark stubble of a beard you suspect he can’t keep shaved down, and the long scar that cuts through it across his chin. The light brown of his complexion is speckled with sun exposure, and there are the faintest of creases at the corners of his eyes, which you expect will deepen into genuine, gorgeous crow’s feet as he ages.

He’s not all rugged, though. There is a soft, thick curl to his lashes, which are as dark as strong coffee or expensive chocolate, and an equal decadence to the pink, plush little swell of his bottom lip—which, in the very middle, has the smallest of divots, as if he regularly spends time biting it. 

They’re traits that are far too sweet to belong on an otherwise masculine face, and their effect is such that they turn an objectively average set of features into a shockingly attractive portrait—that suddenly has something fluttering, just a bit, in the roof of your stomach.

He looks at you, and catches your survey. You can see him realize you’d been watching, the knowledge of it blooming in ocean blue eyes like ink dropped onto linen.

“More often than no’,” he answers, showing teeth in a crooked, interested grin. And now he’s looking at you—attention flitting across your face, dropping down your body and jumping back up to meet your gaze. The creases deepen at the corners of his eyes.

The fluttering intensifies. The sudden role reversal has you feeling at once flustered and unmoored. You are never the subject of any perusal—always comfortably the observer.

“Well—” you try, and you’re embarrassed at the low tone of your voice. You clear your throat. “Well, let’s make use of the time we have you, then.”

His smile remains, cocksure and easy. “Let’s.” 

He knows the effect he’s had.

“Anyway,” you say, blinking several times and proffering the sheet you’d retrieved, “none of the other models are your size, so I’m afraid this will have to do.”

He takes it in his hands, which are sun-dark and striking against the clean white linen. “So it’s a toga, then?” he asks.

“Whatever you like. Let’s go over the basics, and then you can undress.”

“Oh, already, aye? Y’move fast, hen,” he drawls, still grinning. “I like it.”

Heat rushes to your face, but you don’t feel embarrassed enough not to laugh. You busy yourself with tapping your charcoal sticks back in place, putting them back in an even row ascending in order of length, and saving yourself from having to look him in the eye. “Ha! We don’t do a lot of foreplay in this studio, I’m afraid.”

“No?” Soap hums, and he steps closer. He’s very warm, enough that you can feel it even with the space between you. You do have to look at him then. His eyes are half-lidded, lashes casting pretty shadows on his cheekbones as he gazes down at you. “That’s a shame. I’m right partial to it.”

Your brows lift, and you will your pulse to remain steady even as you inhale, catching a thread of—cologne? Aftershave? Just plain deodorant?—coming off of him. The scent caresses you, almost beckoning you to lean forward. You swear you can see the thrum of his heartbeat, there in the soft hollows by his Adam’s apple.

You blink. He is your model. “Well—I’ll try to set you up as best I can, anyway. Follow me, please.”

And you turn your back on him, because this is your workplace, and you are at work, and if you don’t get on with things you might do something stupid like actually flirt back.

Soap hadn’t been sure what to expect when he arrived at the art studio. He’s never been to one before, much less one housed in a university—which he has also never been to—and hell, he only ever took one art class in high school.

If pressed, he’d have imagined old brick walls covered in diagram posters, shelves of supplies in all colors, the smell of paint hanging permanently in the air. What he finds instead is modern, clean, and impersonal. Stage lights hang from fixtures in the ceiling, pointing at a platform in the back center of the room. A tight line of easels, all folded up, stand pressed into a far corner, next to a tower of stacked chairs, and waist-high cabinets line half the room against the bare, painted cinder block wall. The linoleum floor looks new.

None of this, however,  has any opportunity to disappoint him. His final unmet expectation, standing across the room and organizing a tray of art supplies, is a very welcome surprise.

You’re bonnie. Like, every point on his wishlist bonnie. Christ, he must’ve done something really good lately, because he can’t imagine just lucking into this. There’s not a hard angle to you, all sweet and soft, but when you meet his gaze during introductions there’s a sharpness to you that skewers him through the chest. You are much smarter than him, he can tell immediately. 

He’s always had a thing for smart women. Soft ones, too.  And if that weren’t enough, you let him flirt shamelessly with you, while checking him out the whole time.

Steaming Jesus.

You direct him to get onto the platform and sit down, still clothed, in an armchair draped in another pristine white sheet. The stage lights are bright overhead, and they highlight free-floating wisps of your hair in gold. 

“You want to ensure that you don’t rest your weight on only one or two points,” you explain. You have a nice voice. Steady, confident—this is your territory, your studio, and in it you are clearly the master. “The main danger is that your arms or legs might fall asleep, and you won’t realize it until you get up, in which case you’ll fall. We can’t touch you, so we can’t save you from that.”

“Y’canna touch me?” Soap repeats.

“Not without your explicit consent,” you say.

He smiles at you, the kind of smile he saves for bright nights at the pub over platoons of shot glasses. “I explicitly consent to you touching me.”

The corners of your mouth tug upward, just a bit, and you look away, clearly bashful. Something in Soap’s chest starts beating a drum. He knows already he’ll ask you to drinks after the class ends tonight.

“I doubt I’d be able to do much,” you say, “you’re a bit more substantial than the usual models.” Your eyes flick down his torso and back up.

“Guess I’ll have to follow your advice, then,” he says.

“You should,” you say, and he looks at your thigh shamelessly as you pat it—even beneath your jeans, he can see the ripple of the impact. “One of the worst-case scenarios is nerve damage.”

“So you have done this before!”

He can’t help it—Soap’s imagination runs wild. Titanic, draw-me-like-one-of-your-French-girls wild. It’s not exactly polite to imagine a teacher naked while she’s in the middle of giving him directions (and Jesus, what a concept, he might be half-mast already), but Soap has always found that people like it when he’s a little rude.

You drum your fingers. “I have.”

He finally hears the nerve damage part of your instruction. “How, uh—how bad can it get?”

The drumming stops. “For me? It just starts to twinge a bit if I sit on this side very long. So don’t rest your weight all on one hip, yeah?”

Concern assuaged that he had not ignored your genuine pain in order to objectify you, Soap grins. “Yeah.”

“Good,” you say. “Also—even if it doesn’t hurt, Soap, you can stop at any time, okay?”

That has him blinking. “Kinda defeats the purpose, doesnae?”

You shake your head. “It doesn’t matter. This is your first time modeling. You don’t know how you’ll feel, sitting here with your clothes off and everyone looking at you. If you need to stop, I want you to stop. I’ll make sure you’re paid anyway, so don’t worry about that.”

You are…so serious about this. The line of your brows is furrowed, imploring, like a little discomfort on his part is a violation of the highest order.

“Sure,” he says, a little dumbstruck and mostly lying. He’d be a rubbish soldier if he tapped out of a little thing like sitting down, but it’s nice that you care.

You purse your lips, nod, and then move onto the task at hand, stepping back and then down off the platform. When you begin to survey him—gaze flitting up and down his body, more pensive than appreciative—he has to resist the urge to flex.

Instead he watches you as you look at him. He especially likes, he decides, the slope of your nose and the smart, serious press of your mouth. You could get him all turned around, he thinks, if you gave it half a try.

Your tits are also great, but that’s by the by.

“Try resting your elbow up a little higher, and twist at the hips a bit,” you instruct, and Soap obeys. “Hm. How would you feel about crossing your ankles?”

You continue like this—nudging him in directions he doesn’t think make all that much of a difference, standing in different positions around the room to check the angles. He half-wishes he could step out of his body and join you, curious as he is about what you’re seeing, what your students will see. He’s not sure he has any clear expectations for how the class will go, but if you’re any indication, it’ll be more fun than he expects.

“Not sure if I’ll remember how to get back into this,” he says, partly to be helpful and partly to get you to talk to him again.

“I’ll help you, don’t worry,” you say. “Okay, I think that’s a good one, you can move now—I’m going to start setting up, the students should be here any minute.”

He stands, and you turn away to collect your supplies, so Soap figures this means it’s time for him to strip. He pulls off his shirt and drapes it over the chair’s arm, unbuttons his pants and shoves them down to his knees.

“Soap!”

He freezes. Then he looks at you. You’re blushing again, deep and saturated, mouth parted in surprise and hand pressed to your chest. He does not miss the quick flick of your gaze down his body; he’s probably violated some rule or another of the studio, but he can’t help but grin.

You’re adorable.

“Gotta happen eventually, right?” he says.

You cover your face with your palm. “I was going to leave the room first!”

“First time someone’s wanted to run away when I’m takin’ my clothes off, I won’t lie—”

“You just come get me when you’re done!” you say hastily as you beeline for the door. “I’ll be right outside!”

Soap chuckles a little when you’re gone, the door slamming mortified behind you, and folds his clothes up behind the armchair he’ll be sitting in. You’re so cute. He can’t wait to sit naked for you for the next three hours.

And he’s definitely asking you out for drinks.

Author's Note: THE PROMISED FIC. I really hope y'all enjoy this one, I've been teasing it since March and I have so many plans. This fic has a special place in my heart because it's drawing heavily from my college days--my bachelor's degree is in fine arts, and I have a lot of fond memories of many hours in the studio both as a student and as a model.

I expect this series will also have a looser timeline than my Neighbors series, so I'm open to suggestion in terms of scene ideas! I already have plenty, but if I know my mutuals, y'all might have some good ones as well. No promises I'll write them, but you never know.

Thanks everyone for your patience, and I hope you'll look forward to where this fic goes!!

[overdecorated-furniture]

Dead Parents - How to avoid them.

We are all very familiar with the notion of dead parents in fiction. For example, Harry Potter’s parents are dead before the first book even starts. Or in Portrait of Dorian Gray, the protagonist is brought up by an absentee and very neglectful grandfather. It’s a trope used again and again. And it does kind of work. It certainly allows your young protagonists the opportunity to gain agency and find their own way in the adventure thrown at them. But it’s also rather predictable. As a reader, we don’t sympathise as much because it’s such a used trope.

So, here are some of my thoughts about how to avoid the dead parents trope, and still propel your characters into the action.

Kill Someone Else.

I know, violence isn’t supposed to be the answer. But characters don’t only have close relationships with their parents. If your plot centres around a revenge quest for a dead loved one, it doesn’t have to be a parent.

Siblings who got caught in the crossfire trying to protect your MC, or an aunt/uncle they were close to being poisoned works just as well. Best friends are also a useful source of grief, and the fact it’s someone outside the family perhaps gives your MC more of a push. Equally, a significant other may work, although that is a used trope too. It might even just be a beloved pet.

Use their Morals.

People in the real world do not simply act out of revenge for the death of a loved one. Character morals can be just as powerful a motive for action, and Young people in particular are just beginning to discover what matters to them, and so it feels at its most important.

Perhaps your MC feels that the magic system in your fantasy world does not allow for people with disabilities to have access, and so uses that as their springboard. Or in an apocalypse setting, the desire to protect fellow humans against a threat may act as the MC’s launch pad for setting up a safe base somewhere. Concerns over equality, safety, climate change, government choices and even things as small as how cereal is marketed can motivate a character into changing their world/current situation.

Create Conflict.

Arguments, breakups, scrappy fistfights with someone in a back alley. Conflict is one of the spokes of a story, as it creates opportunities for moving the plot forward, and can hold the characters back from achieving their aims. Using this to start your character’s story arc makes for an explosive scene, and allows immediate sympathy with the situation they are in. Everyone argues, has had someone they care about walk out of their lives, or has at least been punched, so the familiarity of a minor but important conflict helps the reader associate with the character, as well as setting up any skills the character has or may need in order to defeat the foe at the climax of the story.

Parental Encouragement.

In a good family situation, parents will want to support their children and young people in achieving their goals. And the same can be true in stories. Perhaps your character wants to learn to play hockey, for example. Their parents can very easily encourage them to join a practice group, help them buy kit, and encourage them to play in matches. Having a supportive adult can mean as much to an MC as having said support removed, and although this doesn’t work for epic fantasy revenge quests, it does create a welcoming atmosphere for a reader.

Those are the main ones I can think of off the top of my head. Do add in comments/tags any you know of!

Happy writing!🌿

[rueyam]

— to love for the sake of love, without asking for reciprocation

[trisshawkeye]

I think the dichotomy between Mechs fans who primarily knew them as a live cabaret act with added kayfabe and those who primarily know them through their albums and recordings is so funny

There are some wonderful artists out there having loads of fun giving Jonny d'Ville creature ears and a tail and generally being creative with appearances and characteristics

And then there's me, a fandom old grinch, sat shaking my head in the corner going, "Jonny d'Ville doesn't have a tail, I'd know, I've met him"