#god i hope someone gets this

[clembian]

the ctubbo fandom is dying repost if you like bath water

[dragonroilz]

someone made ultrakill skins for risk of rain 2 and me and some friends played them together. stupid shenanigans ensued

[callipygouscoulrophiliac]

is anyone else having this problem today

[wwxsflutesolo]

"Chuuya. Come to your senses. Our fate will not end in a place like this. Because you and I are destined to—"

@/kedreeva// ernest hemingway - the old man and the sea// death cab for cutie - summer years// unknown// unknown// lidia yuknavitch - the chronology of water: a memoir// richard siken - saying your names// taylor swift - gorgeous// unknown// victor hugo - les miserables// jeanette winterson - lighthousekeeping// sylvia Plath - lady lazarus// margaret atwood - power politics// tory adkisson - Anecdote of the Pig//richard siken - planet of love, wishbone// ethel cain - hard times// margaret atwood - variations on the word love

[cuubism]

inspired by this Hope!Hob piece by @mashumaru, have a little reverse-verse fic, Hob as Hope of the Endless and human Morpheus

(reverse-verse Hope and Morpheus are my special special little guys, I wrote an extremely long fic about them before. I think about them all the time and at this point they're basically distinct from Dreamling in my mind 😂)

cw hate speech, homophobia, slurs, violence. it's pretty brief though.

--

At this point, Morpheus is no longer shocked to come home and find Hope sat at his kitchen table, knuckles and brow bone bloody, drinking tea as if none of that matters. It still rankles him, though. Bloody. Injured. Always.

Morpheus sets down his messenger bag in the hall with a thump and bypasses Hope entirely to go right for the first aid kit on the top shelf in the bathroom. Hope turns to watch him pass, a forlorn little look on his face. No, Morpheus tells himself, he does not get some sweet little welcome home kiss if he’s going to come back like that.

“Must you insist,” he says, as he drags the kit—packed full, always—off the bathroom shelf and trudges back into the kitchen, “on always starting fights?”

Hope pushes his half-drunk tea away, pouting. “I don’t start them!”

Morpheus sits in the chair next to him and just looks at him.

“…Okay,” Hope concedes. His lip and brow line are bruised. There’s dried blood under his nose. Morpheus wishes this wasn’t his natural state. “Sometimes I throw the first punch.”

Morpheus sighs, tearing open an alcohol swab and starting to wipe at the cut on his brow.

“…Most of the time,” Hope admits.

“Hope,” Morpheus says, exasperated, and Hope cringes.

“You know I can’t really be hurt,” he tries to explain. “I’m not human. Besides. You think I’m just beating the crap out of people for no reason?”

“No,” says Morpheus, and wipes at his split lip with perhaps more force than necessary. “I do not.”

“Besides, I don’t kill people and I don’t like when people do it around me either. It’s not about fighting, I don’t enjoy fighting. It’s about taking a stand.”

“You do enjoy fighting,” Morpheus accuses. “I have seen you.”

Hope ducks his head. “It’s not about that, though,” he insists. “Listen. You know I never really finish these things, but it’s my role to start it. To show that these battles can be fought. And that it’s worth standing up.”

“Bar fights, such a noble cause,” says Morpheus dryly, and Hope tucks his forehead into his shoulder. Morpheus can’t help himself, his hand automatically goes to the nape of Hope’s neck, fingers combing through his hair.

“You attract violence to you,” he says quietly. “I have seen it.”

Hope sighs. “Did you really think that people would like Hope? Sometimes they want to give me a hug but more often they just want to punch me in the face.”

“I thought you were meant to inspire,” Morpheus says, and it’s a little bit mocking of things Hope himself has declared in the past but Morpheus is listening.

“More like get in the way,” says Hope, his face still pressed to Morpheus’s shoulder. He sounds despondent now. Morpheus supposes people instigating fights with you simply because of your nature wouldn’t be pleasant. At least when people instigate fights with Morpheus, he’s usually done something to deserve it.

“You are not ‘in the way,’” he says. “If you are, then you are meant to be there. Like when you stepped into my path.”

“‘Least you didn’t punch me,” Hope mumbles.

“I considered it.”

Hope huffs. He pushes himself upright again, shaking his messy hair out of his eyes. He is so beautiful, even still speckled with blood and grime from the fight. Especially like that, if Morpheus is being honest with himself.

“So long as you never hated me,” Hope says. His voice is fragile now, and it hurts Morpheus’s heart. Hope is like a radiant sunbeam, and still more often than not people are only trying to throw shadows over him.

“I could never hate you,” he says, and Hope’s expression softens. Morpheus kisses him lightly on the lips. “I do not think they hate you either. You are… challenging. Just being around you… it is a confrontation in its own way. Especially for those who may have pushed you aside.”

“Even for you?” Hope says.

“Especially for me,” Morpheus tells him. He leans his cheek against Hope’s, overcome with fondness. Fondness that is greater for how frustrating Hope has been to him over the years, during those times of darkness. “It is how you saved me.”

“You saved you,” Hope says firmly. “But if I helped, then I’m glad.”

“Always.” Morpheus kisses the hinge of his jaw. “What would I do without you?”

“Now you’re just coming on to me.”

Morpheus hums, not disagreeing.

“Admit it,” Hope says, tangling fingers in Morpheus’s hair. “You’re into it. When I come home all bloody.”

“Mm. I am not.”

“Oh, you are. I can tell.”

Morpheus skates a hand up along his thigh. “Hm. Perhaps it makes you seem very fierce.” He kisses Hope’s mouth this time, swipes his tongue soothingly over his split lip, tasting just the tantalizing hint of blood. Leans in and—

“Ow!”

Morpheus pulls back, raising an eyebrow. Hope looks sheepish, pressing his hand to his nose, which Morpheus had bumped. Hope’s non-human body will heal quickly, but for now his nose remains at least partially broken.

Morpheus keeps giving him an unimpressed look. “I see you are gravely wounded.” Hope catches him by the hair before he can truly pull away, and he smiles. “I suppose… I will have to ply my mouth elsewhere. If you promise to be more careful.”

“For such a reward I’d promise anything,” Hope swears, and Morpheus obligingly sinks down, hands on Hope’s thighs. It is hardly a hardship.

“You do like this,” Hope swears. “Don’t try to pretend. You’re so transparent.”

“Perhaps you once punched a man in the face on my behalf, and perhaps I found it titillating,” Morpheus says, and Hope laughs. “Is it terrible if I wanted you to break his nose? Perhaps I am terrible. You do look appealing with blood on your hands. If it is not your own.”

Even Hope’s own torn, bruised knuckles do stir something in Morpheus, a fierce pride and terrible heat. But he worries for him also.

“Liar,” Hope crows, gleeful, “hypocrite. Terrible lecturer. You love it. You know you do.”

“Do not get yourself horribly maimed in a bar fight,” Morpheus orders. “However…” he takes one of Hope’s hands, kisses his knuckles, lets his lips linger there for a moment. “If you must be righteous and full of passion, then I will soothe your injuries later, oh knight of promise.”

“Terrible incentive, now I’m going to get worse,” Hope says. He caresses Morpheus’s cheek, thumbs at the corner of his mouth. His look on Morpheus is so fond, always. Then he says, “Alright, darling, for you, I’ll be careful.”

“Thank you.” Morpheus leans his face against Hope’s thigh, lets Hope play with his hair. In a moment he will indeed ply his mouth upon Hope’s body as promised, in a moment he will indulge the spark that Hope’s fierceness lights within him. But for this moment, he just stays close to him, a gentle valley in the topography of Hope’s violence. Morpheus has never been gentle for anyone before. He finds he likes it.

Hope leans down, smiling, and kisses the top of his head.

~

Morpheus does not like to be “out and about.” In fact, he generally detests it. But Hope likes to be out among people and Morpheus likes to be with Hope, so sometimes he goes. Besides, he likes to see Hope happy.

The White Horse is a safe space for them, anyway. Morpheus does not feel so uncomfortable there as he does at other crowded, loud establishments. He sits in his usual corner seat at the bar, nursing a drink and working on his writing, leaning lightly against Hope’s shoulder as Hope chats with whomever has come up to him now. He tends to attract people wherever he goes. Fortunately, no one has tried to start a fight, this time.

Hope leans in close to his ear. “Get some air with me?”

Morpheus smirks. Inevitably, getting some air will turn into Hope pushing him up against a wall and kissing him senseless. He is hardly opposed to that series of events.

Cold air washes over him as Hope leads him out to the back garden, around the corner to a private spot in the alley by the inn. It makes his hands feel even warmer as he takes Morpheus by the hips, leans him up against the wall as expected, thumbs stroking over his hip bones under his shirt. Morpheus smiles to himself.

“Did you get bored?” he teases.

Hope kisses his cheek, then his jaw, leans in close to his ear. “Hardly. You know my mind is always on you no matter what. But you were being so patient.” He tugs on Morpheus’s ear, then goes to his throat, kissing along his pulse. “How could I not reward my darling?”

“Knowing that I am the one you will go home with is its own reward,” Morpheus murmurs. He trails a hand up Hope’s back, pulls him close so their bellies are pressed together. “So many of those people in there want you. I see it. But they do not know that you are already taken.” It makes him feel privileged. And hungry.

Hope laughs. “Possessive little bastard.”

“Yes.” Hope is so radiant. To be the one chosen by him… it makes Morpheus’s soul sing. “You are mine. I am yours.”

“Yours,” Hope agrees. With that he moves to Morpheus’s lips and kisses him deep. Morpheus hums in pleasure, opens his mouth to him. Tastes the beer lingering on his tongue. Sinks into the press of Hope’s fingers on his hips, and—

“In public? Disgusting.”

Hope pulls away from him, and Morpheus grumbles in displeasure. Hope turns to the mouth of the alley, where a strange man is standing, expression of, indeed, disgust on his face.

When they don’t respond, the man steps closer until he's almost in their space. Hope’s jaw clenches but, perhaps remembering how Morpheus had chastised him for always getting into fights, he doesn’t yet react.

“Can we help you?” Morpheus asks. Not politely.

“By taking that somewhere else,” says the strange man. His tone is aggressive. And most of his attention seems to be on Hope, rather than Morpheus, which Morpheus doesn’t like. Morpheus has noticed before that Hope’s presence inspires ire to jump to action as often as it inspires positivity and good works. But this is the first time he has seen such outright aggression.

Maybe some people really do hate Hope.

“Mind your own business,” says Hope, stiffly.

“You fags shouldn’t be allowed out in public, it’s an insult to respectable people.” He’s still primarily looking at Hope, and it's hard to say if it's because he is the one who looks more traditionally masculine between the two of them, or if it is because of the inherent draw of Hope as an Endless. “Should fuck a real woman instead of that.”

Hope takes a quick step forward at the man’s words, expression hard.

“Hope—” Morpheus starts. Do not get yourself hurt again, he means to say. As much as I enjoy you defending our honor I also like you well. For Hope may have supernatural qualities that prevent him from dying but he is not invulnerable. His powers lie in his empathy, his charisma. Emotion and community. But he takes a punch like any other man. Comes home to Morpheus with a black eye like anyone else would.

Hope stops sharply as if caught on a leash. And Morpheus immediately regrets speaking, for the other man crows in victory.

“What are you, his little bitch? You a man or not?”

Hope flinches despite himself. Not, Morpheus thinks, because he cares so much about a stranger’s sense of masculinity, but because he prides himself on being able to handle himself. On being able to defend his lover. On being able to stand on his own feet after being broken down into shards by his imprisonment.

Morpheus often feels anger, is too quick to it even, but he does not often act on it with violence. It is not so much that he disapproves of violence as that he dislikes the attention associated with causing a scene, and, being rather slight, is usually at a disadvantage in any physical confrontation besides. Cutting words are his weapons instead.

But watching Hope shrink back, the hurt that flashes over him—a terrible spark jumps inside Morpheus. Hope is stronger, is better, than any person he knows. Has been through hell and come out of it still with more empathy than Morpheus has ever possessed in his life. Morpheus will not watch him made small.

He steps forward and punches the man square in the nose.

He hears a crunch. He’s not sure if it’s the nose, or his own knuckles. The man wheels back with a shriek, clutching his bleeding nose, and Morpheus stumbles back, too, shaking out his hand.

Hope has his hands over his mouth in shock, eyes wide. “Holy shit.” When he drops his hands, he’s grinning. “Holy shit.”

Holy shit indeed. Morpheus watches the man scamper off down the alley, casting one last dark look back at them. His hand hurts, he might have broken it—but the adrenaline pumping through his veins is much louder. He can’t quite believe he did that.

“How’d that feel?” Hope asks. He is a terrible influence sometimes. Always roping Morpheus into doing terrible things, like wanting to live.

A smile tugs at Morpheus’s lips. “It felt… good.”

“Yeah?” He’s still grinning madly. “Let me see your hand.”

Morpheus shows him. Hope prods gently at his knuckles, and winces.

“That’s gonna hurt for a while,” he says. “Your punching technique is terrible.” He kisses Morpheus’s hand anyway.

“Now you understand how I feel when you come home bloodied,” Morpheus says.

Hope’s eyes are sparkling. He does not seem like he’s learned a lesson from that at all. “Oh, I do.” He leans in close, presses his lips to the corner of Morpheus’s mouth. “You were…” his voice is a low hum, “incredible.”

“Do I get a reward?” Morpheus asks dryly, though his breath quickens at Hope’s proximity, the heat in his voice.

“For defending my honor? Anything.” He takes Morpheus’s uninjured hand. He smiles. He’s altogether too excited about Morpheus punching someone. Which only makes Morpheus want to do it again. Terrible influence, Hope. “Come home, and I’ll show you.”

But Morpheus catches him when Hope starts to tug him away. “Here.”

Hope raises an eyebrow at him, but he does look… interested. “Something to prove?”

Morpheus draws him close again, leans back against the wall so Hope is caging him in. “Perhaps I simply want you, and I do not care who knows about it.”

He touches low on Hope’s belly, his hand hidden between their bodies. He is not willing to truly expose them—though they are somewhat sequestered in the alley at the moment—but to play with the idea is… arousing. He wants Hope to touch him. Here, in their place. After Morpheus has hurt someone for him.

He cannot blame Hope for this. Morpheus is just a terrible influence upon himself.

“Menace,” Hope chuckles. “You’ve no high ground left, you know that, right? You’ve obliterated it.”

“I never did,” Morpheus says, as Hope lets him draw him in and kisses along his neck. “Always you have been the better of us.”

“In terms of exhibitionism, maybe,” Hope says. Even now, he won’t let Morpheus truly criticize himself. “I could be persuaded, though.”

With that, he slots their lips together. Sucks on Morpheus’s lower lip as he pushes him harder against the wall, Morpheus’s back scraping the brick. Morpheus groans, pulls him close by his hips so Hope’s swiftly-hardening erection is pressed against his, and Hope’s breath hitches against his mouth.

“Should I give you a proper reward?” Hope murmurs.

“Yes,” Morpheus breathes. “Hope—”

He loves Hope so much. He wants Hope so much.

“Vicious little thing, I love you so,” Hope says. And then, in the darkened alley by their favorite place, with his hands and mouth and the weight of his body and his devotion, he goes about showing Morpheus just how much.

[strbry-shortcakes]

taking some extra anatomy classes this year, here are some of my notes in case they could help someone. should be updated every weekend (aside from october 28th and november 4th which are free days) with the following lesson's notes. (further explanations at the end)

anyway. here goes:

SCENE 0-1: LEARNING HOW TO LOOK/OBSERVE

when drawing, we each more or less have our own methods when approaching certain subjects, with multiple tools at our disposal in order to achieve the desired results. 

but generally, when drawing a model (or most things from life, actually) we can in some sort of way define a general order as to when to draw what: 

Looking / Observing

Blocking In

Correcting

Details

for today i’ll focus on the first one of the list, looking / observing.

the existing nuance between “seeing” and “looking” exists in the sense that “seeing” is more passive than “looking”. when you say “i can see a cat”, you aren’t paying too much attention to the cat. but when you say “i am looking at a cat’, you are actively paying attention to the cat and what they’re doing. 

(given the class is in French, the nuance was similar, using the words “voir” and “regarder”. but due to French not having a close equivalent to “watch” i cannot make more parallels about this, as my knowledge of English and French-to-English translation is still fairly limited)

when looking at a subject, the primary objective should be to understand what you’re looking at. you can look at a subject (or the world as a whole) under multiple filters: values, hues, proportions, in 2D or 3D, and so on. you need to define how you want to look at a subject following these filters of vision. what do you want to look at first? what do you want the viewer to look at first? this is important to define before you put your tool to your support. 

generally when drawing from life, it’s a bit reckless to rush to draw the model without actually observing them a minimum. you should take the time to observe, you are allowed to take your time to observe. no amount of limited time should paralyze you from examining the model the best you can before you put your tool to use. 

getting this more precise vision of your model can give you a better vision of their body, which is often hidden under detail. when drawing them, you should ask yourself “how is the model posing?” 

why look/observe? (probably like the most given piece of advice by pros and art youtubers who aren’t pros but still get called pros cause they have 1 million subscribers on youtube) 

this question is very easily asked but also very easily answered: 

to know how and what you’re going to draw 

to time yourself correctly and have a good time management (drawing a pose in 2 minutes is completely different to drawing a 10 minutes one), thus,

to avoid rushing to draw the subject. as said previously, take your time. start slow, but stay accurate to the model. (teacher compared it to a musician rehearsing a piece, first slowly, then speeding it up progressively as he gets to know the piece itself better and better. unfortunately as someone who is as farthest from a musician as can be, i cannot honestly attest to if this is accurate). 

but really, there is actually no such thing as a “finished” drawing. a graphite drawing could always have color added afterwards, a painting could always get more and more detailed. a piece is “finished” only when you deem it is finished. the French Académie des Beaux Arts didn’t like the Impressionists because to them, what the impressionists were doing were half assed jobs, since the idea of “transmitting a vague feeling, or an emotion through a specific style of very visible strokes” was absolute fuckery to them. speaking of, 

to transmit an emotion, or a feeling through the posing of the model. the more technical and controlled the strokes will be, the finer the wanted sensation will be felt by the viewer. this also ties in the physical aspect of the model. ideally, in order to achieve this, you can try posing the same way the model does. it may be a bit awkward but it works (depending on your learning type, of course.) 

to understand how the whole “body system” works. “i know the rules of the human body, therefore i make little to no mistakes.” 

adding a whole context to the pose helps: adding a situation in which the pose could work in gives some meaning to your drawing, as well as helping you remember it better. it also adds a narrative element to your drawing(s), which are absolutely always a plus. (memorization is also an important tool!)

now let me play devil’s advocate and ask: why not look/observe?

well, uh, there are two reasons my teach told us: 

to let your instinct and imagination go wild and free, trust your gut and have fun!! 

and, tying back, 

to let yourself be surprised by what you’ve done.

form synthesis (or just different types of approaches to draw form)

when drawing a model, there’s a few things that can be mentioned: 

multiple types of lines exist with different purposes within the drawing: the action line(s), structural lines, and contour lines. 

action lines define the overall movement of the pose. the principal one is the one you see when giving a better look at how dynamic the pose is. the secondary ones are the ones you can find in secondary rhythms when examining the pose a little longer. 

(here's a better example, actually:)

structural lines are pretty much the “stickman skeleton” you sometimes see in certain how to draw books (specifically the more advanced manga themed ones).

contour lines surround the form in a way as to draw all of the outer body without using inside shapes or lines. (it is also the basis for the Bargue method which will be slightly discussed below. there unfortunately won’t be any talk about cross-contour lines, as it hasn’t been talked about in class (yet?)) 

generally, lines take either an I shape, a C shape or an S shape. (teach said it’s preferable to mostly use I and C type lines when drawing live models. probably due to the fact that S shapes are much trickier to use “effectively” within a piece (effectively not meaning much in this context, if nothing at all. again, have fun.)). using these lines tell a lot about the model and the pose, telling a sort of dynamic storytelling which varies depending on what type of line you choose to represent your model. 

we can mostly talk about 2D shapes when three or more points have been linked by lines. sometimes, lines can skip articulations for the sake of dynamism. shapes should be thought about in their entirety, the difficulty that can be encountered usually being remaining vague but accurate with your form. 

now, a quick word about: 

the Bargue method (or, the fuck do you mean the Americans used it in art schools before us, Bargue was literally born in Paris, i fucking hate the Académie des Beaux-Arts)

the Bargue method is probably fairly well known among certain art schools or artistic communities. if i do recall correctly; it originated with Bargue noticing the low level of the students of the Académie des Beaux-Arts de Paris (or some other place basing itself solely on academic style art and paintings located in the city of Paris in the country of France on the continent of Europe) and devising a simple way to learn how to draw accurately from life (or plaster casts, depending on what you prefer). it solely based itself on straight, contour lines, forming a base around which to slowly add details to. apparently, a lot of art schools in america base their teaching of life drawing on this method, but given i do not feel like getting over $200k in debt without even mentioning living and travel costs, i cannot say if that is actually true. 

here's an example of it:

it’s pretty much basing yourself on simplifications of the form to attain absolute accuracy. no curves here to distract you, only straights. somehow, when pulled off correctly, it gives a very neat impression of realism.

anyway, that’s all i wrote down. hope teach won’t see this anytime soon, and hope this kinda helped a little bit. next week’s notes should be about blocking in shapes, so we’re starting to be a little more concrete with the actual drawing process. 

these classes were taught by Mr Francis Buchet at a class given at the Académie de la Grande Chaumière, so most of the things i’m saying here are taken from him and his class. if you live in/close to Paris and are interested in learning artistic anatomy, i suggest you look up where he is giving public classes, since they’re infinitely more engaging than these notes. his instagram is be linked below. (hoping he doesn’t get mad at me for sharing these notes… in any case i will use my own example sheets to avoid getting in any more trouble.)

and, may i remind you: these notes are only here to showcase one approach among many others, so they don’t mean much in the grand scheme of things. i myself am in absolutely no way a professional, so please, take all of this with a grain of salt (or a spoonful, even). draw how you enjoy drawing, and find happiness in the way you want to draw. 

Francis Buchet's instagram: x

so, seeyou next weekend! (or earlier, if i draw something i want to show here.)

[stellamancer]

between the moon’s divide (satoru gojo x reader)

notes: uh. a week ago i thought to myself ‘oh i want to write a kiss scene’ thinking it would take me a day or two but no it took a week of me agonizing over... everything lmao.

contains: gender neutral reader, gojo is taller than the reader (as usual), some kind of tension, and finally kissing!!

wc: 2.1k

It’s sometime past midnight when you run across Satoru Gojo standing in the school’s courtyard. 

Unable to sleep, you’d taken to the halls. It’d become a habit by now, wandering the corridors like a restless ghost until sleep could evade you no longer. You’d actually been heading back to your room when you’d seen him, statuesque as he bathed in moonlight. You’d been vaguely aware that Gojo was not much of a sleeper, but you’d never run into him on one of your nighttime strolls. 

You come to a stop, observing Gojo as he stares up at the moon. It’s very odd for him; to be still, to be silent. 

Naturally, it doesn’t last for long.

“Finally here for our romantic moonlight rendezvous?” he asks, his tone playful, his gaze still fixed on the moon above. 

You can’t help but feel mildly annoyed that he’s noticed you at this distance. “As if. I was just wondering if maybe you were thinking about returning to your home planet.”

Gojo hums as you step out onto the courtyard, approaching him. "And leave you here? You'd be lonely without me.” 

You wait until you and Gojo are standing side by side to respond, not sparing him a glance as you retort, “Actually, I think you’d be the lonely one.”

At first, you don’t think much of the words that come out of your mouth. It’s habit to take anything Gojo throws at you and hurl it right back at him. The words play back in your mind as you tilt your head up to gaze up at the moon. It dominates the midnight sky, larger and brighter than anything else in the expanse above. Something about it reminds you of Gojo, strong, brilliant, and—

Lonely.

“You think?” he asks, sounding almost amused, as if you’d said something funny. 

“Probably?” you answer. "Though, I don't know, maybe your home planet is full of more Satoru Gojos and you would all be one happy collective, feeding into each other's egos and all that."

The thought of more than one Satoru Gojo, much less a whole planet full of them is enough to make your head throb with pain. The world has enough problems with one alone.

"...and what if there's no one else there?" 

You blink, and turn your head just slightly toward Gojo. He's still looking up at the moon, his expression almost melancholic. Something in your chest aches at the sight and you look back at the moon as if that will ease the pain.

It makes sense for him to think like that, to think his home planet would be deserted— all your lives you've been told how he's unique, how he's special, how he's the one and only Satoru Gojo. The thought, the notion that there could be another like him is near incomprehensible.

(There was one, someone, who came close and he—)

"Then don't go."

The words are barely audible, escaping your mouth like a whisper in the breeze. You're not even sure if you actually said them because under normal circumstances you'd keep such words to yourself, bury them deep inside your heart like a well-kept secret because in Satoru Gojo's hands those three words are little more than ammunition.  

And as much as you loathe the thought of giving him something else he can weaponize against you, you think he needs it right now. Even with the weight of the world on his shoulders, his hands remain ever empty, ready and willing to take on more burden. If you're going to give him something to hold, it might as well be something he can find some measure of joy in. 

You expect Gojo to cut to the chase and start teasing you. Hesitation is a foreign concept to him, especially with the prospect of something new to play with, but he is uncharacteristically silent. Against your better judgment, you turn your head back toward him and find that he is no longer looking up at the moon.

He’s looking at you. 

Your breath stills in your chest. The bright gleam of Gojo’s eyes is a curse in of itself, rooting you to the core. You’ve never been good at dealing with Gojo like this. Stupid as that blindfold of his looks on him, it acts as a buffer, as a shield. You want to look away. You have to look away before the shocking hue of his gaze pulls you in, traps you, ensnares you with no hope of escape.

Gojo moves, shifting into a position that brings him down to your height, facing you fully as he unleashes the full power of his stupidly brilliant blue eyes on you. He leans just the slightest bit in your direction. Your heart rate climbs higher and higher as he inches closer. A voice in the back of your mind tries to remind you, to reassure you: this isn’t the first time that Satoru Gojo has pulled this kind of trick on you, and it won’t be the last. He’ll creep closer and closer toward you, taunting you, teasing you, but the space between you will forever remain infinite. 

But then he presses his forehead to yours and all bets are off. 

You need to get away from him. Now. You take a step back, to put some space in between you. It might be finite, but some space is better than none. But even though you’ve taken a step back you find that you are no further than Gojo than you were before, your foreheads still pressed together.

What in the world? You swear you took a step back.

Something in your peripheral shifts and your eyes flicker down for just a second, catching the corner of his mouth twitch. He knows exactly what he’s doing. Then it clicks. You’re so used to seeing him using his technique to push everything away, to make himself untouchable, that you often forget that it’s not the only thing he can do. HIs power doesn’t only repel.

It attracts too. 

Your heartbeat grows erratic at the realization that the once infinite space between you is now all but obsolete. Like this, you’re far too aware of him; aware of his hair, brushing softly against your face, aware of his breathing, echoing loud in your ears, aware of his lips—

“...what are you doing?” you finally manage to whisper after what feels like an eternity. 

As soon as the words leave your mouth, you nearly regret them. The question is begging for trouble, inviting it and the inevitable teasing from Gojo. But still you ask— you have to, you need to. It feels counterintuitive, but you need the distraction of his answer and the annoyance it’s sure to bring to cut through the thoughts, the feelings that are threatening to swallow you whole. 

You expect his response to come instantly like it always does, but… it doesn't. Something stutters in your chest at the change in routine. Is he being purposely silent? Or is he actually thinking about his words before they come out of his mouth for once? 

Finally, finally, he speaks, his voice low and teasing for sure, but there's something else there, diluting his tone, laced in his words. It's subtle, but whatever it is throws you completely off balance. "I thought you said 'don't go.'" 

Your mouth opens. You start to speak. But no words come out, instead they are lodged in your throat— honesty and reluctance mangled together in one huge lump. The thought occurs to you to just leave them there, unspoken. But, you wouldn't put it past Gojo to try and rip them free; with that in mind you pull at the words, unraveling them before releasing them into the night air. "…I did." 

It's official now: you've gone off script and you both know it. 

Gojo pulls back, just enough for you to see his face clearly. You think he's going to tease you for your admission, but instead, he studies you, his eyes probing, searching. You don’t know what for, but with no buffer, no infinity between you, it feels almost as if you are laid bare before the hypnotic glow of his eyes. 

Try as you might, you cannot even bring yourself to look away. You are charmed, captivated, enchanted by the spell of his eyes. Any hope for escape is gone and the only things that remain are you and the limitless blue.

Something shifts in Gojo’s expression and you wonder, distantly, if he’s found whatever it was he was looking for. 

He surges forward, pressing his forehead to yours once more, angling himself, positioning himself, and his mouth, his lips—

They’re barely there. Hovering as close as they possibly can without even touching. You can feel his breath, warm and intoxicating and it’s suddenly so hard to move, to think, to even breathe with the threat of Satoru Gojo imminent and about to swallow you whole.

He could, if he wanted and you both know it, and yet…

“Not even gonna try and deny it?” he asks, and you can practically feel his lips moving with each word he speaks. His tone is amused still, teasing still, but there's something more to it. It's like a secret, a plea even, interwoven into his words and actions, loud and unsubtle in a way that screams Satoru Gojo.

You don't know why he doesn't just say what he wants right now. Maybe he thinks it's more fun to try and be coy about it. Or maybe he thinks if he actually says it, you'll refuse like you always do, because you never think he really means it when he says it.

But right now, you think Gojo might.

You think he might really want to kiss you. 

This is your last chance, you think, your lips parting, your response heavy in your mouth. Whatever happens from here on out hinges entirely on what you say next. It’s not just about trying to deny what you said anymore; it's about denying whatever the hell is actually going on between you and Gojo. All this time, you've been turning a blind eye to things, adamant that there's nothing there— that Gojo is just a colleague and nothing more. And despite that, despite everything, he pushed and shoved his way into your heart like it's where he's belonged all along. Those three little words are undeniable proof that there's something between the two of you and it's awfully kind of him to let you try and deny it. 

But can you?

"...no." 

The realization settles in your chest, heavy yet liberating as you breathe the word into the air. You can’t— you won’t deny it, deny him.

Not any more.

Gojo’s entire body goes still, but then his hands are cupping your face, long fingers splayed across your cheeks. He’s holding you like a treasure, his touch reverent. Gojo presses his forehead to yours once more; his breath caresses you once more and you think that maybe, for the first time in his life, Satoru Gojo knows hesitation, feels it running through his veins as the space between your lips and his grows more and more infinitesimally small. 

You like to pretend that you'd never given much thought to how your first kiss with Gojo would go, but you never would have thought that it would be like this— gentle and sweet. But despite that, it feels almost like your chest is going to burst as he fills your lungs, your veins, your entire being.

For just a moment, you think he’s about to pull away, and your body reacts of its own accord, reaching out for him, keeping him close. It’s at this moment that the kiss shifts into something more hungry, more desperate. Gojo’s lips part, his tongue swiping against your lips, begging you to do the same. 

You do not deny him. 

Eventually, eventually you pull away, dazed and out of breath, but Gojo doesn’t let you go too far, his arms wrapping around you. A silence settles around the two of you as you stand there, bathing in moonlight. 

Of course, it doesn’t last for long. 

“You’re really down bad for me, huh,” Gojo remarks, his voice infuriatingly smug.

You rip yourself from his grasp... or, at least, you try to. What you manage to do is free yourself enough so that you can look at his face. Naturally he’s beaming, all too pleased by everything that’s going on, his eyes shining brighter than any star in the sky. 

The words you normally say, the words you usually say, try to force their way out of your mouth, but you catch them before they do. You’ve decided, you remind yourself, you won’t deny him any more. 

“...guess I am,” you answer, as casually as possible, then you add, as a cheeky afterthought, “And what about you?”

The grin on Gojo’s face widens as he leans in and that’s how your second kiss begins.

[mikrotyalm13]

everything about Gavriil feels suffocating.

how his presence alone can be almost overwhelming, how his massive body cages you everytime without a chance to escape. you wouldn't dare to try anyway, knowing that you don't even have a say against a creature of his caliber. he will find you. in your dreams, in your nightmares. in your room.

how he will be intense and vague about everything just for the sake of it; to confuse you further, to see the conflict of emotions in your eyes merge with arousal. eventually your hesitance turns into acceptance, a desperate need to feel his hands all over you. and he will be oh so grateful to fulfill that desire.

how his thick tongue pushes past your lips and into your mouth, reaching almost the back of your throat, relishing in the muffled little sounds you make. your drool mixed with his saliva drips down your chin, and your hazy eyes look up at him when he finally pulls away, giving you a second to breathe.

how his hips are slamming into you relentlessly, your wetness and lack of resistance allowing him to move almost effortlessly. forced to hold onto him for dear life instead of pushing away. all of your morals and principles are being tossed out of the window every single time he comes to you. he has you where he wants you, and will not stop until he feels like you can't take it anymore.

and how in the morning he vanishes away, leaving you guessing: was it just another wet dream? but the cold stickiness between your legs tells you more than you need to know.

[yuiitaro]

oh, to slumber

[skitskatdacat63]

2023 Brazilian Grand Prix - Podium - Fernando Alonso

[tinybro]

jasico server was chatting about the cupid scene and jason getting nico's memories blasted straight into his brain and how jason being shot with one of cupid's arrows while with nico and this was just never brought up in canon again and now i'm thinking like...what if that's just how cupid's arrows work? not by magically manifesting love for someone out of nothing, but by giving someone the perspective that'd make them fall in love naturally? jason gets a front row seat to nico's memories and instantly understands him intimately and can trust him completely without any doubt or suspicion

so what if jason, after slowly realizing he's totally in love with nico, just thought back to the arrow incident and it made him second-guess everything? because maybe he's only feeling this way because cupid hit him with an arrow with only nico was around and it's no different than any other god messing with his love life

[your-royal-momoness]

avatar text posts part 5

Part 1

Part 2

Part 3

Part 4

[poorly-drawn-mdzs]

Do you think Wei wuxian listens to weezer?

I don't know...I don't know...I really don't know.....

[koumeowkami]

COZMEZ AND THEIR MICROWAVE SHENANIGANS ARE BACK

[frogprincegerard]

Chosen

[luck-of-the-drawings]

!!! FLASHING LIGHTS WARNING!!! [IM NOT FUCKIN AROUND!!]

REACHED THE CUSP OF 'THIS MAY NEVER BE ABSOLUTELY FINISHED N IF I DONT SHOW IT NOW, IT WILL NEVER SEE THE LIGHT OF DAY.' SO HERE, A PROJECT IVE BEEN ORBITING AROUND UHH SINCE 2021 OR SO.