#and there���s more obviously

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ive been thinking about the red string superstition recently and also sol bufo always and it makes me sick how uncannily caldwell tanner has made sol to perfectly target me personally

(+ cropped versions !)

[peridots-pixiwolf]

[Start ID. A digital drawing of Gabriel and V1 from Ultrakill in super-saturated, pixellated colors. It seemingly takes place during phase two of his second fight, judging by Gabe's bright yellow-cyan wings and the consequent blush shining through his helmet. Gabriel is pictured on the left, facing the left side of the screen with his head turned to V1, preparing to strike them with the bloodied spear in his right hand. Small but frequent splatters of blood dot his armor and outstretched wings, fabrics torn through in places. V1 is on the right, aiming its piercer revolver at his face. Their arms are stacked in pairs on either side, idle Feedbacker and Knuckleblaster on the left and Whiplash tucked atop their default arm on the right. Both parties are stylized to resemble insects, Gabe with beetle wings and a halo in the shape of antennae, and V1 with the four wings, four arms, short antennae and bristles expected of a dragonfly. End ID]

woah.... happy 1 year anniversary to gay people

also a couple alts (background removed, just gabe, and just v1, respectively) in hopes it'll be a little easier to understand what's going on and all!

additionally once again: special thanks to @magnumopos and @muzzleroars , neither of which I have actually spoken to in my life but both of which are credited with partially inspiring this! (dedicated section under the readmore due to the fact I do not generally tag people at all ever and wasn't sure if I should, but thought it was worth mentioning!) The former for giving me the wonderful idea of dragonfly V1, the latter for drawing V1 like a strange little creature + for the feedbacker plate, I enjoy both your works :]

(retroactively, on march 27th of 2024, assigning them a full bingo with credit to deep-space-lines. ehehehehe)

[lauraneedstochill]

My first choice (part 1/2)

summary: Aemond thinks you are way too good to be Aegon’s best friend. But you are enough for the one-eyed prince to fall in love with. pairing: Aemond Targaryen and F!Reader words: ~ 5500 warnings: friends to lovers, slow burn (with very obvious mutual pining), angst, Aegon is a sad boy (but ends up being a pretty good wingman!) author’s note: this is inspired by “Little women” and Amy March in particular. I took the liberty to rewrite some plot lines because to me Aemond is nothing like Laurie (Aegon is ;) and I hate love triangles so we are not having any of that sorry. it’s a bit of a roller coaster so I divided it into 2 parts: the first one explains Aemond’s feelings, the second one is about hers. ✨ part 2

Part 1. How could you be so blind. Aegon knows he’s supposed to be relieved — he never wanted the crown and now that Rhaenyra is the Queen and a feast is arranged in her honor, he should be celebrating. And he may have been hitting the wine way too hard for the past couple of hours, but he can’t pretend to be happy, and he gave up trying to force a smile. It’s ridiculous that he is upset over this, and yet he can’t help but feel horribly useless. The prince drinks one cup after another until the room starts spinning and he can’t even sit straight — and then he suddenly finds himself propped against the wall, sliding under the table instead of sitting at it. Aegon catches a few judgemental glances but at this point, he couldn’t care less. There is only one person whose judgment he is afraid of — and it’s not long before he’s greeted with a displeased remark:

“When I asked you not to swoop too low, I couldn’t imagine you would literally lay on the floor.”

He looks up — and here you are, staring down at him, not even trying to cover up your disappointment. At any other time, Aegon would’ve at least tried to sober up, but today he’s disappointed in himself, too, so he doesn’t make an effort. Instead, he reaches out an arm to you with a lax smile.

“Would you like to join me?”

“I didn’t get the invitation to this pity party so I will pass,” your tone suggests you are not in the mood for jesting. “Now that you’ve succeeded in making a fool out of yourself, would you mind getting upright?”

“I think I like it here,” he retorts, shamelessly staring at the legs of the maids passing by. 

“You like wallowing in misery for all to see?” you huff. “Aegon, get up.”

He fakes a whine. “My legs gave out, I’m afraid!” 

“You would need to drink all the wine in the castle for that to happen, and I doubt you managed to do that,” you roll your eyes, taking a step toward him — but pause upon hearing a voice behind your back:

“You underestimate my brother.”

Aemond has a habit of sneaking up on people which often startles you yet right now you are too angry at Aegon to be bothered. You throw Aemond a glare over your shoulder but your eyes soften when you see the apologetic look on his face. It’s not the first time that the two of you find yourself in this situation — throughout the years you learned to work as a team: you bring Aegon back to his senses while Aemond helps to physically bring him to the nearest flat surface. You have never asked him for help — and yet he’s always there.

Aemond is about to lean down to help his brother up — you stop the one-eyed prince with your hand, your palm inches away from his chest. Anyone else would’ve thought twice before standing in his way but you don’t hesitate.

“He is perfectly capable to get up on his own,” you reject Aemond’s attempt, your eyes fixed on Aegon. “He can hold onto the wall shall he feel unable to stay on his two feet.”

There is something in your gaze that makes Aegon uncomfortable, piercing him to the bone. You are never downright mean or rude but with just a few words you can easily unmask his feigned recklessness. The prince stands up, tottering and feeling a little light-headed.

“Are you happy, now when I’m in the standing position?”

“If you cared about anyone else's feelings but your own, you wouldn’t be in this position,” you scold him while Aemond takes his brother under the arm to guide him out. Aegon tries to grab another cup of wine but you slap his hand.

“Do you ever get ashamed of yourself?” you hiss at him.

“Let me think... No, why would I?” he sounds sarcastic.

“You should be,” you whisper scream at him. “You can find nothing to do but dawdle and make a mockery of yourself!”

Aemond feels his brother shuddering at your words, and he tightens his hold on Aegon.

“Well, what else am I to do,” his voice is bitter. “Since I am not an heir and serve no purpose to the realm nor do I have any taste for duty.”

You slow your pace, and a sigh leaves your mouth.

“I feel sorry for you, Aegon, I do. I only wish you’d bear it better,” you reach out to stroke his arm but the prince bristles.

“You don’t have to feel sorry for me. Your duty is to marry, and we will see how that goes,” he mutters before he can stop himself — and regrets it the very next second when you swiftly turn to him.

“At least I would be respected if I couldn’t be loved,” your tone hushed but sharp.

Aegon stops dead in his tracks, his wide eyes meeting yours. You moved away from the crowd into the hall, and it becomes silent. And then his lower lip quivers.

“But I thought that you loved me,” Aegon whimpers, his assumed nonchalance instantly gone.

“Oh, Aegon, how much did you have to drink?” you come to his side, lending him a shoulder to cry on. While he’s aggressively sniffling, you look at Aemond and quietly mouth “How many cups?”

“Way more than usual,” he gives you a wan smile, and you groan at his answer, taking Aegon by the arm.

“Alright, you can lean on me. But don’t get handsy or I will push you down the stairs,” your remark earns a weak laugh from the older prince, and the three of you head toward his chambers.

Aegon doesn’t talk much but his mood softens and you exchange a few jokes before finally reaching his room.

“I can take it from here,” Aemond suggests but his brother eagerly protests.

“No, I want to be tucked into bed! And definitely not by you,” he sticks out his tongue, and you chuckle at his whim.

“Aemond, I can handle him.” 

The one-eyed prince shoots you a knowing glance and holds the door open for you and Aegon to walk in. You slowly move to his bed, making sure he doesn’t stumble on his way — and then, with a sudden boost of energy, the prince flops down on the fluffy blankets, letting out a satisfied moan. You hold back a giggle and wait for him to crawl under the covers.

“Should I call for the maid to help you undress?”

“No, I am way too comfortable like this,” he pulls the blanket up to his chin, and you sit on the edge of the bed.

“I am sorry for the way I behaved,” he reveals, frowning. “I did not mean to, truly.”

“Aegon, you know I’m not the one you should apologize to,” you take his hand in yours, and he squeezes it with childish eagerness. “You left Helaena all alone. And you promised me you would make an effort.”

“I know, I know,” he yawns. “I was doing better until today, I swear, you should ask her,” his speech becomes incoherent as he is already too drowsy to talk, his cheeks flushed from the wine and the heat of the blankets. As you stand up to leave, Aegon mumbles:

“I fetched you a book... the one you were looking for,” he sloppily points to his table by the window before dozing off.

There is only one book so it’s easy to find — and when you do, you can barely contain a sound of surprise: it’s the complete history of Westeros, heavy and hardcover, decorated with gilding. You glance at Aegon but he looks fast asleep so you cautiously get out of his chambers.

If you were to turn around, you would’ve noticed that he kept an eye on you with a grin on his face.

When you walk out, you see Aemond still standing there, his gaze landing on the book and then immediately on you. It takes you a minute to figure it out and then you smile at him:

“Even though I appreciate the gesture, it is hard to imagine Aegon in the library.”

“He asked me to help him find the book you wanted. I did,” the prince explains as if it isn’t that big of a deal. But to you, it is — although you think he only did it out of politeness.

“Thank you, Aemond,” you enthusiastically turn your attention to the book, flipping through the pages in awe. He watches you, feeling the warmth in his chest at the sight of your joy.

“You know that you bring out the best in him?” Aemond says in a low voice, and your heart skips a beat at his comment. You are thankful for the dim lighting that makes your heated cheeks less obvious.

“You overestimate my influence,” you say, then dither before admitting, “I’m afraid I was too hard on him today.”

“Someone has to do it,” Aemond objects, and there’s something in his tone — sincere and soft, that makes you look at him again. At this moment, away from the prying eyes and the pressure of everyone’s expectations, you can see the side of him that people rarely get acquainted with.

“I think you are doing a pretty good job, too,” you tell the prince, finding his presence ever so calming. You could never understand why would anyone call Aemond intimidating when he’s been nothing but kind to you ever since you two met. Whenever you have a chance to be alone with him, his company always brings you comfort, and that feeling is so rare, you want to chase it.

But then you remind yourself of the harsh reality, and your smile falters.

“I’m sorry you had to get involved,” you look down at the book. “I wouldn’t want to distract you.” 

“You need to elaborate on that,” Aemond says uncomprehendingly.

“I’ve heard that you were courting lady Baratheon,” you explain casually, avoiding his gaze.

He hesitates before answering.

“Well, I only plan to,” the prince clarifies. “If she accepts my advances.”

“It would be silly of her not to,” you blurt out and, while you can’t see it, Aemond gives you a quizzical look.

“She may have her reasons —” 

“I can’t come up with a single one,” you tell him with so much confidence, Aemond’s heart flutters at your words but you continue without a second thought. “You are intelligent, good-hearted, handsome — and a really skilled swordsman. Not to mention you have the biggest dragon in the realm, which does sound like a reasonable perk.”

The prince is glad that you’re too preoccupied with the book to see his stunned expression. It’s not just the fact that you compliment him so easily — but also the way you do it. When other people try to, they usually start with Vhagar as if the old grumpy creature is the main good thing about Aemond. But you only bring up the dragon at the very end and in passing, instead keeping the focus on the prince. He is silent for a moment, letting your words sink into his memory.

And then Aemond persuades himself that you only said it out of politeness.

You notice his lack of response — and you are about to question it when a maid comes to you in haste:

“Lady Y/N, your presence is needed. Your father is looking for you.”

“Better not keep him waiting,” the prince encourages you with a grin. “If he finds Aegon, he might hug him to death.”

You playfully elbow him and turn to follow the maid but then stop to say. “Please make sure your brother stays in bed.”

“Will do,” Aemond looks at you walking away, clutching the book to your chest as if it's the most precious thing in the world.

To this day, it is truly a mystery to him how Aegon managed to befriend someone like you. You met the Targaryen brothers when your family was invited to one of the royal feasts. You were ten-and-three, the middle one of three sisters. Your oldest — Elaesa — has been the center of attention, beautiful and graceful, but while everyone’s eyes were on her, you looked a little bit disoriented. It was the first feast that you’ve attended, and maybe you got too agitated or overwhelmed — or both — but soon you ended up lost in the castle, and somehow ripped the hem of your dress in the process.

Aemond was the one to find you. The prince has never been keen on taking part in celebrations, often sneaking away from all the noise. That’s when he saw you — fussing with the dress, your sobs echoing through the hall.

“Are you hurt?” he rushed to your side, and you looked up at him with blubbered eyes.

“Why do you have so many halls? You should hand out maps so people can find their way back,” despite being clearly upset, you sounded unusually serious, and Aemond fought back a smile.

“I can help you find your parents without a map,” he suggested, and for a second it seemed to lighten your mood but then your pout worsened.

“I cannot go back,” you gestured at the dress. “I am in such trouble!” you whined, the tears threatening to spill out of your eyes. 

Truth be told, Aemond didn’t have much experience with ladies back then nor did he know a thing about dresses but your distress seemed so genuine he couldn’t leave you be.

“It is not that bad,” he pointed at the ripped material. “I can ask our seamstress to take a look.”

You studied his face for a second, then glanced back at the dress — surprisingly, that was all it took for you to stop crying, and no other coaxing was needed. You wiped your nose and fixed your hairdo, smoothing the damaged hem the best you could.

“I’d appreciate it if you help me find my way back,” you said, your face seemingly more relaxed.

Getting you to talk was pretty easy, and Aemond shortly discovered how open-minded and outspoken you were, using your quick thinking to compensate for your timid personality. When you returned to the hall of the Iron Throne, he was reluctant to let you go but promised to come back with the seamstress. The task only took him about ten minutes, but when he did reappear, you were not alone — Aegon was standing next to you, making you laugh so hard, it looked like you forgot about the dress already. Aemond didn’t mean to interrupt as he suddenly felt very out of place, uninvited in his own home, so he abandoned the idea of helping you and just left.

At first, he thought you fell for Aegon’s flirtatious charms but soon learned that, as much as you did like his brother’s humor, his charms had no effect on you. On the contrary, you often chided him for hitting on young girls and openly condemned his affection for wine. Your honesty set you apart from all the ladies Aegon was surrounded with — and that was the reason he came to enjoy your company as much as he did. Despite the three years age gap, you were the one who told him the truth, no matter how ugly it might’ve been, but you did so without prejudice or any ill intentions. You would usually follow your critique with advice or a solution of some sort to keep the prince away from unnecessary trouble. That is why you were on friendly terms with Helaena, too, and your influence was also welcomed by Alicent, the then Queen. She liked that you were straightforward with your remarks and often said that you were wise beyond your years. Although, as much as Aemond agreed with it, he suspected there was a reason you had to grow up early.

It happened the same year you met — your older sister, with all her grace and beauty, ran away from home to elope with some unworthy beggar. Your mother was inconsolable for at least a week, saying that Elaesa brought shame upon her family. Your father, the kind man that he is, forgave his daughter fairly quickly and tried his best to restore peace. And yet, you came to realize that Elaesa’s vagary did cast a shadow over your House. Your youngest sister, Alyna, was a fragile little thing, frequently sick and tacit — which left you to be the one representing your family in the eyes of society.

Within a few years, there wasn’t a thing you weren’t good at: lords lined up to have a dance with you, ladies admired how well-spoken you were and shared a laugh at your florid sarcasm, and you learned to embroider, to ride a horse, to walk exquisitely dressed and with impeccable posture. But while for everyone else it was a reason to compliment you, Aemond saw the underlying cause of your diligence — the corrosive desire to prove one’s worth which was something he learned to live with as well. And which led him to think he understood you better than anyone.

More often than not he found himself watching you as if he had the need to make sure you weren’t in harm’s way. Helping you with Aegon was a part of that routine but it also gave him a chance to be alone with you. You talked about everything and nothing in particular, and he would catch glimpses of you — the real you, shy and emotional at times, but still understanding and perceptive. He cherished every opportunity to steal you away from the never-ending chattering, from lords ogling at you, from Jason Lannister whose interest in your company should’ve been concerning. Aemond has gotten so used to observing you, so enthralled with your covert conversations, he didn’t realize that a particular feeling was creeping up on him. But there was one person who turned out to be more observant than Aemond has been. Aegon was the mere reason why his brother ended up at your door a few days later. Aemond’s been to your place a couple of times and he promptly memorized the way to the farthest room of the house — the one you used to paint in. It was the only thing you truly allowed yourself to enjoy, an unexpected talent of yours which you soon perfected, too, except it wasn’t meant for the others to marvel at but plainly for you to keep your head occupied, to have some quiet time.

He walks in when you are already painting the finishing touches. When you turn to greet him, you stop mid-sentence, seeing that it’s Aemond instead of his brother who you were waiting for.

“He overslept,” the younger prince shrugs. “It isn’t a bothersome task to come pick up the portrait of my nephews.”

You point in the direction of the painting with the brush in your hand. Aemond admires your work — as he always does — while you try to shake off your confusion. There is another reason you did not expect to see Aemond today. You tarry with voicing your concern but eventually glance at him with empathy.

“I was sorry to hear about lady Baratheon’s decision.”

“I was not,” he’s quick to retort.

“I cannot imagine agreeing to marry a Stark,” you say, dipping a brush in a jar of water.

“Is it the cold weather?” Aemond grins knowingly.

“Yes! Gods, just thinking about it makes me feel uneasy. All the layers you have to wear to keep yourself warm, barely being able to move, getting no sunlight...,” you ramble, making sure to wet all the brushes before lining them up on the table.

“Some say they’ve got quite a beautiful scenery,” Aemond tries to object although he knows his argument doesn’t stand a chance.

“I wouldn’t be able to enjoy that,” you huff. “How am I to capture the beauty if my paint freezes?”

He only hums in agreement, watching you busy yourself with your supplies. You go through the brushes, delicately cleaning the bristles with a cloth. Your fingers carefully take one brush after the other, and Aemond silently admires your love for neatness and order.

“You are staring,” you say without turning to him.

“Where do you want me to look at?”

“Aemond, you are in a room full of art!” you chuckle lightly. “Surely, enough options to land your eye on.”

The prince lets his gaze go around the place, and it takes him about a minute to quickly examine all the paintings. And then he inevitably looks at you again. Aemond thinks he likes this view the most.

“When do you begin your next great work of art?” he asks, hoping to distract you. 

You halt movement, then force out glumly:

“Never.”

“What do you mean?” he’s taken by surprise.

“I’ve come to realize that I’d never be a genius,” you reluctantly explain. “So I’m giving up all my foolish artistic hopes.”

“You cannot be serious. You have so much talent and —”

“Talent isn’t genius!” you throw up your hands in defeat, and he can sense your frustration from a distance. “I may be talented in other things, but when it comes to painting, I want to be great or nothing. And I am only of middling talent,” you scoop up the brushes, give them a quick look and place in another jar to dry.

Aemond wants to argue, he really does — but he also knows better than to try and persuade you when you are like this: firmly standing your ground, exuding nothing but stubbornness. In any other situation, he would’ve found it endearing but it’s upsetting to see you downplaying your brilliance.

“Hm, may I at least ask your last portrait to be of me?”

You instantly turn to him, taken aback. Throughout the years you’ve known him, he clearly expressed that he did not like being painted, and you only could make a quick sketch or two, at best, when he wasn’t paying attention.

“Alright,” the long-awaited opportunity makes you smile. “Next time I come for breakfast, I will drag you into the garden to pose for me,” you give him a pointed look, and Aemond humbly nods.

Your smile grows wider but you try to tone it down, afraid to spook him, and focus on wiping the nearest table.

“What are you going to do with your life in the meantime?” he changes the subject.

“Polish up my other skills and become an ornament to society,” you sigh, putting the cloth away.

There’s a brief pause before he says, his voice a bit strained:

“Here is where Jason Lannister comes in, I suppose?”

You say yes but the answer comes a little bit too fast, and Aemond notices that the topic makes you uncomfortable.

“But you are yet to be betrothed to him,” he clarifies, gaze fixed on you.

“I will be if he proposes,” your eyes meet his, and you are sure that there’s a shadow of disapproval on his face that only spurs your stubbornness. You fully turn to the prince to say: “I always knew I had to marry well, I do not feel ashamed of that.”

But Aemond isn’t looking for a fight — he swiftly corrects himself:

“There is nothing to be ashamed of. As long as...” — he can barely bring himself to say it — “As long as you love him.”

For the reason unknown to Aemond, his statement brings a bleak smile to your face.

“I believe we can have some power over who we love,” you object, lowering your gaze for a second as you start absentmindedly twisting the ring on your finger.

“I think the poets would disagree,” he chuckles, trying to defuse the unexpected tension. 

But when you look up at him, your glare is as obdurate as ever.

“Well, I am not a poet, I am just a woman,” you rebut crisply. “And as a woman, I have no illusions about my prospects which do not include me earning a living to support my family. And my parent’s fortune has its limits as I’ve come to learn. Hence why, if I want to have children — I do — and be able to provide them with everything they wish for, I must rely on my husband,” that last word is pronounced with disappointment. “So don’t stand here and tell me that marriage isn’t an economic proposition, because it is. It may not be for you but it certainly is for me.”

Had he not known you, Aemond would’ve been very impressed — with how blunt and witty you are, you are very good at delivering speeches. But as he’s standing in front of you, watching your face, he senses that your determination is akin to despair. Aemond thinks he might take a chance at arguing with you, after all — but you’re both startled by a knock on the door:

“Lady Y/N, Ser Lannister just arrived.”

You look baffled for a second, your confidence crumbling.

“Why would he — I, I didn’t expect him today,” you mumble, almost ashamed of his arrival.

Yet you pull yourself together faster than Aemond can come up with a reason for you to stay. You remove your apron and quickly examine your dress, then move to put on a cape.

“Did I miss any paint stains?” you ask Aemond in a haste.

“No,” he looks over the flowing material of your neat dress, your hair knotted up high — and then, “...Wait!”

You stop abruptly while he grabs a clean cloth.

“There is something on your cheek,” he says as you both step toward each other — and in the next second you are suddenly standing too close. 

You turn to him and shyly shut your eyes, taking a deep breath. Aemond is frozen for a moment but then carefully wipes away a slight smudge of green from under your cheekbone. His hand unwillingly lingers as he examines the delicate features of your face. You open your eyes, looking at the prince questingly. His facial expression is unreadable but it makes you wish you didn’t have to go.

You brush away that silly thought and stand back, fixing your cape.

“How do I look? Do I look alright?”

“You look beautiful,” Aemond says with no hesitation, taking you in — with your cheeks a bit flushed, lip parted and eyes shining. “You are beautiful.”

You seem a bit bewildered at his words but then a smile grows on your face — and in a blink of an eye, you’re gone. The prince is left standing there, staring at the spot where you were just now. The room suddenly feels so empty without you — and so does his heart.

The realization strikes Aemond like lightning: he wants to be the one you come to, at all times. The one holding your hand, watching you paint, or read, or dance — watching you do whatever your heart desires. Because his only desire is to be with you. That thought puts down roots deep into his chest, and he doesn’t know how to pluck it out.

Nor does he want to. It’s all he can think about for the duration of the week, until you come to the castle — with canvas and supplies, not hiding your excitement. He almost forgot about his promise but follows you into the garden without objection. You sense a slight change in Aemond’s behavior, him being more quiet than usual, but decide not to push the prince so he won’t reconsider.

“I will start with a sketch and then we will go from there. Alright?” 

He just hums in response while looking at you but you are unaware of the meaning behind his gaze.

“Take any pose you like, I don’t want you to feel uncomfortable,” you suggest with a half-smile, knowing full well he will probably remain standing.

And he does, arms clasped behind his back, his eye never leaving your face. You immerse in the process too quickly to be bothered, the piece of charcoal in your hand sliding over the paper, leaving lines and shadows. Drawing Aemond is an effortless task, and you can only enjoy how easy it is to sketch the sharp contours of his face and his lean body. The simplicity can also be explained by the fact that you've already memorized all the details by heart: the curves of his cheekbones and his lips, the flow of his silver hair, the shape and cut of his eye.

When you are finally satisfied, you can’t tell if it’s been an hour or three, and the prince, as it seems, hasn’t moved a muscle. At this point, Aemond’s demeanor does worry you yet you blame it on his nervousness.

“Want to take a look?” you hand him a few sketches. “Mind you, I’m not finished so please don’t judge too harshly —”

“I could never,” his hand brushes yours when he takes the drawings.

Aemond has seen your works before but it’s a whole new experience when he’s the one being portrayed. He almost doesn’t recognize himself — you didn’t miss a single feature of his yet somehow this version of him looks too beautiful to be real. He is at a loss for words until he spots that there's another drawing hidden underneath. It’s a sketch of him sitting, both arms on the table, his face looks like he’s deep in his thoughts.

“When did you do this one?”

“After the coronation,” the memory makes you smile. “Made my poor father lug around with charcoal in his pockets while he was trying to keep up the conversation with Ser Lannister.”

It was the day you got introduced to Jason. You were supposed to be by his side, with your charming smile and polite talks, yet you spend your time drawing Aemond. He can imagine your gaze focused on the piece of paper, the way you must’ve been looking at him to capture every detail and movement — all of that without him asking to, without him even noticing. There is so much care in that act, he is unexpectedly moved by it.

The words leave his mouth before he can think them over:

“Don’t marry him.”

His request makes your hands tremble, and you drop the piece of charcoal, slowly looking up at Aemond, the smile disappearing from your face. He did not mean that, you must’ve misunderstood.

“...What?”

Aemond turns to you, looking you straight in the eyes.

“Don’t marry him,” he repeats, helplessly and desperately.

“Why?” you ask in disbelief, suddenly having trouble breathing. The only reason you can think of sounds delusional, close to impossible. You wait for him to come up with some clever explanation — instead, he comes closer to you, his gaze so warm it makes your cheeks burn.

“You know why,” Aemond says and his hand gently lands on yours. You look down at it, perplexed, your mouth opening and closing, heart rate speeding up.

He keeps his eye on your face as he waits for your reply. You are not repulsed nor angry — which is supposed to be a good sign — but the reaction he gets is actually worse than that. Because when you finally glance at him, you look hurt.

“No,” you yank away your hand as if his touch stung. “No, Aemond, you are being mean, stop it,” you take a step back, your eyes glossy and lips tight. The look you give causes him physical pain — while you are trying your best to fight back the tears.

His intelligence clearly fails him because Aemond has no clue what’s going on. He feels like there is a deeper meaning to your words but he does not get it.

“Why am I being mean?” he asks incredulously as you slowly continue putting more distance between you two.

You don’t even realize you are doing it — it’s almost an urge to not be in his presence, for the first time ever. The weight of his words feels suffocating and merciless. How easy it is for him to toy with your emotions, you think, and that cruelty of his — as you see it — wounds you so deeply, he might as well put a torch to your heart.

“I have felt like everyone’s second choice my entire life,” you bemoan, not being able to keep your agony bottled up any longer. “In everything, no matter how hard I’ve worked to be better. I thought you out of all people would understand that,” you sound raspy, trying to swallow the lump in your throat.

“So I will not be the person you settle for just because your first marriage proposal was turned down,” only when your voice shudders, Aemond finally understands how wrongfully you interpreted his intentions.

But you are out of his reach already — at least ten feet away from him, and the distance separates you like a giant chasm.

“No, I won’t. I can’t,” you are hurting so much, your feelings spill out like blood from a wound. “I can’t do it. Not when I have spent years loving you.”

His breathing hitches as your confession pierces through his chest — and he is left speechless, deafened by it. The moment slips through his fingers with unforgiving pace: you were standing so close only a minute ago — and now you are turning your back to him, rushing away. The last thing he sees is how broken you look, your shoulders slumped and eyes brimming with tears. 

Aemond stands, shocked and paralyzed until it’s too late — the garden is silent with your absence and the only evidence of you being there is your supplies scattered on the ground. Your words are ringing in his head, his heart heavy with a dreadful feeling.

He was afraid he would never have you — but he actually could have.

If only he wasn’t so blind.

➡ Part 2

yes, this is me blabbing again: I’ve watched this movie an embarrassing amount of times, and I’ve wanted to write a fic based on it for a few months. I did rephrase a couple of quotes but still tried my best to do the story justice. my apologies for the angst — just so you know, it was painful to write. also, will I ever stop using friends to lovers trope? only time will tell! (I probably won’t, though) I know there is a very heartwarming fic by aemonds-war-crime that was also based on “Little women” and it’s only fair that I link it as well!

tagging @greenowlfactif because you asked 💙 comments and opinions are VERY welcomed! 🥺 🎨 my masterlist English is not my first language, so feel free to message me if you spot any major mistakes!

[transsongtaewon]

Remember when someone asked Geunseo why Yoojin's sprout skill doesn't work on himself and Geunseo said well the skill only works on people Yoojin cares about, so :-). Because I do.

[bepoucorp]

WAIT YOU LIKE MORAL OREL????!!?? 🦇🦇🦇🦇🦇🦇🦇

YES I DO!! i dont really talk about it much, but it was my interest for a few months in 2022~ish??

^^ - latest artwork vv - old stuff from 2022

ive rewatched it like?? 3 times? Its hard to watch and ive cried everytime LMAOO

[angelsdean]

I need people to understand how S&P (standards and practices) works in television and how much influence they have over what gets to stay IN an episode of a show and how the big time network execs are the ones holding the purse strings and making final decisions on a show's content, not the writers / showrunners / creatives involved.

So many creators have shared S&P notes over the years of the wild and nonsensical things networks wanted them to omit / change / forbid. Most famously on tumblr, I've seen it so many times, is the notes from Gravity Falls. But here's a post compiling a bunch of particularly bad ones from various networks too. Do you see the things they're asking to be changed / cut ?

Now imagine, anything you want to get into your show and actually air has to get through S&P and the network execs. A lot of creators have had to resort to underhanded methods. A lot of creators have had to relegate things to subtext and innuendo and scenes that are "open to interpretation" instead of explicit in meaning. Things have had to be coded and symbolized. And they're relying on their audience to be good readers, good at media literacy, to notice and get it. This stuff isn't the ramblings of conspiracy theorists, it's the true practices creatives have had to use to be able to tell diverse stories for ages. The Hays Code is pretty well known, it exists because of censorship. It was a way to symbolize certain things and get past censors.

Queercoding, in particular, has been used for ages in both visual media and literature do signal to queer audiences that yes, this character is one of us, but no, we can't be explicit about it because TPTB won't allow it. It's a wink-wink, nudge-nudge to those in the know. It's the deliberate use of certain queer imagery / clothing / mannerisms / phrases / references to other queer media / subtle glances and lingering touches. Things that offer plausible deniability and can be explained away or go unnoticed by straight audiences to get past those network censors. But that queer viewers WILL (hopefully) pick up on.

Because, unfortunately, still to this day, a lot of antiquated network execs don't think queer narratives are profitable. They don't think they'll appeal to general audiences, because that's what matters, whatever appeals to most of the audience demographic so they can keep watching and keep making the network more money. The networks don't care about telling good stories! Most of them are old white cishet business men, not creatives. They don't care about character arcs and what will make fans happy. They don't care about storytelling. What they care about is profit and they're basing their ideas of what's profitable on what they believe is the predominate target demographic, usually white cis heterosexual audiences.

So, imagine a show that started airing in the early 2000s. Imagine a show where the two main characters are based on two characters from a famous Beat Generation novel, where one of the characters is queer! based on a real like bisexual man! The creator is aware of this, most definitely. And sure, it's 2005, there's no way they were thinking of making that explicit about Dean in the text because it just wouldn't fly back then to have a main character be queer. But! it's made subtext. And there are nods to that queerness placed in the text. Things that are open to interpretation. Things that are drenched in metaphor (looking at you 1x06 Skin "I know I'm a freak" "maybe this thing was born human but was different...hated. Until he learned to become someone else.") Things that are blink-and-you-miss-it and left to plausible deniability (things like seemingly spending an hour in the men's bathroom, or always reacting a little vulnerable and awkward when you're clocked instead of laughing it off and making a homophobic joke abt it)

And then, years later there's a ship! It's popular and at first the writers aren't really seriously thinking about it but they'll throw the fans a bone here and there. Then, some writers do get on the destiel train and start actively writing scenes for them that are suggestive. And only a fraction of what they write actually makes it into the text. So many lines left on the cutting room floor: i love past you. i forgive you i love you. i lost cas and it damn near broke me. spread cas's ashes alone. of course i wanted you to stay. if cas were here. -- etc. Everything cut was not cut by the writers! Why would a writer write something to then sabotage their own story and cut it? No, these are things that didn't make it past the network. Somewhere a note was made maybe "too gay" or "don't feed the shippers" or simply "no destiel."

So, "no destiel." That's pretty clearly the message we got from the CW for years. "No destiel. Destiel will alienate our general audience. Two of our main characters being queer? And in a relationship? No way." So what can the pro-destiel creatives involved do, if the network is saying no? What can the writers do if most of their explicit destiel (or queer dean) lines / moments are getting cut? Relegate things to subtext. Make jokes that straight people can wave off but queer people can read into. Make costuming and set design choices that the hardcore fans who are already looking will notice while the general audience and the out-of-touch network execs won't blink and eye at (I'm looking at you Jerry and your lamps and disappearing second nightstands and your gay flamingo bar!)

And then, when the audience asks, "is destiel real? is this proof of destiel?" what can the creatives do but deny? Yes, it hurts, to be told "No no I don't know what you're talking about. There's no destiel in supernatural" a la "there is no war in Ba Sing Se" but! if the network said "no destiel!" and you and your creative team have been working to keep putting destiel in the subtext of the narrative in a way that will get past censors, you can't just go "Yes, actually, all that subtext and symbolism you're picking up, yea it's because destiel is actually in the narrative."

But, there's a BIG difference between actively putting queer themes and subtext into the narrative and then saying it's not there (but it is! and the audience sees it!) versus NOT putting any queer content into the text but SAYING it is there to entice queer fans to continue watching. The latter, is textbook queerbaiting. The former? Is not. The former is the tactics so many creatives have had to use for years, decades, centuries, to get past censorship and signal to those in the know that yea, characters like you are here, they exist in this story.

Were the spn writers perfect? No, absolutely not. And I don't think every instance of queer content was a secret signal. Some stuff, depending on the writer, might've been a period-typical gay joke. These writers are flawed. But it's no secret that there were pro-destiel writers in the writing room throughout the years, and that efforts were made to make it explicitly canon (the market research!)

So no, the writers weren't ever perfect or a homogeneous entity. But they definitely were fighting an uphill battle constantly for 15 yrs against S&P and network execs with antiquated ideas of what's profitable / appealing.

Spn even called out the networks before, on the show, using a silly example of complaints abt the lighting of the show and how dark the early seasons were. Brightening the later seasons wasn't a creative choice, but a network choice. And if the networks can complain abt and change something as trivial as the lighting of a show, they definitely are having a hand in influencing the content of the show, especially queer content.

Even in s15, (seasons fifteen!!!) Misha has said he worried Castiel's confession would not air. In 2020!!! And Jensen recorded that scene on his personal phone! Why? Sure, for the memories. But also, I do not doubt for a second that part of it was for insurance, should the scene mysteriously disappear completely. We've seen the finale script. We've seen the omitted omitted omitted scenes. We all saw how they hacked the confession scene to bits. The weird cuts and close-ups. That's not the writers doing. That's likely not even the editors (willingly). That's orders from on high. All of the fuckery we saw in s15 reeks of network interference. Writers are not trying to sabotage their own stories, believe me.

Anyways, TLDR: Networks have a lot more power than many think and they get final say in what makes it to air. And for years creative teams have had to find ways to get past network censorship if they want "banned" or "unapproved" "unprofitable" "unwanted" content to make it into the show. That means relying on techniques like symbolism, subtext, and queercoding, and then shutting up about it. Denying its there, saying it's all "open to interpretation" all while they continue to put that open to interpretation content into the show. And that's not queerbaiting, as frustrating as it might be for queer audiences to be told that what they're seeing isn't there, it's still not queerbaiting. Queerbaiting is a marketing technique to draw in queer fans by baiting them with the promise of queer content and then having no queer content in said media. But if you are picking up on queer themes / subtext / symbolism / coding that is in front of your face IN the text, that's not queerbaiting. It's there, covertly, for you, because someone higher up didn't want it to be there explicitly or at all.

[al-luviec]

juvie buddies

[movietonight]

"boomers don't get mash" factoid actually just statistical error. Republican Uncle who talked to you about the show once is an outlier adn should not have been counted.

[nana-mizu-shiki]

...And no offense to Bart, but there is no good version of Bartholomew.

You're not allowed to ask how many times I've cried.

"Consent is sexy, even in the not sexy context."

Bart knows boundaries. Be like Bart.

"If I can eat the outside of a peach, why can't I eat the outside of an orange?!"

A very valid question to be asked from the clone-boy.

Also, was not expecting to be able to finish this one, but I managed to finish in a couple of hours and I loved it. I totally recommend it for Angst, fluff, and hurt/comfort!!!

[lunarharp]

shirahama-sensei reminded me she has a thing for the teacher from pokemon s/v so i randomly went off on an au where qifrey is the professor. etc

[the-meme-monarch]

don't care didn't ask plus your joke isn't even funny plus you're a bigot get off my blog undertale and deltarune are full of queer characters jackass

[kipcube]

the bride and the ugly ass groom

[slavhew]

fun fact the word "dirk" sounds exactly like the root of the croatian verb "drkati" which means to jack off

get the dirk brush here

[straight-to-the-pain]

I’m not usually one for conditioned whumpees, and especially not for recovery, but I think I would really enjoy those types of scenes more if the trauma responses were allowed to be more nuanced and complex.

This isn’t a criticism of anyone specific, it’s just something I think I lack in the community, and I don’t think I’m the one to write it either, but I think that what puts me off is that I know what it’s like to be triggered by something, and it’s such a complicated and not always conscious process.

Like yes they might feel that someone they’re with is angry or upset with them and suddenly try to do anything they can to please them, but that might come with a wave of shame and self loathing once they’ve realised that nothing was wrong and they’ve just embarrassed themselves in front of someone close to them.

Or maybe they’re scared of that part of themself, and they’re so scared that other people will see it or hurt them again that they push them away, maybe they test their boundaries, maybe they hurt the people they love instead because they want to see what happens when they finally do get angry.

Maybe they hate that part of them that makes them become someone else, that makes them get lost in their mind. Maybe they resent how it makes relationships hard, how they try to move on but some small thing ignites a carefully buried spark of fear and the whole thing starts again.

I also wish there wasn’t so much of a power dynamic of whumpee and caretaker, where the whumpee is someone who is mentally ill and traumatised and not expected to ever be independent or live alone. No, I want them to have friends and partners and lovers, and struggle and find joy in equal measure, on their own terms.

There’s absolutely people writing this sort of content, and there are things I will read because I think they capture that complexity, and of course these are my personal feelings but I do urge people to think about this when they write, if they want to.

[incorrect-jojolands-quotes]

Hot take but I think what we saw in chapter 13 was necessary.

I don't think a lot of people realize how important it is for Araki to portray what he did, even if it extremely difficult to take in. Let me explain.

Araki has discussed about topics like racial and class disparity through both Steel Ball Run and Jojolion, but JOJOLands is different because the discussions are now very direct. We had Chapter 1 open up with police brutality and Chapter 13 open with intense bullying; both acts were committed by people of higher social standing/power and seemingly White (or white passing) and both are harming a dark-skinned queer individual. Not only that, remember that Hawai'i is an island stolen and colonized by the US and many indigenous individuals who were supposed to live and maintain kapu are being forced to endure housing problems, loss of culture, etc. due to gentrification and exploitation of its lands. 2020 was when we saw global protest towards the deaths of George Floyd and Breonna Taylor due to police brutality, which has spread as far as Japan in terms of demonstrations and rallies. Araki has made it clear that he tries to take real world experience into his writing, and this is no different. He is also no stranger to portraying law enforcement throughout his parts without glorifying or downplaying their behavior.

As a mutual of mine (who themselves identify as a black GNC individual based in US) has put it, those who identify or even appear as Black while identifying as trans-femme or women are subjected to some of the worse kinds of oppression possible in America. Queer women of Color are one of the most susceptible to sexual violence-- especially when they are young, and the darkness of their skin really plays into it. This is transmisogynoir; it is a hard pill to swallow and acknowledge, even if it feels excessive, and its a multilayer of oppression that connects a person's racial identity, gender, and sexuality as targets of discrimination. It's the fact that one is POC, a woman, AND queer that makes one a target--- not just one or the other. You can’t turn a blind eye to this because it happen constantly throughout America's history and American society even today, but you can't simply water it down or downplay it. In fact, many victims of transmisogynoir have no choice but to downplay their experiences because of their Black identities or because they appear too dark to be taken seriously; when they, especially if they are Black, try to hold people in power accountable, these individuals are suddenly labeled aggressive, indignant, etc. and they are further discriminated for attempting to speak up. Dragona downplaying the bullying isn't them just trying to avoid further conflict but a reflection of how many who were in similar situations like Dragona are forced to simply forgive and forget the trauma they have to endure. To downplay it ourselves is reinforcing the narrative that individuals like Dragona in real life should remain silent and endure their harassment rather than rightfully protect themselves and others from it.

Another thing to add is that the way Japan portrays and treats the LGBTQ community, particularly the trans community. In Japan, the process to legally change your gender is complicated and requires a lot of steps that include, but not limited to, being diagnosed with gender identity disorder, proving you have no kids/guardianships, and sterilization. This causes a lot of individuals to be forced to quickly transition as a means of getting their gender recognized, which takes away the time to let them explore at their own pace, and this is due to how the process can lead to hindering career and life opportunities that wouldn't be hindered had they already transitioned or stayed closeted. Many Japanese trans individuals unable to go through the process quickly either remain closeted or move away from Japan to transition at their own pace. So, as a result, the trans community and its struggles is not as noticed compared to outside of Japan. Another thing to add is that the trans community in Japanese media is often portrayed as comedic relief or a gag. Oftentimes, the trans character or character who diverts from gender conformity (i.e cross-dressing, acting more flamboyant) is the butt of the jokes. Some thing to note is that, when Dragona was first introduced, a lot of people thought that Araki put Dragona in simply for comedic purposes. I had people joke about how Dragona is just there because they believed Araki is trolling. Not only that, the racial issues that Japan has often results in jokes towards non-Japanese individuals in media, especially if they are of darker skin color.

So, Araki putting Dragona in these difficult situations is also meant to subvert expectations that his Japanese, and possibly Western, audience may be expecting. The expectation was to laugh and toss Dragona aside as a single-dimensional character, but Araki instead forced us to face the trauma through Dragona's experience head-on. We are made aware of Dragona's situation, how real and difficult the struggle is, and we end up emphasizing with it rather than laughing at it. Through this, we get a glimpse into real life experiences of trans POCs without it being downplayed and have it show how Dragona is a fleshed-out character with importance to the series. As some have put it, this chapter proved that Dragona isn't just a side character but arguably a complex individual on the same level of importance as Jodio. I don't think it would have been easy to have the same impact if another approach was taken.

While talking to others who identify as trans and/or GNC about their thoughts on the chapter, I was told by many of them that, while Dragona's experience hits close to home and was hard to digest, they appreciate seeing it being expressed and hope it will help other people understand their struggles. One noted how the introduction of Smooth Operators with the backstory as empowering, seeing the Stand as a symbol of surviving the trauma that comes with trans discrimination. I do find this a bit telling with how many people online who are against Araki's portrayal barely mention what trans/GNC people have said about it.

My main concern, as well as what I see people have rightfully critiqued, is the excessive trauma reinforcing the fetishization and violent voyeurism towards trans individuals; it also reinforces the problematic narrative that dysmorphia can only happen as a result of trauma and the trans experience can only be full of pain. There's also the issue that Dragona's experience also happened while they were under age and their harassment is similar to that of Lucy. It's a common trope in Western media to put marginalized people into these situations while upping the ante simply for clicks and pleasure, and even worse when the character portrayed is a minor. As I reiterate, it is a very uncomfortable chapter to read and I don't find it enjoyable at the slightest. Just because I understand why it is necessary doesn't mean I condone the approach done. I also understand Araki as a Japanese man can only relate and portray a queer American's experience to an extent. But, at the same time, the exposure was necessary because it gives us the awareness and a voice to trans people that is lacking within media even today. We need to be aware and acknowledge what our BIPOC trans community goes through as a means of being better humans--- and especially our younger community members. We need to make our society safer for them so they can thrive and have the respect they deserve. Oftentimes, that starts with how they are portrayed and how their experiences are portrayed. While it is still a journey and not every representation will be perfect, we can't simply toss it aside and bash those who try to show something realistic just because it is uncomfortable.

I only hope that Araki wrote Dragona and these scenes as a result of doing extensive research and reaching out to actual POC queer individuals, particularly transfemmes/women, to understand their experiences and have their blessings to use their words to shape Dragona. I feel like that would show that Araki was serious about discussing these issues through his characters rather than simply using Dragona's traumatic experience it for entertainment. I have higher expectations for Araki now, knowing that it may not be the last time he shows a character experience harassment and possibly have Dragona be harassed again, so I will keep my eyes open for this.

[chotachica]

Okay okay I agree with everyone talking about the possibility of Pluto finally getting to go to France and meeting Duke in one of his shows, but I now raise you: What if they met BEFORE and Duke was actually the one to tell him about France and the lights and everything. What if Duke were the reason he wanted to go there in the first place. What then.