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turnstileskyline · 4 months

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The Oral History of Take This To Your Grave – transcription under the cut

The pages that are just photographs, I haven't included. This post is already long enough.

Things that happened in 2003: Arnold Schwarzenegger became governor of California. Teen Vogue published its first issue. The world lost Johnny Cash. Johnny Depp appeared as Captain Jack Sparrow for the first time. A third Lord of the Rings movie arrived. Patrick Stump, Pete Wentz, Joe Trohman, and Andy Hurley released Take This To Your Grave.

"About 21 years ago or so, as I was applying to colleges I would ultimately never go to, Fall Out Boy began as a little pop-punk side project of what we assumed was Pete's more serious band, Arma Angelus," Patrick wrote in a May 2023 social media post.

"We were sloppy and couldn't solidify a lineup, but the three of us (Pete, Joe, and I) were having way too much fun to give up on it."

"We were really rough around the edges. As an example of how rough, one of my favorite teachers pulled me aside after hearing the recording that would eventually become Evening Out With Your Girlfriend and tactfully said, 'What do you think your best instrument is, Patrick? Drums. It's drums. Probably not singing, Patrick.'"

"We went into Smart Studios with the Sean O'Keefe... So, there we were, 3/5 of a band with a singer who'd only been singing a year, no drummer, and one out of two guitarists. But we had the opportunity to record with Sean at Butch Vig's legendary studio.

"Eight or so months later, Fueled by Ramen would give us a contract to record the remaining songs. We'd sleep on floors, eat nothing but peanut butter and jelly, live in a van for the next three years, and somehow despite that, eventually play with Elton John and Taylor Swift and Jay-Z and for President Obama and the NFC championship, and all these other wildly unpredictable things. But none of that would ever come close to happening if Andy hadn't made it to the session and Joe hadn't dragged us kicking and screaming into being a band."

Two decades after its release, Take This To Your Grave sits comfortable in the Top 10 of Rolling Stone's 50 Greatest Pop-Punk Albums, edging out landmark records from Buzzcocks, Generation X, Green Day, The Offspring, Blink-182, and The Ramones.

It even ranked higher than Through Being Cool by Saves The Day and Jersey's Best Dancers from Lifetime, two records the guys in Fall Out Boy particularly revere.

Fall Out Boy's proper full-length debut on Fueled by Ramen is a deceptively smart, sugar-sweet, raw, energetic masterpiece owing as much to the bass player's pop culture passions, the singers deep love of R&B and soul, and their shared history in the hardcore scene as any pioneering punk band. Fall Out Boy's creative and commercial heights were still ahead, but Take This To Your Grave kicked it off, a harbinger for the enduring songwriting partnership between Patrick Stump and Pete Wentz, the eclectic contributions from Joe Trohman, and the propulsive powerhouse that is Andy Hurley.

The recordings document a special moment when Fall Out Boy was big in "the scene" but a "secret" from the mainstream. The band (and some of their friends) first sat down for an Oral History (which doubled as an Oral History of their origin story) with their old friend Ryan J. Downey, then Senior Editor for Alternative Press, upon the occasion of the album's 10th anniversary. What follows is an updated, sharper, and expanded version of that story, newly re-edited in 2023. As Patrick eloquently said: "Happy 20th birthday, Take This To Your Grave, you weird brilliant lightning strike accident of a record."

– Ryan J. Downey.

A Weird, Brilliant Lightning Strike Of A Record. The Oral History Of Fall Out Boy's Take This To Your Grave.

As told by:

Patrick Stump

Pete Wentz

Joe Trohman

Andy Hurley

Bob McLynn - Crush Music

Sean O'Keefe - Producer/Mixer

John Janick - Fueled By Ramen

Tim McIlrath - Rise Against

Mani Mostofi - Racetraitor

Chris Gutierrez - Arma Angelus

Mark Rose - Spitalfield

Sean Muttaqi - Uprising Records

Rory Felton - The Militia Group

Richard Reines - Drive-Thru Records

"To Feel No More Bitterness Forever" - From Hardcore to Softcore, 1998-2000

PETE WENTZ: When I got into hardcore, it was about discovering the world beyond yourself. There was a culture of trying to be a better person. That was part of what was so alluring about hardcore and punk for me. But for whatever reason, it shifted. Maybe this was just in Chicago, but it became less about the thought process behind it and more about moshing and breakdowns. There was a close-mindedness that felt very reactive.

TIM MCILRITH: I saw First Born many years ago, which was the first time I saw Pete and met him around then. This was '90s hardcore - p.c., vegan, activist kind of hardcore music. Pete was in many of those bands doing that kind of thing, and I was at many of those shows. The hardcore scene in Chicago was pretty small, so everyone kind of knew each other. I knew Andy Hurley as the drummer in Racetraitor. I was in a band called Baxter, so Pete always called me 'Baxter.' I was just 'Baxter' to a lot of those guys.

JOE TROHMAN: I was a young hardcore kid coming to the shows. The same way we all started doing bands. You're a shitty kid who goes to punk and hardcore shows, and you see the other bands playing, and you want to make friends with those guys because you want to play in bands too. Pete and I had a bit of a connection because we're from the same area. I was the youngest dude at most shows. I would see Extinction, Racetraitor, Burn It Down, and all the bands of that era.

WENTZ: My driver's license was suspended then, so Joe drove me everywhere. We listened to either Metalcore like Shai Hulud or pop-punk stuff like Screeching Weasel.

MCILRITH: I was in a band with Pete called Arma Angelus. I was like their fifth or sixth bass player. I wasn't doing anything musically when they hit me up to play bass, so I said, 'Of course.' I liked everyone in the band. We were rehearsing, playing a few shows here and there, with an ever-revolving cast of characters. We recorded a record together at the time. I even sing on that record, believe it or not, they gave me a vocal part. Around that same time, I began meeting with [bassist] Joe [Principe] about starting what would become Rise Against.

CHRIS GUTIERREZ: Wentz played me the Arma Angelus demo in the car. He said he wanted it to be a mix of Despair, Buried Alive, and Damnation A.D. He told me Tim was leaving to start another band - which ended up being Rise Against - and asked if I wanted to play bass.

TROHMAN: Pete asked me to fill in for a tour when I was 15. Pete had to call my dad to convince him to let me go. He did it, too. It was my first tour, in a shitty cargo van, with those dudes. They hazed the shit out of me. It was the best and worst experience. Best overall, worst at the time.

GUTIERREZ: Enthusiasm was starting to wane in Arma Angelus. Our drummer was really into cock-rock. It wasn't an ironic thing. He loved L.A. Guns, Whitesnake, and Hanoi Rocks. It drove Pete nuts because the scene was about Bleeding Through and Throwdown, not cock rock. He was frustrated that things weren't panning out for the band, and of course, there's a ceiling for how big a metalcore band can get, anyway.

MANI MOSTOFI: Pete had honed this tough guy persona, which I think was a defense mechanism. He had some volatile moments in his childhood. Underneath, he was a pretty sensitive and vulnerable person. After playing in every mosh-metal band in the Midwest and listening exclusively to Earth Crisis, Damnation A.D., Chokehold, and stuff like that for a long time, I think Pete wanted to do something fresh. He had gotten into Lifetime, Saves The Day, The Get Up Kids, and bands like that. Pete was at that moment where the softer side of him needed an outlet, and didn't want to hide behind mosh-machismo. I remember him telling me he wanted to start a band that more girls could listen to.

MCILRATH: Pete was talking about starting a pop-punk band. Bands like New Found Glory and Saves The Day were successful then. The whole pop-punk sound was accessible. Pete was just one of those guys destined for bigger things than screaming for mediocre hardcore bands in Chicago. He's a smart guy, a brilliant guy. All the endeavors he had taken on, even in the microcosm of the 1990s Chicago hardcore world, he put a lot of though into it. You could tell that if he were given a bigger receptacle to put that thought into, it could become something huge. He was always talented: lyrics, imagery, that whole thing. He was ahead of the curve. We were in this hardcore band from Chicago together, but we were both talking about endeavors beyond it.

TROHMAN: The drummer for Arma Angelus was moving. Pete and I talked about doing something different. It was just Pete and me at first. There was this thuggishness happening in the Chicago hardcore scene at that time that wasn't part of our vibe. It was cool, but it wasn't our thing.

MCILRITH: One day at Arma Angelus practice, Pete asked me, 'Are you going to do that thing with Joe?' I was like, 'Yeah, I think so.' He was like, 'You should do that, dude. Don't let this band hold you back. I'll be doing something else, too. We should be doing other things.' He was really ambitious. It was so amazing to me, too, because Pete was a guy who, at the time, was kind of learning how to play the bass. A guy who didn't really play an instrument will do down in history as one of the more brilliant musicians in Chicago. He had everything else in his corner. He knew how to do everything else. He needed to get some guys behind him because he had the rest covered. He had topics, themes, lyrics, artwork, this whole image he wanted to do, and he was uncompromising. He also tapped into something the rest of us were just waking up to: the advent of the internet. I mean, the internet wasn't new, but higher-speed internet was.

MOSTOFI: Joe was excited to be invited by Pete to do a band. Joe was the youngest in our crew by far, and Pete was the 'coolest' in a Fonzie sort of way. Joe deferred to Pete's judgement for years. But eventually, his whole life centered around bossy big-brother Pete. I think doing The Damned Things was for Joe what Fall Out Boy was for Pete, in a way. It was a way to find his own space within the group of friends. Unsurprisingly, Joe now plays a much more significant role in Fall Out Boy's music.

WENTZ: I wanted to do something easy and escapist. When Joe and I started the band, it was the worst band of all time. I feel like people said, 'Oh, yeah, you started Fall Out Boy to get big.' Dude, there was way more of a chance of every other band getting big in my head than Fall Out Boy. It was a side thing that was fun to do. Racetraitor and Extinction were big bands to me. We wanted to do pop-punk because it would be fun and hilarious. It was definitely on a lark. We weren't good. If it was an attempt at selling out, it was a very poor attempt.

MCILRITH: It was such a thing for people to move from hardcore bands to bands called 'emo' or pop-punk, as those bands were starting to get some radio play and signed to major labels. Everyone thought it was easy, but it's not as easy as that. Most guys we knew who tried it never did anything more successful than their hardcore bands. But Pete did it! And if anyone was going to, it was going to be him. He never did anything half-assed. He ended up playing bass in so many bands in Chicago, even though he could barely play the bass then, because simply putting him in your band meant you'd have a better show. He was just more into it. He knew more about dynamics, about getting a crowd to react to what you're doing than most people. Putting Pete in your band put you up a few notches.

"I'm Writing You A Chorus And Here Is Your Verse" - When Pete met Patrick, early 2001.

MARK ROSE: Patrick Stump played drums in this grindcore band called Grinding Process. They had put out a live split cassette tape.

PATRICK STUMP: My ambition always outweighed my ability or actual place in the world. I was a drummer and played in many bands and tried to finagle my way into better ones but never really managed. I was usually outgunned by the same two guys: this guy Rocky Senesce; I'm not sure if he's playing anymore, but he was amazing. And this other guy, De'Mar Hamilton, who is now in Plain White T's. We'd always go out for the same bands. I felt like I was pretty good, but then those guys just mopped the floor with me. I hadn't been playing music for a few months. I think my girlfriend dumped me. I was feeling down. I wasn't really into pop-punk or emo. I think at the time I was into Rhino Records box sets.

TROHMAN: I was at the Borders in Eden's Plaza in Wilmette, Illinois. My friend Arthur was asking me about Neurosis. Patrick just walked up and started talking to me.

STUMP: I was a bit arrogant and cocky, like a lot of young musicians. Joe was talking kind of loudly and I overheard him say something about Neurosis, and I think I came in kind of snotty, kind of correcting whatever they had said.

TROHMAN: We just started talking about music, and my buddy Arthur got shoved out of the conversation. I told him about the band we were starting. Pete was this local hardcore celebrity, which intrigued Patrick.

STUMP: I had similar conversations with any number of kids my age. This conversation didn't feel crazy special. That's one of the things that's real about [Joe and I meeting], and that's honest about it, that's it's not some 'love at first sight' thing where we started talking about music and 'Holy smokes, we're going to have the best band ever!' I had been in a lot of bands up until then. Hardcore was a couple of years away from me at that point. I was over it, but Pete was in real bands; that was interesting. Now I'm curious and I want to do this thing, or at least see what happens. Joe said they needed a drummer, guitar player, or singer, and I kind of bluffed and said I could do any one of those things for a pop-punk band. I'd had a lot of conversations about starting bands where I meet up with somebody and maybe try to figure out some songs and then we'd never see each other again. There were a lot of false starts and I assumed this would be just another one of those, but it would be fun for this one to be with the guy from Racetraitor and Extinction.

TROHMAN: He gave me the link to his MP3.com page. There were a few songs of him just playing acoustic and singing. He was awesome.

WENTZ: Joe told me we were going to this kid's house who would probably be our drummer but could also sing. He sent me a link to Patrick singing some acoustic thing, but the quality was so horrible it was hard to tell what it was. Patrick answered the door in some wild outfit. He looked like an emo kid but from the Endpoint era - dorky and cool. We went into the basement, and he was like, trying to set up his drums.

TROHMAN: Patrick has said many times that he intended to try out on drums. I was pushing for him to sing after hearing his demos. 'Hey! Sing for us!' I asked him to take out his acoustic guitar. He played songs from Saves The Day's Through Being Cool. I think he sang most of the record to us. We were thrilled. We had never been around someone who could sing like that.

WENTZ: I don't think Patrick thought we were cool at all. We were hanging out, and he started playing acoustic guitar. He started singing, and I realized he could sing any Saves The Day song. I was like, 'Wow, that's the way those bands sound! We should just have you sing.' It had to be serendipity because Patrick drumming and Joe singing is not the same band. I never thought about singing. It wasn't the type of thing I could sing. I knew I'd be playing bass. I didn't think it'd even go beyond a few practices. It didn't seem like the thing I was setting myself up to do for the next several years of my life in any way. I was going to college. It was just a fun getaway from the rest of life kind of thing to do.

STUMP: Andy was the first person we asked to play drums. Joe even brought him up in the Borders conversation. But Andy was too busy. He wasn't really interested, either, because we kind of sucked.

WENTZ: I wanted Hurley in the band, I was closest to him at the time, I had known him for a long time. I identified with him in the way that we were the younger dudes in our larger group. I tried to get him, but he was doing another band at the time, or multiple bands. He was Mani's go-to guy to play drums, always. I had asked him a few times. That should clue people into the fact that we weren't that good.

ANDY HURLEY: I knew Joe as 'Number One Fan.' We called him that because he was a huge fan of a band I was in, Kill The Slavemaster. When Fall Out Boy started, I was going to college full-time. I was in the band Project Rocket and I think The Kill Pill then, too.

MOSTOFI: After they got together the first or second time, Pete played me a recording and said, 'This is going to be big.' They had no songs, no name, no drummer. They could barely play their instruments. But Pete knew, and we believed him because we could see his drive and Patrick's potential. Patrick was prodigy. I imagine the first moment Pete heard him sing was probably like when I heard 15-year-old Andy Hurley play drums.

GUTIERREZ: One day at practice, Pete told me he had met some dudes with whom he was starting a pop-punk band. He said it would sound like a cross between New Found Glory and Lifetime. Then the more Fall Out Boy started to practice, the less active Arma Angelus became.

TROHMAN: We got hooked up with a friend named Ben Rose, who became our original drummer. We would practice in his parents' basement. We eventually wrote some pretty bad songs. I don't even have the demo. I have copies of Arma's demo, but I don't have that one.

MOSTOFI: We all knew that hardcore kids write better pop-punk songs than actual pop-punk kids. It had been proven. An experienced hardcore musician could bring a sense of aggression and urgency to the pop hooks in a way that a band like Yellowcard could never achieve. Pete and I had many conversations about this. He jokingly called it 'Softcore,' but that's precisely what it was. It's what he was going for. Take This To Your Grave sounds like Hot Topic, but it feels like CBGBs.

MCILRITH: Many hardcore guys who transitioned into pop-punk bands dumbed it down musically and lyrically. Fall Out Boy found a way to do it that wasn't dumbed down. They wrote music and lyrics that, if you listened closely, you could tell came from people who grew up into hardcore. Pete seemed to approach the song titles and lyrics the same way he attacked hardcore songs. You could see his signature on all of that.

STUMP: We all had very different ideas of what it should sound like. I signed up for Kid Dynamite, Strike Anywhere, or Dillinger Four. Pete was very into Lifetime and Saves The Day. I think both he and Joe were into New Found Glory and Blink-182. I still hadn't heard a lot of stuff. I was arrogant; I was a rock snob. I was over most pop-punk. But then I had this renaissance week where I was like, 'Man, you know what? I really do like The Descendents.' Like, the specific week I met Joe, it just happened to be that I was listening to a lot of Descendents. So, there was a part of me that was tickled by that idea. 'You know what? I'll try a pop-punk band. Why not?'

MOSTOFI: To be clear, they were trying to become a big band. But they did it by elevating radio-friendly pop punk, not debasing themselves for popularity. They were closely studying Drive-Thru Records bands like The Starting Line, who I couldn't stand. But they knew what they were doing. They extracted a few good elements from those bands and combined them with their other influences. Patrick never needed to be auto-tuned. He can sing. Pete never had to contrive this emotional depth. He always had it.

STUMP: The ideas for band names were obnoxious. At some point, Pete and I were arguing over it, and I think our first drummer, Ben Rose, who was in the hardcore band Strength In Numbers, suggested Fall Out Boy. Pete and I were like, 'Well, we don't hate that one. We'll keep it on the list.' But we never voted on a name.

"Fake It Like You Matter" - The Early Shows, 2001

The name Fall Out Boy made their shortlist, but their friends ultimately chose it for them. The line-up at the band's first show was Patrick Stump (sans guitar), Pete Wentz, Joe Trohman, drummer Ben Rose, and guitarist John Flamandan in his only FOB appearance.

STUMP: We didn't have a name at our two or three shows. We were basically booked as 'Pete's new band' as he was the most known of any of us. Pete and I were the artsy two.

TROHMAN: The rest of us had no idea what we were doing onstage.

STUMP: We took ourselves very seriously and completely different ideas on what was 'cool.' Pete at the time was somewhere between maybe Chuck Palahniuk and Charles Bukowski, and kind of New Romantic and Manchester stuff, so he had that in mind. The band names he suggested were long and verbose, somewhat tongue-in-cheek. I was pretty much only into Tom Waits, so I wanted everything to be a reference to Tom Waits. The first show was at DePaul [University] in some cafeteria. The room looked a lot nicer than punk rock shows are supposed to look, like a room where you couldn't jump off the walls. We played with a band called Stillwell. I want to say one of the other bands played Black Sabbath's Black Sabbath in its entirety. We were out of place. We were tossing a few different names around. The singer for Stillwell was in earshot of the conversation so I was like 'Hey, settle this for us,' and told him whatever name it was, which I can't remember. 'What do you think of this name?' He goes, 'It sucks.' And the way he said it, there was this element to it, like, 'You guys probably suck, too, so whatever.' That was our first show. We played first and only had three songs. That was John's only show with us, and I never saw him again. I was just singing without a guitar, and I had never just sung before; that was horrifying. We blazed through those songs.

ROSE: Patrick had this shoulder-length hair. Watching these guys who were known for heavier stuff play pop-punk was strange. Pete was hopping around with the X's on his hands. Spitalfield was similar; we were kids playing another style of music who heard Texas Is The Reason and Get Up Kids and said, 'We have to start a band like this.'

MOSTOFI: The first show was a lot of fun. The musical side wasn't there, but Pete and Patrick's humor and charisma were front and center.

TROHMAN: I remember having a conversation with Mani about stage presence. He was telling me how important it was. Coalesce and The Dillinger Escape Plan would throw mic stands and cabinets. We loved that visual excitement and appeal. Years later, Patrick sang a Fall Out Boy song with Taylor Swift at Giants Stadium. It was such a great show to watch that I was reminded of how wise Mani was to give me that advice back then. Mani was like a mentor for me, honestly. He would always guide me through stuff.

MOSTOFI: Those guys grew up in Chicago, either playing in or seeing Extinction, Racetraitor, Los Crudos, and other bands that liked to talk and talk between songs. Fall Out Boy did that, and it was amazing. Patrick was awkward in a knowing and hilarious way. He'd say something odd, and then Pete would zing him. Or Pete would try to say something too cool, and Patrick would remind him they were nerds. These are very personal memories for me. Millions of people have seen the well-oiled machine, but so few of us saw those guys when they were so carefree.

TROHMAN: We had this goofy, bad first show, but all I can tell you was that I was determined to make this band work, no matter what.

STUMP: I kind of assumed that was the end of that. 'Whatever, on with our lives.' But Joe was very determined. He was going to pick us up for practice and we were going to keep playing shows. He was going to make the band happen whether the rest of us wanted to or not. That's how we got past show number one. John left the band because we only had three songs and he wasn't very interested. In the interim, I filled in on guitar. I didn't consider myself a guitar player. Our second show was a college show in Southern Illinois or something.

MCILRITH: That show was with my other band, The Killing Tree.

STUMP: We showed up late and played before The Killing Tree. There was no one there besides the bands and our friends. I think we had voted on some names. Pete said 'Hey, we're whatever!'; probably something very long. And someone yells out, 'Fuck that, no, you're Fall Out Boy!' Then when The Killing Tree was playing, Tim said, 'I want to thank Fall Out Boy.' Everyone looked up to Tim, so when he forced the name on us, it was fine. I was a diehard Simpsons fan, without question. I go pretty deep on The Simpsons. Joe and I would just rattle off Simpsons quotes. I used to do a lot of Simpsons impressions. Ben was very into Simpsons; he had a whole closet full of Simpsons action figures.

"If Only You Knew I Was Terrified" - The Early Recordings, 2002-2003

Wentz's relationships in the hardcore scene led to Fall Out Boy's first official releases. A convoluted and rarely properly explained chain of events resulted in the Fall Out Boy/Project Rocket split EP and Fall Out Boy's Evening Out with Your Girlfriend. Both were issued by California's Uprising Records, whose discography included Racetraitor's first album and the debut EP by Burn It Down. The band traveled to Wisconsin to record their first proper demo with engineer Jared Logan, drummer for Uprising's 7 Angels 7 Plagues.

TROHMAN: This isn't to be confused with the demo we did in Ben's basement, which was like a tape demo. This was our first real demo.

STUMP: Between booking the demo and recording it, we lost Ben Rose. He was the greatest guy, but it wasn't working out musically. Pete and Joe decided I should play drums on the demo. But Jared is a sick drummer, so he just did it.

TROHMAN: We had gotten this great singer but went through a series of drummers that didn't work out. I had to be the one who kicked Ben out. Not long after, our friend Brett Bunting played with us. I don't think he really wanted to do it, which was a bummer.

STUMP: I showed up to record that demo, feeling pulled into it. I liked hanging out with the guys, but I was a rock snob who didn't really want to be making that type of music. The first few songs were really rough. We were sloppy. We barely practiced. Pete was in Arma Angelus. Joe was the guy determined to make it happen. We couldn't keep a drummer or guitar player, and I could barely play guitar. I didn't really want to be in Fall Out Boy. We had these crappy songs that kind of happened; it didn't feel like anything. Joe did the guitars. I go in to do the vocals, I put on the headphones, and it starts playing and was kind of not bad! It was pretty good, actually. I was shocked. That was the first time I was like, 'Maybe I am supposed to be in this band.' I enjoyed hearing it back.

SEAN MUTTAQI: Wentz and I were pretty tight. He sent me some demos, and while I didn't know it would get as big as it did, I knew it was special. Wentz had a clear vision. Of all the guys from that scene, he was the most singularly focused on taking things to the next level. He was ahead of the game with promotion and the early days of social media.

STUMP: Arma Angelus had been on Eulogy. We talked to them a bit and spoke to Uprising because they had put out Racetraitor. At some point, the demo got to Sean, and he decided to make it half of a split with Andy's band, Project Rocket. We were pretty happy with that.

HURLEY: It was kind of competitive for me at the time. Project Rocket and Fall Out Boy were both doing pop-punk/pop-rock, I met Patrick through the band. I didn't really know him before Fall Out Boy.

TROHMAN: We got this drummer, Mike Pareskuwicz, who had been in a hardcore band from Central Illinois called Subsist.

STUMP: Uprising wanted us to make an album. We thought that was cool, but we only had those three songs that were on the split. We were still figuring ourselves out. One of the times we were recording with Jared in the studio, for the split or the album, this guy T.J. Kunasch was there. He was like, 'Hey, do you guys need a guitarist?' And he joined.

MUTTAQI: I borrowed some money to get them back in the studio. The songwriting was cool on that record, but it was all rushed. The urgency to get something out led to the recording being subpar. Their new drummer looked the part but couldn't really play. They had already tracked the drums before they realized it didn't sound so hot.

STUMP: The recording experience was not fun. We had two days to do an entire album. Mike was an awesome dude, but he lived crazy far away, in Kanakee, Illinois, so the drive to Milwaukee wasn't easy for him. He had to work or something the next day. So, he did everything in one take and left. He played alone, without a click, so it was a ness to figure out. We had to guess where the guitar was supposed to go. None of us liked the songs because we had slapped them together. We thought it all sucked. But I thought, 'Well, at least it'll be cool to have something out.' Then a lot of time went by. Smaller labels were at the mercy of money, and it was crazy expensive to put out a record back then.

MUTTAQI: Our record was being rushed out to help generate some interest, but that interest was building before we could even get the record out. We were beholden to finances while changing distribution partners and dealing with other delays. The buck stops with me, yes, but I didn't have that much control over the scheduling.

WENTZ: It's not what I would consider the first Fall Out Boy record. Hurley isn't on it and he's an integral part of the Fall Out Boy sound. But it is part of the history, the legacy. NASA didn't go right to the moon. They did test flights in the desert. Those are our test flights in the desert. It's not something I'm ashamed of or have weird feelings about.

STUMP: It's kind of embarrassing to me. Evening Out... isn't representative of the band we became. I liked Sean a lot, so it's nothing against him. If anybody wants to check out the band in that era, I think the split EP is a lot cooler. Plus, Andy is on that one.

TROHMAN: T.J. was the guy who showed up to the show without a guitar. He was the guy that could never get it right, but he was in the band for a while because we wanted a second guitar player. He's a nice dude but wasn't great to be in a band with back then. One day he drove unprompted from Racine to Chicago to pick up some gear. I don't know how he got into my parents' house, but the next thing I knew, he was in my bedroom. I didn't like being woken up and kicked him out of the band from bed.

STUMP: Our friend Brian Bennance asked us to do a split 7" with 504 Plan, which was a big band to us. Brian offered to pay for us to record with Sean O'Keefe, which was also a big deal. Mike couldn't get the time off work to record with us. We asked Andy to play on the songs. He agreed to do it, but only if he could make it in time after recording an entire EP with his band, The Kill Pill, in Chicago, on the same day.

MOSTOFI: Andy and I started The Kill Pill shortly after Racetraitor split up, not long after Fall Out Boy had formed. We played a bunch of local shows together. The minute Andy finished tracking drums for our EP in Chicago, he raced to the other studio in Madison.

STUMP: I'm getting ready to record the drums myself, getting levels and checking the drums, pretty much ready to go. And then in walks Andy Hurley. I was a little bummed because I really wanted to play drums that day. But then Andy goes through it all in like two takes and fucking nailed the entire thing. He just knocked it out of the park. All of us were like, 'That's crazy!'

WENTZ: When Andy came in, It just felt different. It was one of those 'a-ha' moments.

STUMP: Sean leaned over to us and said, 'You need to get this guy in the band.'

SEAN O'KEEFE: We had a blast. We pumped It out. We did it fast and to analog tape. People believe it was very Pro Tools oriented, but it really was done to 24-track tape. Patrick sang his ass off.

STUMP: The songs we had were 'Dead On Arrival,' 'Saturday,' and 'Homesick at Space Camp. There are quite a few songs that ended up on Take This To You Grave where I wrote most of the lyrics but Pete titled them.

WENTZ: 'Space Camp' was a reference to the 1986 movie, SpaceCamp, and the idea of space camp. Space camp wasn't something anyone in my area went to. Maybe they did, but it was never an option for me. It seems like the little kid version of meeting Jay-Z. The idea was also: what if you, like Joaquin Phoenix in the movie, took off to outer space and wanted to get home? 'I made it to space and now I'm just homesick and want to hang out with my friends.' In the greater sense, it's about having it all, but it's still not enough. There's a pop culture reference in 'Saturday' that a lot of people miss. 'Pete and I attack the lost Astoria' was a reference to The Goonies, which was filmed in Astoria, Oregon.

HURLEY: I remember hearing those recordings, especially 'Dead on Arrival,' and Patrick's voice and how well written those songs were, especially relative to anything else I had done - I had a feeling that this could do something.

WENTZ: It seemed like it would stall out if we didn't get a solid drummer in the band soon. That was the link that we couldn't nail down. Patrick was always a big musical presence. He thinks and writes rhythmi-cally, and we couldn't get a drummer to do what he wanted or speak his language. Hurley was the first one that could. It's like hearing two drummers talk together when they really get it. It sounds like a foreign language because it's not something I'm keyed into. Patrick needed someone on a similar musical plane. I wasn't there. Joe was younger and was probably headed there.

HURLEY: When Patrick was doing harmonies, it was like Queen. He's such a brilliant dude. I was always in bands that did a record and then broke up. I felt like this was a band that could tour a lot like the hardcore bands we loved, even if we had to have day jobs, too.

"(Four) Tired Boys And A Broken Down Van" - The Early Tours, 2002-2003

STUMP: We booked a tour with Spitalfield, another Chicago band, who had records out, so they were a big deal to us. We replaced T.J. with a guy named Brandon Hamm. He was never officially in the band. He quit when we were practicing 'Saturday.' He goes, 'I don't like that. I don't want to do this anymore.' Pete talked with guitarist Chris Envy from Showoff, who had just broken up. Chris said, 'Yeah, I'll play in your band.' He came to two practices, then quit like two days before the tour. It was only a two-week tour, but Mike couldn't get the time off work from Best Buy, or maybe it was Blockbuster. We had to lose Mike, which was the hardest member change for me. It was unpleasant.

TROHMAN: We had been trying to get Andy to join the band for a while. Even back at that first Borders conversation, we talked about him, but he was too busy at the time.

STUMP: I borrowed one of Joe's guitars and jumped in the fire. We were in this legendarily shitty used van Pete had gotten. It belonged to some flower shop, so it had this ominously worn-out flower decal outside and no windows [except in the front]. Crappy brakes, no A/C, missing the rearview mirror, no seats in the back, only the driver's seat. About 10 minutes into the tour, we hit something. A tire exploded and slingshot into the passenger side mirror, sending glass flying into the van. We pulled over into some weird animal petting zoo. I remember thinking, 'This is a bad omen for this tour.' Spitalfield was awesome, and we became tight with them. Drew Brown, who was later in Weekend Nachos, was out with them, too. But most of the shows were canceled.

WENTZ: We'd end up in a town, and our show was canceled, or we'd have three days off. 'Let's just get on whatever show we can. Whatever, you can pay us in pizza.'

STUMP: We played in a pizza place. We basically blocked the line of people trying to order pizza, maybe a foot away from the shitty tables. Nobody is trying to watch a band. They're just there to eat pizza. And that was perhaps the biggest show we played on that tour. One of the best moments on the Spitalfied tour was in Lincoln, Nebraska. The local opener wasn't even there - they were at the bar across the street and showed up later with two people. Fall Out Boy played for Spitalfield, and Spitalfield played for Fall Out Boy. Even the sound guy had left. It was basically an empty room. It was miserable.

HURLEY: Even though we played a ton of shows in front of just the other bands, it was awesome. I've known Pete forever and always loved being in bands with him. After that tour, it was pretty much agreed that I would be in the band. I wanted to be in the band.

WENTZ: We would play literally any show in those days for free. We played Chain Reaction in Orange County with a bunch of metalcore bands. I want to say Underoath was one of them. I remember a lot of black shirts and crossed arms at those kinds of shows. STUMP: One thing that gets lost in the annals of history is Fall Out Boy, the discarded hardcore band. We played so many hardcore shows! The audiences were cool, but they were just like, 'This is OK, but we'd really rather be moshing right now.' Which was better than many of the receptions we got from pop-punk kids.

MOSTOFI: Pete made sure there was little division between the band and the audience. In hardcore, kids are encouraged to grab the mic. Pete was very conscious about making the crowd feel like friends. I saw them in Austin, Texas, in front of maybe ten kids. But it was very clear all ten of those kids felt like Pete's best friends. And they were, in a way.

MCILRITH: People started to get into social networking. That kind of thing was all new to us, and they were way ahead. They networked with their fans before any of us.

MOSTOFI: Pete shared a lot about his life online and was intimate as hell. It was a new type of scene. Pete extended the band's community as far as fiber optics let him.

ROSE: Pete was extremely driven. Looking back, I wish I had that killer instinct. During that tour; we played a show in Colorado. On the day of the show, we went to Kinko's to make flyers to hand out to college kids. Pete put ‘members of Saves The Day and Screeching Weasel’ on the flyer. He was just like, 'This will get people in.'

WENTZ: We booked a lot of our early shows through hardcore connections, and to some extent, that carries through to what Fall Out Boy shows are like today. If you come to see us play live, we're basically Slayer compared to everyone else when we play these pop radio shows. Some of that carries back to what you must do to avoid being heckled at hardcore shows. You may not like our music, but you will leave here respecting us. Not everyone is going to love you. Not everyone is going to give a shit. But you need to earn a crowd's respect. That was an important way for us to learn that.

MOSTOFI: All those dudes, except Andy, lived in this great apartment with our friend Brett Bunting, who was almost their drummer at one point. The proximity helped them gel.

STUMP: There were a lot of renegade last-minute shows where we'd just call and get added. We somehow ended up on a show with Head Automatica that way.

MCILRITH: At some point early on, they opened for Rise Against in a church basement in Downers Grove. We were doing well then; headlining that place was a big deal. Then Pete's band was coming up right behind us, and you could tell there was a lot of chatter about Fall Out Boy. I remember getting to the show, and there were many people there, many of whom I had never seen in the scene before. A lot of unfamiliar faces. A lot of people that wouldn't have normally found their way to the seedy Fireside Bowl in Chicago. These were young kids, and I was 21 then, so when I say young, I mean really young. Clearly, Fall Out Boy had tapped into something the rest of us had not. People were super excited to see them play and freaked out; there was a lot of enthusiasm at that show. After they finished, their fans bailed. They were dedicated. They wanted to see Fall Out Boy. They didn't necessarily want to see Rise Against play. That was my first clue that, 'Whoa, what Pete told me that day at Arma Angelus rehearsal is coming true. He was right.' Whatever he was doing was working.

"My Insides Are Copper, And I'd Like To Make Them Gold" - The Record Labels Come Calling, 2002

STUMP: The split EP was going to be a three-way split with 504 Plan, August Premier, and us at one point. But then the record just never happened. Brian backed out of putting it out. We asked him if we could do something else with the three songs and he didn't really seem to care. So, we started shopping the three songs as a demo. Pete ended up framing the rejection letters we got from a lot of pop-punk labels. But some were interested.

HURLEY: We wanted to be on Drive-Thru Records so bad. That was the label.

RICHARD REINES: After we started talking to them, I found the demo they had sent us in the office. I played it for my sister. We decided everything together. She liked them but wasn't as crazy about them as I was. We arranged with Pete to see them practice. We had started a new label called Rushmore. Fall Out Boy wasn't the best live band. We weren't thrilled [by the showcase]. But the songs were great. We both had to love a band to sign them, so my sister said, 'If you love them so much, let's sign them to Rushmore, not Drive Thru.'

HURLEY: We did a showcase for Richard and Stephanie Reines. They were just kind of like, 'Yeah, we have this side label thing. We'd be interested in having you on that.' I remember them saying they passed on Saves The Day and wished they would have put out Through Being Cool. But then they [basically] passed on us by offering to put us on Rushmore. We realized we could settle for that, but we knew it wasn't the right thing.

RORY FELTON: Kevin Knight had a website, TheScout, which always featured great new bands. I believe he shared the demo with us. I flew out to Chicago. Joe and Patrick picked me up at the airport. I saw them play at a VFW hall, Patrick drank an entire bottle of hot sauce on a dare at dinner, and then we all went to see the movie The Ring. I slept on the couch in their apartment, the one featured on the cover of Take This To Your Grave. Chad [Pearson], my partner, also flew out to meet with the band.

STUMP: It was a weird time to be a band because it was feast or famine. At first, no one wanted us. Then as soon as one label said, 'Maybe we'll give 'em a shot,' suddenly there's a frenzy of phone calls from record labels. We were getting our shirts printed by Victory Records. One day, we went to pick up shirts, and someone came downstairs and said, 'Um, guys? [Owner] Tony [Brummel] wants to see you.' We were like, 'Did we forget to pay an invoice?' He made us an offer on the spot. We said, 'That's awesome, but we need to think about it.' It was one of those 'now or never' kinds of things. I think we had even left the van running. It was that kind of sudden; we were overwhelmed by it.

HURLEY: They told me Tony said something like, 'You can be with the Nike of the record industry or the Keds of the record industry.'

STUMP: We'd get random calls at the apartment. 'Hey, I'm a manager with so-and-so.' I talked to some boy band manager who said, 'We think you'll be a good fit.'

TROHMAN: The idea of a manager was a ‘big-time' thing. I answered a call one day, and this guy is like, 'I'm the manager for the Butthole Surfers, and I'd really like to work with you guys.' I just said, Yeah, I really like the Butthole Surfers, but I'll have to call you back.' And I do love that band. But I just knew that wasn't the right thing.

STUMP: Not all the archetypes you always read about are true. The label guys aren't all out to get you. Some are total douchebags. But then there are a lot who are sweet and genuine. It's the same thing with managers. I really liked the Militia Group. They told us it was poor form to talk to us without a manager. They recommended Bob McLynn.

FELTON: We knew the guys at Crush from working with Acceptance and The Beautiful Mistake. We thought they'd be great for Fall Out Boy, so we sent the music to their team.

STUMP: They said Crush was their favorite management company and gave us their number. Crush's biggest band at the time was American Hi-Fi. Jonathan Daniels, the guy who started the company, sent a manager to see us. The guy was like, "This band sucks!' But Jonathan liked us and thought someone should do something with us. Bob was his youngest rookie manager. He had never managed anyone, and we had never been managed.

BOB MCLYNN: Someone else from my office who isn't with us anymore had seen them, but I hadn't seen them yet. At the time, we'd tried to manage Brand New; they went elsewhere, and I was bummed. Then we got the Fall Out Boy demo, and I was like, Wow. This sounds even better. This guy can really sing, and these songs are great.' I remember going at it hard after that whole thing. Fall Out Boy was my consolation prize. I don't know if they were talking to other managers or not, but Pete and I clicked.

TROHMAN: In addition to being really creative, Pete is really business savvy. We all have a bullshit detector these days, but Pete already had one back then. We met Bob, and we felt like this dude wouldn't fuck us over.

STUMP: We were the misfit toy that nobody else wanted. Bob really believed in us when nobody else did and when nobody believed in him. What's funny is that all the other managers at Crush were gone within a year. It was just Bob and Jonathan, and now they're partners. Bob was the weird New York Hardcore guy who scared me at the time.

TROHMAN: We felt safe with him. He's a big, hulking dude.

MCLYNN: We tried to make a deal with The Militia Group, but they wouldn't back off on a few things in the agreement. I told them those were deal breakers, opening the door to everyone else. I knew this band needed a shot to do bigger and better things.

TROHMAN: He told us not to sign with the label that recommended him to us. We thought there was something very honest about that.

MCLYNN: They paid all their dues. Those guys worked harder than any band I'd ever seen, and I was all about it. I had been in bands before and had just gotten out. I was getting out of the van just as these guys got into one. They busted their asses.

STUMP: A few labels basically said the same thing: they wanted to hear more. They weren't convinced we could write another song as good as 'Dead On Arrival.' I took that as a challenge. We returned to Sean a few months after those initial three songs, this time at Gravity Studios in Chicago. We recorded ‘Grenade Jumper' and 'Grand Theft Autumn/Where is Your Boy' in a night or two. 'Where is Your Boy' was my, 'Fine, you don't think I can write a fucking song? Here's your hit song, jerks!' But I must have pushed Pete pretty hard [arguing about the songs]. One night, as he and I drove with Joe, Pete said, 'Guys, I don't think I want to do this band anymore.' We talked about it for the rest of the ride home. I didn't want to be in the band in the first place! I was like, 'No! That's not fair! Don't leave me with this band! Don't make me kind of like this band, and then leave it! That's bullshit!' Pete didn't stay at the apartment that night. I called him at his parent's house. I told him I wasn't going to do the band without him. He was like, 'Don't break up your band over it.' I said, 'It's not my band. It's a band that you, Joe, and I started.' He was like, 'OK, I'll stick around.' And he came back with a vengeance.

WENTZ: It was maybe the first time we realized we could do these songs titles that didn't have much do with the song from the outside. Grand Theft Auto was such a big pop culture franchise. If you said the phrase back then, everyone recognized it. The play on words was about someone stealing your time in the fall. It was the earliest experimentation with that so it was a little simplistic compared to the stuff we did later. At the time, we'd tell someone the song title, and they'd say, 'You mean "Auto"'?

JOHN JANICK: I saw their name on fliers and thought it was strange. But I remembered it. Then I saw them on a flyer with one of our bands from Chicago, August Premier. I called them and asked about this band whose name I had seen on a few flyers now. They told me they were good and I should check it out. I heard an early version of a song online and instantly fell in love with it. Drive-Thru, The Militia Group, and a few majors tried to sign them. I was the odd man out. But I knew I wanted them right away.

HURLEY: Fueled By Ramen was co-owned by Vinnie [Fiorello] from Less Than Jake. It wasn't necessarily a band I grew up loving, but I had so much respect for them and what they had done and were doing.

JANICK: I randomly cold-called them at the apartment and spoke to Patrick. He told me I had to talk to Pete. I spoke to Pete later that day. We ended up talking on the phone for an hour. It was crazy. I never flew out there. I just got to know them over the phone.

MCLYNN: There were majors [interested], but I didn't want the band on a major right away. I knew they wouldn't understand the band. Rob Stevenson from Island Records knew all the indie labels were trying to sign Fall Out Boy. We did this first-ever incubator sort of deal. I also didn't want to stay on an indie forever; I felt we needed to develop and have a chance to do bigger and better things, but these indies didn't necessarily have radio staff. It was sort of the perfect scenario. Island gave us money to go on Fueled By Ramen, with whom we did a one-off. No one else would offer a one-off on an indie.

STUMP: They were the smallest of the labels involved, with the least 'gloss.' I said, 'I don't know about this, Pete.' Pete was the one who thought it was the smartest move. He pointed out that we could be a big fish in a small pond. So, we rolled the dice.

HURLEY: It was a one-record deal with Fueled By Ramen. We didn't necessarily get signed to Island, but they had the 'right of first refusal' [for the album following Take This To Your Grave]. It was an awesome deal. It was kind of unheard of, maybe, but there was a bunch of money coming from Island that we didn't have to recoup for promo type of things.

JANICK: The company was so focused on making sure we broke Fall Out Boy; any other label probably wouldn't have had that dedication. Pete and I talked for at least an hour every day. Pete and I became so close, so much so that we started Decaydance. It was his thing, but we ended up signing Panic! At The Disco, Gym Class Heroes, Cobra Starship.

GUTIERREZ: Who could predict Pete would A&R all those bands? There's no Panic! At The Disco or Gym Class Heroes without Wentz. He made them into celebrities.

"Turn This Up And I'll Tune You Out" - The Making of Take This To You Grave, 2003

The versions of "Dead on Arrival," "Saturday," and "Homesick at Space Camp" from the first sessions with Andy on drums are what appear on the album. "Grand Theft Autumn/Where is Your Boy" and "Grenade Jumper" are the demo versions recorded later in Chicago. O'Keefe recorded the music for the rest of the songs at Smart Studios once again. They knocked out the remaining songs in just nine days. Sean and Patrick snuck into Gravity Studios in the middle of the night to track vocals in the dead of winter. Patrick sang those seven songs from two to five in the morning in those sessions.

STUMP: John Janick basically said, ‘I'll buy those five songs and we'll make them part of the album, and here's some money to go record seven more.'

MCLYNN: It was a true indie deal with Fueled by Ramen. I think we got between $15,000 and $18,000 all-in to make the album. The band slept on the studio floor some nights.

STUMP: From a recording standpoint, it was amazing. It was very pro, we had Sean, all this gear, the fun studio accoutrements were there. It was competitive with anything we did afterward. But meanwhile, we're still four broke idiots.

WENTZ: We fibbed to our parents about what we were doing. I was supposed to be in school. I didn't have access to money or a credit card. I don't think any of us did.

STUMP: I don't think we slept anywhere we could shower, which was horrifying. There was a girl that Andy's girlfriend at the time went to school with who let us sleep on her floor, but we'd be there for maybe four hours at a time. It was crazy.

HURLEY: Once, Patrick thought it would be a good idea to spray this citrus bathroom spray under his arms like deodorant. It just destroyed him because it's not made for that. But it was all an awesome adventure.

WENTZ: We were so green we didn't really know how studios worked. Every day there was soda for the band. We asked, 'Could you take that soda money and buy us peanut butter, jelly, and bread?' which they did. I hear that stuff in some ways when I listen to that album.

HURLEY: Sean pushed us. He was such a perfectionist, which was awesome. I felt like, ‘This is what a real professional band does.' It was our first real studio experience.

WENTZ: Seeing the Nirvana Nevermind plaque on the wall was mind-blowing. They showed us the mic that had been used on that album.

HURLEY: The mic that Kurt Cobain used, that was pretty awesome, crazy, legendary, and cool. But we didn't get to use it.

WENTZ: They said only Shirley Manson] from Garbage could use it.

O'KEEFE: Those dudes were all straight edge at the time. It came up in conversation that I had smoked weed once a few months before. That started this joke that I was this huge stoner, which obviously I wasn't. They'd call me 'Scoobie Snacks O'Keefe' and all these things. When they turned in the art for the record, they thanked me with like ten different stoner nicknames - 'Dimebag O'Keefe' and stuff like that. The record company made Pete take like seven of them out because they said it was excessively ridiculous.

WENTZ: Sean was very helpful. He worked within the budget and took us more seriously than anyone else other than Patrick. There were no cameras around. There was no documentation. There was nothing to indicate this would be some ‘legendary' session. There are 12 songs on the album because those were all the songs we had. There was no pomp or circumstance or anything to suggest it would be an 'important’ record.

STUMP: Pete and I were starting to carve out our niches. When Pete [re-committed himself to the band], it felt like he had a list of things in his head he wanted to do right. Lyrics were on that list. He wasn't playing around anymore. I wrote the majority of the lyrics up to that point - ‘Saturday,' 'Dead on Arrival,' ‘Where's Your Boy?,’ ‘Grenade Jumper,' and ‘Homesick at Space Camp.' I was an artsy-fartsy dude who didn't want to be in a pop-punk band, so I was going really easy on the lyrics. I wasn't taking them seriously. When I look back on it, I did write some alright stuff. But I wasn't trying. Pete doesn't fuck around like that, and he does not take that kindly. When we returned to the studio, he started picking apart every word, every syllable. He started giving me [notes]. I got so exasperated at one point I was like, ‘You just write the fucking lyrics, dude. Just give me your lyrics, and I'll write around them.' Kind of angrily. So, he did. We hadn't quite figured out how to do it, though. I would write a song, scrap my lyrics, and try to fit his into where mine had been. It was exhausting. It was a rough process. It made both of us unhappy.

MCLYNN: I came from the post-hardcore scene in New York and wasn't a big fan of the pop-punk stuff happening. What struck me with these guys was the phenomenal lyrics and Patrick's insane voice. Many guys in these kinds of bands can sing alright, but Patrick was like a real singer. This guy had soul. He'd take these great lyrics Pete wrote and combine it with that soul, and that's what made their unique sound. They both put their hearts on their sleeves when they wrote together.

STUMP: We had a massive fight over 'Chicago is So Two Years Ago.' I didn't even want to record that song. I was being precious with things that were mine. Part of me thought the band wouldn't work out, and I'd go to college and do some music alone. I had a skeletal version of 'Chicago...'. I was playing it to myself in the lobby of the studio. I didn't know anyone was listening. Sean was walking by and wanted to [introduce it to the others]. I kind of lost my song. I was very precious about it. Pete didn't like some of the lyrics, so we fought. We argued over each word, one at a time. 'Tell That Mick...' was also a pretty big fight. Pete ended up throwing out all my words on that one. That was the first song where he wrote the entire set of lyrics. My only change was light that smoke' instead of ‘cigarette' because I didn't have enough syllables to say 'cigarette.' Everything else was verbatim what he handed to me. I realized I must really want to be in this band at this point if I'm willing to put up with this much fuss. The sound was always more important to me - the rhythm of the words, alliteration, syncopation - was all very exciting. Pete didn't care about any of that. He was all meaning. He didn't care how good the words sounded if they weren't amazing when you read them. Man, did we fight about that. We fought for nine days straight while not sleeping and smelling like shit. It was one long argument, but I think some of the best moments resulted from that.

WENTZ: In 'Calm Before the Storm,' Patrick wrote the line, 'There's a song on the radio that says, 'Let's Get This Party Started' which is a direct reference to Pink's 2001 song 'Get the Party Started.' 'Tell That Mick He Just Made My List of Things to Do Today' is a line from the movie Rushmore. I thought we'd catch a little more flack for that, but even when we played it in Ireland, there was none of that. It's embraced, more like a shoutout.

STUMP: Pete and I met up on a lot of the same pop culture. He was more into '80s stuff than I was. One of the first things we talked about were Wes Anderson movies.

WENTZ: Another thing driving that song title was the knowledge that our fanbase wouldn't necessarily be familiar with Wes Anderson. It could be something that not only inspired us but something fans could also go check out. People don't ask us about that song so much now, but in that era, we'd answer and tell them to go watch Rushmore. You gotta see this movie. This line is a hilarious part of it.' Hopefully some people did. I encountered Jason Schwartzman at a party once. We didn't get to talk about the movie, but he was the sweetest human, and I was just geeking out. He told me he was writing a film with Wes Anderson about a train trip in India. I wanted to know about the writing process. He was like, 'Well, he's in New York City, I'm in LA. It's crazy because I'm on the phone all the time and my ear gets really hot.' That's the anecdote I got, and I loved it.

O'KEEFE: They're totally different people who approach making music from entirely different angles. It's cool to see them work. Pete would want a certain lyric. Patrick was focused on the phrasing. Pete would say the words were stupid and hand Patrick a revision, and Patrick would say I can't sing those the way I need to sing this. They would go through ten revisions for one song. I thought I would lose my mind with both of them, but then they would find it, and it would be fantastic. When they work together, it lights up. It takes on a life of its own. It's not always happy. There's a lot of push and pull, and each is trying to get their thing. With Take This To Your Grave, we never let anything go until all three of us were happy. Those guys were made to do this together.

WENTZ: A lot of the little things weren't a big deal, but those were things that [felt like] major decisions. I didn't want 'Where Is Your Boy' on Take This To Your Grave.

JANICK: I freaked out. I called Bob and said, 'We must put this song on the album! It's one of the biggest songs.' He agreed. We called Pete and talked about it; he was cool about it and heard us out.

WENTZ: I thought many things were humongous, and they just weren't. They didn't matter one way or another.

"Our Lawyer Made Us Change The (Album Cover)" - That Photo On Take This To Your Grave, 2003

STUMP: The band was rooted in nostalgia from early on. The '80s references were very much Pete's aesthetic. He had an idea for the cover. It ended up being his girlfriend at the time, face down on the bed, exhausted, in his bedroom. That was his bedroom in our apartment. His room was full of toys, '80s cereals. If we ended up with the Abbey Road cover of pop-punk, that original one was Sgt. Pepper's. But we couldn't legally clear any of the stuff in the photo. Darth Vader, Count Chocula…

WENTZ: There's a bunch of junk in there: a Morrissey poster, I think a Cher poster, Edward Scissorhands. We submitted it to Fueled by Ramen, and they were like, 'We can't clear any of this stuff.’ The original album cover did eventually come out on the vinyl version.

STUMP: The photo that ended up being the cover was simply a promo photo for that album cycle. We had to scramble. I was pushing the Blue Note jazz records feel. That's why the CD looks a bit like vinyl and why our names are listed on the front. I wanted a live photo on the cover. Pete liked the Blue Note idea but didn't like the live photo idea. I also made the fateful decision to have my name listed as 'Stump' rather than Stumph.

WENTZ: What we used was initially supposed to be the back cover. I remember someone in the band being pissed about it forever. Not everyone was into having our names on the cover. It was a strange thing to do at the time. But had the original cover been used, it wouldn't have been as iconic as what we ended up with. It wouldn't have been a conversation piece. That stupid futon in our house was busted in the middle. We're sitting close to each other because the futon was broken. The exposed brick wall was because it was the worst apartment ever. It makes me wonder: How many of these are accidental moments? At the time, there was nothing iconic about it. If we had a bigger budget, we probably would have ended up with a goofier cover that no one would have cared about.

STUMP: One of the things I liked about the cover was that it went along with something Pete had always said. I'm sure people will find this ironic, but Pete had always wanted to create a culture with the band where it was about all four guys and not just one guy. He had the foresight to even think about things like that. I didn't think anyone would give a fuck about our band! At the time, it was The Pete Wentz Band to most people. With that album cover, he was trying to reject that and [demonstrate] that all four of us mattered. A lot of people still don't get that, but whatever. I liked that element of the cover. It felt like a team. It felt like Voltron. It wasn't what I like to call 'the flying V photo' where the singer is squarely in the center, the most important, and everyone else is nearest the camera in order of 'importance.' The drummer would be in the very back. Maybe the DJ guy who scratches records was behind the drummer.

"You Need Him. I Could Be Him. Where Is Your Boy Tonight?" - The Dynamics of Punk Pop's Fab 4, 2003

Patrick seemed like something of the anti-frontman, never hogging the spotlight and often shrinking underneath his baseball hat. Wentz was more talkative, more out front on stage and in interviews, in a way that felt unprecedented for a bass player who wasn't also singing. In some ways, Fall Out Boy operated as a two-headed dictatorship. Wentz and Stump are in the car's front seat while Joe and Andy ride in the back.

STUMP: There is a lot of truth to that. Somebody must be in the front seat, no question. But the analogy doesn't really work for us; were more like a Swiss Army knife. You've got all these different attachments, but they are all part of the same thing. When you need one specific tool, the rest go back into the handle. That was how the band functioned and still does in many ways. Pete didn't want anyone to get screwed. Some things we've done might not have been the best business decision but were the right human decision. That was very much Pete's thing. I was 19 and very reactionary. If someone pissed me off, I'd be like, 'Screw them forever!' But Pete was very tactful. He was the business guy. Joe was active on the internet. He wouldn't stop believing in this band. He was the promotions guy. Andy was an honest instrumentalist: ‘I'm a drummer, and I'm going to be the best fucking drummer I can be.' He is very disciplined. None of us were that way aside from him. I was the dictator in the studio. I didn't know what producing was at the time or how it worked, but in retrospect, I've produced a lot of records because I'm an asshole in the studio. I'm a nice guy, but I'm not the nicest guy in the studio. It's a lot easier to know what you don't want. We carved out those roles early. We were very dependent on each other.

MCLYNN: I remember sitting in Japan with those guys. None of them were drinking then, but I was drinking plenty. It was happening there, their first time over, and all the shows were sold out. I remember looking at Pete and Patrick and telling Pete, ‘You're the luckiest guy in the world because you found this guy.' Patrick laughed. Then I turned to Patrick and said the same thing to him. Because really, they're yin and yang. They fit together so perfectly. The fact that Patrick found this guy with this vision, Pete had everything for the band laid out in his mind. Patrick, how he can sing, and what he did with Pete's lyrics - no one else could have done that. We tried it, even with the Black Cards project in 2010. We'd find these vocalists. Pete would write lyrics, and they'd try to form them into songs, but they just couldn't do it the way Patrick could. Pete has notebooks full of stuff that Patrick turns into songs. Not only can he sing like that, but how he turns those into songs is an art unto itself. It's really the combination of those two guys that make Fall Out Boy what it is. They're fortunate they found each other.

"I Could Walk This Fine Line Between Elation And Success. We All Know Which Way I'm Going To Strike The Stake Between My Chest" - Fall Out Boy Hits the Mainstream, 2003

Released on May 6, 2003, Take This To Your Grave massively connected with fans. (Fall Out Boy's Evening Out with Your Girlfriend arrived in stores less than two months earlier.) While Take This To Your Grave didn't crack the Billboard 200 upon its release, it eventually spent 30 weeks on the charts. From Under the Cork Tree debuted in the Top 10 just two years later, largely on Grave's momentum. 2007's Infinity on High bowed at #1.

WENTZ: I remember noticing it was getting insane when we would do in-stores. We'd still play anywhere. That was our deal. We liked being able to sell our stuff in the stores, too. It would turn into a riot. We played a Hollister at the mall in Schaumburg, Illinois. A lot of these stores were pretty corporate with a lot of rules, but Hollister would let us rip. Our merch guy was wearing board shorts, took this surfboard off the wall, and started crowd-surfing with it during the last song. I remember thinking things had gotten insane right at that moment.

HURLEY: When we toured with Less Than Jake, there were these samplers with two of their songs and two of ours. Giving those out was a surreal moment. To have real promotion for a record... It wasn't just an ad in a 'zine or something. It was awesome.

MCLYNN: They toured with The Reunion Show, Knockout, and Punch-line. One of their first big tours as an opening act was with MEST. There would be sold-out shows with 1,000 kids, and they would be singing along to Fall Out Boy much louder than to MEST. It was like, 'What's going on here?' It was the same deal with Less Than Jake. It really started catching fire months into the album being out. You just knew something was happening. As a headliner, they went from 500-capacity clubs to 1500 - 2000 capacity venues.

WENTZ: We always wanted to play The Metro in Chicago. It got awkward when they started asking us to play after this band or that band. There were bands we grew up with that were now smaller than us. Headlining The Metro was just wild. My parents came.

MCLYNN: There was a week on Warped Tour, and there was some beel because these guys were up-and-comers, and some of the bands that were a little more established weren't too happy. They were getting a little shit on Warped Tour that week, sort of their initiation. They were on this little, shitty stage. So many kids showed up to watch them in Detroit, and the kids rushed the stage, and it collapsed. The PA failed after like three songs. They finished with an acapella, 'Where is Your Boy,’ and the whole crowd sang along.

WENTZ: That's when every show started ending in a riot because it couldn't be contained. We ended up getting banned from a lot of venues because the entire crowd would end up onstage. It was pure energy. We'd be billed on tour as the opening band, and the promoter would tell us we had to close the show or else everyone would leave after we played. We were a good band to have that happen to because there wasn't any ego. We were just like, "Oh, that's weird.' It was just bizarre. When my parents saw it was this wid thing, they said, 'OK, yeah, maybe take a year off from college.' That year is still going on.

MCLYNN: That Warped Tour was when the band's first big magazine cover, by far, hit the stands. I give a lot of credit to Norman Wonderly and Mike Shea at Alternative Press. They saw what was happening with Fall Out Boy and were like, 'We know it's early with you guys, but we want to give you a cover.' It was the biggest thing to happen to any of us. It really helped kick it to another level. It helped stoke the fires that were burning. This is back when bands like Green Day, Blink-182, and No Doubt still sold millions of records left and right. It was a leap of faith for AP to step out on Fall Out Boy the way they did.

STUMP: That was our first big cover. It was crazy. My parents flipped out. That wasn't a small zine. It was a magazine my mom could find in a bookstore and tell her friends. It was a shocking time. It's still like that. Once the surrealism starts, it never ends. I was onstage with Taylor Swift ten years later. That statement just sounds insane. It's fucking crazy. But when I was onstage, I just fell into it. I wasn't thinking about how crazy it was until afterward. It was the same thing with the AP cover. We were so busy that it was just another one of those things we were doing that day. When we left, I was like, 'Holy fuck! We're on the cover of a magazine! One that I read! I have a subscription to that!'

HURLEY: Getting an 'In The Studio' blurb was a big deal. I remember seeing bands 'in the studio' and thinking, Man, I would love to be in that and have people care that we're in the studio.' There were more minor things, but that was our first big cover.

STUMP: One thing I remember about the photo shoot is I was asked to take off my hat. I was forced to take it off and had been wearing that hat for a while. I never wanted to be the lead singer. I always hoped to be a second guitarist with a backup singer role. I lobbied to find someone else to be the proper singer. But here I was, being the lead singer, and I fucking hated it. When I was a drummer, I was always behind something. Somehow the hat thing started. Pete gave me a hat instead of throwing it away - I think it's the one I'm wearing on the cover of Take This To Your Grave. It became like my Linus blanket. I had my hat, and I could permanently hide. You couldn't see my eyes or much of me, and I was very comfortable that way. The AP cover shoot was the first time someone asked me to remove it. My mom has a poster of that cover in her house, and every time I see it, I see the fear on my face - just trying to maintain composure while filled with terror and insecurity. ‘Why is there a camera on me?'

JANICK: We pounded the pavement every week for two years. We believed early on that something great was going to happen. As we moved to 100,000 and 200,000 albums, there were points where everything was tipping. When they were on the cover of Alternative Press. When they did Warped for five days, and the stage collapsed. We went into Christmas with the band selling 2000 to 3000 a week and in the listening stations at Hot Topic. Fueled By Ramen had never had anything like that before.

MOSTOFI: Pete and I used to joke that if he weren't straight edge, he would have likely been sent to prison or worse at some point before Fall Out Boy. Pete has a predisposition to addictive behavior and chemical dependency. This is something we talked about a lot back in the day. Straight Edge helped him avoid some of the traps of adolescence.

WENTZ: I was straight edge at the time. I don't think our band would have been so successful without that. The bands we were touring with were partying like crazy. Straight Edge helped solidify the relationship between the four of us. We were playing for the love of music, not for partying or girls or stuff like that. We liked being little maniacs running around. Hurley and I were kind of the younger brothers of the hardcore kids we were in bands with. This was an attempt to get out of that shadow a little bit. Nobody is going to compare this band to Racetraitor. You know when you don't want to do exactly what your dad or older brother does? There was a little bit of that.

"Take This To Your Grave, And I'll Take It To Mine" - The Legacy of Take This To Your Grave, 2003-2023

Take This To Your Grave represents a time before the paparazzi followed Wentz to Starbucks, before marriages and children, Disney soundtracks, and all the highs and lows of an illustrious career. The album altered the course for everyone involved with its creation. Crush Music added Miley Cyrus, Green Day, and Weezer to their roster. Fueled By Ramen signed Twenty One Pilots, Paramore, A Day To Remember, and All Time Low.

STUMP: I'm so proud of Take This To Your Grave. I had no idea how much people were going to react to it. I didn't know Fall Out Boy was that good of a band. We were this shitty post-hardcore band that decided to do a bunch of pop-punk before I went to college, and Pete went back to opening for Hatebreed. That was the plan. Somehow this record happened. To explain to people now how beautiful and accidental that record was is difficult. It seems like it had to have been planned, but no, we were that shitty band that opened for 25 Ta Life.

HURLEY: We wanted to make a record as perfect as Saves The Day's Through Being Cool. A front-to-back perfect collection of songs. That was our obsession with Take This To Your Grave. We were just trying to make a record that could be compared in any way to that record. There's just something special about when the four of us came together.

WENTZ: It blows my mind when I hear people talking about Take This To Your Grave or see people including it on lists because it was just this tiny personal thing. It was very barebones. That was all we had, and we gave everything we had to it. Maybe that's how these big iconic bands feel about those records, too. Perhaps that's how James Hetfield feels when we talk about Kill 'Em All. That album was probably the last moment many people had of having us as their band that their little brother didn't know about. I have those feelings about certain bands, too. 'This band was mine. That was the last time I could talk about them at school without anyone knowing who the fuck I was talking about.' That was the case with Take This To Your Grave.

TROHMAN: Before Save Rock N' Roll, there was a rumor that we would come back with one new song and then do a Take This To Your Grave tenth-anniversary tour. But we weren't going to do what people thought we would do. We weren't going to [wear out] our old material by just returning from the hiatus with a Take This To Your Grave tour.

WENTZ: We've been asked why we haven't done a Take This To Your Grave tour. In some ways, it's more respectful not to do that. It would feel like we were taking advantage of where that record sits, what it means to people and us.

HURLEY: When Metallica released Death Magnetic, I loved the record, but I feel like Load and Reload were better in a way, because you knew that's what they wanted to do.

TROHMAN: Some people want us to make Grave again, but I'm not 17. It would be hard to do something like that without it being contrived. Were proud of those songs. We know that’s where we came from. We know the album is an important part of our history.

STUMP: There's always going to be a Take This To Your Grave purist fan who wants that forever: But no matter what we do, we cannot give you 2003. It'll never happen again. I know the feeling, because I've lived it with my favorite bands, too. But there's a whole other chunk of our fans who have grown with us and followed this journey we're on. We were this happy accident that somehow came together. It’s tempting to plagarize yourself. But it’s way more satisfying and exciting to surprise yourself.

MCILRITH: Fall Out Boy is an important band for so many reasons. I know people don't expect the singer of Rise Against to say that, but they really are. If nothing else, they created so much dialog and conversation within not just a scene but an international scene. They were smart. They got accused of being this kiddie pop punk band, but they did smart things with their success. I say that, especially as a guy who grew up playing in the same Chicago hardcore bands that would go on and confront be-ing a part of mainstream music. Mainstream music and the mainstream world are machines that can chew your band up if you don't have your head on straight when you get into it. It's a fast-moving river, and you need to know what direction you're going in before you get into it. If you don't and you hesitate, it'll take you for a ride. Knowing those guys, they went into it with a really good idea. That's something that the hardcore instilled in all of us. Knowing where you stand on those things, we cut our teeth on the hardcore scene, and it made us ready for anything that the world could throw at us, including the giant music industry.

#long post #lke. VERY long post #fall out boy #fob #take this to your grave #tttyg #patrick stump #pete wentz #joe trohman #andy hurley #if theres any typos lmk and i'll fix em this. hust took fucking forever to transcribe.

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strvngeweather · 3 months

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It's All Greek to Me; a one shot.

🕮 PAIRING: collegetutor!jimin x partygirl!reader 🕮 GENRE: College AU, smut 🕮 WORD COUNT: 4.8k 🕮 WARNINGS: Smut, Smut, Smut 🕮 SUMMARY: After failing your college classes, you need a tutor. But if tutor, why so damn hot? 🕮 AUTHOR'S NOTE: This was originally going to be a full-length fanfic, but I decided to make it a short one. I still may expand on it. Let me know what you guys think. Also, my bestie gave me the idea when she said, "Jimin look like he likes ass." LMAO.

Despite your hatred for hangovers, you always ended up with one.

Today was no exception. As the resident party girl at Loren University, there was no way you would ever miss a weekend rager, but as your alarm clock went off for the fifth time that morning, you began cursing at yourself. Maybe going to a party on a Sunday night wasn’t a good idea.

Scheduling a tutoring session at eight in the morning was an even worse idea.

You had many strong suits, but English wasn’t one of them. It was the one subject you had struggled with since you were in high school. Analyzing the words of dead white men from centuries ago was just about as much fun as watching paint dry. Numbers were much more your thing. They were easy and in the words of Cady Heron, ‘Math was the same in every language.’

But you needed to pass. It’s not as if you were here on your parents’ dime like the other kids. You were a scholarship kid and if your grades slipped, so did you. Out the doors and on your ass. So, when you got your last paper back with a big fat ‘D’ written on it, you knew it was time to take action. And that meant getting a tutor.

You just happened to forget that today, on this bright and early morning, with a pounding headache and dry mouth, you were supposed to be meeting him.

Again, you ask, who the fuck schedules a tutoring session at eight in the morning?

With a groan, you grab your phone, hoping to hit the ‘snooze’ button on your alarm one more time before you really had to get up but when your eyes read the time you realize that it’s damn near eight-thirty. How many times have you hit the snooze button? You wonder but realize you’re only wasting more time. Without a second thought, you hop out of bed and into the bathroom, brushing your teeth and running a comb through your curly hair. Your make-up is smudged, and you still have on the shimmering dress from last night but there’s nothing you can do about it now. You grab a hoodie off your desk chair and hightail it to the school’s library.

Inside study room 007, you find a very annoyed, albeit very handsome senior waiting at the table. Laid out in front of him are a stack of books, notebooks, and flash cards. Pens and pencils are lined up neatly in a row. He all but glares at you as enter. Before you can speak, he glances at his watch and then looks back at you. “You’re late.”

“I know,” you say, out of breath. “I got caught up …” you scramble, trying to think of a lie instead of admitting you had spent the night throwing ass to Megan thee Stallion and Cardi B but your folder of excuses in the very back of your brain shows up empty. That might be for the best, you realize as you look over your tutor.

“Partying?” He finishes the sentence for you. His eyes rake over you in judgment. “Maybe that’s why you’re failing English.”

Now wait a damn minute. You scoff, crossing your arms. Your brain is foggy, you desperately need a glass of water – and, not to mention, your skin feels beyond icky. The last thing you can do right now is come up with a proper comeback so the only thing you manage to utter is, “Or maybe English is just hard.”

“You speak it every day, how hard could it be?”

“Whatever,” you say, sitting down across from him. “Can we just … start?”

Jimin checks his watch again. “We might as well. We’ve got thirty minutes left. Let’s make the most of it.”

“I thought I had you for an hour.”

“Yes, and you were late so that hour has turned into thirty minutes. I’ve got things to do, Ms. L/N. I can’t wait around for you all day,” he replies, picking up a black ballpoint pen. “Let’s get started.”

“I’d much prefer it if you called me, Y/N,” you say, leaning back in your chair. “And you’re Jimin, correct?”

He nods curtly. “Alright, Ms. L/N, your form said you have an upcoming paper that focuses on the themes from Nella Larsen’s Passing. What part of the story are you at?”

You roll your eyes but choose not to correct him about your name and instead just answer his question. “I’m not on any part.”

His eyes brighten. “You mean you’ve already finished? Well, great, let’s jump right into discussion –”

“No,” you cut him off. “I’m not on any part because I haven’t started the book.”

Jimin looks at you as if you grew another head. “Your essay for the book is due next week. The book is less than two hundred pages. What do you mean you haven’t started yet?”

You shrug. “I figured since it’s such a short book I could probably finish it and write the essay in the same day.”

“And what day were you planning on doing that since our study session is right now?”

That day was last night but as you both knew you had gotten caught up with … other things. “I guess I figured we’d start the book together and I’d just get the essay done next week.”

Jimin sighs. “Ms. L/N, whatever you manage to vomit onto paper will not bring your grade up in the slightest if you follow your method. I guarantee that.”

You find yourself rolling your eyes – again. “That’s what you’re here for. You’re my tutor so tutor me in the right direction.” Jimin studies you for a moment and then he begins carefully putting his things away into his messenger bag. “Wait. What are you doing?”

“Ms. L/N, you can reach out to me once you’ve read the book but until then, we have nothing to discuss. I only meet with students who are serious about their education,” he places his bag over his shoulder and nods toward you. “Have a good day.”

“Um, hello! You can’t just leave,” you say, getting out of your chair.

“I can and I am,” Jimin replies, and with that, he walks out of the study room. You begin to follow him but decide against it. What good would that do? He was rude and had judged you from the moment you walked in the door. You didn’t need a tutor like that.

You decided you were going to go to the campus café, buy a large coffee, and then go home to take a much-needed shower.

. . . .

“He was a jerk,” you tell your best friend, Winter, taking a long sip of your mango-pineapple smoothie. “He left right in the middle of our session.”

Every Tuesday was the same. A morning class and then a lunch date with your bestie, Winter, at your favorite smoothie place about twenty minutes away from campus.

She shakes her head but not at him. “Y/N, I love you, but you were late. You didn’t read the material, and you had the nerve to have an attitude. I would have walked out on you too.”

Harsh but it was the truth. You weren’t quite ready to admit that you were somewhat at fault too. “Okay, but I’m saying, he didn’t have to be rude about it though.”

“What’d he look like?”

“He would be fine as hell if he wasn’t so rude,” you answer honestly.

She shakes her head, amused. “What did you end up getting on your essay anyway?”

After the last encounter with Jimin, you decided you’d find another tutor, but in the meantime, you were going to stick with your tried and true. You did exactly what you had told Jimin you would do. You read most of the book in one evening and managed to type up a paper in the same night, confident that you had aced it. But when you looked online, checking your grade, you realized Jimin had been right. Regardless, you weren’t going back to him.

You sigh. “Does it matter?”

“Yes,” Winter replies. “Because if Jimin is right, then I think you should give him a call.”

“Jimin Parker?”

You and Winter look up to see Jennie Kim hovering above you. Her freshly dyed blonde hair cascaded in waves down her slender face. You may have been the resident party girl, but Jen was the resident party queen.

“Hey Jen,” you say, motioning for her to take a seat. “Yeah, Jimin Parker. You know him?”

She sits between you and Winter. “You mean that gorgeous senior? Ugh, I had him as a tutor last semester.”

“How’d he do?” Winter says, giving you a knowing look.

You lean forward. Jennie was known for many things but having good grades was not one of them. In fact, you wondered how she managed to make it this far without being kicked out. But, if Jimin could manage to get her grades up, then he truly was a miracle worker.

“Amazing,” Jen gushes. “I got an A on my last three papers. I wanted him again this semester but apparently, he’s all booked up.”

You groan as Winter gives you another look. You pull your cell phone out of your pocket and dial Jimin. “Hello?” You reply as he answers. “Hi, yeah, Jimin, it’s Y/N. I was wondering if we could set up a session …”

…

For his sake (and mostly yours) you schedule an afternoon session and this time, you show up prepared. When he arrives, he’s shocked to see you already in the study room.

“Good afternoon,” he says, rounding the table to sit across from you. You get a whiff of his cedarwood cologne. “I see you’re on time.”

“I’m early,” you correct him. “You’re on time.”

“That I am,” he says, taking a seat. You watch him closely as he carefully takes out various pens and pencils, notebooks, and flashcards. He really is handsome, you think, even if he is an ass. “I see we’re studying Oedipus Rex by Sophocles?”

You nod your head. “I read it. I don’t understand it.”

“What exactly don’t you understand?”

“Not a single word in that book. They might as well be speaking Greek.”

He sighs. “Well, it is a Greek book.”

“Clearly,” you reply. “So where do we start?”

“I guess at the beginning.”

. . . .

Things were going smoothly. You found yourself actually understanding the material and surprisingly, enjoying it. But you also found yourself getting lost in Jimin at times. The more time you spent with him, the more you developed a crush. Your mind would wander as your eyes looked over him. You wondered how soft his full lips were. You wondered what his eyes looked like in moments of passion. You wondered how good it would feel to be wrapped up in his strong arms.

Your eyes were on his arms when he called your name. “Huh?”

“I asked did you want to go over the scene between Antigone and Polynices again?”

You shake your head. “No, I think I understand. Antigone wants him to call off the war, but Polynices’ pride won’t let him.”

“Correct,” Jimin replies with a smile.

Fuck, you think. Jimin had a smile that would make anyone melt. “Jimin,” you begin and mentally kick yourself for what you’re about to ask but you’ve started so you might as well finish. You put on your best flirtatious smile. “What do I get if I ace my next paper?”

He seems to know what you’re hinting at. “You get an A and the satisfaction of knowing your hard work paid off.”

Well, if that wasn’t a blaring rejection, you don’t know what is. “Do you have a girlfriend?” You blurt it out before your brain can even process whether the question was appropriate or not.

He blinks, slightly taken aback. “Yes, yes, I do. Why?”

You shrug, trying to be as nonchalant as possible even though you feel as if you’ve just gotten stung by a million honeybees. “No reason. You just seem so into your academics; I didn’t think you had time for that kind of stuff.”

“Well, a human being still needs a social life to thrive,” he replies coolly. “Do you have a boyfriend?”

You nod. “Yes, and his name is Jose Cuervo.”

He laughs. “I’m sure you have a line of men knocking on your door.”

“Nobody I want though,” you say, mostly to yourself.

. . . .

If crushing on him wasn’t enough, now you were dreaming about him. A week of erotic dreams plagued you. They felt so real. You could smell his signature cologne as he pushed in and out of you, your legs on his shoulders and his arms wrapped around your thick thighs. Each dream ended the same though, just as he was about to finish, your alarm would wake you up and you would spend a good five minutes finishing yourself off before getting ready for the day.

Instead of a study room at the library, Jimin asked you to meet him at his apartment for the study session. He mentioned something about time constraints, appointments, and being unable to book a study room but your brain had been stuck on, “Wanna meet me at my apartment? We can have a quick recap sesh before I have to run out?” He could barely finish his question before you agreed to it.

So, sue you for being curious.

It’s not like anything will happen, you thought as you parked, he has a girlfriend. You arrived twenty minutes early. Your excitement had gotten the best of you and you knew how much Jimin liked it when you were on time. When you knocked on the door, a man almost as handsome as Jimin answered.

“You must be Y/N?” he asked, sticking out his hand. “I’m Taehyung.”

You nodded, the thought of becoming a Wattpad heroine and having two incredibly attractive men fight over you danced around in your head. You shook his hand. “Nice to meet you, Taehyung.”

As he let you in, he explained he had somewhere to be, but that Jimin was in his room and to head right in. You gave the door a light knock but didn’t receive an answer. The door was slightly ajar, giving you the smallest view of a very neat bedroom. You spotted Jimin at his desk, looking at something on his large computer monitor. It looked familiar. Your curiosity ate at you, forcing your hand to ever-so-gently open the door further. This time you could see what Jimin was looking at clearly.

It was you. It was your Instagram feed. He was scrolling through your pictures, pausing at every photo that was a bit risqué.

“Fuck, Y/N …”

That was your name. Leaving his lips. In a moan. Your heart fluttered with excitement. But wait, was he …

As you tilt your head to get a better view, you can see the tip of his elbow on the armrest, bobbing up and down. And up and down. And up and down.

Oh, he definitely was.

You slap a hand over your mouth and tiptoe back to the living room. A few minutes later, you hear a shower turn on and ten minutes after that, you see Jimin emerge in a navy blue V-neck and a pair of grey sweatpants.

“Hey,” Jimin looks at you with a face full of guilt. You can’t help but smile. “How long have you been waiting?”

“I just got here a few minutes ago,” you lie, looking up from your phone that you were pretending to be engrossed in. “I haven’t been waiting long.”

“Good, good,” he says. “Let’s go to the kitchen. The lighting is better in there.”

. . . .

After three weeks of hard work and several study sessions, you submit your paper with all the confidence of Scott Disick. Winter, the best friend that she is, decided that this was the best time to reward your good behavior with a couple of jello shots at your favorite bar. You gobble up the first two and then decide to sip on a blue Long Island iced tea. That’s when you spot him. Sitting in a corner, next to his roommate and another man with tattoos up and down his arms. Instead of his usual tweed blazer and grey slacks, his outfit looks more modern, more casual. A white graphic tee hugs his toned body, and you can’t help but eye his biceps. His cheeks are slightly red, his eyes are glossy and he’s laughing harder than you’ve ever seen him laugh. He looks delicious but you turn around and decide to order another shot from the bar.

You spot Winter getting her mack on with a fellow classmate, Karina, and it’s then you realize that you’re probably going to be alone for the rest of the night. Just as you begin to grab your wallet to pay your tab, a familiar figure approaches you.

“Fancy seeing you here,” he’s wearing a smile you’ve never seen before, and it makes your insides flutter.

“I could say the same thing,” you reply. “I never thought I’d see Jimin Park in a bar.”

“I don’t spend all my time in the library,” Jimin says.

“Could have fooled me,” you tease, taking a sip of your drink. “What brings you out among people?”

He orders a whiskey sour before turning to you. “I, Y/N L/N, am finally a single man. My girlfriend of two years has decided that she no longer wants me.”

He’s smiling but you can see sadness behind his glossy eyes. “I’m sorry,” you say earnestly. “Her loss.”

“Oh definitely,” he says with a slight slur. “You want to know the real reason she broke up with me?”

You shrug. “Lay it on me.”

He leans in close, so close his body is pressed up against yours. He angles his lips to your ear and whispers, “I was too much for her.”

“Oh …”

“Yeah,” his words spill out in a rush, his eyes darkening as they take you in. They pause at your mini-skirt before crawling up your body slowly. You suddenly feel exposed, as if he just completely undressed you, but it would be a lie to say you didn’t love it. His voice lowers to a sultry whisper, “You don’t seem like that though.”

“Seem like that?”

“Like I’d be too much for you.”

“In what way?” You ask, genuinely curious.

He leans toward you, his lips brushing past your ear, forcing every hair on the back of your neck to stand up. “Sexual. You look like a good girl who knows how to take a pounding.”

A million thoughts ran through your head as Jimin broke out into a sardonic laugh. You were called back to that time you caught him masturbating to your pictures. You began to wonder if the prim and proper Jimin was just a façade to hide the sexual deviant he really was. His eyes look over you in a way they never have, and you swore they were clouded with lust. He licks his full lips, and you want nothing more than to kiss them, but you don’t. Instead, you take a step back and laugh, motioning to his roommate. Jimin was drunk and even though it looked like he wanted to bend you over the bar and give it to you, you knew better than to take advantage of a drunk man.

….

A week later, when you enter the study room, the moment you and Jimin exchange glances, you feel awkward. He looks embarrassed as he gestures for you to sit down.

“We need to talk,” he says. “I want to apologize about the other night at the bar.”

“It’s okay, I barely even gave it a second thought,” you lie. You had thought about that moment ever since it happened.

“No, it was inappropriate, and I shouldn’t have spoken to you that way.”

“Jimin, you were drunk, it’s fine. Besides, it was nice to see a different side to you,” you reassured him with a smile.

“That’s not a side that I would like to be representative of who I am,” Jimin admits. “I don’t want to be known as the guy who makes people uncomfortable.”

You laugh. “Believe me, I was the farthest thing from uncomfortable.”

He locks eyes with you for a moment before clearing his throat and motioning toward your phone. “Have you checked your grades yet?”

You gasp, suddenly remembering the paper you had submitted a week earlier. You quickly bring up your most recent webpage, searching for the most recent grade listing. As your eyes glance over your paper and the notes, you realize that Jimin lived up to his reputation. You get up, shoving the phone in his face, squealing.

His eyes brighten, and he gets up as well. “You got an A!”

Without thinking, you throw your arms around him, pulling him into a tight hug. Jimin, to your surprise, doesn’t push away. Instead, he pulls you closer, his arms wrapping around your waist. You take the moment to breathe in his intoxicating scent. The both of you remain intertwined far longer than you both know is appropriate but for some reason, neither one of you makes the move to let go.

Finally, Jimin relents first. He stares you in the face and says quietly, “I knew you could do it.”

You let out a small laugh. “I couldn’t do it without you. Thank you, Jimin”

“As a reward, we can end the session ten minutes early today,” Jimin replies and sits back down.

You find yourself shaking your head. “Can I request a different reward?”

Jimin looks up at you and nods. You look around the small study space. The room you chose was in the back, the library was relatively empty today and the small window the room provided was on the door and could easily be covered up the shade provided. You mentally prepare yourself for what you’re about to say next. Things could go downhill, fast, depending on his reaction. Still, you steady yourself, look Jimin in the eyes and say, “I want a kiss.”

“What?”

“A kiss,” you repeat confidently. “I want you to kiss me as a reward.”

“I can’t kiss you,” he replies back, taking study materials out of his messenger bag. “That would be highly ina –”

“Jimin, if you don’t want to kiss me, just say so but don’t use the tutor-student relationship as a reason.”

He sighs. “I …” You watch as he struggles to find the right words.

“You were right about me,” you say, giving him a flirtatious smirk. “At the bar. I can take a good pounding.”

His face turns a beet-red, but he quickly recovers. He stands, walking to stand in front of you. “Just one kiss?”

“One kiss,” you repeat.

He leans in and places a soft kiss on your lips, lingering for only a few seconds before breaking the kiss. “That good?”

You shake your head. “I hardly think that’s worth all the work I put in.”

He smiles, genuinely amused, and says, “Really?”

You nod. “Maybe if it was longer …”

Jimin sighs. “Y/N, if it’s longer, you know what that will lead to …”

“Then let it lead to that,” you challenge, you push. “I don’t know why you have to act so anal-retentive all the time. Not everything has to be perfect. Just k—”

He cuts you off with a deeper kiss. It’s slow and sensual. His hands wrap around your waist, one of them running down the curve of your ass as he palms it slowly, indulging in the fleshy softness. You can feel his dick hardening on your thigh as he slips a tongue into your mouth.

Jimin is using both hands to palm your ass now, his dick grinding into you and a low, deep, moan leaves his mouth forcing an electric sensation to shoot down your spine and vibrate in your core.

“You sure you want this?” he asks through a searing kiss.

“Yes,” you think you say but you’re not sure. Your head is spinning that this is actually happening.

He responds by lifting your pleated skirt and smacking your ass, the sound echoing throughout the room. Fingertips dance between your ass crack, and he uses a knee to part your legs slightly further. You break the kiss, throwing your head back as you feel Jimin’s fingertips slowly rub your pussy from the back. He slips a finger into your underwear, running it up and down your slit.

“How long have you wanted this?” He asks, nipping at your neck. “You’re already so fucking wet.” You try to answer but all that comes out is a moan as he slips another finger inside. “Shh,” he tells you. “You want the whole library to hear you?”

He gives you a bit of a reprieve when his hands slip away. You watch as he pulls out one of the chairs and sits, beckoning for you to stand in front of him. Your skirt is still at your waist, so he pulls your underwear down before pulling you close. You feel his large hands grope your ass again, peppering kisses up and down your hips. Another smack echoes through the room before he uses a hand to caress clit. You move your hips in response, holding on to the table for balance.

He pauses. “Turn around and bend over.” He doesn’t have to ask you twice. You obey, and not a second later, you feel him placing one of your legs up on the study table. “Arch that back, baby.” Your ass juts out just a little more as you follow his directions. A moment later you feel a cool, wet, sensation going up and down the slit of your core. It’s slow at first, as if he’s taking the time to let the taste of you marinate on his tongue but he quickly picks up his pace. The tip of his tongue flickering over your clit. Meanwhile, you can feel his thumb, massaging your anus.

Jimin was an ass man, and he was making that very clear.

Both hands were gripping your ass now as he guided your pussy over his tongue. You work your hips in tandem, stifling a loud moan as your world begins to go white.

But he wasn’t done with you yet.

He moves his tongue from your pussy up to your anus, and you jerk, having never quite felt something like this before. You can hear an amused laugh leave Jimin’s throat as he begins to massage your ass with his tongue. His fingers working your pussy, begging for another orgasm. You oblige, your wetness dripping all over his fingertips.

“Don’t move,” he demands. You can hear his belt unbuckling, followed by the tips of his dick moving up and down your incredibly wet slit. He slides it in with the patience of a saint, excruciatingly slow, forcing whimpers out of you, begging him to go faster. “You sure you want it faster?”

“Please,” you moan.

“Please, what?”

“Please, Jimin,” you manage to utter out.

He gives you your wish and begins to pound you like he said he would. His pace quickens and you can feel every inch of him inside of you. Your pussy wraps around him which causes him to smack your ass, and a deep moan leaves his lips.

You realize he can’t have all the fun though and you begin to throw it back on him, your ass bouncing against him, and he lets you. You can hear your wetness as you begin to drain his dick. You can hear his low grunts of satisfaction as you pick up your pace and when you look back, you can see his dark eyes looking at you in a way you never wanted to stop. “Good fucking girl,” he whispers in a low voice.

You make eye contact which forces him to grip your hips and pound into you harder, faster (stronger). “One more time baby,” he says to you, maintaining eye contact. “Cum on this dick.” You had already been close, and his words only sent you over the edge further than you had ever gone. You close your eyes, your body shaking in pleasure as you have your third orgasm on his dick.

He follows suit, his cum shooting deep inside of you. You feel his body on top of yours as you both try to catch your breath.

“Was that worth all your hard work?’ He asks.

“I think I’ll have to get A’s for the rest of the year,” you reply.

“The rest of your life.”

#bts fic #bts x reader #bts x black reader #jimin x reader #jimin x you #jimin x y/n #smut #bts smut #bts x reader fic #jimin x black reader

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valenishere · 1 month

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Sagau Idea

I'm not that good with writing YouPoV's so there may be some odd usage of they's and thems then switching to "you"'s. this'll be stock full of typos so be warned

Mentions of injury, implied murder, blood, and implied cult

It's been a long while since I've gotten into Self-aware genshin aus, reading the fluffiest scenes to straight up gore. And theres this concept I saw about where the creator (basically, you) can make any oc come to life and help them out. (this one read it s really good. They also expanded on it go read it too its a really neat build-up on it. this one)

And as a DnD enjoyer as well... there's this idea thats been brewing in my head whenever i think back to it.

What if in Imposter!au where they're being constantly being hunted... after getting cornered in one of the nations (in the Chasm for example) they get desperate and try out an idea they don't think would work.

While resting after being in the brink of death(again) in a place Teyvat has helped you conceal, your thoughts wander. You think, why is there even a Creator? There isn't supposed to be one. That kinda concept just disrupts everything they know about the game. It's a ridiculous concept. In your delirious state, you think, "I wish that just disappears... Then i wouldn't be..."

Then you remebered the curious ability you've recently unlocked in your "adventures". The ability to create characters, with some limitations. It took you quite a bit to adjust to your newfound ability and its caveats, resulting in a few heartbreaking loss on the way.

But as a DnD player, overcoming the death of your beloved characters quickly is a mental fortitude you've developed. And it's handy that you've already made a few characters for your past sessions before landing in Teyvat. It saved you from being one-shotted right from the start.

Although now... You're down to only one left.

"... I'm so tired..."

The mental stress of being in a constant state of danger, paranoia, hunger, pain, and exhaustion have worn you down to a point where you can't even think up of more characters to make up for the one's that have recently passed. You slipped up so bad because of sleeplessness that your last capable party of characters died and a hole was speared through your gut too.

As you lay bleeding on the cold ground, with only a talking mushroom to keep you company, you wrack your brain to put together a proper character but... you really can't. You can't even think straight. Not with the recent information you've found out.

The so-called Creator is now creating their very own characters, their very own people/army, through alchemy, and is now sending them after you, thus increasing your hunters by double. And on top of the already powerful vision-holders (of course they're powerful, you made them that way), you figured... "Ah... I'm fucked..."

Knowing you might as well be as good as done now, you didn't even bother bringing out the last of your characters to heal you. It's not like healing yourself will make you forget about this lifelong trauma--

... Forget?

...

A fleeting thought.

A dumb fleeting thought. A very dumb one at that.

One that will for sure backfire in your face if you do it wrong. And quite frankly, it could spell the end for this world, even for the one they call Creator.

... But it's not like you have anything else to lose.

And so, within the dim light of the mushroom, you painstakingly start to write. Word for word, cramming everything information you know, as deatiled as you can make it into bringing it into life. A character you've never tried making before. Something that could possibly end your suffering. Or make it worse.

You honestly don't know if you're doing it right. After all, you've never tried something like it before.

"What are you making this time?' the ever so curious mushroom asked.

You grin, a manic look in your eyes. "Either my stupidest... or my brightest idea yet."

It's not long befere you finished. You gaze upon your finished product and you have to say... it's even more fleshed out than your best characters. And that quick sketch you drew... you swear those hollow eyes are following you already. That may be just the blood loss talking.

"That's... one ugly worm you've drawn..." The mushroom hums, like it can just see the monstrosity that you've created.

You chuckle breathlessly, looking almost solemn with what you're about to do. Well... it' not wrong. But...

"This is my kid. Their name is... Falseh. Get along well with them... okay?"

0===|>>>>>.

The very ground trembles as the Lord of Geo strides through the dark tunnels, a dark look in his eyes and a spear in his hand. If his presence wasn't enough, the murderous intent rolling off of him in waves is enough to deter any beasts from crossing his path.

The imposter was last seen slinking around the depths of the Chasm by one of the Tianquan's agents. Although failing to execute the imposter the first chance they got with their incompetence, Morax have to commend the Qixing for being able to find them even in the depths of the earth.

For some reason, the land seems to reject his commands from time to time now. He was baffled as to why his beloved Maker is hindering him in fulfilling his given mission but he's just been informed that the land defiance of him is due to the imposter infecting the land with their vile abilities.

Now, he's even more hellbent on making sure to drive his spear through the imposters heart and presenting it to his Grace. He won't miss a second time.

His eyes sharpens as a he a cavern just up ahead, soft blue light spilling through entrance. Tightening his grip on his spear, the power of Geo gathers in his other, ready to skewer someone five times into death if he so wishes.

He steps through the entrance and immediately lands on a figure, leaning prone under a giant glowing mushroom. He relaxes a bit. He recognizes this place. It's a bit close to the Land of Verdure, Sumeru. He needs to be careful. He can't be caught flaunting his power on another Archons domain after all.

Approaching the figure, he gets a bit surprised as they twitch, looking up to him through their hair. They try to talk, but all they can manage are quiet wheezes.

'Oh. They're still breathing. That's good.' Zhongli kneels down beside them, looking them over. They look like they've been dragged through the Abyss and back. Their midriff is bandaged heavily but it's already bled through, forming a pool of their own blood below them. He frowns lightly. It must be quite a big injury if it's bleeding this much.

Wordlessly, he holds a hand over the injury and channels his power. He's not the most profficient in healing, but he should at least be able to stop the bleeding.

Mere moments later, he have plugged up the injury and the figure is now able to stand up.

"Th-Thank you so much Rex Lapis!" they bow down. Or at least, they bow down the best they can without opening their wound. "Any longer and I would've surely perished..."

Zhongli waves them off nonchalantly as he starts to walk back out the way he came. "It's best you get back to the surface. Your injury needs to be properly tended. And I can see that..."

His eyes drifts to the scattered bloody bandages and practically empty backpack. "You've run out of supplies. It is a virtue to you mortals to know when to give up. Remember that."

"Y-Yes sir Rex Lapis sir! I'll get back right away!" they start to quickly collect their things, haphazardly stuffing the bandages and handbook into the bag, being careful of their injury.

The Lord of Geo just watches for a moment before completely leaving, trusting that they won't make any stupid mistake and go back post haste.

After he has left, you pause in your packing, leaning against the mushroom and slowly sliding down with a shaky breath.

"Y-You... didn't you say he and the entirety of the world was hunting for you?" The mushroom hums in confusion, sharing your tension. "What was that? Heck, he was the one that put a hole through you and he healed you!"

You chuckle breathlessly, the manic look intensifying in your eyes as it dawns on you that it worked. That stupid idea of yours actually worked!

And if you can get to the Creator... you can make this whole concept disappear altogether. Forever.

Out of the corner of your eyes, you see it. A large mass of hairless flesh writhing about, multiple tentacle-like appendages potruding out of it. It's slithering it's limbs about, coiling around the mushroom and and back again, and around you as well.

But when you turn your head to actually look, there's nothing there. All you can hear is what seems to be muffled humming, an eerie tune listlessly flowing through the air (but somehow, the sound is the most comforting thing ever).

"Oh it's nothing. I think... he just heard something that made him forget."

#chaotic blabbing #spreadingchaos #genshin self aware #genshin sagau #genshin impact sagau #sagau #self aware genshin #sagau impostor au #sagau brainrot #sagau x reader #genshin isekai #A Creature That Sings A Song That Makes You Forget #shi its already 2 in the morning #I wrote this half asleep so dont be surprised if it doesnt make sense #Falseh is pretty easy to figure out #hint it starts with a false and it has multiple heads that can sing #its a homebrew guy but i really like 'im y'know

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moonywritez6 · 4 months

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Knight Rengoku x Princess Reader

A/N: Have some Knight Rengoku head canons! I wanted to try something new! I hope everyone likes it!

Warnings: Slightly spicy towards the end!

Wc: 2,048

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Knight Rengoku! who was assigned to you from a young age his family being one that has served the royal family for generations. The first thing you ever recall noticing about him was the unique look of his eyes that seemed to stare up at you admiringly as he gently placed a kiss on the back of your hand. "It is an honor to serve you, my princess!"

Knight Rengoku! who is always keeping a bright smile on his face as he happily greets you whenever your paths cross or the days begin. His loud and joyful voice echoes throughout the palace grounds as he makes sure to kneel before you each morning for his daily greeting. "Good morning my princess! I hope you have slept well! I, your loyal knight Rengoku am happy to serve you on this beautiful day!"

Knight Rengoku! Who makes sure he is always accompanying you whenever you leave the palace walls even if it's just out in the royal garden. His reasonings are sometimes ridiculous. "My princess I must accompany you here in the garden! Who knows when a dragon could come flying from the sky and snatch you away to his lair!" You rolled your eyes as you examined some of the garden's flowers happy to see they were blooming well as you glanced up at your knight whose smile remained permanently plastered across his face. "Sir Rengoku there's no such thing as dragons! Honestly how old are you?" He just laughs scratching the back of his head knowing his excuse was a lame one.

Knight Rengoku! who finds himself overcome with joy when you ask him to escort you to one of the royal balls being held in a few days. He makes sure to brush up on his social skills along with the proper ball etiquette as he does not wish to mistakenly embarrass his princess in front of those who will be quick to judge her.

Knight Rengoku! who happily holds an arm out to you a giant smile on his face. "Shall we, my princess?!" He laughs as you shake your head but smile nonetheless at his energy. Once your arms are interlocked Rengoku feels his chest expand as his heartbeat against his ribcage your touch could bring him to his knees if it wasn't for all the nobles surrounding the area.

Knight Rengoku! who watches from afar as a few noblemen try their best to win your favor. Rengoku feels his jaw clench, teeth quietly grinding together as he feels a tight knot form in his stomach. He watches as you dance across the ballroom your dress flowing perfectly with each movement you take. 'Breathtaking' He would think to himself as his eyes never left your form making sure he engraved each sway of your body into his mind.

Knight Rengoku! who one day catches you staring at him from across the training grounds the sun blazing hot as he tries to wipe some sweat away from his chin. He looks at you with a bright smile as he waves a hand high in the air. You blush at having been caught as you try to hide your flushed face behind your fan while averting your eyes. Rengoku notices this action finding it adorable as a small hue of pink dusts his cheeks before he makes his way towards you. "My princess! Good evening! What brings you hear if I may ask?" He cheers leaning over your seated form his entire torso exposed.

Knight Rengoku! who's muscles flex sweat dripping down every part of his exposed torso causing your mind to wander into sinful scenarios. "I-I just happened to be walking by is all! Please continue with your training Sir Rengoku!" Your stuttering response gets a small chuckle from the knight as he carefully catches a strand of your hair slowly dragging his fingers down to place a delicate kiss on the end his eyes locking with yours causing you to freeze as your body felt like it was being cornered by the smiling man in front of you. "I see…please feel free to continue watching if you would like my princess." His voice is different this time though you fail to catch it due to your panicked mind.

Knight Rengoku! who hears talk amongst the servants of a marriage proposition for the princess causing his heart to sink as he quickly makes his way towards your quarters. He awaits outside your doors tapping his foot nervously while waiting for the doors to open. When he is allowed inside, he is quick to spot your delicate form sitting gracefully in front of your mirror as you calmly get ready for the night. "What brings you to my chambers so late at night sir Rengoku? Has something happened?" You question, voice filled with concern. Rengoku stares at your reflection from the mirror his eyes locking with yours causing your body to visibly stiffen when you see the look they hold.

Knight Rengoku! who feels his breath hitch when you demand for your staff to leave you two in the room. You turn to him giving the knight your full attention his eyes shamelessly fall to your chest where your nightgown reveals your cleavage causing him to swallow the heavy lump in his throat as he carefully fixes his posture. "Is it true my princess? Has someone made you a marriage proposition?" His question catches you by surprise as you straighten your posture giving a small nod of your head. "Yes, he appears to be a kind gentleman! Though he is quite a bit older…" A sigh leaves your glossy lips as your knight watches you shake your head in dismay.

Knight Rengoku! who finds himself walking towards his sweet princess his heart clenching when he gets close enough to notice the crease in your brows along with the small dark circles starting to form under your eyes indicating the lack of sleep you have been receiving. "My princess…have you not been resting well these days?" He whispers in such a gentle tone as he carefully places a hand on your cheek his thumb lightly caressing the spot under your eye. You hum leaning into his touch a small smile on your face as you look up at him with those kind eyes, he loved staring into each day.

Knight Rengoku! who bites his tongue when he hears his princess whisper about how warm he always was and how much you loved it. "I wonder…will I feel such warmth again when I am married?" The thought slips out unintendedly, but Rengoku hears it his grip on your face tightening as he brings the other up to gently lift your chin. "My princess…does the warmth from my body truly bring you this much comfort?" He whispers slowly inching closer to his princess's face, warm breath slightly hitting your precious skin. The two are locked in time as they both stare into each other's eyes silence filling the room.

Knight Rengoku! who apologizes for his next move as he finds himself locked in a passionate and fiery kiss with his princess. The woman whose side he has always stuck by no matter what anyone would say about the royal family. You were different no matter what anyone said he would defend you with his last breath. Pulling away from the kiss when he notices his princess starting to get fidgety, pressing his forehead against hers with a heavy sigh. "Forgive me, my princess…I have taken advantage of you." He whispers with a small pant his eyes showing you that he wanted much more than just a kiss.

Knight Rengoku! who is in complete shock when you pull him in for another kiss this time more needy and aggressive. Your knight hums into the kiss as he pulls you closer to his body arms wrapping around your smaller frame protectively as one hand finds itself entangled in your hair gripping any strands he could. You felt his body heating up even more with each sloppy kiss. "Princess…m-my princess this is wrong!" He curses distancing himself slightly from the two of you panting cheeks dusted red and bodies warm from lust and desire.

Knight Rengoku! who is pushed back onto the floor looking up at you with surprise as you straddle his torso glaring down at him with small tears in your eyes. "It's not fair…why can't it be you I marry?" Your words caused the knight's eyes to widen his chest tightening as he watched his sweet and caring princess cry on top of him. Your tears drip onto his face but your knight says nothing as he finds himself carefully rubbing circles on your hips with his rough and calloused thumbs. "Shhh. Do not cry my princess…it pains me to see you so sad." He whispers truthfully as that smile you loved so much appears once again on his handsome face.

Knight Rengoku! who carefully lifts you into his arms as he carries you towards the bed gently laying you down his eyes scanning over your entire figure wishing to keep you by his side for the rest of time. "I shall take my leave now my princess." He whispers with a small bow before turning to leave. You lay there in silence before whispering the few words he never wanted to hear leave your lips. "I'm sorry for burdening you for all these years sir Rengoku…I hope that once I am married and gone you can find true happiness in such a cruel world." He knows you do not hold any ill intentions with those words, that you had always felt like such a burden to those who serve you their lovely princess who has never asked for a single thing in life from the day he met you.

Knight Rengoku! who finds himself having you caged under him his hands on either side of your frame. "Don't say that…don't you ever say that my princess." He scolds quietly the expression on his face one of anger and pain. Rengoku hated that you felt like you were a burden especially that fact you thought you were a burden to him. "You have never once burdened me princess…from the moment I laid eyes on you I knew you were my one true princess. I will happily serve you until the day I die no matter where you go, I will follow." His confession leaves you silent however he notices the tears falling from your face.

Knight Rengoku! who kisses you passionately his hands cupping your face as he whispers sweet praises in between. "My princess…you taste so good." He whispers as he finds himself trailing kisses down your neck the small whimpers that fall from your lips sending a wave of lust to overcome him as he nibbles on your sensitive flesh. "Ah…I suppose I shouldn't leave marks can't have any more rumors spreading about my sweet princess~" He teases letting out a small chuckle when he sees a pout on your adorable face.

Knight Rengoku! who finds himself aggressively feeling up and down your body his hands yearning to touch every piece of his beloved princess as his tongue invades your mouth. "S-sir Rengoku please slow down!" You cry out softly having not ever been touched by a man before. His movements slow down as he pulls away from you a deep red dusting his cheeks as his eyes fill with love and desire. "Forgive me, my princess…I forgot you are still pure and must be savored properly." He apologizes as he pulls away from your form.

Knight Rengoku! who promises to slowly teach his lovely princess how to properly make love before excusing himself from her quarters with one last kiss. He nods to his fellow guards as he makes his way to the training grounds needing to blow off some steam, he keeps recalling how delicious his princess looked as he lightly presses a thumb across his lips a bright smile on his face. "Don't worry my princess…I'll do anything you ask of me till the end of time." He whispers before pulling his sword free ready to train his body throughout the night. His princess fills his thoughts even as he dreams later into the night.

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anghraine · 12 days

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Okay, breaking my principles hiatus again for another fanfic rant despite my profound frustration w/ Tumblr currently:

I have another post and conversation on DW about this, but while pretty much my entire dash has zero patience with the overtly contemptuous Hot Fanfic Takes, I do pretty often see takes on Fanfiction's Limitations As A Form that are phrased more gently and/or academically but which rely on the same assumptions and make the same mistakes.

IMO even the gentlest, and/or most earnest, and/or most eruditely theorized takes on fanfiction as a form still suffer from one basic problem: the formal argument does not work.

I have never once seen a take on fanfiction as a form that could provide a coherent formal definition of what fanfiction is and what it is not (formal as in "related to its form" not as in "proper" or "stuffy"). Every argument I have ever seen on the strengths/weaknesses of fanfiction as a form vs original fiction relies to some extent on this lack of clarity.

Hence the inevitable "what about Shakespeare/Ovid/Wide Sargasso Sea/modern takes on ancient religious narratives/retold fairy tales/adaptation/expanded universes/etc" responses. The assumptions and assertions about fanfiction as a form in these arguments pretty much always should apply to other things based on the defining formal qualities of fanfic in these arguments ("fanfiction is fundamentally X because it re-purposes pre-existing characters and stories rather than inventing new ones" "fanfiction is fundamentally Y because it's often serialized" etc).

Yet the framing of the argument virtually always makes it clear that the generalizations about fanfic are not being applied to Real Literature. Nor can this argument account for original fics produced within a fandom context such as AO3 that are basically indistinguishable from fanfic in every way apart from lacking a canon source.

At the end of the day, I do not think fanfic is "the way it is" because of any fundamental formal qualities—after all, it shares these qualities with vast swaths of other human literature and art over thousands of years that most people would never consider fanfic. My view is that an argument about fanfic based purely on form must also apply to "non-fanfic" works that share the formal qualities brought up in the argument (these arguments never actually apply their theories to anything other than fanfic, though).

Alternately, the formal argument could provide a definition of fanfic (a formal one, not one based on judgment of merit or morality) that excludes these other kinds of works and genres. In that case, the argument would actually apply only to fanfic (as defined). But I have never seen this happen, either.

So ultimately, I think the whole formal argument about fanfic is unsalvageably flawed in practice.

Realistically, fanfiction is not the way it is because of something fundamentally derived from writing characters/settings etc you didn't originate (or serialization as some new-fangled form, lmao). Fanfiction as a category is an intrinsically modern concept resulting largely from similarly modern concepts of intellectual property and auteurship (legally and culturally) that have been so extremely normalized in many English-language media spaces (at the least) that many people do not realize these concepts are context-dependent and not universal truths.

Fanfic does not look like it does (or exist as a discrete category at all) without specifically modern legal practices (and assumptions about law that may or may not be true, like with many authorial & corporate attempts to use the possibility of legal threats to dictate terms of engagement w/ media to fandom, the Marion Zimmer Bradley myth, etc).

Fanfic does not look like it does without the broader fandom cultures and trends around it. It does not look like it does without the massive popularity of various romance genres and some very popular SF/F. It does not look like it does without any number of other social and cultural forces that are also extremely modern in the grand scheme of things.

The formal argument is just so completely ahistorical and obliviously presentist in its assumptions about art and generally incoherent that, sure, it's nicer when people present it politely, but it's still wrong.

#this is probably my most pretentious fanfiction defense squad post but it's difficult to express in other terms #like. people talking about ao3 house style (not always by name but clearly referring to it) as a result of fanfic as a form #and not the social/cultural effect of ao3 as a fandom space #you don't get ao3 house style without ao3 itself and you don't get ao3 without strikethrough and livejournal etc #and you don't get those without authors and corporations trying to exercise control over fic based on law (often us law) & myths about law #and you don't get those without distinctly modern concepts of intellectual property and copyright #none of those things have fuck all to do with form!#anghraine rants #fanfiction #general fanwank #long post #thinking about this partly because the softer & gentler versions of fanfic discourse keep crossing my dash #and partly because i've written like 30 pages about a playwright i adore who was just not very good at 'original fiction' as we'd define it #both his major works are ... glorified rpf in our context but splendid tragedies in his #and the idea of categorizing /anything/ in that era by originality of conception rather than comedy/tragedy/etc would be buckwild #ivory tower blogging #anghraine's meta

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muneca-lemon-steppa · 5 months

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Hiya Mo! Congrats on such an amazing achievement! If it's not too much trouble, may I request something for Alfie Solomons using the following prompts please?

"Can you please just shut up for once?" + “you fell asleep in my arms. it was kind of adorable.”

Thank you (no pressure though)! And congrats again ♥️♥️

Hi my darling V!! This was so much fun to write! I hope you enjoy it my love!!!

100 Follower Celebration:

Evenings at Home

Alfie Solomons x Reader, Warnings: Language

Some people may think that a regular routine is something to be avoided. That the repetitive rhythm of life is synonymous to the shackles of a boring life which must broken as soon as it is noticed. But this isn't how you and Alfie saw your evenings together much less your life together.

The life as the King of Camden brought too many uncertainties. The business moved far too quickly in various directions, and the threats on Alfie's life were too numerous and too far reaching. The life of the King of Camden was anything but normal and ordinary and routine. Which is why Alfie craved and yearned for normalcy in his private life, and why he clung to your with all 10 of his bejewled fingers. You brought a sense of peace to his life. You brought an outlet where Alfie wasn't the Mad Baker, a ferocious man to be feared. With you he could simply be your husband. With you he could simply be Alfie. With you he could simply be a man coming home to his spouse and his dog after a day at the office. The tranquility and predictability of a warm home and loving kisses did more in mending his soul than any amount of riches and power and drink could ever do in a thousand years.

It was so that at 6pm on the dot that Alfie shut down the office and made his way to you, ensuring that no one would interrrupt any precious time with you. Dinner would be set, a fire would be going, and only candles would be lit to warm Alfie's bones and spirit. After dinner Alfie would drag you to the sitting room, with the radio softly humming in the corner, and your angelic voice reading from a book you both were working through. Alfie allowed himself the luxury of laying his head across your soft thighs, interrupting every so often to chastise the characters in the novel for being stupid.

This evening's reading was Wurthering Heights, a torrid and haunting love affair that expanded through the decades destroying the broken soul of a hardened man. The burning words on the page took your breath away, and you found yourself lost in the poetic and scorching story. Alfie however was lost in the way you breath hitched, and the dreamy way your voice wove the images into an ornate tapestry before his eyes. The voice of his angel and the feelings of your cool fingers through his soft thick hair was gently sending him off into a sweet sleep.

It wasn't until you heard the rumbling snores of your beloved below you did you realize that Alfie had actually fallen asleep in your lap. You smile softly, biting your lip to keep yourself from chuckling. He hates falling asleep in front of you like this. He would much rather kiss you to sleep in bed It's my duty as a husband sweet. The man doesn't fall asleep before his sweet heart and before he gives her a proper evening of affection.

But oh how you cherished these moments. You worried about him. Constantly. You wished he didn't have so much on his shoulders and on his brow. In the waking hours you did whatever you could to make his home sweet and comfortable and easy, anything to help alleviate the stress. But in sleep you could see the pay off. The softness of his face. The firm set of his mouth relaxed as melodic snores fall out of his lips. Those long lashes carressing his scarred cheek. You softly pet and carded your fingers through his hair and his beard, taking in his beautiful features. This in of itself was a treasure. No one else got to see him like this. No one else got to see Alfie Solomons as you did.

All too suddenly Alfie started awake, and you cursed yourself inwardly for possibly awaking him. With a quick inhale Alfie stuttered, "What happened? Did I fall asleep on ya?"

You bit your cheek, attempting to settle him back down in your lap, "Mmhmm. You fell asleep in my arms. It was kind of adorable really."

Alfie drug himself off your lap, "Adorable? Nah nah fuck no. Men are not adorable. Solomons are not adorable they are ferocious and and... handsome!"

You laughed at the sudden reddening of his cheeks. "While all that is true my love, the fact remains that it was sweet! You're very sweet in sleep."

Like a pouting child Alfie strongly disagreed, "You are out of line. Letting me fall asleep like that. Betrayer. What do I always say? You sleep first, then me. I'm the man yeah? I kiss your pretty head stupid and I fall asleep second. Now look at yeah. Completely changing the order of things. I mean is nothing sacred anymore? Next you'll want to run the rum house too eh?"

His rambling and ranting sent you into a fit of laughter. Because truly no one could be more ridiculous and ludicrous than your husband. As he was still raving you crawled into his lap, wrapping your arms around his heated neck, "Can you please just shut up for once?"

You pressed your lips to his, immediately silencing him, and feeling his strong and thick arms wrap around you, bringing you closer against his chest. Only when your body was begging for air did you pull away, seeing Alfie's eyes closed and chasing you for your lips again. You hummed in pleasure, resting your hand on his cheek again. Alfie's eyes opened to reveal all the softness and love in the world. All yours. He patted your thigh before instructing, "Why don't you head upstairs for me sweet? I'll clean up and meet you in the bedroom?"

With a shy smile you nodded, kissing his nose to seal your deal. He scoffed and shook his head, as if shaking off the kiss. You merely chuckled, skipping upstairs, excited to spend another evening in peaceful paradise with your love.

#alfie solomons #alfie solomons x reader #alfie solomons x you #alfie solomons fanfic #alfie solomons x y/n #peaky blinder fanfic #talking with friends #100 follower celebration

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lesvegas · 10 months

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FNV Quest Mods That Don't Suck

I know I've made modlists before but talk of DLC-sized mods made me want to make another. Big, DLC-sized quest mods are nine times outta ten messy, poorly-made and poorly-written, feel like they should've been fo3 mods, or have numerous other qualities that are detestable to normal people with taste. I've played most of the popular ones and hate nearly all of them. Here are the ones I actually can recommend.

Note: I also highly recommend having a proper modding setup before installing any of these. Everyone and their mother has already recommended the Viva New Vegas guide before because it works and it's beginner-friendly.

Allow me to spare your dash by putting this list under a cut.

"DLC-sized" Quest Mods

Boom to the Moon - A quest where you go to the moon (yes, really) to find out what happened to a man's wife. I promise it's way better than I could possibly describe. Honestly I recommend almost all of Jokerine's mods for her attention to detail and all the cool shit she makes. This quest mod doesn't even end with the moon trip, you'll also get the best-written mod companion I've ever seen. Seriously please give this one a try if nothing else on this list.

Autumn Leaves - A murder mystery in an archival library vault inhabited by Protectrons. Story so good Bethesda stole it to make a fo4 DLC. No combat, no need for weapons or companions. WARNING: if you suck at navigating vaults like I do you may have a bad time finding stuff (there's a walkthrough in the files). Also some of the lines are a bit odd because the author's first language isn't English. Also one character is a bigot in every way possible because he's intentionally designed to be as punchable as possible. Despite all of this it's still easily one of the best quest mods I've ever experienced.

Unfortunately, making quest mods DLC-sized in general leaves ample opportunity for shit to get messy fast, so honestly your best bet for quest mods is smaller scale, vanilla-feeling mods. So while I highly recommend the above mods, I'd recommend the following ones even more for a more seamless experience.

"Vanilla-feeling" Quest Mods

The Collector - A quest given by a broker in which you collect debts from gamblers. Similar to the Atomic Wrangler quest Debt Collector.

Caravan Tournament - Do you suck at Caravan? Skill issue. Play this anyway and tell me how it feels to lose because I'm sure it's just as interesting as winning but I'm too good at Caravan to to see it for myself. If you get good you get to see a tiny Robobrain wearing a hat.

Working On The Chain Gang - A Powder Ganger Quest Mod - Okay, technically this makes a second faction of Powder Gangers that aren't affected by your reputation with the vanilla Powder Gangers (so yes, even if they hate you, you can experience this mod). These new Powder Gangers reorganize themselves into a legitimate faction that blends seamlessly into the Mojave NPC ecosystem.

The Moon Comes Over the Tower - This one is technically cut content, but that just means it's peak vanilla-feel. Restores the rest of the quest where Emily Ortal asks you to bug Mr. House's network in which you actually have to travel to places to do it.

Okay, these ones are silly, but trust me

Among Us But It's Fallout - It's a vault with a murder mystery you get to solve! Memes aside it's honestly really well done and you should try it.

The Hollander Hotel and Casino - For a quest involving a haunted hotel (no jumpscares, don't worry), this one feels a little goofy at times, especially with The Shining references and the guy outside selling nothing but 500 bottles of Sunset Sarsaparilla. But you should give it a try anyway.

Legion Quests

Haven't done a Legion run not because you don't like being a bad guy, but because the Legion route feels lacking? Try some of these.

Legion Quests Expanded - Adds more Legion quests and expands several vanilla quests.

A Golden Opportunity - Legion El Dorado Quest - A quest where the Legion goes in and shuts down the NCR's El Dorado station.

Five Card Ante - A Legion Quest Mod - A quest parallel to Three Card Bounty in which you get to eliminate the NCR's First Recon.

Yes I Would Actually - A Legion Quest Mod - You know how Bitter Springs has three quests you can do for the NCR? Well, now you can do them for the Legion instead. You can even recruit help from the Great Khans to fuck the NCR's shit up.

#fnv #fonv #fnv quests #fnv mods #fnv modlist

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kvetchinglyneurotic · 4 months

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🌹🌹🌹🌹 for whenever needed :)

I wrote this in a haze last night when I should have been sleeping and I'm not sure if I'll ever expand it into a proper fic, so I'm sticking it here. Part of it is under the cut because it's a) long and b) is about Jamie's Amsterdam story

Roy makes it about a week before it all comes spilling out. They've been playing shit, 'cause Lasso may have rediscovered Total Football but he sure as shit hasn't rediscovered how to coach it, and if he's being perfectly fucking honest neither has Roy. Or maybe he would, if fucking when I was fourteen... didn't keep playing on loop in his head. He picks Jamie up from his front door every day and he's grinning, bouncing around like the chipper twat he is, twenty-five and whole, and all Roy can think about is the twiggy kid he had been, hair stuck up in every direction and mud smeared on his shins. He'd dug up pictures, is the thing, that first night back — got home aching and more exhausted than he'd been after a full ninety minutes back in his player days, and instead of going to sleep he'd dug around through the depths of City's website, through a mountain of those bullshit player profiles he refused to do but Jamie loved, 'til he found a picture of the Man City 2010 U16s. Recognized Jamie right away, the big dark eyes and prickish smirk and long sleeves 'cause the muppet always got cold. And he was a fucking child. A tiny, scrawny little lad, must've been one of the youngest on the team the way most of the others dwarfed him. No one could ever have mistaken him for an adult, not that it would've been any less abjectly fucking horrifying if he'd looked like a full-grown man by the age of thirteen.

Ted corners him in the office. Or rather, Ted knocks on the door while he's got his head in his hands and the lights off, same as he has every evening since Amsterdam. Pokes his head in with his jacket already on and his bag slung over his shoulder, says, "You know I'm always ready for a late night special on the go session of the Diamond Dogs but if sitting in the dark's what gets your brain juices going, I can respect that. Just make sure to skeddaddle on out of here before our good friends over in maintenance come lock up; I love this place but a night with a locker room aroma ain't to anyone's taste," and Roy says, "Jamie told me he was raped in Amsterdam." They both freeze, Ted in the doorway with that stupid folksy smile still fixed on his face, Roy with his elbows planted on the desk and his fingers twisted through his hair. He feels sick. Jamie's already been violated and now Roy's gone and done it again, just fucking spilled his private trauma without permission 'cause he couldn't handle it. "What?" Ted asks, breathless. "He told you— he was— he told you in Amsterdam, or it happened—" "Fucking both," Roy grinds out. "Oh." Ted's gone so pale he's almost grey. "He seemed fine on the bus." "Not when we were there." Roy says. "I mean, he told me when we were there. Happened when he was fourteen. Don't think he knows that's what—" he sucks in a deep breath, not that it does jack shit to make him feel better. "But it is. That's what happened, and now I don't know what the fuck to do."

#fic: tell me something true #yes the snippet has a title somehow #and like. a vague outline of a plot? it involves jamie processing his trauma by adopting and rehabilitating a rescue cat #i think he'd probably be more of a dog person honestly but idk anything about dogs #roy kent #jamie tartt #ted lasso #tw rape #tw csa

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iridiss · 1 year

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Returning to an old friend, my Cult of the Lamb x Night in the Woods crossover AU to expand on the concept of the relationships between the Bishops and their Witnesses. And also to finally give these characters proper designs! Under the cut is a helluva lot of writing elaborating on these 4’s history with their respective Bishops and their designs.

I’ve played around with the ideas of either having the Witnesses be anthropomorphic in their Eldritch Forms, matching the Follower designs and giving them the same level of autonomy as their minds possess, or to make them more beast-like, closer resembling Leshy/Heket/Shamura’s Eldritch Forms in their wildness, and closer resembling the animals they are. But in the end, I could tell that some characters, like Angus and Beatrice, would be better off beast-like, like a giant hulking bear made of trees and foliage and flowers that tries to crush you, or a crocodilian, Lovecraftian deep-sea “sea monster” that tries to snap you up from the watery depths, additionally as a small nod to the giant animals in Mae’s dreams (the bear and the crocodile.) But characters like Greggory and Lori especially would be more on the slightly anthropomorphic side in their Eldritch forms, with Gregg resembling a large and bloodied hound, and Lori being a mouse with too many eyes and too many slithering tails (as an additional reference to the Rat King or something Eldritch). Lori is still small, even smaller than Mae, but armors herself with a coat of spiders, who are a fundamental part of her attacking style. We’ve got an ancient Forest Lord, a brown bear that’s become one with the trees, a Bloodhound, a Lovecraftian sea monster from the dark Hadal Depths, and a rat that’s become one with the spiders in the attic.

As for their history with their Bishops, let me tell you a story of 4 parts.

——

The Gods were never kind to Angus.

Leshy’s rule was one of chaos, and Angus must’ve been the most orderly and logical person in the entire cult. Leshy believed in raw strength alone, and as a big brown bear, Angus guesses he had potential enough to be “worthy.” What a joke that was. He was the pawn of a child, breaking whatever Leshy threw a fit over. Being an incredibly prideful leader, Leshy made his own rule that none of his Witnesses could see better than him after Narinder’s betrayal robbed him of his eyes. So per Old Faith law, Angus’s sight was removed, completely. He learned to adapt to the viciousness of the wilderness, relying on his other senses to survive and keep himself in Leshy’s good graces. He grew more at home in the woods than he’d ever been before, he memorized how to make flower crowns and weave crafts out of grass. Over the decades, moss grew amongst his fur and dark branches from his head, with Camellia flowers woven into his fur. He may have been afraid of Leshy at first, when he was younger, but now he had grown to be nothing but tired. This was the way things were, this was the irrefutable demand of the universe and the beings that ruled his every breath. He was nothing more than a measly ant. There was no point in fighting it, when Leshy could strike him dead at a moments notice. “This is the way it must be,” he would say to his victims before their inevitable execution, “there is no other option.”

And then another option came in guns blazing, screaming and mowing down the Old Faith like a hurricane on acid. Almost overnight, Leshy was dead, Angus had been beaten, stripped of his power, and thrown into someplace new. Everything had changed.

At first this was every drop worth freaking out over, but…here, the night was serene, the mortals happy and oblivious of any harm, all the screaming had gone away. It was so quiet here.

The truth is, Angus was a gentle giant who’d much rather study the stars than go on bloody crusades. Mae’s new way took some getting used to, but it was worth it. He was cautious at first, not exactly cynical, but he would have been unsurprised the moment “a catch” manifested. He was slow to adjust, having lived his whole life still in one place. But in time, he realized the depths of the scars he bore from Leshy’s destructive rule, everything Leshy had done to him and forced him to do when all he cared for was soft flower petals and damp grass after summer rain. He had his quiet place now. He was finally free.

Helping him get through it, and understanding in his own unique way, was this little obnoxious coyote that Angus…vaguely remembered to be Heket’s Witness? He seemed sweet, sincere, fuzzy, a bit loud, but he understood. Maybe he’d be better off staying here for a while, with Mae, Gregg, all these happy little mortals, and whoever else comes along.

Greggory Lee had a purely militaristic bond with his General, the Goddess Heket. He was her best soldier, her hunting dog. He tracked down the heretics and runaways, and once he found them, he put an end to them, just as Heket commanded. Like a bloodhound to a rabbit, he was loyal. Except, Gregg will always be Gregg, so whenever he was under the impression that Heket was busy or not specifically watching him, he would go to town with whatever chaotic fun he wanted to have that day, consequences be damned. If she was all shout-y serious military business, then he was a wildfire let loose the second her grip loosened. And to a degree he was never fully aware of, his wild antics supported her empire with the sheer fear they instilled on the mortal civilians. At any time, War’s bloodhound could come raging through the village, pillaging whatever he thought was shiny or cool, blowing up whatever was combustible, setting fire to huts and ignorantly letting it spread, and if you opposed the Witness of War himself, you might just get eaten. The chaos was humbling. Gregg was never fully aware of the extent of the damage he caused, it was all good fun for him. That was the job, that was what he was made for, fun. He never quite saw their faces, just ran in, had a good laugh, and left. He was so bored, he might as well do something with his time.

It took a pretty extreme event in order to force him to see the full picture. His first ever doubts started to sink in during the great sheep extinction. The Old Faith had received a prophecy from Shamura: Death was coming. Their only hope to survive would be to kill every last sheep and ram on the continent. Only thing is, there was no way to make this not personal. To track down every last one, to get in their face, make eye contact, see their final moments, hear the screams up-close, feel the bodies go limp in the vulnerable snare of your own bloodied teeth. Becoming the very real version of a child’s worst nightmare, the bogey monster out to get them, was unavoidable. Gregg was…never quite the same, after that.

He was the first to fully and openly accept the death of the Old Faith, immediately embracing the new rule of—well, not exactly The One Who Waits, but Mae was pretty cool. He liked her. As a follower, Gregg is still a bit disaster-prone in the commune, occasionally setting things on fire on accident, but it always sends him into a panic that promptly cleans up whatever mess he makes. He’s a bit of a handful, but he’s incredibly loyal to Mae. He’s doing everything he can to be a good person now.

He had no bond with his Bishop. The only connection he had to the Old Faith was one he’d deeply regret for the rest of his life. Mae on the other hand, all she ever asked of him was to live happily and peacefully in a commune, she never asked him to massacre thousands of innocent souls for something as petty as a rule, or a God’s ego. Death to the Old Faith, he says. Why should he care?

Out of every Witness, Beatrice would have been with her God the longest. Her memories of a mortal childhood had grown fuzzy and distant. Beatrice devoted her whole life and future to Kallamar, giving up everything she had just for him. To her, devotion wasn’t something you did out of joy and love and reverence for your God, devotion was knowing how to survive. This was the way of life, and she would see to it that every last order was followed through with shining marks and perfection. And wherever Kallamar’s cowardice slacked, she would pick up the weight, she would carry his entire Kingdom on her two shoulders alone. This was survival, this was life, this was truth, this was wisdom, this was responsibility, this was reaching the top and staying the best of the best, the Queen of fear and order dictating the helm of an entire Empire crushed under her foot. When this was the brutal truth of reality and life, why would you waste time thinking about a happy merry-go-rainbows imaginary life, when you should be doing your job? She needed this. This was everything.

And then the Gods began to fall. Leshy had died. The ball had dropped. She didn’t know it was possible for a God to die, but sure, Leshy was of the weaker kingdoms. She should have seen it coming a mile away that the youngest runt of the Gods would eventually be snuffed out. But Mae kept going, and then Heket fell. The Goddess of War and Wrath, defeated.

Kallamar’s fears grew worse. The target fell on his back next, and Beatrice knew that sniveling coward couldn’t take the blow. She prepared herself to fight, her time had come, it was her throne to take. She was ready, but for some reason, she was trembling.

And then Kallamar was killed. The other shoe dropped.

Everything that Beatrice had been repressing for decades, maybe even centuries, came back to hit her in the face with a baseball bat. Mae had destroyed everything, and now the responsibility of bringing back the Old Faith and killing an unstoppable force had fallen on her shoulders, with everything else. The Land of the Old Faith was in crumbling disarray, and she desperately tried to fix it and put it back together in the 42 hours (or less) she had left to live. This was nothing more than a deranged little child, a single cat. She could beat her. She could fix it, she could fix everything—

She lost.

Something Beatrice was only able to realize after every last drop of responsibility withered away was just how exhausted she was. She was worn thin, hanging by a string that was tearing. When that string was finally cut, she could freefall, right into the comfort of a safe little idyllic, bright and merry, imaginary commune.

“What the fuck.” Was the first thing she said when she saw it.

You couldn’t just get rid of the Old Faith, you couldn’t just rewrite all of reality itself. Mae was only one woman, how could she possibly have stopped all this? But she did, and she had the insanity to keep going. What the absolute fuck. And worse yet, Mae had spared her life! She had the audacity to kill her captor and “set her free,” she had the audacity to break everything she’d ever known, thinking you could just let go?! This was unheard of!

But then again, Bea hadn’t taken a nap in decades. Actually, she wasn’t sure if she’d ever slept in the past century. She hadn’t ever experienced the peace and fun of dreaming. And now she had a schedule entirely of free time, whether she liked it or not. Beatrice…took a very long time to warm up to Mae. And it took even longer for the shock to fade, to stop feeling weird about this new, free place she was put in. Before Mae, she was overworked, slowly losing herself down the rabbit hole leading to a very dark place. And as time went on, she could finally see herself again, and as she looked at the other Witnesses playing in the grass and making gay little flower crowns, she realized what she could have become if she continued to silently, secretly fall apart. She…could be happy now. Maybe. She’d have to find out if that was even possible…

She also had to admit it was incredibly satisfying to see Narinder, the last God, doing janitorial work while she could sit back and sip on her pina colada made of Darkwood berries. If only she could have seen Kallamar finally do his job while she took a much-needed break.

Lori Meyers was a young, mortal mouse, always the outcast amongst her peers and village-mates. She preferred to keep to herself, hidden far away in the dark that was comfortable, that was predictable, that was beautiful. She found things like bugs, gore, guts, the night, horror—especially spiders, she loved spiders— she found them to be so cool, but for some reason, no one else did. And that made her the weird one. Growing up, all of these things that she was told by her peers deeply got to her, making her quick to become quite anxious before she’d ever share a cool looking bug with someone she liked, because it never turned out well. She wanted to be fine, isolated all by herself in her dimly-lit caves infested with spiders, earwigs and centipedes, she was the only person she ever needed—but even still, she always wanted to have someone to talk to. She would kill to have someone that would hear her talk about how centipedes and millipedes have these super epic pores that shoot out hydrogen cyanide gas that poisons their prey- or- or how cool and exceptional it is that jumping spiders have the brain power to effectively use the scientific method by constantly studying their environment and learning from their mistakes!

And like a miracle of the Gods, she did find someone.

Shamura and Lori likely had the most positive relationship out of all the Bishops and their Witnesses. Lori was scared of them at first—and that never truly goes away, when you’re dealing with a mighty Deity of the Old Faith. But when she spoke, they listened, and in response, they showed her new things to study. When she posed curiosity in unknown species of insect and creature, they would lift her up into the treetops with their colossal, claw-like legs and show her the truth. Shamura cultivated her mind, gave her all the resources and books she needed to learn and grow and become the true scholar her peers could never be. She learned fast, she had a quick wit, and a love for learning all that Shamura’s realm shined best in, and thus she quickly seated herself, obliviously, as the best heir to their throne.

An apprentice to follow in their shadow, a student for only the greatest of minds. The only thing is, she was so young…some way or another, she would have to grow up into a monster. A killer, an executioner, a judge. That would be where the doubt set in for Lori. She only wanted to learn, she never wanted things to come to this, but when not only your God but your closest friend gives you an order…

Lori was devastated with Shamura’s defeat. Her only ally was dead, she was alone again, and to make everything worse, she was the very last line of defense meant to stop Narinder from taking over the world. On one hand, she felt very small, and still very much a child, but on the other hand, she was full of rage and covered in millions of tiny spiders that could feel her grief as much as she. She still ended up losing, reluctantly succumbing to The Witness of Death and becoming a follower. She clung the most to Beatrice in the cult, as the best person who could understand her, but also as someone who tolerated her ramblings. It took her a while to warm up to Mae, and to fully understand the necessity of Shamura’s death. That would come with time and years of gradual reflection as she grew up in Mae’s cult.

The lesson that Lori would teach Mae about the Gods would be two things, one directly from Lori, and one indirectly from her. One would be how much Lori would challenge her faith in TOWW without ever truly dissenting, acting as a mirror for what TOWW’s horrors might look like. The other would be Mae looking at how Shamura kidnapped this child, isolated her from her family and parents, and raised her to be a murderer against her will, and how much indoctrination and manipulation goes into a cult just to make someone still fully believe in their leader even well after they’ve been seriously hurt by them. Lori was a more complicated case than Angus or even Gregg, but she still had her scars. And if Lori had been tricked by the Gods, had Mae been tricked as well? To what degree did TOWW suffer the same flaws as his siblings, to what degree was Mae a gullible child in the hands of a master manipulator, to what degree was this right? Was serving these Gods even worth it? What if she only did what she wanted? What if she just wanted to be happy? What if she was like all four witnesses before her, what if she threw her bat away and rejected this Old God’s offer? Sure, she was small, sure, she was an insect screaming against a mountain, but damn it, they only wanted to be happy. Mae, Angus, Gregg, Beatrice, Lori, all of them.

But this time, she could do something about it. She was the God-Killer. She could make it whatever she wanted, and Narinder would be a fool if He thought she wasn’t going down without a fight.

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