#and then the character development and emotions

[runariya]

I am in love with that Jk merman story of yourssss , you are such a talented author !!!! Keep it up with the good work .

Even i want to request a prompt after that story because i believe only you have the capability to bring that prompt to life (only if you want to write ofcourse, no pressure )

I have never read an ABO fic with enemies to lovers troupe in modern era , I mean just imagine them being the high-school academic rival wolves who can't bear standing eachother

but the moment they turn 18 and their wolves will develop some special senses and powers, they both will realise that they both are actually mates . damnnn now image the strong pull their wolves will feel towards eachother making them go crazy ( their wolves will fall in love with eachother the moment they will recognize eachother as mate and start rebelling their human counterparts and start convincing them to love eachother too .)

and how bad they will try to hide it , deny their wolves forbid their animal counterparts from eachother only to fail miserably in the end because yeah that mate bond will win 🥹

You can choose any BTS member you want because I love and enjoy reading all seven of them so go for any member you want .

Borahae 💜 , no pressure if you are not interested in writing this prompt , I will still adore you and your work 💜 😘 so feel free to reject this request if you want .

part of the prompt game pairing: alpha!Jungkook x omega!female reader genre: fantasy!AU, "E"2L, ABO, high school romance warnings: Jungkook's the most pitiful teenager in all of existence, bad handling of emotions/feelings, a lot of cliques, denial, a little bit of physical fighting, mentions of blood, lmk if I forgot smth word count: 2.754

a/n: tysm for all your compliments, I'm so flattered 🫂 I've tweaked your request a tiny bit to fit the character of OC better and left out marking etc. bc they're still so young 🥹 hope that's okay 💕

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He hates you.

No, he loathes your entire existence.

That Miss Perfect attitude, excelling in everything you do as if it’s the easiest task in the world. You’ve been enemies since high school started—not because either of you declared it so, but because Jungkook simply can’t stand you.

You, on the other hand, are oblivious to this feud, always kind and friendly towards everyone, especially Jungkook. He doesn’t understand how you do it, staying so humble and kind towards him when he takes every opportunity to throw jabs your way, or cause you minor inconveniences, like not holding the door open or letting you trip more times than he can count.

It’s infuriating to watch you be so lovely, especially when you’re not only the smartest but also the most beautiful woman he’s ever seen—something he will never admit. Ever.

“Jungkook?” Your soft, sweet voice startles him. He’s been too busy glaring at the papers scattered before him, his thoughts circling back to you. There's no one else in the lecture hall, and he didn’t even realise you’d entered. You seem to appear out of nowhere, catching him off guard. “I think you dropped this.”

You’re smiling again, that blinding smile of yours, starry eyes sparkling with joy, courteous as ever. He wants to scream. He doesn’t want this treatment from you, not when you’re a little older than him—well, only two months, but still. You’re 18 now, with your wolf, while he’s not, which only deepens his resentment. Once again, you’re ahead, better at something.

The whole school talked about your wolf. Despite your gentle nature, everyone was shocked to learn after your first turn that you’re an omega—one of the very few in the city, the only one known in school. It’s yet another thing Jungkook can’t stand, especially now that everyone, wolf or not, showers you with attention.

“Not mine,” Jungkook lies through his teeth, eyeing the pencil still held out towards him in your small, delicate hand, your nails perfectly manicured.

“Oh…” you murmur, glancing down at the pencil, your brows drawing together in disbelief. Of course, you don’t believe him. “But it’s got your initials, and it’s the one you’re always using.”

Damn you! Of course, you know it’s his favourite. He should’ve seen this coming.

“You think I’d use it after your germs have contaminated it?” Jungkook scoffs.

“That’s not very kind.” You purse your lips, those beautiful lips.

“It’s the truth, ___.”

“Is it okay if I keep it?”

What?! “What?” Jungkook can’t believe his ears. Why would you want to keep it?

“Can I keep your pen? It would be a waste to throw it away, especially when it looks so cool.” You repeat, smiling again.

The pencil is cool, and Jungkook has half a mind to just snatch it back, but he won’t give in. He won’t concede even the smallest defeat.

“I don’t care,” he grumbles. It’s enough to make you burst with joy, your face lighting up as you clutch the pencil to your chest.

“Thanks, Jungkook! You’re so kind!”

“Whatever.”

And ‘whatever’ indeed, because seeing you every day with his pencil, as if it’s the most precious thing in the world, drives him mad. He regrets his decision. He wants it back. It’s his, and what’s his should stay his, but it isn’t—and it makes him livid.

Livid in a way that fuels his pettiness, pushing him to new lengths to make your life difficult. He puts fake spiders in your bag, bumps into you when you’re struggling with your food tray in the canteen. But all of it is in vain, because you’re an omega—everyone’s darling. Every time something inconvenient happens to you, a horde of people rushes to your aid.

This alone is enough to make Jungkook reconsider his actions—or rather, the attention he’s giving you. It’s not like you care. It’s not like you treat him any differently when he’s mean. So what’s the point? At some stage, he’s not even sure why he started all this, why he loathes you so much. If he’s honest, you’ve never actually wronged him. Not once. And now, he’s running out of ways to break you, to show everyone your true colours, because no one can be this perfect, right?

It’s the Friday before his birthday weekend when you approach him again, this time holding a small present. You look up at him as he stands by his locker.

“Hey, Jungkook,” you say softly.

“What do you want?”

“Uhm, I know Sunday’s your 18th birthday and… well, I know you didn’t invite me to your party, which is totally fine! Don’t get me wrong! But I just wanted to give you this because it’s a big birthday, right? So, yeah…”

The tiny gift is wrapped in floral paper with a neatly tied bow, and it looks exactly how he imagined your presents would. It screams 'you', and he’s unsure what to say. He reckons he should just take it and thank you, but the way you’re looking up at him, so small and kind despite knowing you weren’t invited, bothers him like a sock slipping off mid-walk.

Jungkook reluctantly takes the present, ignoring the slight relieved droop of your shoulders and how your warm, soft fingers brushed softly against his.

“Thanks,” he mumbles, his eyes transfixed on the gift.

“Happy birthday, Jungkook. I hope it’ll be everything you wanted and beyond.”

And with that, you turn away, a light spring in your step, your hair moving behind you like a fairy’s wings.

Jungkook doesn’t waste any time after you leave, ripping the gift open in a rush of curiosity, only to freeze, stunned, when a tiny jewellery box is revealed to him. He’s never received any jewellery before, and the fact that it’s a gift from you—a female ‘stranger’, no less—makes his nerve endings prickle with discomfort. The idea of receiving something so personal feels wrong somehow, and yet, despite this strange feeling creeping over him, he still finds himself opening the small red box.

Inside, nestled on an equally red velvet cushion, is a delicate necklace with a pendant that bears his initials. It’s the prettiest necklace he’s ever seen, and the worst part is that he can already picture himself wearing it, the style so perfectly matching his aesthetic that it’s rather unsettling.

He carefully takes the necklace from the box, letting it twist and turn in the sunlight, the metal gleaming ever so mesmerising. But that’s when he notices an engraving on the back of the pendant, and as he peers closer, he fights the urge to rub his eyes.

You’ve had ‘alpha’ engraved onto it. There’s no way anyone could be so bold as to assume another person’s future rank, and yet here you are, making such an assumption about him. Jungkook can’t help but think maybe he was right all along—there’s something strange about you. You’re just a little too perfect, a little too confident in your kindness, a little too bold in your presumptions.

Shaking his head, he lets the necklace fall back into the box, snapping it shut and tossing it carelessly into his locker, fully intending to forget about it sooner or later. Out of sight, out of mind, right?

Saturday night and Sunday come and go in a blur of noise, people, and anticipation. Jungkook has invited practically everyone he knows to his birthday party, hoping that with the arrival of his wolf, his mate might finally be revealed as well. But no one who attends is his mate, and this realisation drags his mood dangerously low. He feels a nagging stab in his chest that he can’t shake, made even heavier by the recurring thought that you, little Miss Perfect, were right all along—Jungkook has become an alpha, just as you predicted. Typical.

What infuriates him even more is that on Monday morning, as you—like always—walk past his locker on your way to the lecture hall, the world seems to slow around him. He watches in disbelief as you suddenly stop, staring at him with wide eyes that shimmer with unshed tears. You look stunned, but more than that, you look happy, as though you’ve just discovered something wonderful. And then, in the midst of his confusion, his inner wolf starts to go wild, barking ‘mate’ over and over again, leaping with excitement inside him.

It should be a moment of joy, a moment where he feels relief and happiness in finally knowing who his mate is. But instead, all Jungkook feels is denial, a desperate refusal to accept the truth, even though, deep down, he knows that you’re everything he ever wanted in a mate.

Still, he turns away from you, ignoring the way your face crumples, the way your bright, hopeful tears turn into ones of sadness, the way you rush past him with your head down, leaving his wolf whimpering in confusion and hurt. Jungkook tries to convince himself that this can’t be real, that it can’t be right, even though every part of him knows it’s exactly what he wanted, what he’s been waiting for.

In the days that follow, he struggles to keep up his usual routine of tormenting you, making snide remarks whenever he gets the chance, but there’s no joy in it anymore. You’re not kind to him the way you used to be, not anymore. You don’t smile at him, don’t even really smile at anyone; instead, you accept his cruelty with a resigned, sad look in your eyes and a forced, brittle smile that never quite reaches your eyes.

Each day, it becomes harder and harder for Jungkook to suppress his wolf, who clearly isn’t on the same page with his cold treatment of you. His wolf growls at him, restless and unhappy, frustrated with the way things are. And Jungkook knows—he understands why—but he feels trapped.

How could he possibly make things right after all he’s done to you? How could he ever redeem himself after letting his bitterness and resentment carry him so far? It doesn’t help that the necklace you gave him is now tucked securely under his shirt, the cool metal pendant resting against his chest, near his heart, multiplying the ache that’s slowly but surely forming there as well. He fiddles with it absentmindedly, the action soothing in a way he can’t explain, though it only makes the guilt grow.

“Jungkook?”

He no longer startles when you appear, his wolf always sensing your presence before you even speak, and your voice has become so quiet, so broken, that it doesn’t have the same effect it once did.

Looking at you now, standing there with your eyes downcast and your voice soft, makes him wish he could take it all back—every harsh word, every petty action. He wishes he could go back and rewrite everything, build something good between you instead of tearing it down. But it’s too late for that, far too late, and he knows it.

When he doesn’t respond, you gather the courage to continue, your voice wavering slightly. “I know it’s random, but I noticed your grades haven’t been as good as they used to be. I know you’re not the kind of person who needs help, but… if there’s anything I can do, just let me know, yeah?”

He wants to snap at you, wants to push you away, but he’s so exhausted—exhausted from pretending he doesn’t care, exhausted from pretending he hates you, and most of all, exhausted from fighting this undeniable bond between you.

Tears prick at his eyes, overwhelming him with guilt, frustration, and something else he can’t quite name. He’s so fed up with himself, so trapped in the mess he’s made that he doesn’t know how to fix it, doesn’t even know where to start.

“Hey… I’m sorry, I didn’t mean to upset you,” you say, your voice tinged with panic now as you shift nervously on the spot, your hands reaching out towards him only to pull back, unsure of what to do. “I’m sorry…”

“Stop!” Jungkook yells, and the sound of his own voice surprises him. You flinch, your entire body recoiling as if he’s physically struck you, your trembling hands clasping tightly in front of you.

“I… I’m sorry.” Your bottom lip quivers, and before Jungkook can say anything else, you turn and run, disappearing down the hall, leaving him standing there with the misery of his guilt pressing down harder than ever.

To think it couldn’t get worse was the stupidest thought Jungkook ever had, because it got worse. Not only did his little outburst suffocate him in guilt, but it also made you avoid him every chance you got. It also didn’t help that most people noticed your changed persona, adding one plus one and recognising Jungkook as the culprit.

He doesn’t fault them, doesn’t really mind the insults coming his way, of being heartless for not wanting a mate like you, when he knows they speak the truth. He doesn’t deserve you, doesn’t deserve someone who he clearly hurts without a true reason.

And the way his inner wolf retreats now from him too, is something he understands as well, because there’s literally nothing he could do to mend what he’s broken.

It’s one afternoon after classes have just finished, and he’s walking out of the school when he notices you cornered against the wall by some other alphas, three in total. Jungkook’s immediately enraged, and it’s then that his wolf rises to full strength, baring his teeth and growling violently.

You’re clearly uncomfortable, clearly scared of what might happen, especially when one of these alphas gets in your face, giving you no way to escape. The last straw for Jungkook is when one runs his filthy finger along your beautiful face.

“Hey!” Jungkook roars, storming towards the alphas who have now turned to laugh in his face. “Back off.”

“What?! She’s fair game.” One mocks, while you’re still pressed against the wall, but your eyes are hopefully locked onto Jungkook.

“I said back off my mate.”

They do, but only to now lunge at Jungkook, thinking that outnumbering him will shoo him away. But it doesn’t—Jungkook won’t let anyone else touch you, his wolf and himself ready to do anything to protect you. And so, Jungkook doesn’t hesitate to take each one of them down.

Driven by adrenaline, he doesn’t notice the sting of the hits he couldn’t block, but it’s nothing compared to the urge to protect you with all he has, all he is.

One after the other falls to the floor, while blood trickles from his split lip, knuckles burning and swollen, his chest still heaving, his wolf still angrily jabbing at the air.

“Jungkook?” His eyes snap up to you when you call for him, and he’s relieved to find no repulsion or fear in them when they lock onto him.

“Are you okay?”

“Thank you,” you nod, and his wolf wags his tail, barking mate, deafening all his other senses.

“Good."

“I’m sorry.”

“Why are you apologising?”

You hesitate, and it makes him feel powerless all over again, but eventually you whisper, “Because I’m not who you wanted.”

It’s broken, it’s defeated, and it’s everything he never wanted his mate to say, because it’s not the truth. Never was. Never will be.

“But you are.” Jungkook tries to smile, despite knowing it’s not hopeful or kind, but sad in all the ways his decisions led it to be.

“I am?”

Seeing your eyes gradually returning to their lively, sparkly self is more than he ever wished to witness, more than he ever should receive, but everything he ever wanted.

“You are. Always were.”

And with that, he opens his arms, stepping over the still-groaning alphas to get closer to you.

With a push off the wall, you sprint into Jungkook’s arms, tears of relief running down your cheeks as he embraces you like you wished he would from the start. But it doesn’t matter, because no time apart could ruin the feeling of him embracing you and your bond.

“I’m sorry,” Jungkook mumbles into your hair, inhaling the magnificent scent of you.

“It’s fine, everything’s fine.”

And as you cling to him, your wolves finally as content as you are, you know that you’d never change a thing, because it’s better to be loved willingly than with no other choice.

[nondelphic]

emotional damage: writing a character intending to keep them alive but then realizing you have to kill them off for the sake of plot development… it’s like accidentally signing their death warrant with your own tears

[dollgxtz]

gen ask, but why did yan sylus forced mc to have a child(・c_・｡) atp, ngl i feel like he's using her only for his child. anw love ur story!

Thank you so much for asking! I can assure you that Yandere!Sylus’s intentions aren’t just to use her for a child. The reason he’s so eager to get her pregnant is that he believes it will be the final step in ensuring her submission and tie her to him. In his mind, once she’s expecting, she won’t be able to escape. Even if she tries, how far could she run with a baby on the way?

He does love her, but his actions seem cruel because he’s hiding his emotions behind snide remarks and a playful demeanor. Deep down, he actually does want her to love him back, but he knows that this won’t be easy. In his view, binding her to him through a child and proving how much better her life could be with him is his way of ensuring she stops trying to leave.

(He’ll get some character development in upcoming chapters to be more vulnerable with her instead of hiding them behind a smirk!)

He also thinks motherhood will certainly weaken her resolve, and soften her down enough to allow her to love him.

Though he’s absolutely prepared for her to hate him forever, but he also wants to show her that she doesn’t have to hate him and be miserable if she just accepts her situation (aka the reason he’s made the eye scanner allow her to come in and not out). He’s preparing for a potential future where she chooses him^^

If he simply wanted to use her for a baby, I doubt he would’ve gone to such measures. Hope this answers this ^^

[akutasoda]

“the longer you wait, the closer you get to suffocating”

--love wasn't necessary to be a stoneheart, and so he buried it deep beneath facade's. so far below that he couldn't recognise the signs of love even when they were staring right at him.

--warnings - gn!reader, angst no comfort(?), some fluff, unknowingly pining??, maybe ooc, wc - 1.8k

--a/n: i think im allergic to making him happy :/ anyway i feel like this is kind of rushed but rrghhh (shouts to the amazing @mitsvriii and @theother-victoria for proofreading)

aventurine never loved.

the stoneheart never knew the embrace of a loved one, soft-spoken genuine words, or even what it was to even recognise the signs. love was a foreign concept. something that wasn't needed in the world of contracts and lies, it was something that could be used against you, to punish someone foolish enough to think with their heart and not their brain.

he didn't need it anyway. in some distant past of golden sands and gleaming smiles, love was common. childlike wonder and affection was exchanged between families and those considered family, but that didn't last long. scorching flames rained down upon them, loved ones buried beneath the serene sands and forgotten.

the love made it hard to let go. traumatic to watch as every single person the boy cared for succumbed to pain and death's cold embrace, his tears did nothing. they didn't convince those that started the massacre to stop, to spare even one shred of the boy's livelihood because they didn't have love. the massacre was only a means to an end - emotional attachments were insignificant.

the scars never healed, the sights were forever engraved into the young avgins mind. the only time he could really dwell on them however was in the rare moments of silence he had. from his life as a young avgin to his life as a stoneheart, at every step and every turn something happened to him.

for someone blessed with luck, it never felt like it. they say that the end justifies the end, but he would prefer the end never arrived if he had to go through all the suffering and misfortune to get there. it was as if his luck only worked if he went through mental turmoil and struggle beforehand.

no matter what he lost, it all turned out for him in the long run. but was losing everything he had worth the luck that allowed him to live on with those memories?

---✩

you'd met through mutual acquaintances, those who weren't as afraid to let people into their lives - namely topaz.

he'd caught a glimpse of you with topaz as he roamed the halls of one of the IPC’s main buildings. naturally he was intrigued. aventurine had never seen you before and, judging from how close you and topaz were acting, you must have been of some importance to her.

topaz was approached by her colleague after you'd bid farewell a while ago. she had no obligation to actually tell him who you were, topaz liked maintaining a good work - life balance and you were a part of her personal life, aventurine was mainly a part of her work life. however, she obliged anyway, she trusted him more than the other stonehearts.

it was a short explanation, you were simply a friend of hers that she'd asked to stop by because work was piling up lately and topaz couldn't have seen you otherwise. topaz could see aventurines interest from a mile away, uncharacteristic coming from him, but she knew that he would play it off as a passing intrigue - still out of character in her opinion.

but topaz wasn't as blind as aventurine insisted he was and so perhaps she deliberately tried to ask you to visit her just before she knew aventurine was going to be around. she wasted no time in subtly introducing the two of you properly, before anyone knew it, you and aventurine proved to be an unrivaled match.

it was almost shocking how quickly you worked your way into the stonehearts life. developing a closer relationship than with anyone else aventurine knew - even topaz was shocked. soon it was like aventurine had known you since before he adopted such an identity.

you gave him a warmth that he could only dream of now. one that a previous form knew of well but now, it was a foreign concept. he couldn't recognise the signs, see what everyone else saw when you two were around each other. your constant affection was a clear sign that you were friends, but eventually somewhere along the line, that friendship blossomed into a longing for something more.

you tried subtle advances, hints and such to suggest a genuine interest in aventurine as something more. everything you laid down, he didn't pick up - if he did, he didn't show it.

however, aventurine was blind. a fool when it came to looking emotions in the face, unable to see the signs and pushing anything that bubbled to the surface as far down as possible. aventurine didn't need anything other than acquaintances or business partners - friends were a wild exception but even he sometimes denied it mentally.

everyone that knew it well enough knew, it was glaringly obvious. even to veritas as he watched the stoneheart perk up at the notification his phone showed him. undoubtedly a message from you, basing the assumption on how quickly he responded or how he smiled like a dumbstruck fool.

about half an hour ago, aventurine barged into the doctor's office and slumping down in his chair. ratio didn't care, too used to it by this point and too focused on the current problem that plagued his mind and caused him to work tirelessly to solve.

it was about ten minutes ago that aventurine resigned to his phone after ratio's lack of interaction with him - he sighed as the doctor clearly saw more interest in his equations. now, he was messaging you.

“any developments” ratio’s voice snapped aventurines head up from his phone, looking quizzically to the doctor

he paused “what do you mean?” slowly setting his phone down

now it was ratio's time to sigh “you and your obvious infatuation” pointing toward the stonehearts phone

“what? no.” a nervous laugh escaped him “acquaintances, that's all we are. you're thinking too much into this doctor”

to ratio, aventurine was clearly in denial. dismissing the situation at any given time and so he went back to his equation - it was more entertaining than fighting with aventurine’s denial.

“fine, forget i asked” ratio began to shift his entire attention away from the gambler. aventurine stared at the doctor for a bit too long

he could sense the other man's gaze and so ratio merely sighed “let me offer you some advice gambler”

aventurine almost wanted to laugh, veritas ratio offering him emotional advice. a rather comical situation in his opinion

“you have to put your heart out there, it may be broken but that's how you know you have one” ratio’s words halted him, staring almost wide eyed as the doctor retreated

maybe he should've taken that advice.

---✩

when aventurine was first assigned his mission for penacony, he immediately told you. there were no specific details involved, just that he was going away for a bit due to work and so wouldn't be around. it wasn't entirely uncommon for him to do so, and you merely acknowledged it and wished him well, a safe return even.

unfortunately, aventurine hadn't told you a key detail. he never planned to return. guilt consumed him when he didn't tell you, hearing you wish him well really set it in, but this was a choice he made. one that he was determined to not go back on.

as soon as opal gave him the whole mission brief, he knew what had to be done. accepting the mission meant accepting his fate, both him and opal were very aware. neither of them stopped aventurine however.

but aventurine didn't know how you'd react. he could guess that it wouldn't be well, seeing as barely anyone would react well to someone they cared about telling them that they planned to never return after a mission. so aventurine withheld his real intent in order to save you the trouble.

aventurine didn't want a fussy send off. admittedly the way he planned to go would be anything but quite or lowkey, but he knew that you'd try and stop him. to convince him to change his mind and find an alternative that would involve him seeing another day.

but you didn't know.

aventurine reciprocated your genuine smile when you wished him well before he finally left for penacony. that would be the last time he saw that smile.

---✩

penacony was flashy, he expected no less from the planet of festivities. bright lights, billboards, unique food on every corner and varieties of people. they would all be the witnesses to his planned spectacle, the more the merrier in his opinion.

he couldn't miss the way that his eyes lingered for a beat more than they should on certain stores. the products inside temporarily making his thoughts drift back to you, making a mental reminder to himself to buy it for you later but reminding himself that it would be pointless - although his subconscious would make him buy it and immediately sent it to you.

even in the chaos that was penacony and it's guests, you still found a way to wind up in his thoughts - bringing his thoughts about the mission to a temporary halt and having a moment of respite. brief memories flashing in his mind that made him stop and smile, the sentimentality getting to him.

but it wouldn't change his mind.

aventurine never allowed his emotions to get in the way of work. you wouldn't make an exception. he stopped caring for his own life ages ago, time and time again it was beaten into him and it was the only way he could've gotten this far.

emotions had never done anything but hurt him, caused him more pain than worth. he was no longer kakavasha. he was aventurine, one of the ten stonehearts and they valued results, not petty feelings. no business deal worked out when you let your heart get in the way.

no plan worked when every minute he was thinking about what could've been. aventurine was being dumb, you wouldn't love him. all those signals were simply you being a friend, nothing more - and he should be happy that you even saw him as such. aventurine shouldn't be wishing for more.

a heavy sigh escaped him as he snapped out of his thoughts. the lights at clock studios theme park seemed brighter, tauntingly so, as of they were out to mock him with happiness that could've been and yet he still chose the darkness of death. tucking his hand behind him, shaking, he stepped heavy steps toward the stage.

the show must go on.

---✩

it was cold.

pitch black endlessness illuminated by the symbol of nihilty’s form.

he looked down at his hands, shaking more than ever and he wasn't even putting his life on the line, then he looked up.

kakavasha.

had he died? were these the final moments of aventurine?

he'd soon learn they weren't. and as that emanator walked away, he realized that he lived. he failed. and yet, was it really a failure if he could see you one more time?

maybe, just maybe, he could finally own up to his feelings.

rest of the "series"

taglist - @little-miss-chaoss, @frankiesteinn, @https-sourlimes

[bucked-it-up]

i wanted to ramble about where I think Buck and Tommy will be going into season 8 and what I think could possibly happen.

With the gap between S7 and S8 looking to be a shorter time skip and there not much development in the relationship, I’m quite excited to see what milestones they have passed together and which ones we will look forward to seeing.

This quote from Oliver interests me a lot “They’re still learning and figuring things out about each other and what a relationship might or could look like.” I feel like this could mean a few things, one being they are both firefighters and this is something new for Buck to navigate and also possibly new for Tommy as well. Both of them will have to get used to seeing the other leave for long shifts that mean they may not come home completely safe and sound. That will mean navigating the emotions that come with this, learning how to let one another go knowing that they will worry but they have to trust one another and having to live with the feeling that the other could get hurt without them being able to help/ get there as quick as they wish they could.

This is also the first relationship Buck has been in with a man and that will come with many obstacles, these could arise from being something that Buck hasn’t done before. A queer relationship come with pressures and negativity that straight relationships do not. Especially being in a queer relationship for the first time while having a boss like Gerrard and being separated from Bobby, someone he goes to advice and is a major part of Buck’s support network.

Another thing I get from this quote is they are working out how to be around each other and what they want their future to be like. This could include moving in which is something I would love to see but after this quote I am curious if it will be early season 8 or further down the line as a conversation talking about living situations could definitely come under what Oliver said.

I think as well the choice to bring back Gerrard will make things interesting for Buck and Tommy. I think it will give a good look at how they work through problems together and how they come to solutions. It will also show us more about how their relationship works, how they communicate and how they support each other. I hope that their relationship is explored in this arc because personally I think it would be a missed opportunity to not show how a newly out Bi character deals with a homophobic boss and how he communicates this with his boyfriend who has gone through it before.

Furthermore in S8 I really do hope we see many happy moments from them and we get to see ‘I love yous’ and milestones from them, I also hope we get to see some adversity. Preferably from outside sources rather than coming from within the relationship, such as one of them getting injured and having to navigate what that means for them and if they can cope. I would like to see them go through something like this and come out the other side even stronger.

As I have already said I would love to see them move in together and see Tommy’s house. To me this would signal that they (and the show) plan to stay with each other for a while and I would love to see Buck choose to live with his partner not because it just kinda happened like with Abby or out of some kind of guilt like with Taylor. I want him to make the choice and it be a deliberate and loving choice that allows him to spend more time with Tommy and increases their strength within the relatiionship.

To focus a little more on Tommy, I do hope he is featured in the opening arc in some way or another. I will be happy with any scenes he gets but i would love if he got a prominent role and we got to see his skills as a firefighter. I think having a pilot as a character is a good addition to the line up and allows for interplay between firefighters on the ground and in air support and means he can be included in more scenes as it has been shown he also does groundwork.

To end this ramble I hope that we get to see them happy and healthy. I hope the show explores their relationship and how different aspects of their life affect what they do and say. I truly hope that Buck is now off the hamster wheel and we don’t have to see him get back on it. I want to see Buck grow more within his professional life and outside of what he is like in relationships.

[literaryvein-reblogs]

Some Editorial Vocabulary

definitions of terms during the writing, editing and publishing process

Acknowledgements: Text in which the author thanks those who’ve supported them.

Action beat: Short description that comes before, between or just after dialogue.

Adjective: A word that describes a noun.

Adverb: A word that describes a verb.

Adverbial phrase: A group of words that describe a verb.

Afterword: A concluding section, often reflecting on the book’s creation or providing additional context.

Anaphora: The deliberate repetition of words or phrases at the beginning of successive clauses for artistic effect.

Antagonist: An adversary. The character who creates obstacles and challenges for the protagonist, or behaves in a hostile fashion towards the protagonist.

Anti-protagonist: A protagonist whose own actions create opposition and conflict, often within themselves or against their own goals.

Apostrophe: A punctuation mark used to indicate possession, omission and, occasionally, a plural.

Appendix: Space in a book for material that doesn’t fit comfortably in the main text.

Asyndeton: Literary device through which a sentence’s structure follows the following pattern: A, B, C.

B-C

Back matter: Also end matter. Elements reserved for the back of a book, including appendix, glossary, endnotes, bibliography and index.

Beta reader: Test-reader who provides feedback on book.

Bibliography: List of all works cited in book, and any other work of interest to the reader.

Chapter drop: The space above and below the chapter title.

Character arc: Narrative that shows how a character changes and develops.

Characterization: The process of revealing a character's personality, traits and motives through actions and dialogue.

Colon: Punctuation mark that introduces additional/qualifying information about the clause it follows.

Comma splice: Two independent clauses joined by a comma rather than a conjunction or an alternative punctuation mark.

Conjunction: A word that connects clauses or sentences (e.g. ‘and’, ‘but’, ‘if’, ‘then’)

Copyediting: A review of grammar, punctuation, and spelling, ensuring consistency and accuracy in the manuscript's language.

Critique: Also manuscript evaluation. Report analysing a book’s strengths and weaknesses.

D

Denouement: The final part of the book in which all the plot strands are brought together and resolved.

Deuteragonist: A sidekick or confidante character who has the most influence on the protagonist, often helping them solve problems and overcome obstacles. Can be critical to driving the plot.

Developmental editing: Also structural editing. The improvement of a manuscript's structure, content, and overall narrative, focusing on big-picture elements. Attends to plot, characterisation, narration and pacing.

Dialogue tag: Also speech tag. Words that indicate which character is speaking (e.g. John said).

Dialogue: The lines characters speak in a book.

Diversity reader: Also sensitivity reader. Test-reader who checks for misrepresentation in books.

Double-page spread: Also DPS. The view of a printed book or PDF when opened so that the left- and right-hand pages are both visible.

Drama: The conflicts, emotional intensity, and impactful events that drive the plot and engage readers emotionally. The focus is on character relationships, motivations, and the consequences of their actions.

Dropped capital: Decorative first letter of the first word on the first line in a chapter. Larger than the rest of the text and drops down two lines or more.

E-F

Ellipsis: Punctuation mark that indicates a trailing-off or a pause.

End matter: Also back matter. Elements reserved for the back of a book, including appendix, glossary, endnotes, bibliography and index.

Endnote: Additional useful information at the end of a chapter or book.

Filter word: Verb that tells rather than shows (e.g. ‘noticed’, ‘seemed’, ‘spotted’, ‘saw’).

Folio: Somewhat old-fashioned term for page number. Also used to refer to a page.

Footnote: Additional useful information at the bottom of a page.

Foreword: A recommendation of the work written by someone other than the author.

Fourth wall: In books, the conceptual space between the characters and the readers.

Free indirect speech: Also free indirect style and free indirect discourse. Third-person narrative that holds the essence of first person thought or dialogue.

Front matter: Also prelims. Includes part title and title pages, foreword, preface and acknowledgements.

Full point: Period or full stop.

Full stop: Period or full point.

G-L

Glossary: Alphabetical list of important terms with explanations or definitions.

Habitual past tense: Uses ‘would’ or ‘used to’ with a verb to indicate events that happened routinely in a time past.

Half-title page: The first page of a book with any text on it; in a printed book, always a right-hand page. Contains only the main title of the book.

Head-hopping: Jumping from one character’s thoughts and internal experiences to another’s. Indicates viewpoint has been dropped.

Imprint: Publisher’s name.

Independent clause: A group of words that contains a subject and a predicate.

Index: Alphabetical list of all topics, themes, key terms and cited author names covered in the book, and the corresponding page numbers.

Information dump: Also word dump. Information that’s necessary to the story but isn’t artfully delivered, or weaved creatively into the narrative and dialogue.

Line editing: Also stylistic editing. The refining of a manuscript's language, focusing on consistency, clarity, flow and style at sentence level.

M-O

Maid-and-butler dialogue: Dialogue in which one character tells another something they already know so the reader can access backstory.

Manuscript evaluation: Also critique. Report analysing a book’s strengths and weaknesses.

Narrative arc: Also story arc. The structure and shape of a story.

Narrative authenticity: The believability and truthfulness of a story so that the characters and events feel real within the framework of the novel’s world.

Narrative distance: Also psychic distance. How close the reader feels to a character’s thoughts, emotions and experiences within a story.

Narrative: Story. The part of the book that’s narrated, excluding the dialogue.

Narrative style: The author's unique manner of storytelling, encompassing language, tone, viewpoint and other structural choices.

Narrative voice: The style, tone, and personality through which a narrator or character tells a story to readers.

Numerals, Arabic: 1, 2, 3 etc.

Numerals, Roman: i, ii, iii etc.

Omniscient: All-knowing. Refers to a viewpoint style in fiction writing.

Overwriting: Using too many words on the page. Often characterized by repetition and redundancy.

P

Page proofs: A file that’s reached a stage in the publishing process where the text and images of a manuscript have been laid out in their final format.

Pantser: A writer who doesn’t outline or plan story structure, but flies by the seat of their pants.

Period: Full stop or full point.

Perspective character: Also viewpoint character. The character through whose eyes the story is primarily told. The narrative lens through which readers experience events, thoughts, and emotions within the story.

Plot: The sequence of events in a novel.

Point of view: Also viewpoint and POV. Describes whose head we’re in when we read a book, or whose perspective we experience the story from.

Polysyndeton: Literary device through which a sentence’s structure follows the following pattern: A and B and C.

Predicate: The part of a sentence that contains a verb and that tells us something about what the subject’s doing or what they are.

Preface: An explanation of the purpose, scope and content of a book, and written by the author.

Prelims: Also front matter. Includes part title and title pages, foreword, preface and acknowledgements.

Pronoun: A word that replaces a noun (e.g. I, you, he, she, we, me, it, this, that, them those, myself, who, whom). Pronouns can act and be acted upon like any noun.

Proofreading: The final pre-publication quality-control stage of editing where any final literal errors and layout problems are flagged up. Comes after developmental editing, stylistic line editing and copyediting.

Proper noun: A named person, place or organization. Always takes an initial capital letter.

Protagonist: The leading character in a novel, often facing central conflicts and driving action.

Psychic distance: Also narrative distance. How close the reader feels to a character’s thoughts, emotions and experiences within a story.

Purple prose: Overblown, poorly structured writing with strings of extraneous and often multisyllabic adjectives and adverbs.

Q-R

Quotation mark: Also speech mark. Punctuation that indicates the spoken word. Singles or doubles are acceptable.

Recto: The right-hand page of a book.

References: List of all the works cited in your book.

Roman typeface: Not italic.

Running head: Text that runs across the top of a page (e.g. title of the book, chapter title, author’s name).

S

Scene: a distinct segment or building block where specific actions and events unfold in a setting.

Scene technique: The use of dialogue, action, setting, and tension to craft compelling moments in the story.

Semi-colon: A punctuation mark that indicates a stronger pause than a comma between two main clauses.

Sensitivity reader: Also diversity reader. Test-reader who checks for misrepresentation in books.

Speech mark: Also quotation mark. Punctuation that indicates the spoken word. Singles or doubles are acceptable.

Speech tag: Also dialogue tag. Words that indicate which character is speaking (e.g. John said).

Story arc: Also narrative arc. The structure and shape of a story.

Structural editing: Also developmental editing. The improvement of a manuscript's structure, content, and overall narrative, focusing on big-picture elements. Attends to plot, characterisation, narration and pacing.

Style sheet: In which an author or editor records stylistic and language preferences, and tracks who’s who, what’s where, and when X, Y and Z happens.

Stylistic editing: Also line editing. The refining of a manuscript's language, focusing on consistency, clarity, flow and style at sentence level.

Subject: The thing in a sentence that’s doing or being something.

Subplot: A secondary storyline that supports and enhances the main plot of a narrative.

Suspense: The tension, uncertainty and anticipation created by withholding information, raising stakes or placing characters in imminent danger. Readers are kept guessing or forced to ask questions.

Syndeton: Literary device through which a sentence’s structure follows the following pattern: A, B and C (or A, B, and C).

T

Talking-heads syndrome: Dialogue that isn’t grounded in the environment or the characters’ responses to that environment.

Tense: The form a verb takes to indicate when an action happened in relation to the telling of it.

Tension: The emotional strain or suspense created by unresolved conflicts, stakes or uncertainties that keep readers engaged.

Tertiary character: A functional character who gives the story realism and depth, but doesn’t significantly impact on or influence the plot or the development of the other characters.

Theme: The novel’s central idea or message about life, society, or human nature.

Title page: Includes full title (and subtitle if there is one), author’s name, publisher’s name, logo, volume number, and edition.

Transgressor: A character who commits morally, socially, or legally questionable acts.

Tritagonist: Third most important character, who often provide regular emotional or physical support, but don’t determine how the story develops.

U-W

Unreliable dialogue: Dialogue that doesn’t match a character’s true voice, mood or intent.

Unreliable narrator: A character whose telling of the story cannot be taken at face value. They may be naïve, confused, or deliberately manipulative.

Verb, intransitive: A verb that doesn’t have a direct object (e.g. ‘I giggled’).

Verb, transitive: A verb that has a direct object (e.g. ‘wrote’ in ‘I wrote a book’).

Verb: A word that describes doing. Can refer to a physical action (e.g. to dig), a mental action (e.g. to wonder) or a state of being (e.g. to be).

Verso: The left-hand page of a book.

Viewpoint: Also point of view or POV. Describes whose head we’re in when we read a book.

Viewpoint character: Also perspective character. The character through whose eyes the story is primarily told, and the narrative lens through which readers experience events, thoughts, and emotions within the story.

Vocative: The form of address for a character directly referred to in dialogue.

Word dump: Also information dump. Information that’s necessary to the story but isn’t artfully delivered, or weaved creatively into the narrative and dialogue.

Source

[winchesterwild78]

A New Sheriff in Town pt 4

Master List

Characters: Beau Arlen x Reader, Reader’s daughter Lily, other Big Sky characters

Warnings: Fluff, angst, slight smut, surprises

A/N: This was an idea given to me by @cheekygirl2309. Just a short series featuring our favorite green eyes Sheriff. Reader is a single mom and Beau moves into town. Things start to develop and the reader's daughter finds it hard to pull herself away from Beau. 

This does not follow the Big Sky timeline and is not in any way associated with the show. All work is my own, please don’t take it. 

Minors DNI 18+

*Time Jump 7 months*

“Lily, come on, we have to get ready. Mommy has a doctor’s appointment, we can’t be late.” You yelled from the bedroom. “Coming mommy.” Your daughter yelled from her room. “Daddy Beau and Em will be here soon to go with us.”

In the past few months a lot has changed between you and Beau. About 6 months ago Beau moved in and Emily would bounce between her mom’s house and your house. Lily loved having both of them there. She told people Emily was her sister and Beau was her new daddy. 

About 7 months ago Beau had a particularly intense case, one that caused him to be injured, and you almost lost him. The pain of possibly losing another person who you had fallen in love with was too much. The day he was released from the hospital your emotions overwhelmed you, and the two of you got into a huge fight. 

*Flashback*

“Beau, I’m so glad you’re okay. You scared the hell out of me. You can’t do that. We can’t lose you.” Tears streamed down your face. Beau stood in your living room, face filled with concern and frustration, “It’s not like I went to work that day asking to be shot, Y/N. Jeez. Do you honestly think I wanted this?!” “No, but you chose to be a cop, so you know the risks. Damn Beau, you’ve got people who love you and need you!” 

“You don’t think I know that! You, Em and Lily are my life! “What do you want me to do, quit!?” You just looked at Beau, unable to speak. “I’m not going to do that, Y/N. I love my job, I won’t quit.” Your heart ached in your chest, you couldn’t lose him. “Beau, I can’t lose another man I love. I lost Aaron while he was doing his job, I can’t go through that again.”

“What are you saying, Y/N?” You took a shaky breath in, “I love you Beau, but I can’t lose you too. Not like that. If you won’t quit, then I can’t be with you anymore. I can’t lose you.” Beau’s eyes went wide and he gasped, “What? Y/N, please don’t do this.” He reached for your hand but you pulled away, “Please leave, Beau. I’m sorry, this (you motioned between the two of you) is over.” 

Beau tried to protest, but you stood firm. He stepped closer to you, placed a soft kiss on your forehead, “I love you, Y/N. Good bye.”

When Beau left you collapsed on the floor sobbing. Your heart shattered. You had fallen in love with Beau and had seen a future with him, children with him. The fear of losing him in the line of duty was just too overwhelming. 

You pulled out your phone and dialed Sarah’s number. “Hey girl, how’s it going?” You heard her cheerful voice on the other end. You sobbed. “I’m on my way honey.” She hung up and a few minutes later she was by your side. 

Sarah helped you up and walked you over to the couch, “Come on sweetie, tell me what happened. Where is Beau?” You finally calmed down enough to talk to her. You told her everything and how you made Beau leave.

“Oh Y/N, you have every right to be scared, but honey you can’t let the fear cost you the beautiful life you deserve. Aaron wouldn’t have wanted that for you or Lily. Beau is an incredible man, and he’s so good with Lily. No matter what job someone has there is always a chance they won’t come home from work. Sure Beau’s job has a high risk, but honey that man loves you and Lily so much. Don’t throw that away for fear.” 

You knew she was right. “Look, I’ll get Lily from school and take her to my house for a sleepover, you call Beau and the two of you work this out. I’m not going to let you throw away happiness. I love you, Y/N, now call Beau.” You nodded and pulled out your phone.

Beau’s voice was soft when he answered, “Hey darlin’.” “Hey Beau, I’m so sorry, can you come back so we can talk?” “I’m already here baby.” There was a knock on your door. 

You opened the door and saw Beau standing there with red, wet eyes. He’d been crying. Your heart sank, knowing you caused him the pain you saw reflected in his eyes. Sarah came out from Lily’s room with her bag. She hugged you and whispered ‘good luck.’ As she walked past Beau, she touched his shoulder and they nodded at each other. 

When Sarah left Beau stepped in the house. The two of you started to talk at the same time, Beau told you to go first. “Beau, I’m so sorry. I let the fear of losing you take over. I don’t want to lose you, but I don’t want you to go either. If you’ll have me I want to be yours again. I was a fool telling you to leave. I love you, Beau. I love our life together and I see a future with you.” Beau stepped closer, pulled you flush to his chest and placed a soft kiss on your lips. 

No more words were needed. You knew he had forgiven you. The kiss quickly turned into a deep need to be together. As Beau walked you to your bedroom your clothes started to come off, leaving a trail from the living room to the bedroom door. 

Once in the confines of your bedroom, you and Beau made love off and on all night long. The connection between the two of you deepened and was becoming stronger. As Beau held you that night you asked him to move in. “Beau, I want you and Em to move in here. I love you both and I want you two to be here with Lily and I.” “Really sweetheart? I’d love that.” You smiled and laid your head on his chest. 

*Present*

As you were grabbing your shoes Beau and Emily walked in the house. “Daddy! You’re back. Emmy I missed you.” Emily smiled and picked up Lily, “I missed you too, kiddo. Are you ready to go?” “Yep, mama said I get to know first.” Emily smiled and nodded.

You stood at the doorway looking at your little family and smiled. Beau walked up to you and placed a soft kiss on your lips, “Hey baby, you ready?” You smiled, “I can’t get my shoes on.” 

Beau laughed and helped you walk over to the couch. As you sat down your hand touched your growing belly. The night Beau came back you ended up getting pregnant. Today the four of you were going to find out the gender. 

When you found out you were pregnant you were shocked. The two of you had been having unprotected sex for a few months and you hadn’t ended up pregnant, then you were. You were excited and scared too. The idea of having another baby was a rollercoaster of emotions. Beau was an incredible father, but the fear of losing him kept creeping into your mind. Aaron died when Lily was so young, you were afraid it might happen again, and this time you’d have two children to care for, well three to love because you would never push Emily away. 

Beau helped you get your shoes on and the four of you got in the car. In the waiting room Lily was telling everyone she gets to know first, and they offered her a soft smile. When your name was called, Beau helped you up and Emily took Lily’s hand. The nurse smiled, “Looks like the whole family is here today. Lily, are you excited to find out if you’re going to have a little sister or a little brother?” Lily giggled and said yes. 

A few minutes later the doctor was in the room and did the exam. Everything was on target and looking good. Your iron was a little low, but not too bad. You cried a little when they took your weight. Beau assured you that you were stunning.

After the exam, the doctor wheeled in the ultrasound machine. “Okay everyone, are we ready to look at the little one?” Lily’s eyes lit up and she enthusiastically answered yes for everyone. The room filled with laughter. Lily told the doctor she got to know first. The doctor nodded. All eyes were glued to the screen as the baby appeared. You could hear their steady, strong heartbeat and your heart soared. 

“Okay, big sister Lily, come here and I’ll tell you.” She climbed out of Emily’s lap and walked over to the doctor. The doctor leaned down and whispered in Lily’s ear and her eyes went wide and sparkled. She giggled and climbed back in Emily’s lap. 

The three of you waited with baited breath to find out, but Lily was tight lipped. “Lily honey, are you going to tell us?” She shook her head no and giggled. “Lily, why don’t you want to tell us?” “Cause it’s a secret. Aunt Sarah told me I couldn’t tell anyone until I told her.” 

You and Beau exchanged a look and a smirk. “Oh I’m going to get her.” You said and laughed. The doctor laughed, “Well Mom, I want to see you back in about a week to check your iron again. I’ll get the pictures printed and you’ll be good to go.” You nodded and thanked her.

Emily told you and Beau she was going to take Lily out so you could get dressed. Beau thanked her and helped you up. 

Once you were dressed and had the pictures the four of you walked to the car. Lily was giggling the whole way. You kept shaking your head and smirking. Once in the car, Beau turned and looked at Lily, “Hey baby girl, should we go to the store and pick out some clothes for the baby? What do you think, some pink or some blue?” You laughed, “Beau, you’re terrible.” “I just want to know.” He laughed. 

You pulled out your phone and called Sarah, “Hey Sarah we are done. Um, and why is my child not telling us what the baby is?” She laughed hysterically, “I can’t believe she’s actually keeping it a secret.” “Well she is, she told us you told her she had to tell you first. What in the world do you have planned?” “You let me worry about that, and don’t try to spoil it. I’ll be over in a little bit to get her and Emily. Us girls have something planned.”

You looked over at Emily and smirked. She realized you knew she was in on it. She chuckled. When you hung up you looked at Beau, “Looks like both our girls were in on this little coup.” Beau’s eyes flicked up into the mirror, “Em, really? I thought we were closer than that.” He laughed. “Sorry dad, I couldn’t resist helping with this. Trust me, you’re going to love it.” 

A few hours later you and Beau were sitting in the living room together. The girls were still with Sarah and it was quiet in the house. The soft hum of the television played in the background. Beau had his hand placed on your belly feeling your baby kick and move. Your hand was placed on his. 

“I can’t believe we are going to welcome this little one in a few months. Regardless of what they are, they are already so loved.” You smiled and nodded at Beau, “I know, I have to ask though, what are you hoping for Beau?” “Honestly, a boy. We already have two incredible girls, we need a boy now.” You smiled, “Yeah, I am too.” Beau kissed your lips, “As long as they are healthy I know I will be happy either way. Even though I’m hoping for a boy, if they are a girl, they will be loved just as much.” 

You smiled and nodded. “I love you Beau. Thank you for this incredible life we have.” “I love you too, Y/N. Thank you for this incredible life, and for having my baby.” He kissed your lips again. This time the kiss was full of need. 

Beau pulled you on his lap. You tried to protest, “Beau, no, I’m too heavy.” “No you’re not, you’re perfect.” Things started to heat up between you and Beau. He helped you remove your shirt, and your engorged breasts were poking over the top of your bra. Beau bit his lip, “God you’re beautiful, pregnant with my baby.” You blushed. 

His fingers went behind your back and unhooked your bra, letting your breasts spring free. He growled, cupping your breasts and kissing them. Your head leaned back as a moan escaped your lips. “Mmm yes Beau, please baby.” You could feel your arousal soaking your panties. 

“Tell me what you want, sweetheart.” Beau’s voice dripped with desire. “You, Beau, I want you. Take me please.”

Beau laid you back on the couch and stood up. He slid your pants and panties down. He smirked when he saw how wet you were. He started to unbuckle his pants, ready to take you right there. The shrill sound of your phone ringing stopped him. “Shit!” He murmured. He grabbed your phone and showed you the screen, it was Sarah. “Impeccable timing, Sarah.” Beau said as he answered. “Beau, wait, were you two, oh jeez. Can’t keep your hands off each other?” Beau smirked, “Nope, what’s up?” “Can you two head to the park please?” Beau sighed, “Yeah, give us a few minutes.” “Beau, you don’t have time to finish.” “I know, but helping a very pregnant woman get ready to leave the house takes a little longer. We will be there soon.” Sarah laughed and hung up.

“Looks like our presence is being requested at the park.” Beau said as he buckled his pants back. You poked your lip out, pouting, “So we don’t have time to finish?” Beau leaned down and kissed your lips, “Well, I can take care of you and later we can finish.” You bit your lip and gasped as Beau’s fingers pushed into your dripping core. He worked you closer to your release. It was coming faster since you were already so worked up. You grabbed the couch and bucked your hips into his fingers. “Oh god, Beau I’m going to cum.” He leaned over and kissed your lips, “Cum for me baby, cum on my hand.” You pushed into his hand one more time and you came hard. Moaning and panting.

Once you were done, Beau kissed you and helped you get cleaned up. “Beau, what about you?” “I told you, we will finish this later. I don’t need Sarah kicking my ass.” He laughed. You nodded. Once dressed the two of you headed towards the park.  

Getting out of the car at the park you noticed several people, your girls, Sarah and some of Beau’s colleagues. Sarah and Emily had decorated the shelter with pink and blue balloons. They had planned a gender reveal party. 

Sarah walked over and hugged you, “I know you’d always said if you got pregnant again you wanted a gender reveal where you didn’t know what the baby was. I’m sorry I had to be sneaky, but I hope this is a good surprise.” Tears pricked your eyes and you hugged her tight, “It’s perfect, thank you.”

The afternoon was perfect. Family and friends were gathered, enjoying food and laughter. Celebrating your growing family. The time came to reveal the gender. Sarah had cupcakes made for everyone. The two she handed you and Beau had the gender hidden inside. The frosting in the middle would either be blue or pink. 

You and Beau took a deep breath and bit your cupcakes. As the two of you pulled the cupcakes back from your mouth, tears fell from your eyes and Beau smiled. He pulled you in for a quick kiss. As he pulled away you both showed your cupcakes and revealed to your gathered family and friends blue frosting. You were having a boy.

Lily jumped up and down, “I’m having a brother!” She squealed. You smiled and bent down to hug your daughter, “Yes you are baby girl.” You placed your hand on your belly and felt him kick. Looking over at Beau, “We’re having a boy.” He pulled you into his embrace, “Thank you, Y/N.” Leaning down he placed a kiss on your belly, “I can’t wait to meet you little guy. You are already so loved.” 

Tags are open, if you want to be added, let me know.  

Tags: 

@nescaveckwriter @kr804573 

@k-slla @jackles010378 

@jawritter @xx-spooky-little-vampire-xx 

@roseblue373 @cheynovak 

@jassackles  @chriszgirl92

@suckitands33 @arcannaa 

@n-o-p-e-never @ladysparkles78 

@smoothdogsgirl @hobby27 

@manicjk @stoneyggirl2 

@deans-spinster-witch @snowayumi 

@shadowqueen1318 @shanimallina87

@muhahaha303 @fitxgrld

@nancymcl @baby19sthings

@cheekygirl2309 @oceean

@kindollss @foxyjwls007

@lmg14 @glenpowellheart 

[scoobydoodean]

Honestly I think that a lot of the reason why people view dean as abusive towards jack is because they genuinely think of him as a baby/toddler and not someone with the cognitive abilities of an older teenager/young adult who just happens to not really know much about the world. Obviously there's more to it because people ignore that cas wanted to put jack in the cage and sam wanted to use his power, but I stumbled across a post the other day about how they (the writers and the characters) should've given jack a capri-sun instead of a beer because he's a "literal toddler"... which is just completely incorrect and considering he has the body and brain development of someone who's older, there's no reason to not give him a beer. (also is anyone really a dad unless they give their 3 yr old a beer /j)

Context

It's funny because the whole point of the beer scene is to establish that Jack is not a child and that treating him like one would be ridiculous.

[DEAN grabs and opens a bottle of beer. JACK imitates him.] DEAN Wait, wait, wait, wait. How old do you think you are? JACK 3 days, 17 hours, and 42 minutes.

(From 13.02)

When Jack proves that he has such an advanced understanding of communication and time and such an unusual awareness of exactly how much time has passed, Dean immediately realizes that treating him as if he's a baby makes absolutely no sense because he clearly isn't one. Treating him like a child would be infantilizing, and we see Jack rebel against the notion that he's a baby a few times.

There's some push I think to separate Jack's intellectual abilities from his emotional coping abilities, but even these I think are more or less on track with other young adolescents around the age he presents himself to be when controlling for traumatic experiences. Jack's initial emotional regulation abilities don't read like those of a toddler, but of a young adult who's confused and upset and has been through a lot. Without powers in the mix that he doesn't know how to control, his emotional regulation abilities seem fairly standard for boys his age (at least to me). I don't think for example, that the anger he experiences and the reasons he experiences that anger can be equated with toddler-like tantrums, and any other person whose been around a toddler and sees what kind of things make them furious knows what I mean.

Granted, there are things Jack is naive about that are probably connected to him being "born yesterday". We see this early on when Asmodeus tries to manipulate Jack into opening a hell gate. At the same time, this interaction also highlights Jack's innate sense of right and wrong as a counterbalance. I personally find it frustrating when people try to take away Jack's understanding of right and wrong (rooted in his love for others) and cast him as a baby to the extent that he isn't even capable of understanding the golden rule, when Jack shows over and over how seriously he takes the personhood of other people and the weight of their lives. This is what allows him to see through Asmodeus's trickery in a very confusing situation, simply realizing, "you're hurting my friends". Jack using his care for others as a foundation to navigate Asmoedus's trickery also serves as excellent contrast to soulless Jack in 14.19. Soulless Jack was not able to grasp that Dumah was manipulating him because he was missing this crucial piece of himself—his love for other people including strangers. Because he was lacking that part of himself at that time, he was unable to grasp that filling someone's body with worms for not wanting to be turned into an angel is horrible and cruel and couldn't be a good thing. His naivety played a role in what happened, but it was the crucial missing soul that actually allowed this situation to transpire. I think a lot of people just straight up think normal Jack also would have been manipulated into killing people for Dumah in this circumstance and I really just don't think that's true at all.

[youzicha]

Simulacra, Simulation, and Girls' Generation

That take that "anime girls don’t correspond to anything" reminded me of one of my own pet theories, which is that the same is true about Kpop groups.

Groups like Girls' Generation are like the opposite of American singer-songwriters. The singer-songwriter's core value is authenticity. Their songs are taken to be autobiographical, and to be valuable because they are a true description of the emotions that the songwriter felt. The singer-writer must be a single person so we can be sure that nobody has tampered with the depiction before it reaches us. This is Baudrillard's "first order" image, we in the audience should believe that the song is "the reflection of a profound reality".

With the kpop groups, what we enjoy is that the song does not represent any underlying reality. Each music video is the impersonal product of songwriters, producers, choreographers, stylists, video directors, etc. Rather than a spontaneous expression, you can see the moves being developed in the behind-the-scenes dance practice videos. The online discourse emphasizes the role of the entertainment agency (e.g. SM Entertainment): the group members themselves do not have "agency" so we can be confident that their own emotions didn't make it into the love songs they sing.

Let’s look at the music video for Oh! (2010) to see how this plays out. It's like a game of dress-up, showing off two different cheerleader uniforms. Argumate once wrote that Girls' Generation perform "a detailed sequence of dance moves that are very 'sexy', i.e. strongly coded as suggesting sexiness without necessarily being sexy-without-quotes", and I think we can say something similar about cheerleader outfits. They are not there to convey a message or story (and as if to stress the arbitrariness, the last few seconds of the video show the girls dressed in a completely different "strong woman" style, to tease the upcoming next look). Rather, the "sexy cheerleader" is itself a stylized, free-floating signifier to be quoted. "The whole system becomes weightless … an uninterrupted circuit without reference or circumference." (Although I believe it is still possible to overcome the ironic stance.)

So far everything is straightforward, but now consider the lyrics:

Oppa please see me, please look at me It's the first time I talk like this (ha!) I did my hair and I did my makeup too But why is it only you who doesn't know? […] Don't think of me just like a little sister You might regret that after a year

I claim that this also works in the opposite direction to the normal mode of storytelling. When creating a movie or play, the auteur-director starts with an idea or a story, and then casts actors to best represent his vision. Or, if that is not what it in fact took place, it is still the convention the viewer is supposed to apply to interpret the work. But with an idol music video, the starting point is the singer, who already has a fanbase. "Please see me, please look at me"—well, we already were. (This is not the only Girls' Generation song about looking at the idol, by the way, compare e.g. The Boys, which begins "I can tell you're looking at me / I know what you see".)

Given the opposite starting point, the representational function of the lyrics changes correspondingly. Rather than focusing on the new fictional person who emerges ex nihilo, the fan's attention is still on the singer, and the "little sister" character is yet another stock signifier for them to bring out and put on, much like the uniform. The function of the story is erasure: there was in fact a hairdresser and a makeup artist who styled Yuri, but instead we're invited to project a different fantasy over her. The effect is to further stress the unreality of all the symbols involved.

With this in mind, I think one Girls' Generation song has a really interesting concept for the lyrics. In Paparazzi (2012) the idol looks out across the crowds, spots a photographer who is trying to be discreet, and speaks directly to him: "shall I give you a better photo? let's be friendly, after all aren't we allies?"

It re-establishes the inauthenticity and unreality of the idol! As time goes by, pesky reality intrudes. People will follow the individual group members devotedly, and there are paparazzi images of them. Members will capitalize on their fame through individual brand endorsement deals. There is the perennial problem of girl group girls getting boyfriends, jarringly peeking out as an actual human being from behind the illusion. Or in the extreme case they can even use their new independent existence to leave the group.

In Paparazzi, those candid photos are re-imagined as performance. And furthermore, just like in Oh! we are invited to imagine a fictional character speaking directly to us. But in this case the character is superimposed not just over the image from the music video, but also over all the already existing photos. The actual person of the idol is crowded out by the fantasy…

[mr-nauseam]

The day came to talk about Coriolanus' need for maternal affection and how that causes him to fall prey to Gaul's manipulations.

I'll get rid of the straw. From my perspective is natural for Coriolanus to some extent to long for the absent figure of his dying father to be covered in some way but I think this is intimately related to his idea of masculinity and rather than looking for someone external to fulfill this role in his life. He himself tries to be the one to fill his father's shoes once he passes away. And while I don't deny that he obviously had some affection (mostly admiration) for him, the truth is that even Coriolanus tells us the person who gave him love. Who filled this emotional void was his mother and he lost her very soon.

This is I think the void he is constantly trying to fill by looking for it in other people in his life. Or in other words I don't personally believe Coriolanus that someone is his father, he is desperately looking for a mother.

So the Snow's like the Plinth's are traditional families. The male head of the household goes out to work, he is the one who holds all the purchasing power and his labors will rarely focus on developing an emotional connection with his children. Crassus we could argue by his character if he had lived he would have wanted to cultivate this bond as we know Strabo tried although with disastrous results. I personally don't think Crassus would have tried, and what little Coriolanus remembers seems to indicate that this could be the case and it didn't seem to conflict him. Unlike in the case of Sejanus.

Before going into the obvious, I think we can freely say that Coriolanus was not so worried or burdened by an unloving father because his mother filled this void. Again under the traditional scheme the wife, housewife devotes herself exclusively to her children but again Sejanus has a loving mother why in him has this need manifested itself? I think it comes from the fact that Strabo would later try to cultivate this bond and had the opportunity to live long enough with Sejanus to create a conflicted relationship.

If Crassus had been alive he would have created a conflicted relationship with Coriolanus? Perhaps. It is likely but that is pure speculation, the reality is that he died and there is no such conflicted relationship in the corresponding sense. Coriolanus never felt loved by his father but that never mattered because he did not have the opportunity to have an emotional bond that would alter him emotionally, most of his conflicts arise from what his father represents. Again, he is more of an ideal of masculinity and social being to reach.

The case of Coriolanus' mother is not much different but there is a key aspect of why in the end their situation is unique: Coriolanus loved his mother. He knew that she loved him. And there was in fact an affective bond, so beyond what Coriolanus' mother represents in his life (love, vulnerability) there is a conflict with her person.

Let's look at it from this perspective. Crassus theoretically ensured financial protection and power for Coriolanus. He is not in his life and such aspects are lacking. He clearly misses possessing them because of the difficulties he has faced without them.

The absence of his mother again presents a bigger conflict because Coriolanus had people who cared for him and loved him and yet he resents the lack of his mother. It is not simply missing the aspects of his needs that she would have met if she had lived, it is missing her for who she was.

A loving woman. Who laugh and played with him, who sang him songs. We know almost nothing of what Crassus' personality was from Coriolanus mouth. It is a figure present but totally impersonal from his point of view. Even the few traits he can mention of his father are more accurated to a specific imagen that sometimes not match the imagen of people who actually knew his father have. However, during all TBOSAS there are mentions of who was the mother of Coriolanus. She have glimpses of a personality of her own that Coriolanus could meet by himself.

Something in contrast again because Coriolanus never knew his father, chose make up him. He constructs his idea of Crassus based on his memories, and his own values and ambitions. Almost everything about him comes from the perspective of a model that Coriolanus aspires to be while he briefly knew his mother, resents not having known her longer, and that she has left him alone. Which brings me to the next point of the conflicted relationship with his mother and his mother figures.

Coriolanus never says he hates his mother but recognizes her as weak, fragile and vulnerable. He never disputes this opinion even when others express it, and as we will see throughout the book it is these traits that he despises in other characters or that cause him great conflict. Sejanus is one of these characters but Tigris is another and here comes why neither her grandmother nor she could truly fill the void.

Both grandma'ma and Tigris are fragile beings that from his perspective must be cared for and protected by him. Coriolanus knows that his grandmother was not a woman made to survive the circumstances they live in, she is also old and delusional. She also places pressure and expectation on Coriolanus as the one responsible for saving House Snow. On the other side Tigris has acted more like a mother, taking care of them, that is why he constantly seeks her advice and emotional support however Coriolanus recognizes her vulnerability, and once again categorizes her as a deficient mother figure.

Tigris claimed his protection. Coriolanus is conflicted because, as he despises the traits that he believes murdered his mother, the ones that made her unable to survive the traumatic childbirth, he will speak at times as if his mother had given up and died on purpose. At the same time he refuses this idea and focuses his fury on the faceless rebels who killed his mother, for she surely would never have wanted to leave him alone in this world with no one to love him so much.

His feelings are then reflected in how he interacts with these deficient maternal roles. The grandmother demands Coriolanus to be an adult. Something his mother did not do. Tigris possesses the same flaws as his mother. He cannot rely on her to fulfill the void.

And there is another aspect. Mothers in our society and within Panem respond to impossible ideals about who they should be. Coriolanus idealizes his mother, he places her on an altar so any other maternal figure that cannot exactly meet his needs for love and emotional labor will always be flawed, leading to a constant and impossible search.

Again something that will never happen with his father, as this figure can be flawed, we see this with Coriolanus hearing the most horrible things about Crassus and not blinking at what is wrong with him. Why should he care about someone he never met, someone he can only look up to without worrying most of the time about his emotions because again. The role-models are not human nor is it possible to develop an affectionate bond with them, on the other hand his mother despite being held in an idealized memory that dehumanizes her at the same time is all too human. Because she died, the most human and unbearable act for a mother figure. In a rather horrible way Coriolanus was forced to recognize his mother as fragile and weak, a person of flesh and blood. A person he loved and died in front of his eyes.

Very different from the concept that died with his father beech in the distant D12.

So Coriolanus remains in search of a mother figure, one that he cannot find in his grandmother or cousin, and this is where Saytiria comes in. This is speculative, but I don't think the following statements are unreasonable, so for those who have never read the book, she is a teacher for whom Coriolanus is her aid. Both seem to have a good relationship, enough for Coriolanus to have a certain complicity with her, and in fact he seeks her out unconsciously in moments of stress during the games. A teacher, an older woman whom Coriolanus does not want to disappoint, is a very striking thing to see if we consider that he feels a great void of affection. And in fact it sets a precedent for Gaul but we won't talk about her yet. Before we have to attend to another figure that Coriolanus relates intimately with his mother, and with whom he shows a rather peculiar behavior: Lucy Gray.

We have to recover a point I already mentioned: Coriolanus never says he hates his mother and I don't think he does, however he resents her, since he relates the traits of her personality with weakness, they are negative characteristics to possess, and he thinks this not only for himself, but for the others: Tigris who is sweet and gentle, she invites abuse, Sejanus who is kind and warm is a fool, but if there is someone whom Coriolanus identifies with the traits his mother possessed in a positive way it is Lucy Gray.

That they both sing is the first thing that awakens in Coriolanus this connection. It is not the same lullaby, but Lucy Gray uses the same words that his mother once sang, the same words that made him feel truly loved and from then on a descent begins. Remember that Coriolanus sees his father as an abstract model of the man he should aspire to be? He will constantly try to fulfill this role in relation to others, especially those he identifies as being similar in traits to his mother, Tigris is the one who supports Coryo and his grandmother, and he feels deeply frustate because that should be his job from his point of view. With Sejanus there is a noticeable frustration at the protection that Coriolanus feels he should give him, but Coriolanus does not feel that way about the prospect of caring for, protecting Lucy Gray.

The reason? Because she has been able to reciprocate, and fill the void.

Lucy Gray is the first person similar to Coriolanus' mother that he can fully protect, that he can really help, it is in his hands to take care of her, at first for his own purposes but quickly establishes a bond with her. Their conversations are about topics that Coriolanus doesn't usually talk about with the people around him, topics that make him vulnerable and connect him with Lucy Gray, who he has allowed her to see a side of himself that he tries not to show to anyone. Coriolanus may care for Lucy Gray or at least try his hardest because he feels that in a way Lucy Gray has done the same.

Didn't she hold his hand and give him strength to face the interviews at the zoo? And didn't she save him before from those angry tributes who wanted to hurt him? And it doesn't stop there. Lucy Gray saves him during the bombing in spite of herself, and there is something in the way Lucy Gray is caring for him, showing how much she worry for him, her gestures speak of love.

I don't think it's a coincidence that Coriolanus decides to constantly give her objects that belonged to his mother. They are his most prized possessions, they are reminders that he was once loved, which he gives to his new love to prove the sincerity of his feelings. It is at the same time a way to confirm that Lucy Gray deserves the title that neither his grandmother nor Tigris nor his teacher have been able to receive, she will love him, take care of him and guide him. She will be the mother he has lost, but Lucy Gray fails.

She reveals herself as a lethal version, with traits that are far from his idealized vision of his mother, until the terrible truth is laid bare: Lucy Gray is a victor, she has survived the games, so she is tough enough to survive this world, what Coriolanus deeply wished was his mother, maybe then she would have survived, and he would not be a child impossible to love, a child who was not loved enough by his mother who died and left him alone. It is not rational, it is pure emotion, but Lucy Gray crossing these boundaries is not a problem until she reveals herself as the undesirable woman.

A manipulative, intelligent, sexual creature who cannot be trusted. A lying, snake girl who tries to kill him, and with Lucy Gray's disappearance, Mrs. Snow's memory and her place in Coriolanus' heart are ruined. Forced into the depths of oblivion, of denial, for being his ruin.

Let's recap. Coriolanus has found fault with every mother figure he has encountered. His grandmother cannot be a mother, she demands him to be a man. Tigris cannot be a mother, because Coriolanus should be the one to protect her. Saytiria cannot be a mother, because she is a drunkard, who would not really go beyond her student. And Lucy Gray in the end is a 16 year old teenager, with a difficult life that has made it impossible for her to fit into all these parameters.

She has also had his heart broken and disappeared without answers, similar to how Coriolanus' mother died abruptly, and with no explanation as to why it happened to a very young boy, who years later, is still trying to process and understand why his mother is no longer with him. Coriolanus may be many things, but he is also a very sad boy, and angry at the world, because his mother has left him alone.

Because she died and took his love with her.

And here is where Volumnia Gaul comes to give hope to that boy in the worst way, but that needs its own post, because she is ALL A CASE. Her name alone is crazy, the mother of Shakespeare's Coriolanus is Volumnia, so I think Suzanne Collins was pretty clear about what was going on between the two.

You know I've seen some posts saying that maybe Casca could have been a positive influence if he hadn't been a jerk to Coriolanus, and yes it's a possibility, but I also don't know how much of a chance he had of being listened for a child who wanted a mother and thought he didn't need a father. In fact he was convinced he didn't need one, which is why Strabo Plinth leaves him indifferent when he almost adopts him, but Gaul is a woman.

A mentor who believe in him.

Next post: Volumnia Gaul's monstrous motherhood

Tag list: @julietasgf @binarisunset @maidstew

[nikethestatue]

Hello!

Wanted to get your thoughts on Elain not fitting into Night Court because per Cassian she is drowned out by “Night Court Black”? This also came up when Elain did not wear Illyrian leathers. One of the podcasts that I listen to (though mind you are very much in love with the red haired characters of the books, though they try to keep is unbiased) mentioned this. To me this has always been a bit of a faulty argument, especially about the Illyrian leathers because of course she would not want to wear that. Nesta was the same way. Cassian thinking that was an interesting way to word it—Mor nor Amgen regularly wear black yet he points this specifically out about Night Court. People tend to think well that must be it..Elain belongs in Day or Spring. Personally, I think SJM is perhaps pointing her to a different court all together—>Dusk perhaps???? Or it means absolutely nothing and Cassian is just oblivious to everyone except Nesta, despite the podcasters constantly talking about his emotional intelligence.

The 'black dress' comment has been addressed many times, and I can go back and kind of regurgitate the same info:

it's not the Night Court, it's specifically Hewn City

the plain black dress was there for a reason. To take all attention from her, and place it all on Nesta.

Elain volunteered HERSELF to go to Hewn City and play this role. She stated that she was 'part of this court' and would do what's necessary.

This is all canon and all in the book. So like I said, I am not going to regurgitate this info because the rebuttal of their arguments is already in there.

However, the Illyrian leathers thing is interesting.

Feyre stated that Elain possessed a 'different kind of strength' and SJM, in one of her interviews, said the same. Elain's strength, her powers are not connected to her abilities as a fighter. That's why she won't become a warrior. She is not a Blade. She is a loaf of bread. She is a flower. She is a rose in a mud field. She is a slice of cake. She is home. She is life. She is love. Her strength is that she does what is necessary, even if it's violent and cruel, and then she walks away. She doesn't dwell on it and doesn't take pride in causing pain.

However, unlike all of them, ELain was the only one who didn't need Illyrian leathers to deliver the most devastating blow of all--she stabbed the king. She didn't need any physical power to make a huge difference in the war--first by Seeing Vassa, who came in and destroyed the navy, and then by finding the Suriel with her Seer's Eyes, and through the Suriel, Amren learned how to shed her 'skin' and how to come to full power, thus developing a devastating blow to Hybern.

Elain has never been and hopefully will not be about fighting, slicing and dicing. Elain fully lives into the Nephelle philosophy. The weakest, the most 'insignificant' person can make the most difference. Nephelle with her too small wings, with her lack of physical powers also made a tremendous amount of difference in the previous War.

Cassian, the great warrior, the general, all clad in Illyrian leathers was no match for the King of Hybern. No matter his training, his physicality, his strength, he still fell, and was ready to die. But then Elain stepped out of the shadow and rammed Truth Teller through the King's throat.

That's her power. That's her strength. She does what needs to be done and then she returns to her quiet life, and continues to create.

That's the significance of Elain Archeron.

[e-vay]

The fic I was writing with your permission is finished. It's over 10,000 words so I posted it to Ao3. The code is 59038462. It's not that good, but I tried my best, and I really do hope you like it. If you do, please share it if you can. If you don't like it, say the word and it's gone. It's your Aurora, not mine, you have control.

^ You to me

First off, you're totally wrong that your story isn't good. It was written so well and was full of so much emotion. So you quit with that self-deprecating nonsense!

I'll be honest, your story was emotionally difficult for me to read but I mean that as a very high compliment because it was so skillfully written and I was so invested throughout. I had to stop reading a few times because it was making me cry. That being said, you managed to deal out the angst in a way that made sense for the plot and was good for character development. I commend you for that!

For those of you who love angst and specifically for those of you who regularly fill up my inbox with requests for Shadora angst, I recommend you read this story.

[aziraphales-library]

Hello~ Can I submit a fic rec?

Give Me Death in a Big Cup by indigovigilance

Summary: Astronomy Professor!Crowley meets Bookseller!Aziraphale Status: WIP (updates twice a week) Rated: M

Love the themes it explores and the way it fleshes out & develops characters in a human AU setting. It's really well written and researched <3

https://archiveofourown.org/works/50548276/chapters/127694641

Thank you for all your recs!

Thanks for the rec!...

Give Me Death in a Big Cup by indigovigilance (E) (WIP)

A professor of astronomy from South Downs wanders into Nina's coffee shop and orders off the secret menu, but has forgotten his wallet; luckily, Ezra Fell, local bookseller and single father to 20yo Muriel, is on hand to cover the tab. A slow and gentle romance unfolds as the two share their interests with one another and help each other to heal from old wounds, all while assisting young Muriel to step into adulthood. Soon, they begin to have strange dreams about two angels who ask questions in the days before the creation of the first humans, and must make difficult sacrifices to protect each other. If you like Demonology or TawnyOwl95 for tone and emotional depth, this work might be up your alley. Full of poetic prose, nerdy info-dumping, and meandering philosophical discussions. Frequent references to books, movies, and music that the author likes. Fully outlined, new chapters released the first Tuesday of every month. Split into 5 books; Books 1 and 2 are complete. Chapters that have been converted to audio marked with an asterisk, player works in mobile and desktop. Chapter count is an estimate.

- Mod D

[killerlittlerejects]

When I say creepypasta is my comfort fandom, this is what I mean.

Was doing some art in honor of the MBK channel and got a bit emotional at the realization how much this weird, crazy little fandom has helped me over the years, whoops.

I’ve been in this fandom for over a decade. And Jeff has remained my favorite/comfort character, even at twenty years old. Jeffrey Keaton has remained one of my favourite Jeffs.

The MBK/Needles and Smiles series was something I stumbled upon by complete accident. I was completely blown away by it, as at the time I had never seen anyone do something like this for creepypasta before. David Near did his voice acting, and we had the readings, but no one had done a whole ass audio drama for their retelling before. I was hooked.

Desperate lacking in development and certain things not aging very well over the years, this is a series I keep coming back to when I’m feeling down/want a dash of nostalgia.

Love em or hate him, you can’t deny what both Patrick and Jeff Keaton have done for the fandom. Hell, if Needles and Smiles never happened, I don’t think we would have ever gotten the morgue files lol.

So I guess you can count this drawing in process not only as a thank you to MBK, but a thank you to the fandom/characters as a whole who was there when a lonely preteen needed something to hang onto to not feel so misunderstood by everyone.

[droidders]

Transformers One review

I'll start off with a non spoiler review.

First of all, amazing voice acting especially from Chris Hemsworth and Brian Tyree!! I didnt think Chris would be able to do a good orion/optimus voice but boy was I WRONG. They did amazing. Scarlett Johansson's voice for Elita was an amazing pick and keagan michael for bee's voice is also good.

Stellar voice acting with so much emotion!!

The animation is amazing. And the way they showed the world of cybertron is amazing. The world building in this movie is so good, i seriously feel like cybertron is a real planet with real creatures with its own rules, history, culture. They made the planet feel so alive, its insane.

All the characters were likeable, i was really vouching for all of them to succeed in their goals. The movie knows when to be funny and when to be serious, and it can get REALLY serious when it needs to be. The movie talks about real world problems and reflects it so well.

THE TRAILERS DID NOT DO THE MOVIE JUSTICE.

The trailers really made it look like a kids power ranger type of movie. The trailers gave it a vibe of:

"Bumblebee, you go left! D-16, you go right! And Elita.. well, you just be elita."

When the actual movie really wasnt. I kept my hopes low cause the trailers weren't really hyping me up that much and i didnt expect much from the movie overall but holy moly my expectations were blown away. The movie does have its flaws like any movie but yeah. This genuinely feels like the spiderverse of transformers. Truly amazing.

Overall 9.8/10, amazing job to everyone who worked on this movie, YOU COOKED!!!

I highly reccommend watching it in cinemas. Its worth it, just trust me on this!!!

Waiter! Waiter! I'd like a trilogy of transformers movies that are as good as this!

Id also like to add that this movie is the best transformers movie. And you dont have to be an insane transformers fan like me to like the movie, nor do you have to watch any other transformer movie to understand it. Its a great standalone movie. Its a movie great for both new and old transformer fans and people who are just looking for a good movie to watch.

GO WATCH IT NOW.

Now onto the spoiler review

I said all that i wanted to say about the overall movie in the non spoiler review. Here, I'll talk about the actual characters and story.

THIS IS CINEMA HOLY MOLY.

I had to resist screaming in theaters especially the part where Orion and D16 went to that thruster thing to get a better view of the Iacon 5000 and d16 is all like: "You did all this for me?"

AAAGWGSFEGWGSGDGDHHYDTST

The character development with D16 slowly turning into the monster that is megatron is BEAUTIFUL.

The movie writes d16 in a way that makes us NOT want him to turn evil which makes him slowly turning into megatron and betraying orion all the more heartbreaking. CHARACTER DEVELOPMENT.

Seriously, his descension into evil makes me wanna cry. His unbridled rage towards Sentinel portrayed through the voice acting is just WOW. You can really feel his anger through his voice.

The way his eyes change as the movie progresses is just great. They did great writing him, deep down I really wanted him to be redeemed and for him to NOT turn into a brute like sentinel even though I knew it was inevitable. Some transformations are good, useful even, but in the case of Megatron it was a terrifying transformation thats unfortunately permanent.

Sentinel prime, as much as I hate him he is still such a great character. I hate him so much I love him. THE SCENE WHERE HE WAS BEGGING D16 TO NOT KILL HIM SENT CHILLS. You can feel the amount of fear in his voice. It was a striking contrast to his confident demeanor, his ruthlessness as a 'leader', and he who is the literal killer of the Primes,

to see him BEG for his life truly shows how terrifying D16 is.

ORION PAX AKA THE GLORIOUS OPTIMUS PRIME.

A wonderful and entertaining main character. THE SCENE WHERE HE JUMPS OUT OF THE PIT AS OPTIMUS PRIME??? Holy moly that was so badass. AND THE LINE WHERE HE SAYS:

"We could've built the future together."

GOD IT MAKES ME WANNA CRY.

The expression he made when he saw D16 being absolutely BRUTAL to Starscream as he realizes that his friend is slowly transforming into someone evil is gut-wrenching.

And throughout the first part of the movie he was this reckless character who did stupid things, he had hope and determination unlike anyone. It made me question 'How could this guy possibly turn out to be the strong leader that Optimus is?'

But during that scene where he talked to the other miners and led the High Guard to sentinel made me 100% sure that yeah, this guy definitely can be a great leader. And the way he gave the miners a CHOICE to join him or not. That is PRIME.

Elita was a straight up girlboss. I love how they didn't make her just another love interest for Orion or made her just this girl who was a good fighter. She was sassy, witty, and a hard worker. I almost feel bad for her getting demoted and having to deal with the mess that is Orion, D16 and Bee. But anyways, shes an amazing character, really likeable personality who is way more than just a bot who's a good fighter (which was the impression i unfortunately got from the trailers)

Her pep talk with Orion was both funny and beautiful. She knows how to break someone down with her words and build them back up to be stronger. I loved her. Not to mention her design looks gorgeous??? Probably my fav elita design of all time.

At first I found Bee a strange addition to the movie and I was scared they were gonna make him an annoying character but thank god he really wasnt! He was a great comic relief character who had a lot of funny lines. He adds so much silliness into a serious movie and not in a bad way.

He knew when to be serious and the gravity of the situation with Sentinel being a terrible, corrupt leader. I loved the portrayal of him as this almost crazy guy whos been stuck being alone talking to inanimate objects in a place where all he does is burn trash all day (makes sense as to why he talks so much).

A really good character, thank primus they didnt make him annoying or overbearing.

Lastly, Cybertron itself. THE WORLD BUILDING IS SO GOOD. It's environment, its people (or bots?) make the planet feel so real. All of these cool mechanisms with the road and trains, the landscape during the train scene with the vapor wave-esque sun is just gorgeous. Such a beautiful portrayal of Cybertron that I love.

I personally dont think the movie NEEDS a sequel since the rest of the transformers just takes place after this, but if they make another movie thats as good as this, Im not complaining. If they do make a new movie though, I'll guess that it probably has something to do with the Quintessons or something idk.

Its a really beautiful take on Megatron and Optimus' backstory. And though there are many takes on it like how megatron was a gladiator and not a miner, etc,

This is still probably my favorite take on their story, its a really interesting portrayal of them and their fallout.

Anyways thats the end of my yap, honorable mentions to the music, it helped the immersion of the movie, and its really good.

Do note that Ive only seen it once, i might've gotten some stuff wrong but ill be looking to watch it again somehow in the future. My review may be subject to change but yeah.

Buh-bye!!

[princess-of-the-corner]

It's always nice when a children's film has some actual TEETH to it, y'know?

Like how a lot of older Disney movies and even some cartoon tie-ins are famous for their nightmare fuel?

Always good to give the kids something that'll stick with them well into adulthood. They love it!

YES.

Like I joke about this skit but seriously just.

Kids movies nowadays are too.... nice. Too safe.

And the reason for this is essentially to get the widest audience possible! Everyone can watch a PG film! Especially if it is soft and nice for the very small kiddos!

It's also because of parents like the above skit who let the TV raise their children. Instead of actually doing the 'parental guidance' they just go 'eh it's animated it's for children'. But children do need an adult to kinda gauge their ability to handle the darker movies because yes I say scare the children but within reason. One kid may be old enough to handle the scary scenes but another may not and it's up to the parents to see how the kid is doing and make sure they're okay and actually talk to them if needed!

But it's.

I am very much in agreement with Don Bluth: Kids can handle anything you throw at them as long as you give them a happy ending.

And it's part of like. Child development. It's.

Fiction is a fantastic medium to explore bad things and feel and process those emotions without having it be genuinely /real/. There's a step removed.

So yes seeing child characters deal with the loss of a parent, or be in horrifying danger and scared for the lives of themselves and their loved ones? It helps children process those emotions better so that, when they run into scary situations in real life, they can also process it better.

And you do need to experience the bad to appreciate the good as well! Those happy endings don't hit as hard if you haven't gone through some kind of Hell to get it.