#i was gonna like make it an actual comic kind of looking thing at the start but then gave up halfway sooo wtv

[batmanisagatewaydrug]

Hello! Someone genuinely trying to understand and perhaps unlearn some reactionary tendencies. With the response to that anon about "not asking if you're a pro or anti", the response about "imagine if they put this much effort into protecting real kids" definitely got me thinking. So... Is an adult shipping children and finding that hot NEVER a red flag? Or is it case by case on seeing how that person handles the distinction between fiction and reality in other things? And bringing the issue of real kids into it, if a real kid who has been abused sees someone shipping kids and finds that a red flag in that person, that... No, no I juicy answered my own question on that one. Block them and cultivate your own experience.

hi there anon, and congrats on trying to unlearn some things! and great job catching yourself at the end there, that's exactly correct.

I will start by saying this right out of the gate: fundamentally, I do not really give a shit about what made up scenarios about fictional characters people are jorking it to in private. I am, first and foremost, interested in how they are interacting with actual, real people.

"but Makenzie are you saying people who look at sexually explicit images of real human kids should be allowed near children?" no I'm not. please note that I was specifically talking about people engaging with fictional characters who are, you know, not real and do not have feelings and therefore cannot actually be hurt, traumatized, abused, etc, in any way that actually matters. I want to be so clear about this: you can genuinely think whatever vile things you want about fictional characters. you can enjoy any problematic shit you want with little guys who don't actually exist.

like, here's an example I use a lot: I'm kind of a huge Batman fan. don't know if you could tell that or not, I'm pretty subtle about it. if you spend any time in the Batman mythos, you know that this is a story where you just kind of have to take for granted that our hero is a billionaire using his vast wealth to dispatch vigilante justice with military grade weaponry and a small army of child soldiers and cop friends to help him put people in prison. these are moral quandaries that are discussed and acknowledged within the story, but fundamentally the universe is always going to involve billionaire vigilantism and child soldiers and the so-called carceral justice system. that's just the price of admission if you're gonna read Batman.

and like. I spend a lot of time in that world. I love Batman, I love his child soldiers. he's my little blorbo or whatever. but like, at no point have I said "yeah, fuck it, preteens should be learning martial arts to fight domestic terrorists, actually. I think Elon Musk SHOULD be allowed to put on a fursuit and beat up criminals. cops need more funding." no amount of Batman comics can make me believe or act on any of those things because, you know, I'm a person with a brain and I know the difference between "thing that makes a good story" and "thing that should actually happen for real."

and the thing is that genuinely, honestly, if someone thought that it was a red flag that I like Batman, and that enjoying Batman comics was somehow a red flag indicating that I'm fine with violence being done against real, actual children? I would think that person was a nut, if I can be super real. like, I'm thinking about somebody trying to make the case that I shouldn't be allowed to hang out with my nephew because I enjoy the fictional character of Robin so clearly I'm going to kill my nephew's parents in front of him to try to get him into vigilante justice. or if someone attempted to bar me from teaching my 4th-6th grade sex ed classes on the grounds that I was obviously going to teach them to do karate to clowns instead of how their reproductive systems worked.

(although, lets be real, there are a lot of politicians who would MUCH rather let little kids cage fight each other than learn anything about safer sex.)

this doesn't just apply to morally bad things, either, btw. I also read a lot of romance novels, especially hetero romances. and the thing is, not one of those books has made me want to fall in love with a ruggedly handsome but condescending straight man. hell, none of them have made me want to fall in love with anybody, period. that's not really something I'm interested in for myself, it's just a fun and frequently funny dynamic to explore. I'm hardly the first queer person to point out that the allegations that queer media "turns kids gay/trans" is obviously bullshit since the vertible mountain of cishet media evidently failed to turn any of us straight/cis, you know?

my point being: no, I genuinely don't think it's often, if ever, reasonable to judge someone's actual, real life morals by how they interact with fiction.

I'm going to say something so vulnerable right now, because we're in a safe space here: since you asked me this very reasonable question, you evidently value my judgment and perspective at least a little bit. and I once read and thoroughly enjoyed a fic in which Dr. Horrible, from Dr. Horrible's Sing-Along Blog, gets fucked by a sapient evil horse. and I don't think that makes me a morally reprehensible person, or a person who advocates for real human beings having real sex with real horses. I think it just makes me kind of a weirdo with a bullshit tolerance.

if you want to hear a MUCH more thorough take on this, complete with addressing the issue of shipping fictional children, I cannot recommend Princess Weekes' video essay enough:

[bovinaeblogs]

SHITTEN!!!!!!!!!!!!!! ill type the text below since its kinda messy

narinder: LAMB!! what kind of prank do you think this is??

lamb: wtf are you talking about??

full colored verison of the lil' fella too,,,,,, dude doesn't know anything,, cant even count

[ereborne]

Song of the Day: April 15

"Something in the Way She Moves" by James Taylor

[shadow-and-purgatory]

“Y’know, the first time I saw it, I think I forgot my name, just for a moment. Like a fuse box that’s been struck by lightning.”

Like my art? Want me to draw something for you? Commissions are open!

(Individual frames under the cut)

Pls click on the last two frames you can see a reflection in her eyes it looks so good

[flamboyant-king]

Happy New Years!

I hope to show up more often on here with art to share!

Maybe just posting dumb stuff, but I also hope to see y’all more often too. 

\(^o^) Cheers!

[featherymainffins]

Sci-fi worldbuilding is like a thing that really hates you and wants you dead

[snekdood]

Ur gonna hafta rip drawing my ocs in fashionable designs from my cold hands, even if theyre cishet

[maxwell-grant]

There's a trend people have pointed out in superhero stories over the past 20 or so years that is the death of "regular" supporting casts, an increasing absence of un-powered sidekicks or people involved who aren't in the thick of the action or in the hero's secret. Everyone who interacts with superheroes is a couple issues away from becoming one, every story involves a supervillain encounter or several dozen, every hero's gotta have a lunchbox-ready "superhero family" made from these characters, and every side character that doesn't join them is either going to die or become a supervillain.

The defining example people use for this is Spider-Man's supporting cast, with every Spider-Man cast member short of Aunt May and J Jonah Jameson getting some kind of powered upgrade or symbiote, and I'm gonna say Amanda Waller is an excellent case study of how this kind of thing happens, and I think it helps to explain why Amanda Waller has been, Like That, for the past 30 years.

She’s wearing a grey shirt underneath a blue blazer and it’s tucked into a similarly blue skirt that stops at mid calf. She reminds me of the neighbourhood aunties I used to see leaving for church every Sunday morning.

My mom used to say that you are the company you keep. So what kind of person does it take to keep a variety of bruised, battered, and dangerous personalities in check? - Amanda Waller: DC's Most Terrifying Woman

To those of you who haven't read John Ostrander and Kim Yale's Suicide Squad, there once was a time where Amanda Waller was something more than a powerful antagonistic force able to butt heads with the biggest superheroes, and something other than a heartless establishment face out to make superheroes miserable for ill-defined reasons. Structurally speaking, Suicide Squad is a comic about marginal DCU characters forced to deal with actual real life problems, and it's central character is a marginalized person forced to deal with DCU problems and characters. The members of the Squad are a rolling parade of costumed misfits and maniacs assigned to go around the globe to fight and kill and die on dirty missions to deal with dirty laundry and stop war zones from erupting, while Amanda Waller is forced to shuffle around her cadre of D-list supervillains and disgraced superheroes and get into stand-offs with secret spy societies, living nukes, voodoo cartels, and Batman.

Amanda Waller neither looks nor acts like the kind of character that stars in a superhero comic, and she is the central character throughout the 66 issues of the run and we follow her character arc from beginning to end as she's forced to spin plates to accomplish her goals and prevent bad situations from getting worse. She is the most fully realized character in the run and everything rests on her shoulders. We spend a lot of time inside her head, her team, her associates, she is the center holding together an extremely chaotic book with no two characters on the same page. She is, and has to be, an extremely powerful person, someone who stands her ground no matter what, an unbeatable force of will because that is the only way she's going to survive the situations she's in, the only way she can be "The Wall", the kind of person who can repel Batman, command a platoon of monsters, talk her way out of Deadshot's contract, someone who can stare at Darkseid and credibly threaten the President into letting her live.

That's the part that everyone is more or less familiar. But there is, or at least used to be, much more to Amanda Waller than just being The Wall, not in the least because being The Wall is also hampering her effectiveness as well as straight up killing her.

"Amanda's toughness has taken her a long way" "It's taken her as far as it can. But it can't take her no further. It's actually starting to drag her down. I'm scared for my baby sister, rev - scared that the anger in her is congealing into hate." - Suicide Squad #31

We get to know her backstory, her plans, her points of contention with the system, her relationships with people around her, and how deeply she cares about things and people even as she sends them to the meatgrinder. From the start we learn that Waller staffs her team with people she's prone to getting into disagreements with, like Simon LaGrieve and Rick Flag, specifically so they can cover her moral blind spots and pick up the slack in emotional intelligence she's lacking, be the heroes that she can't afford to be. It is unspeakably crucial that the Squad is led by Rick Flag as well as Bronze Tiger, a fallen hero who owes Waller for his recovery who eventually takes Flag's baton. Waller stands up for her team, gets into fights with her superiors when they decide to terminate them, and takes the fall for them when necessary. Waller is a person who does Bad Things - but she is not a Bad Person.

The book in no uncertain terms frames the Suicide Squad's existence as monstrous in a scale Waller doesn't understand until the very end, and it digs deep into the unethical things Waller has to allow for and perpetrate in order to keep it running no matter how many lives it saves, and she spends the first half of the book on a downward spiral. But then there's the 2nd half of the book:

In the first 39 issues, Amanda’s flaws are her undoing. As she pushes away the people she hired to act as a balance, she grasped tighter and tighter to her uncompromised vision of the Suicide Squad despite the constant changes and derailment. Her choices had consequences: the death of Rick Flag, her demotion, employees quitting, and finally, the disbandment of the team.

The last 27 issues have Amanda rising up from the ashes after a year in jail. She’s less in her own way – she communicates, her anger isn’t driving her, she’s more receptive of alternative perspective and recognizes when she’s wrong in real time – but she’s still just as scary.

Waller rebuilds her relationships with the people she drove away, takes a different tack to how the team works, and starts going out into the frontlines with the Squad. She brings Oracle (who actually made her debut in this comic) into the fold, saves her life and plays a big role in Barbara making progress in overcoming her Joker trauma. She genuinely puts in the work to improve as a person and do things a better way than before, even if there is an inescapable immorality to the very existence of the Squad and what they do. That immorality never goes away, and it only further horrifies her when learning how badly her project has gone. In fact, it's that very inescapable immorality that ends her arc.

She learns that the CIA has started using a new Suicide Squad to support a brutal regime in South America, and when faced with the full extent of her complicity in Western imperialism? She decides right then and there to end the Suicide Squad for good after they liberate the population of said regime from said Squad. She is the only person who gives a shit about the country enough to start the assignment for free once she knows about it, force the Squad along, lead the mission in field, and personally (and even gently) usher the villain to his death at the end, to end what began with her.

She does bad things, and she does good things. She cares about people, and she uses people. Her decisions ruin as well as save the world. She spins a million plates to match wills and wits with the strongest, wickedest, most cunning humans and superhumans alike, and she still has superiors to answer to and people close to her she hires to judge her for what she does. She endured racism and misogyny and poverty for decades and rode whatever she could to attain as much power over her own life as someone like her could possibly attain, and to have it, she must be a willing tool of the state and bend the knee to Ronald Reagan, the man she derides for what he did to her community, hating every minute of it.

She lost her family to sexual and racial violence, and now she wrangles a penal battalion comprised of some of the worst people on the planet to inflict violence on her orders. She has saved and redeemed people, and she's haunted by the corpses she's left in her wake. She is oppressed and oppressor, someone who could only escape the ravages of American imperialism by becoming one of it's chief enforcers, and still she rebuilds herself into a better person from it upon confronting and challenging her role in it. She is not a bad person, she is not a good person either, she is just afforded a degree of agency and complexity unpowered characters in superhero books simply don't get.

Okay cool, now what is she up to these days?

That, I guess. That is what a strong but unpowered person who does not allow themselves to be bossed around by superheroes or supervillains looks like now. Everytime there's a call for a military bad guy, Waller gets tagged in to be DC's Henry Gyrich. There was a point where Waller was made to contrast the likes of Sarge Steel and Wade Eiling, someone who butted heads with them because she was a well-meaning person working for and committing evil as often as she attempted to stop it. These days, the most consistent beat with her is that she is the most dangerous person alive and worse than the villains she wrangles into working for her. She is a thing to be overcome, a hypocrite to be exposed, a challenge to the natural order of the universe, and she is too terrific at it to be shuffled off quietly. She is a Bad Person and so everything she says and does is Bad (and thus can be ignored).

Integral to Suicide Squad's structure was the fact that Waller was the center holding everything together, the ultimate third party: spinning plates working with, for and against all of the others so she can bend rules and be bent by them. Bent, but never broken, because The Wall doesn't break, others break first. Waller was a one-of-a-kind character, and that broke her, because beating Sarge Steel and Wade Eiling at their own game means replacing Sarge Steel and Wade Eiling. Waller doesn't look like them, she doesn't look like the superheroes either, and so she can't be one of them. She can't even look like herself a lot of the time, they try to slim her up everytime they think they can get away with it.

Suicide Squad was preoccupied with exploring a perspective from a world outside the superhero worldview, but we no longer have her perspective or that of people around her, we only know her through the superheroes she inherently defies and has had an adversarial relationship against from day one. She is someone with a viewpoint that is charitable to neither superheroes nor institutions, and thus, the universe is increasingly less sympathetic to her, the less utility she has to the grander narrative where everyone has to pick between one of two options. If she wasn't powerful and assertive, she'd be another Leslie Thompkins, another Jiminy Cricket the heroes passively ignore. But because she is powerful and doing morally compromised things without asking Batman's permission, she must have a personal grudge. She must be a government monster. She must attack the superheroes for no reason, no ideology, no motive.

So now she's just The Wall 24/7, the mean icy establishment boot who is strong and clever and cruel and hates superheroes and wants to destroy superheroes and rule the world from the shadows. Everything she does is a fuck-up she refuses to take responsability for, everyone is right to hate and distrust mean old Waller, and now everyone gets to look good by dunking on her. They couldn't make her a superhero, so they made her a generic supervillain instead. And now that she's a bad guy, she no longer has to believe anything, she doesn't really have to mean anything, they don't have to write stories about something other than superheroes and supervillains, and they don't have to let a fat woman of color take up space and screentime they could be giving to Harley Quinn and Slade Wilson instead.

Even by the time of Waller's debut on the tail end of the 80s, her career opportunities were on their way to extinction

Days Of Future Past marks the triumph of the superhero comic that's pretty much concerned with no-one but superheroes. Where Ditko and Lee's Spider-Man featured a single costumed crimefighter in the context of a commonplace existence, the X-Men of the 80s focused on a huge cast of mutants who had little if any lasting involvement in the everyday world.

By the 21st century, the corporate superhero comic would largely - if not exclusively - concern itself with little beyond a large class of superhumans and their fantastical existence. I suspect there's a significant correlation between that and the continuing cultural  peripherilisation of the superhero comic - Colin Smith

Amanda Waller is one of the strongest characters in all of comics, she was as powerful as an non-superpowered character given center stage could possibly be, a perfectly designed character from which an entire corner of a shared universe was developed out of with her as the center making it work, but as the room for civilian casts and unpowered protagonists got smaller and smaller, so did Waller's options. If she was a Spider-Man character and somehow didn't get killed or made into a villain, they would have slimmed her up and given her a symbiote, because you're nobody unless you're web-swinging. Characters didn't look or act like Amanda Waller, and unfortunately, they still don't. It's just instead of making more characters like her, they gutted Waller to be more like the rest. If she couldn't make it, who else even could.

Keep your eyes peeled for this summer when she'll team up with two meaningless robot baddies to burn down the Justice League and I guess the universe for the next reboot or something.

[somerandomdudelmao]

CASS! YOUR BRAIN! IT'S SO... HUGE!!!!Okay, okay. So, to recap what you have confirmed to us-

The robot that we see is NOT controlled by Donnie's spirit. We see that Donnie is able to control it via headset, etc.

Also, the reason this "Plan B" did NOT work is because Casey got possessed by Don's Hamato spirit in a memory from the future on accident.

It was going to work. He was literally mid-crawl before Casey swooped in and tried to help him but ended up somehow bringing his spirit into the past and cloning him a new body with plot serum.

We don't know if this robot would have worked. We don't know if Donnie even had enough equipment to make a robot body like the one he made for Raph. Maybe it would have failed. Maybe everything would've been okay. I just don't know.

But that's the beauty of this series. You planned this since you first decided how Donnie was going to die. Yes, you've said that you're kind of as clueless as we are at times when it comes to "what's next." But the amount of detail you put into this is ASTOUNDING!

Even with your VERY FIRST COMIC, you used Don's failed experiment with Leo and turned it into another chapter where we found out that Donnie was trying to find a cure for Mikey's peepawed body!!!

The fact that Donnie not only didn't say anything before he died because you knew that it "wasn't the end for him," but he also had a plan B that he didn't tell anybody about hence the guilty faces, the reasurrences, and ignoring Leo's "we don't need to worry" talks. And he couldn't simply tell them that "everything was gonna be okay" because his plan possibly wouldn't even work!!!

AND THAT'S WHY HE HAD A BREAKDOWN WHEN HE LOOKED BACK AT ALL THE RECORDINGS OF THE RESISTANCE FAILING BECAUSE NOT ONLY IS HE WATCHING EVERYONE HE TRIED TO PROTECT WITH EVERYTHING HE HAD DIE BEFORE HIS EYES, BUT HE ALSO REALIZED THAT HE FAILED THEM AND LEFT THEM WITH NOTHING!!! HE FEELS SO USELESS AND GUILTY FOR SOMETHING HE HAD NO CONTROL OVER!!!!

Even since we first met Raph, we got Don's theory about how storing spirits into mechs worked. He probably used the rest of their most valuable resources to even BUILD that thing.

I don't know if when they all realize that Casey is actually the reason Mikey couldn't sense any of their spirits because he snatched them up and brought them to the past/different timeline that they're either gonna feel angry or like "Oh!....oh." You know?

It seems to me that they still don't know the answer to that question. With all of them back, I thought they would have by now, but I guess we'll see pretty soon.

A lot of things could happen in this chapter. Good things, bad things, it's quite a toss-up. Let's just hope this whole big misunderstanding comes to a big finish soon. Donnie deserves a comeback. Everyone deserves to have a breather where they can all just...talk. Cause' by GOD there is a lot to talk about. I know they had some downtime before Miwa showed up, but Donnie's still working. If Donnie doesn't finally open up to his family by the end of this, I'm bringing out the beach balls, I swear.

[fuckyeahgoodomens]

Neil talking about the responses to Good Omens Season 2 - from the Neil Gaiman interview with Brian Levine for The Gould Standard (x,x)

BL: The audience that you have built is a very passionately engaged audience. They, frankly, they love you. And one of the reasons they love you is that you fit into what I think of as one of two great divisions in art. There's, or in writing, um, there is: I'm entertained, I'm amused. I may be even enchanted; and then there's this hits me at a visceral level. You understand me as no one else does. You have touched something very central to my experience. And it seems to me that Much of your writing, maybe all of your writing, actually reaches your audience at that latter level. You know. I would say in the former category, sort of my quintessential and beloved example would be P. G. Woodhouse. He amuses me, but I don't feel like he's revealed my inner self at a very deep level. Um, were you aware that you were going to be able to achieve that? Um, that this is something... was it a startling thing when people began coming up to you, who'd read your work and said, this means so much to me?

Neil: Yeah. It was huge. And it wasn't expected. I... if I had a mountaintop I was heading towards, it was gonna be P. G. Woodhouse. Um, I wanted to be a proficient entertainer with a clear prose style who could tell stories. Um, it probably wasn't until Sandman that I found... I started to realize that in order for a story to work, I had to show too much. In order for a story to resonate, in order for a story to matter, I had to let it matter too much. And, and I remember the first people who would start coming up to me and saying, um, you, you know, your, your Sandman comics got me through the death of a loved one. Your death character got me through my child's death, through my parent's death, through my partner's death, through my friend's death. Um, and that left me kind of amazed. I'm like, well, I didn't write it to do that. I wrote it to feed my children. I wrote it to satisfy myself. I wrote it because nobody else had ever written it. And if I didn't write it, it wouldn't be written, but I don't think I wrote it to give you what you've taken from it. And I spent really about 20, 25 years feeling awkward about that. And then my father died, in March 2009, and never got to cry about it. Never... I, you know, I've, I've got on a plane and I went to the UK and dealt with the funeral stuff and organized all of that stuff and came back and go toff the plane and went and did Stephen Colbert's Colbert Report and wearing the funeral suit because and that was all I had with me and carried on. And then, somewhere in the middle of summer, I was reading a friend's script. They'd sent me a script and said, can you look this over? And I'm reading it, and on page 20, the lead character meets somebody, and on page 26 maybe, she's dead, and I burst into tears. And I'm bawling. I am sobbing. It is coming out of me in giant racking waves. And I realized that it's everything that I'd been, hadn't let myself feel, or hadn't been able, hadn't stopped enough to let myself feel, was suddenly being given permission to feel by the death of a fictional person who I'd met six pages earlier, ia script. And I thought that... and it was huge for me, and I thought, okay, that's that thing that people are talking about sometimes, when they come tome and they say, you, you did this. So right now, I'm in this weird, wonderful place where I think a lot of people in Good Omens Season 2 thought they were signing up for the P.G. Woodhouse, and didn't know that, no, no, no, you've, you've signed up for the whole thing. You've signed up for the feelings. You've signed up for the emotions. I... it is my job to make you care and to make you feel and to feel things you haven't felt before. And which meant that the first week or so after Good Omens came out, I was getting angry, furious, deeply upset messages on every possible social medium telling me that I had betrayed people, and it was awful, and they couldn't stop crying, and why would I do that to them, and did I hate them? And they hated me. And then a weird sort of phenomenon happened as people would watch the show again. And again. And now they started to know, okay, this is where it's gonna go, this is what's gonna happen, this is how it works. And they started realizing that they were actually feeling things, and that was good. And that they were caring about two people who don't exist. You know, I made them up, and then and Terry Pratchett made them up, and then, um, David Tennant and Michael Sheen gave them life, and then they get to walk around on a screen and you know they don't exist, but you can cry for them, you can love them, they can make you laugh, they can make you exult, and most important of all, they can make you care. And the number of people who are now writing to me, saying, 'This was so important to me. This has changed my life. This makes me feel like I belong. This makes me feel like I can cope. And it's let me sort of find myself. P. S. I hope you get to do Season Three.' is, is huge.

[bonus-links]

mandatory directors commentary ask because I’m absolutely obsessed with them <333 I just think it’s really cool seeing what you put into each update it’s so interesting :)

OKAY BUCKLE UP

a kind of important piece of context that's probably missing for this conversation wake and tetra have is that they were dating and broke up fairly recently. it felt awkward to shoehorn in a line about it but there u have it. anyway that's why wake feels the need to ask tetra to keep an eye on outset in the first place. like she'd actually say no.

did u know tetra has this image of the hero of time in her room on the ship? this worked out very well for me having that in frame hehe. it's also where the sun motif in the "we're cursed" panel comes from!

i like the idea that wearing big fancy earrings is a part of formal dress across all hylian cultures, and outset is no different! these particular ones wake is wearing are based on abalone shells which i think make really beautiful jewelry :-)

i just want to call attention to this relationship chart panel. wake doesn't even know that the first thing slate did was put a sword to wolf's neck. he doesn't know how right he is

this location is the top of ganondorf's tower. it's a little bit more of a symbolic image than a memory tho. fun fact, when you look at this location in noclip tetra is just standing there without her eyes loaded in. spooky stuff

okay, now onto the big one. the flood scene! this is in fact a vision Loft had of the original divine flood that created the Great Sea, and Loft is putting the pieces together. The one in the middle is actually wind waker's hyrule castle, not a temple like i've seen a few people guess. i had this really strong image in my head of the flood starting by pouring out of Hyrule Castle. does this make sense logistically, given the barrier we see around Hyrule Castle implies it was saved from the flood? maybe not, but I couldn't get the idea out of my head, so in the comic it goes

we don't ever seen WW's castle town in the game, so I actually used OOT's castle town as a reference. I just really needed a reference for this or else my head was gonna explode lol. that's also OOT's death mountain, which is mostly just there to show the spread of the flood.

this ending bit with the flood is kind of intended to be a continuation of the Farosh scene on the bridge. Loft is going to continue to have and be reminded of terrible visions of the future, and that anxiety he has around that isn't going to just go away. But I really wanted a scene where he acts on what Slate told him on the bridge— don't pity this place. He snaps himself out of it and chooses to join the party.

another note on that last panel lol, the person who's waving to him is Rose, the pig lady from the bonus comic!

alrighty I think that's all I got for now

[steddielations]

It's just another boring day running the store, even more boring than normal since Robin’s out sick. There’s not any kids around either, the beanbags by the bookshelves have been empty all day.

Steve’s working his shift alone. It’s all very mundane, just waiting for the clock to run out. That is, until the door flies open.

It’s just a flash of black clothing and the clinking of metal accessories as the figure suddenly barrels right over the counter. Steve shouts and immediately reaches for the nail bat— yes the nail bat— he keeps behind the register. He brandishes it menacingly as the person stands upright.

It’s a man, with crazy wild hair and even crazier eyes, widening comically at the bat and holding his hands up. He squawks at Steve.

“Whoa, hey! What is that thing?! What the hell, man!?”

“Don’t ‘what the hell’ me, I’m the one what the helling you here!” Steve snaps back.

“What!”

“Just tell me what you think you’re doing here, punk!”

Something like disbelief comes over his face, and he lowers his hands to gesture over himself, “Dude, I’m clearly a metalhead.”

“I’m gonna put some metal in your head if you don’t start talking,” Steve snarls, gripping the bat tighter.

“Okay, okay!” His hands flail, shifty eyes bugging out the front windows before he suddenly crouches down behind the counter, “Just let me hide out here for a minute, there’s— people after me that I can’t deal with right now.”

“Oh yeah, what 'people’?” Steve narrows his eyes at the expensive looking chain dangling around his neck, some kind of red pendant on it, “Did you get caught stealing from the jewelry store next door?”

Again, he gives that look, not the typical guilty look when Steve chases down the usual petty thief, he just looks like he can’t believe he’s in this situation, as if he’s not the one that hopped over the counter.

“I didn’t steal anything, alright? I just need to wait here until it’s all clear.”

“Mr. Simon is chasing you, isn’t he?” Steve groans, lowering the bat to rub his hand over his face. He hates that old jeweler, always complaining about Steve taking his parking space when he doesn’t even have a car to use it. “Christ, okay. He might have a war flashback and actually kill you, and I already have enough shit on my conscience. You got two minutes.”

“Five?”

“One and a half.”

“Okay, Jesus. Two please and I’ll let you have a picture after, whatever you want.”

Steve thinks it’s a weird thing to offer at first, then it clicks.

“Yeah, I do want a picture ‘cause your ass is going on the banned wall,” Steve points the bat to the array of photos on the back wall, right up there with the little pricks that kept asking what shelf the skin mags were on, and the asshole that was rude to Robin once.

The guy looks over and he… chuckles, “Starting to think I picked the wrong counter to hide behind.”

Steve glares when he’s met with the stranger’s smile, “You think?”

“The rainbows in the window caught my eye, thought they were pretty cool,” he gives Steve a kind, but measured look, “I’m assuming the bat is for people who don’t?”

That rocks Steve a little. The subtle touches of rainbow decorating the storefront were Robin’s idea, just a welcoming sign for those who know what it means, who need it. Which, apparently, is this guy too, dark eyes watching as Steve makes the connection.

Plus, the kind of kids that get off the bus and hang out in the beanbag corner of the bookstore, also tend to be the type that bullies flock to, but not here, Steve makes sure of that. Not with the nail bat, that’s for things more serious than school bullies.

“Is that who’s after you?” Steve asks, shooting a look out the window. His gut starts to twist in some form of empathy for the guy, it would make sense why he hurtled inside so quickly.

“No, nothing like that, but I still need to lay low for a second.”

Steve squints, empathy gone.

“Okay well, the bat is for thieves too, then. You know, Mr. Simon might be a mean old shit, but he doesn’t deserve to be stolen from. He’s got a family, dude.”

“Well, isn’t that admirable. Look, I appreciate what you’re doing here, the whole local protector, vigilante bat-man thing, it’s pretty badass,” A pun. This would-be thief really just made a damn pun about Steve’s would-be murder weapon. “But I didn’t take anything from anyone, Stevie boy.”

Pun forgotten, Steve grips the bat tighter, demanding to know, “How do you know my name?”

Another annoying smile as the guy gestures to his chest, where Steve’s name tag is. Right.

“Tell me yours,” he counters, noticing how the guy’s smile falters, looking hesitant, crouching lower, hiding. Steve sighs, “I’m not gonna go to the cops, man. Your face is going on the wall and your name is going on the list.”

This guy is just smirking way too much for someone in his situation, “Wow, I must be real special then. It’s Eddie. Eddie Munson.”

“Okay then, Munson,” Steve narrows his eyes at the necklace again, “If you didn’t take anything, then where’d you get that chain, huh?”

This Eddie looks caught off guard, his mouth already formed into some excuse that Steve cuts off.

“Just hand it over,” he flourishes the bat this time, satisfied with how Eddie looks both impressed and intimidated. His eyes stay on Steve as he removes the necklace, dark and alive with something, like he’s enjoying this somehow.

“Okay fine, easy with that thing, big boy. You can keep it for now as collateral for letting me stay.”

He passes Steve the chain, and Steve doesn’t want to fuss with his jean pockets so he just slips it over his head, Eddie’s eyes tracking where it falls around his neck. He sees it’s not a pendant like he thought, it’s a red guitar pick resting against his chest. Not Simon’s usual merchandise, but the chain definitely is, it’s expensive, Steve can tell.

“But, as good as it looks on you, I’m gonna need it back when you realize it’s not stolen.”

Annoyance. That’s the flare of heat Steve feels, it has to be, this whole exchange is getting him hot under the collar. He obviously knows Eddie’s hitting on him, not the first time he caught someone up to no good, and they clocked the rainbows and tried to flirt their way out of it. And this guy isn’t bad looking, maybe under different circumstances in a nice bar somewhere, Steve would flirt right back, but he’s not falling for it now.

He’s glad the couple minutes are up, doesn’t know why he checks out the windows to make sure it’s all clear for Eddie.

Bat still in hand, he makes Eddie stand while he fishes out the polaroid camera behind the counter.

“Don’t you want to get in the photo?” Eddie asks.

Steve’s free hand snaps to his hip, “And why would I want that?”

“Right,” Eddie grins, sticking out his tongue when Steve holds up the camera, throwing up that same hand sign that Dustin keeps making nowadays when the flash goes off. “No fun kissin’ a picture of yourself. Or, maybe it is when you look like you do.”

Steve rolls his eyes, “Playing cute with me isn’t gonna get you off the hook,” and sits the newly printed polaroid on the counter, ignoring the way his cheeks feel hot. It’s just the adrenaline coming down.

He finally puts the bat away, still watching warily as Eddie comes closer, picking up a pen and scribbling what looks to be his phone number on the photo.

“Gotta say, this was nice, Steve. I’d love to do it again sometime,” he smirks, hopping back over the counter the same way he came, “I mean it though, give me a call about that necklace. What kinda rockstar would I be without my lucky guitar pick?”

“Yeah right,” Steve snorts, “I don’t wanna catch you around here again. I never forget a face, Munson, especially not yours.”

“I’m flattered,” he pats his hand over his heart, then throws Steve a wave as he pushes open the door, “Keep that up and you can call me anytime.”

One last wink that sort of makes Steve’s chest flutter and he’s gone. It’s nothing, just some crazy guy that annoyed him half to death, and he hopes he never sees again.

When his shift ends later that evening, he goes next door to try and return the necklace to Mr. Simon, but he insists that it wasn’t stolen from his shop.

Steve’s starting to think he may have accidentally robbed someone at nail-bat-point. But it’s not possible because that’s not possible. How do you accidentally rob someone? What crime would he even be charged with? A little oopsie burglary? Ridiculous.

No, the old man is just out of his mind and doesn’t recognize his own shit. It’s the only thing that would make sense in that whole bizarre situation. Who else would Eddie have been ‘hiding’ from? Why else was it so urgent that he handed over the necklace without much fuss?

It’s not until days later when Dustin hops onto the counter that Steve really realizes.

“Steve,” Dustin says slowly, “Why am I looking at a picture of Eddie freaking Munson on the banned wall?”

Steve looks around, “That guy? You know him? I caught him stealing from Mr. Simon the other day.”

“You— He— What!? He was here?” Dustin sputters, “Steve, I’m 1000% sure he wasn’t stealing shit! What did you do to him?”

“I did my job, Henderson. I banned him from the store and got back the necklace he took— What— Why are you looking at me like that?”

“Steve.”

It’s over the course of the next conversation, getting completely chewed up and spit out by Dustin that Steve learns he didn’t just accidentally rob someone.

“STEVE.”

He accidentally robbed a world famous rockstar.

Steve spends the next few days so deeply embarrassed that he can’t even dare to pick up the phone. He gave Eddie such a hard time when all he needed was a place to hide out so he didn’t get mobbed by fans and paparazzi.

Looking back on it, knowing what he knows now, Eddie handled it with such grace. Steve’s even more ashamed, not because of the whole rockstar thing, but because it's shitty to hurl accusations and a deadly nail bat at anyone, and take their stuff on top of that.

He finally bolsters up the courage to dial the number. As soon as he hears ‘what’s up, it’s Munson’ on the other line, he lets loose a string of apologies and a promise to give the necklace back as soon as he can.

It gets cut short with that same chuckle that still gives him a warm chill even down the phone line.

“Keep it. Looks better on you,” he can hear the smile in Eddie’s voice, “But that means you’re gonna have to come to my show tonight. Can’t play without my lucky guitar pick, can I?”

[kosmicdream]

Hello. After drawing webcomics for 10 years and making about 10,000 pages of comics, here are some things i have learned/observed in that experience..

1) making comics does not get easier.. Not really

Making comics is a tedious and slow process and with so many different facets of the experience to learn - you’ll never run out of stuff to learn or weaknesses to work on. I’m not saying this to discourage but to just give the frank reality that it really takes a lifetime to understand. Be patient with yourself and try to set healthy expectations. 

2) Read your own comics after making them.

I don’t know if this is as important to other people as it is to me, but I do think that sometimes its easy to not re-read your own work and just go from your own memory of it, or maybe you’re tired of looking at it because of all the flaws. I don’t personally get sucked into the “rewrite/remake” cycle that I know is common with comics, as I sort of just accept things as they are, but re-reading my work does help me see where I have come from and where I need to go to next. I personally don’t like to lose sight of that, and I think re-reading helps ground me in the planning process of my work and gives me a better perspective on all aspects.

3) A lot of comic advice should be taken with a grain of salt, because its the person talking to themselves. (including this)

I see a lot of advice that never would have worked for me, or just simply wasn’t something I was ever going to follow. “Dont start with your big epic long stories”! Is a common one. I don’t think that’s bad advice exactly, but how many young artists are going to listen, especially if they’ve never told a story in the first place? Yes, the advice to start small and build yourself up with experience sounds great, I’m sure people do it, but if you’re an artist you’re probably not gonna be that responsible. And for me, when i tried to do this with eggshells, my house burnt down and i kinda gave up comics for a while because i lost a lot of work. 

Writing short stories is still something I struggle with, its just not easy for me. I have gotten better at it but i don’t think that makes me less of a comic artist because I haven’t gotten good at that particular format, or that I jump around on my projects. Is it more impressive to have more completed work under your belt, sure. But I also think that.. Idk.. what is the advice actually saying, because with that one it sort of feels (often times) as a warning that you’re setting yourself up for failure/embarrassment by attempting a comic like that. I don’t know how to tell you this, but comics are gonna be embarrassing no matter what you do and there’s no guarantee you’ll be more successful/not experience failure by avoiding your passions. Something to think about anyway. 

4) Don’t draw every leaf. Unless you really want to.

I’m the kind of comic artist that kind of doesn’t care about the art as much as the whole package of the comic. When i see a very impressively drawn panel/page, with laborious detail that is well drawn and maybe even colored ect.. That usually is kind of, I guess, a turn off for me as part of the reading experience. The thing is, when i encounter that, it usually signals to me that someone has poor planning skills for comics. It says to me that comic is probably not going to see its end or that artist is overworking themselves in an unnecessary way, that ends up concerning me about how they’re doing. Because i know how hard it is to draw comics. When an artist phones things in a bit, or has a limit on how much they work on a page, its a relief for me to see! because I understand they have healthier boundaries and expectations, and the art itself usually is less stiff too. This is all an overgeneralization, but I think with a lot of webcomic artists we are usually drawing a comic for the first time ever, so it makes sense we want to do our best and try as hard as possible - that just usually isn’t the smartest plan to put all the stock in the visual department. This also kinda frustrates me to see because most comics (professional or not) will also (generally) not reel the art in ever or make a more simple style. Generally I see it always trying to outdo itself, which leads to burn out. I personally only work about 1hr on each page i draw, that hasn’t changed in the 10 years I have been drawing comics, but i used to spend hundreds of hours drawing detailed lineart for eggshells and it didn’t even read well and i’d be disappointed with the results, feeling more lost with my goals than ever. PLEASe.. Just draw worse, its usually better looking in the end too. (because you wont have the experience to judge visual clarity until you’ve been drawing comics for a while imo..)

5) Don’t draw ahead, draw those inbetweenies.

“Inbetweenies” are the pages for the “boring” ones. They are also usually the most common KIND of page. Its the pages that are necessary, but “inbetween” the action. The impact moments in a scene, ect. You gotta draw them. They’re always gonna be there. They’re the pages where maybe, the character is walking somewhere, thinking, ect. The after impact from an action.. There’s a million examples, but hopefully you’ll understand what I mean when I say they’re both necessary pages/panels, sometimes so mundane/redundant, but also required for telling the story.. As a comic is a sequence of images. This is why, the previous advice is also important IMO- because if you really want to “draw every leaf” - maybe you should save that energy and effort for those impact moments that you want to impress the reader with.. And not for the inbetweenies, which are the foundational support, but also not the most important moments. If you conserve your energy a bit, the contrast OF that effort will also pop more. I personally find it funny when I put more effort into a page and end up tricking my readers into thinking I got better at drawing, when really i just have been able to draw better and only save it for moments like this instead of always.

Also, when I say don’t draw ahead.. I mean I draw each page at a time before going to the next one. I have no idea if this is an unusual practice or not, and I know a lot of people will draw their chapters/episodes/whatever in sections like sketch/ink/color/ect.. But I personally draw and finish page by page, unless its the thumb/sketch stage. Even then, i don’t go ahead much. I think that you can control flow/pacing better by doing chapters all at once of course, I see that as a benefit. But i also think that makes things very overwhelming and can also result in a lack of flexibility if something isn’t working. No matter HOW much planning you do- comics are always going to have an aspect of IMPROVISATION with the result you get in the end. There are way too many factors in play to be in complete control of all of them and always know the result of the reading experience. SO for me, this technique is easier and has been something that continues to get me to working effectively. Plus, rumiko takahashi said that’s what she does. And i think she has some of the best visual flow/compositions in comics. So that’s what I do.

I could write more personal advice or rules that i follow..but I think those are the ones I find are the most important to me anyway. Of course, comics are a strange medium and not everything that works for me will work for you. That’s all for now.. Bye bye…! 

Oh by the way, my comics are here: feastforaking.com nastyreddogs.com https://kosmic.itch.io/ Support me on patreon! https://www.patreon.com/kosmic

[intheorangebedroom]

The corner deli, part 2

Summary: Frankie takes you on a second date. Somehow, firearms are still involved...

Pairing: Frankie Morales x fem!reader

Rating: Explicit 🔞

A/N:  Happy Frankie Friday, Orange besties 🧡 Thank you so much for your kind response to part 1! I hope you like this part too (pun intended). And please, see the end notes 🧡

Word count: 4.1k (I managed to cram in nearly all my kinks, can I get a woot woot?)

[part 1] [blog masterlist]

Part 2: Crimson and Clover

“Isn’t it cheating, though?”

The carnival rifle looks comically small between his hands. He presses the trigger, and a fourth balloon explodes with a loud popping sound, amplified by the wooden box. You jump. He doesn’t even blink.  

“How is it cheating?” he asks, looking down at you with a cocked eyebrow as he casually reloads a tiny lead bullet into the rifle’s barrel. Wow. Competency, much?

“Well, you were in the Army. Don’t they train you to shoot at stuff?” you ask, eyes trained on the little target inked on his left hand.

He shrugs. 

“You want that teddy bear, or not?”

“I do. I do want the teddy bear. It’s– it’s a plush Grogu, but yes, I do want it.”

“The plush green alien, yea.”

You make a face, taking mock offense.

The date —he said it was a date, so you guess you can call it that, right?— has been going extremely well, so far. Conversation flowing easy, stolen glances that don't make you wanna crawl out of your skin; he’s asked you a lot of questions, but it didn’t feel forced. You’re not sure if your brain is not gonna ask for payback at 3am on a Sunday, but you're feeling relaxed and at ease. He’s paid for everything, the diner, the rides, even the cotton candy, but he didn’t make a show of it. You could get used to this. The hanging out, that is, not necessarily the paying for everything part. 

“I’m teasin’ you. I love Star Wars too.”

“You do? Wait, are you one of those fans who’s gonna tell me I am not a real fan because I haven’t read all the books and comics and I can’t speak Jawa, but really it’s because I got a vagina?”

“Do I look like the kind of man who feels threatened by a vagina?” 

Oh. Oh shit. Ok.  

“Guess not,” you whisper, ducking your head so he can’t see your cheeks, that are fucking burning up. 

“Star Wars is actually the reason I became a pilot.”

He brings the butt stock of the rifle to his shoulder, adjusting his aim, and oh boy, he’s a sight to behold. That poor t-shirt of his is pulled taut across the breadth of his shoulders, seams ready to burst. You admire the way his thick finger slides around the trigger guard, and in, before another balloon goes BOOM. 

The young man keeping the stand lets out an ostentatious sigh. He grabs a long pole with a hook at the end to get you the toy, but really, it looks more like it’s a pitchfork he’s gonna chase you away with.  

“How’s that?” you manage to articulate. 

“Han Solo is the coolest, and I wanted to be as cool as Han Solo.” 

He gives you a shy grin, setting the rifle down on the counter. 

“Shut up! I wanted to be Leia!”

His eyebrows shoot up.

“Is that so?” he asks, taking a step closer to you.

Oh. Oh. 

Oh, that’s close. He’s crowding you against the counter, towering over you, his heady scent wrapping around you and he gives you that cocky look that turns your legs into Jell-o.

“Yeah,” you whisper, trying your hardest not to stare at the dip between his collarbone, and the little freckles on the tanned skin of his neck. 

The stand employee shoves the ginormous Grogu into your back, propelling you into Frankie’s chest. The man is HOT. Like, really hot. His skin is on fire, you can feel the heat through his threadbare t-shirt.

“Can I take you and Grogu home now, or is it too fast?” he says, his breath fanning your lips. “I don’t know how these things are supposed to work.”

Oh god, his hips are pressing into yours.

“I’ve no idea either, but I think you’re doing fine.”

“Yea?”

“Mmh mmh,” is the only sound you manage to produce.

“Good. Let’s go. Gonna make you see stars,” he adds, pushing away from you, and he immediately winces at the lame joke.

“Wow. Really?” you laugh. 

He flinches, hiding his pretty face under the brim of his hat.

“Fuck…”

—

Well, he wasn’t lying. You saw stars. And then you saw stars again. And again. And then you saw some more.

But the first thing you see when you get to his place is how clean it is. Tidy, but in a lived-in way.  

It’s a one-bedroom apartment on the fourth floor of a brick building. The kitchen sink is empty, a single plate and set of cutlery drying on the metal rack next to it. Some magnets adorn the fridge, among which you recognize a picture by Manuel Álvarez Bravo, and another by Berenice Abbott, and you try to police your expression because these are your two favorite photographers and that’s a pretty freaky coincidence, right? 

You step into the living-room while he washes his hands. It’s cozy. A soft amber glow pours in from the streetlights through the three narrow windows, behind a big slouchy leather couch. There’s a plant that looks alive and well on the console next to it, and an entire wall of seemingly handmade shelves, lined with books. The TV is old, downright ancient, and there’s a turntable propped onto a vintage stereo. An opened book lies face down on the coffee table. 

You crane your neck to read the title. Engineering Circuit Analysis. Okay, so that won’t be a conversation starter. 

You don’t know if the place always looks this tidy or if he cleaned it because he thought you might be coming over, and you’re not sure if the sheer assumption shouldn’t be a red flag, given it’s only the second time you’re seeing the guy, but you find that you don’t care. You really don’t. Not in the least. 

He joins you in the living-room, but he doesn’t turn the lights on. He’s taken his hat off and he’s combing his fingers through his thick mane of curls, and that sight alone was worth driving all the way here in his truck. 

“Want something to drink?” he asks, and that’s a very good question, do you want something to drink? 

You should, probably, because your mouth is so dry you can’t even gulp, and your nerves could use some alcohol, but you just stand here, like an idiot, watching him walk slowly toward you, wondering how close he’s gonna get before he stops walking.

Very close, apparently.

He looks so fucking tall and broad, you don’t think you’ll ever get used to it, but then again, it’s only the second time you see him. He leans over you, you have to twist your neck up to keep your eyes on his, but really, what you want to do is chew on his lips. Or his neck. You’re not picky.

He hooks his index fingers into the belt loops of your jeans to draw you in. Fuck, now your panties are ruined.

Time goes in slow motion as he licks his lips, his gaze flickering between your eyes and your mouth. 

“I’m gonna kiss you now. Is it ok?”

“Yes, please.”

Yes, please, Jesus fucking Christ, can you get any more cringe?

“There’s a lot of things I’m wanna do to you, if I gotta be honest,” he adds.

Oh, there, you can gulp. You think people might have heard you swallow from the other side of town.

“Okay. You can… do your worst, Morales.”

“You sure? Because my worst is… You need to tell me if–”

“Yes. I’m sure. You got my consent. All of it. Please.”

Who needs dignity? Not you. Not today.

“You’re fucking adorable, you know that? I am going to ruin you.”

You hate meeting new people. Meeting guys. You hate that whole dance, when you have to pretend you don’t really wanna fuck each other, oh but really you do, you hate getting undressed in front of a literal stranger, the awkwardness of it, new skin, new touch, everything grosses you out and you feel like curling into a ball inside your own skin, waiting for it to be fucking over. 

But this, this is different. Of course, it’s different, everything has been since you’ve laid eyes on him across that aisle in the corner deli.

You want him. God, you’re practically vibrating with it. And you want him to want you, too. 

He presses his lips to yours, and it’s subtle, the delicate, albeit insistent press of it, testing but also very much signifying you he’s gonna do everything he said he would, pulling you closer with your belt loops. 

Fuck it, you think. Fuck it. You want this. All of it. The taste of him and the weight of him and his touch and his skin. 

Your eyes flutter shut and you lean into the kiss with a quiet little moan, your hands traveling up his large back, balling his t-shirt in your fists. He doesn’t miss a beat, his hand comes up to cup your face, fingers carding through your hair and you feel the wet glide of his tongue, prompting you to open. 

You do. Oh god, you do, and you taste the cotton candy as he licks into you. There’s the little tickle from his mustache, the pressure on your waist, the sparkling tingle along your spine and everything is delicious. His other hand is kneading at the curve of your hip, sliding down to your ass and he grabs you there, strong fingers splayed right between your cheeks, it’s firm and hungry and commanding.

He pulls you flush into him, and with a gently swaying motion against your belly, he lets you feel it. Feel what you do to him. Feel how much he wants you.  

Your body goes slack and tense at the same time, loose limbs, loose chest, clenching cunt and hardening nipples. 

“Fuck,” he gasps, pulling away just a bit, “fuck, you’re sweet.”

He doesn’t give you time to answer, not that you’d know what to say, his mouth is on yours again, his plush lips a perfect fit against yours, his tongue swirling inside you. And the kiss lingers, languid, unhurried, his hands roaming your figure, strong and slow, kneading your curves and using the grip to press you closer and closer into him.

When your fingers thread through his hair, you give his locks a little tug that has him grunting into your mouth. He breaks the kiss, but his mouth remains on you, lips sucking along the edge of your jaw, teeth scraping down your throat, slick pooling sticky and wet between your hips. 

There’s the ghost of a bite over your pulse point; you moan into it and suddenly, time accelerates. His kisses get frantic, he’s devouring you, only lifting his lips off your skin to tug off your t-shirt, deft fingers unclasping your bra. You pull so hard on his shirt you might as well rip it, but he only bites you harder, pushing into you stronger. The back of your knees hit the coffee table, you fall onto the couch. 

And that’s when everything slows again.

His gaze, raking over your naked breasts as he stands before you. His tongue darting between his parted lips. His movements, as he unbuckles his belt. 

You get lost in the sight of his chest, bare, broad, golden in the orange semi-darkness. 

“Take off the rest of your clothes, baby,” he says, and the endearment shoots right through you. 

You’re never recovering from this night, this much you can tell. You’ll want this man forever, you are so fucked. 

You manage to get rid of your shoes and your jeans, but it’s a damn miracle with how much your hands are shaking. He’s toed off his boots and unbuttoned his pants without taking his eyes off you even for a split second. 

There’s something carnivorous in the half-smile dancing on his lips. He’s palming the bulge tenting his black boxer briefs, and you’re about to slide off your panties without a second thought when he stops you. 

“Wait. Bedroom. C’mere.”

Yes, sir. 

You stand up on wobbly legs and his hand skims around the curve of your hip, down the swell of your ass. He takes your arm, lifts it up to wrap around his neck, and you follow, diligently, circling your other arm around his broad shoulders. 

He picks you up like you fucking weigh nothing, how strong is this guy? What do they feed them in the Army? 

He keeps you there for a moment, your legs wrapped around his tapered waist, skin on skin, his head slightly tilted up and his eyes boring into yours. His hands grasping your ass cheeks, a bruising grip, the tip of his fingers reaching into that hollow curve at the top of your thighs, under the line of your panties, where you’re soaked with want for him. 

Your heart is beating so fast, pounding so hard, it’s going to tear out of your chest. Land right into his. 

The crease in his brow deepens, his gaze on you intensifies, thoughts clouding his rich brown eyes. He opens his mouth, as if to say something, but closes it again.   

“Frankie—” you start, but he cuts you in. 

“Wait. I need to know this is not a one-time thing. I’m gonna see you again, right?”

“Oh,” you breathe out.

There are people laughing outside in the street. The sound of a police siren in the distance. A dog barking. You commit everything to memory. The amber darkness, the city noises, the hope in his eyes. The sensation of his strong hold, and that of your hardened nipples grazing his chest. 

“Yes. Yes, please,” you whisper, and he smiles, that wide dimpled smile you’d do everything for, his fingers burrowing a little deeper into your flesh. 

He carries you into the bedroom, bathed in the same orange semi-darkness, and lays you onto his bed. You sink into the fluffy cottony material of the comforter that smells like him. Leather and musk and safety. He hovers over you, eyes locked on yours. 

He rocks gently into you, just a faint press, his waist spreading your hips open, his hands roaming along the expanse of your naked skin, palming your breasts. The fabric of his tight boxers catches at your soaked panties, the button of his jeans biting into your belly. 

“Can I taste you?” he asks, his voice a low husk, and for a second, you think he’s asking if he can kiss you again, but you quickly register, and your eyes grow wide. 

You nod, unable to articulate around the anticipation swelling in your throat. 

He makes a start at moving over you, but stops, and instead leans in to kiss you again. A wide, hungry kiss, licking into you avidly, pressing into you greedily, swallowing your moans as your fingernails run through his nape and into his hairline. 

He pulls away, and you all but whine, chasing his lips, rising to your elbows. Unwavering, he moves down on the bed, and there’s another flash of that carnivorous smile as he takes off his jeans, as he kneels between your legs. 

You watch, wide-eyed and ragged breath, as he brushes his knuckles along that curve at the top of your thigh, thick fingers hooking under the elastic band of your panties, pulling it to the side. He smiles at you again, before his head dips. 

His tongue parts your fold, and your head lolls back between your shoulders with a strangled cry. His hand pushing up the back of your knee, spreading you wider than you ever thought your body capable of, he licks into you with a rumbling groan. 

The curled tip of his tongue dives deep into your cunt, tasting you with thorough strokes, but he lifts his head with a pained grunt and a sliver of self-consciousness rips through your chest. 

“Fuck, baby, I think you’re going to ruin me.”

Your arms buckle, your back hitting the mattress, and he slides your panties down, twisting them around his wrist, before hooking your legs over his broad shoulders, and he buries his face into your cunt again. 

The wet glide of this tongue is hot and heavy, licking in broad stripes, sucking on your clit, thrusting into you. Arousal pools in, sticky and rich, at the base of your spine, streaming down your walls. You moan and wither against his mouth, and he chases your movements, cueing his ministrations to your reactions. 

Wet, explicit sounds fill the bedroom. He plays you like an instrument, your hips bucking against his face, wanton whimpers spilling out of you like music, fingers threading through his curls, and he brings you close, so close to your release, without ever letting you tip over the edge.

He’s taking his sweet time about it, true to his word, and you're begging now, sweet little moans you didn’t know your voice could carry, Frankie, Frankie please.

Gently, he eases your legs down, sitting back on his haunches on the bed. It’s a hitched breath, a broken little cry as cold air hits your soaked cunt but he runs a soothing hand along your inner thigh. 

“Shh, I got you, baby. I got you.”

Empty. The word flashes through your dazed brain, and you turn your head to the side to hide your face in the comforter. 

You’re empty, and you want him to fill you up. And you don’t know what you’re hiding from, if it’s from him or the embarrassment of being so fucking needy or the magnitude of your desire, but there’s this abyss inside you only him can fill and fuck, you’ve never felt this vulnerable before. Why now? Why him?

His finger presses at your entrance and you let out a quivering breath. A shallow thrust, an easy glide, and he adds another. Your back arches with relief. A flex of his digits, and he’s stroking a soft spot inside your cunt you didn’t know existed. 

With your last shred of strength, you lift your head up. He’s watching you, his boxers pulled down, practiced fingers circling his cock, dragging slowly up and down along the length of it. The orange glow from the streetlights ripples over his skin in amber shades and dark shadows. Your eyes trace the broad span of his chest, his strong, corded neck, the dark crown of his curls. 

The man looks like a fucking god.  

“Jesus,” you whimper, and he chuckles, that wolfish smile tugging at the corner of his lips. The bottom half of his face glints in the semi-darkness, shiny with your slick. Precome dribbling over his knuckles. This is fucking filthy. You revel in it.

Your head drops with a soundless laugh, hips swaying along with his stroking fingers. 

You’re going to lose your mind with how good it feels, you think, but then it gets even worse, or better, when he lowers his thumb to your clit, rubbing smooth circles over it and your chest heaves with a silent plea. 

Soon, a tremor sizzles along your thighs, your release coiling brisk and strong at the center of you. It builds up like electricity, like liquid fire, potent and fast and white-hot.

Your entire body is alight with it, it travels down every nerve-ending and you come undone, you fucking unravel, his name dragging out on your lips. 

He lowers himself to slant his mouth over your cunt and you recoil, but he’s careful, his tongue darting swiftly into you, drinking your release with greedy groans. 

When he’s sure to have it all, he moves back over you, his face out of focus through your glazed eyes, the bulk of him engulfing you, his heady scent filling your lungs. 

“Wanna taste how sweet you are?” he asks, and you nod, sprawled out, boneless, pliant. 

His hand hinges your jaw open, thumb on your bottom lip. His spit rolls down his tongue into your open mouth and his hooded eyes, black with want, flicker down to your throat as you swallow it all. 

“Oh, you’re a good girl,” he marvels, and the praise is like a shockwave, like a second high, it coats your palate and sticks to your skin. You could swear it’s fucking tangible. 

You need more, more of him, more of that, but you’re not sure what’s next. This is uncharted territory. No man has ever prioritized your pleasure over his, before. 

You lift your hips off the mattress, bucking into him, but he frowns.

“If you need time—”

“I need you inside me,” you plead. 

“It’s a lot more than two fingers, baby,” he warns and yes, you can tell, with the heavy weight of his cock thrumming hot and angry against your belly. 

“I can take it.”

He huffs a smile, but it quickly falls when you tip your chin, wrapping his thumb between your lips. Your tongue curls around the pad of it as you suck on it, and you hear him gulp. One all. 

Oh, but he was right, it’s more, much more than two fingers, and his first thrust, however gentle, however shallow, has you squirming around the stretch of him. Your fingernails digging into his arms, he grunts with the effort, pushing in slowly, pulling out, and in again, sweat beading along his spine, restraint tensing his jaw. 

You lift your head, scraping your teeth over that bare patch in his scruffy jaw. 

“I can take it,” you repeat, and he growls, head dropping into the curve of your neck, sinking his sharp teeth into the soft skin at the base of your throat. 

He shoves himself in down to the base, and you cry out, but he doesn’t stop. He moves into you. With deep thorough thrusts, fast-paced and rough, he fills you up, just like you wanted, just like you asked, skin catching around his girth at your entrance. Sucking hard on the tender skin of your neck, sharp little bruises blooming in purple flecks along the column of your throat. 

Knees hitched up high along his sides, you feel sweat breaking on your forehead as you ease into his relentless rhythm, into the impossible size of him, into the pleasure-pain, because this is what you wished for. To feel him tonight. To feel him still tomorrow. And perhaps the day that follows. 

His grunts fan the shell of your ear, sending more slick rushing down your walls. His hand squeezes your breast, his trigger finger and thumb pinching your nipple, merciless, and your cunt starts to flutter along his length, a frantic collapsing of your walls, eyes clenched shut under your pinched brow. 

“Oh god, I’m so close,” you whine, and he straightens up without breaking his rhythm. 

“I wanna see your face when you come on my cock”, he growls, hooking his elbow under your knee, using it for leverage to bear you down on his cock as he picks up the fucking pace. 

His broad hand splayed reverently over your belly, the heel of it is a steady pressure over your clit, and when you come, your whole body quaking with the force of your second relief, he quickly follows, pulling out just in time to spurt thick pearly ropes over your quivering skin. 

“Oh shit, look at you,” he pants, before he collapses on the bed next to you, chest heaving. 

You lie there side by side for a beat, the room around you slowly coming back into focus. That damn dog is still barking, the night traffic a low and distant hum. 

Would it… would it be okay, acceptable, if you gathered his come with your fingers and licked them clean? Could you ask him to fuck your mouth, next? Or should you scamper off the bed to gather your clothes and leave? What’s the common protocol here? No one has ever turned you into this feral, greedy little monster before.  

He clears his throat. Oh fuck, that’s it. He’s gonna politely hint that you should now be leaving the premises. 

“Can you stay the night?”

Your eyes flutter shut. A hindered little sob rattles inside your chest. You address a heartfelt thank you to your lucky star for the midnight cravings that placed you in that corner deli the same night as him. Fuck, you’ll throw one in for that armed robber too.

“Do you want me to stay?” you ask.

He turns to his side to face you, folding his arm and propping his chin in his hand. His soft brown eyes meet yours. And there’s that gentle smile that swells up your heart three sizes.

“Yes, please.”

****

End note: the opening scene is very much inspired by one of the fair scenes in Anchor Stitch, on Ao3. Not for every one, but one of my all-time favourites. Also, this is fanfiction, so I wasn't going to bother with a fucking condom, but I know you're smarter than that.

[sabertoothwalrus]

OK PREFACING WITH IM SORRY IF I ALREADY SENT THIS EXACT ASK BUT MY WIFI KILLED ITSSLF AS I SENT IT SO IDK IF IT ACTUALLY WENT THROUGH. but in case it didn’t . i know youve gotten this countless times in the past because i blog stalked just in case youve mentioned something similar before but i need to know if you have any specific inspirations when you draw exaggerated expressions specifically like these two images of marcille. ive actually cried laughing over this comic and being able to communicate this type of visceral emotion is such an insane skill and ive followed your art for probably close to a decade through various fandoms so watching you develop this style has been fucking awesome and epic. like i cannot articulate how funny these are to me i just need you to understand i look at this comic to inspire me to draw now. the closest comparison i can draw to the feelings they evoke are like those mspaint reaction images and also mspaint tails i included for reference even though you probably know exactly what im talking about anyways but its actually so much harder to do that intentionally when you study art. also i lied you literally don’t even need to answer this i just had to let you know how obsessed i am over your silly comics and now ive written out a whole ass discussion post about it. im sorry if this is weird at all i think my daily prescribed amphetamines r wearing off and i know this is such a dumb specific thing to fixate on and im so sorry if its not something you want to hear about your art. ive just always seen that as an artist this type of expressive stupid silly style is something that comes after a significant amount of time and practice and study and style development despite being “simple” in theory. its just so cool to have worked with your own style so much that youre able to go “off model” from it and still maintain consistency with the rest of the piece. i said it already and im sorry this is actually rendundant now but the ability to communicate such raw emotion somehow decreases from at its height when someone is a beginner artist learning how to proportion and keep a steady line and what looks “normal” but somehow it all comes full circle because taking all that experience and using it to almost return to where you started but in a fully informed and intentional way so you can make choices to draw characters like this when the situation calls for it is just dhcidogakgoshfhw. i think i need to cut myself off or im going to talk in circles im sorry tumblr user sabertoothwalrus i just am fascinated by your style and progress and the years you’ve dedicated to art can be seen in so many places but this is just one that stands out to me specifically.

MMMMM what a fun question!!!

I'm not gonna lie, I think it's just Letting A Drawing Be Bad. I definitely think the people that struggle with this the most are people who have genuinely very pretty art styles, to the point of being kind of perfectionist about it. and to Draw Funny often means Drawing Fast and Weird. Pretty is kind of the antithesis of funny (unless being pretty is the punchline). do drawings that make yourself laugh. tracing/lining funny sketches almost always makes them less funny.

one of my favorite types of humor is when it skews more deadpan, actually. This is one of the reasons I love Adventure Time. minimal expressions and flat line delivery + absurd context is a really good combo. the key to comedy has more to do with contrast! if your drawings are allllll crazy ren & stimpy all the time, they're not funny anymore cause it's just "normal". if it's all subdued UNTIL it's extreme, and vice versa, then it's funny. The reason this comic is so funny is because of the complete lack of any expression. I feel like the one you sent of Marcille shouting "WHAT" is funnier when you know how much she tries to be dainty and feminine and delicate, how much she values her appearance, and how averse she is to "gross" or "weird" things.

something I find really annoying (and this is with comics/animation in general, not the expressions themselves) is when the joke goes on for too long. Like you'll have the joke, then the punchline, and THEN the characters reacting to the punchline??? Like the author didn't trust that their audience would find the joke funny, so they basically drew in a laugh track. But, this is distinct from a character's reaction being the punchline (like how the examples you gave from my Marcille comic are). MY POINT IS sometimes expressions aren't as funny on their own as you think, and context can affect how you feel about it!

as far as inspirations go!

my own face! even if I don't have a mirror, I like making the expressions myself so I can "feel" where the points of tension on my face are, and it gives me a sense of what to exaggerate.

my brother's art, believe it or not! we've been trying to make each other laugh with our drawings since we were kids, and he's really good at it.

ATLA has some great expressions

OK KO has been a reallyyyy good source for me lately. That show is so tailored to my sense of humor and the expressions and line deliveries feel exactly like the kinds of things I'd come up with. The tone, timing, and art style are all really close to the tv show pitch I'm working on, so when I feel like I've "strayed" too much from it (like after drawing a bunch of dungeon meshi, and my art feels tighter and... idk "manga-ier"?) I like to go and watch a couple episodes of OK KO to loosen back up

A lot of things like OG Spongebob, Calvin & Hobbes, the Simpsons, Chowder, etc etc

memes in general. if it makes you laugh, keep it in mind

and lastly, I wouldn't say I ever try to mimic funny expressions I see. Like if I watch a show for inspo, I'm not pausing it to copy specific drawings, I'm just trying to notice patterns and pay attention to what about it I find funny.

talking about being funny is really bizarre and I dunno if it makes it lose some of the magic. Ultimately it's something you can't think about too much, and just gotta go with your gut.

[juyeonszn]

I WANNA TIE THE KNOT

PAIRING lee hyunjae x f!reader

WORD COUNT 1.70k

GENRES fluff ﹒smut

WARNINGS 18+ MINORS DO NOT INTERACT, mature language, established relationship, it escalates pretty fast ngl, fingering but there’s honestly no real foreplay, u tie hyunjae up with ribbon, dry humping, unprotected sex (wrap before u tap besties), cowgirl position, marking lowkey, scratching, hyunjae is a master at pillowtalk, creampie :P

SUMMARY that coquette bow trend on the internet really isn’t for the faint of heart. at least, that’s what you think when you decide to do it with hyunjae.

MORE 😂😂😂🔫 anyway. i actually wrote this in one sitting. in one night. bc i was insatiable for the coquette trend after a Very Passionate discussion with @kimsohn and @zzoguri <3 delusional sapphics 1, 2, and 3 back at it AGAIN! if u noticed, all 3 of us wrote something involving these godforsaken bows. this fic was a long time coming seeing as i wrote it a month ago but i remembered it was valentine’s day so,,,, here u go! pls dont forget to reblog if u enjoyed <3

PERM TAGLIST @winterchimez @maessseongs @itsbeeble @zzoguri @deoboyznet @cloverdaisies @vernyangel @ericlvr @sunwooverse @kimsohn

“Can we try this?”

Hyunjae raises an eyebrow at you when you shove your phone in his face, scooting up higher from where you were laying on his lap. He watches the video with mild amusement. 

“You want to tie a bow around my bicep?” He asks you, as if your request was so far-fetched and out of the ordinary. He had nice arms, he’d look cute with a ribbon wrapped around it. The whole coquette vibe matched well with his pretty face. 

“Yeah, why not? It’s a cute trend. And at least I’m not suggesting the one where I tie your mouth shut,” you rest your cheek on his chest, blinking up at him with hopeful eyes. “Please, Jae? For me?”

It’s a little comical when you physically see the war waging in his head. He wants to decline, thinks the idea of you putting one of your ribbons around his fucking bicep is kind of stupid, but he could never say no to those eyes. Lee Hyunjae was a weak, weak man. 

So he agrees. 

Next thing he knows, you’re filming him flexing with the cute little bow on his arm to post on your social media. He should feel silly, standing still so you can record the perfect shot, but he doesn’t. You look so cute with your tongue poking out of the corner of your mouth, he feels his mind straying from the original plan. 

He wraps his arms around your waist when you go to edit the video, preparing to post it publicly. You squirm as his lips make contact with the sensitive spot below your ear, kissing tenderly and sweetly. “Jaehyun….”

Your warning tone does not dispel his efforts to distract you, the tips of his fingers dipping below the waistband of your sleep shorts. The pads drag along your hip bones while his mouth travels lower on your neck, nipping at the soft skin visible beneath your top. “Yes, my love?”

“Don’t fucking ‘my love’ me right now,” you whine, craning your neck to the side to give him more access to the surface. “You know what you’re doing.”

“Is it working?” Hyunjae teases, thumb applying the slightest amount of pressure on your clothed clit. “Are you gonna let me fuck you with these pretty bows on?”

The groan you release is guttural, because god your boyfriend knew how to turn you on like a damn light switch. Your eyelids flutter shut and your head falls back on his shoulder, phone slipping out of your grasp and onto the floor. His finger moves in tight circles on the bundle of nerves, cupping the rest between the apex of your thighs. Fuck, he was starting to get the better of you. 

“Y-Yes, but on— mmm— on one condition,” you force yourself to stay steeled, keeping your voice as stable as possible. 

“And what is that?” Hyunjae nibbles your earlobe, teeth grazing the shell and sending goosebumps all over the expanse of your skin. His ring finger presses up on your entrance over your dampened underwear, making you clench around nothing. 

Oh he was a dead man. You were going to make him pay. 

“You w-wear the ribbons,” your breathing hitches. “Let me— let me tie you up. I’ll make it worth your while, Jae. P-Promise…”

He halts his motions, like he’s contemplating your words carefully. It’s not like much would change, to be honest. Hyunjae would still be the one in control after a certain point. You just wanted the excuse to bind the smug motherfucker for once. And to keep the bows on him, but around his wrists this time. 

Hyunjae retracts his hands from your shorts to remove his shirt, the heat radiating against your back from his bare torso. Your chest heaves up and down as you watch him climb back to the head of the bed, sweatpants low on his hips. It takes a whole fucking lot of self restraint not to jump his bones then and there, but you manage, straddling his waist so you can tie his wrists to the bed posts with your pink satin ribbon. Your hands are shaky, like your breathing, but he doesn’t point it out, letting you have your fun. 

A low grunt escapes his lips when you pull on the fabric, ensuring it’s tight enough to hold him still but loose enough not to leave a mark. It doesn’t help that he can feel you pulsating through your sleep shorts onto his abdomen, his muscles contracting underneath you. 

You aren’t really sure if you can even keep up your own act, grinding down on his lap like a bitch in heat. It’s embarrassing how easy it is for him to work you up without so much as touching you. You knew if you didn’t stop now, you’d dry hump him until you were a quivering mess, fully clothed and all. Hyunjae knows you’re needy, too, the corner of his lips quirking up. 

“Can we— god— can we just s-skip the foreplay?” You whine into the crook of his neck, hooking your fingers into his sweatpants. “Want you inside me already…”

“Of course, baby, you know I’ll never say no to you,” he coos, mouth finding yours to kiss you slowly, gently, passionately. 

You push his pants and underwear down in one go, using your feet to kick them away so you can undress yourself as fast as possible. Your desperation is too strong to pretend it’s not there, so you give into your own carnal desires. Hyunjae hisses when your cunt hovers over his cock, so slick that it doesn’t take long for him to slip inside completely. 

Every time you have sex with him, you feel so full, the weight of his cock so deep in you that you see stars well before he’s even moved. You support yourself with a hand on each of his shoulders, lips still molded with his as you begin to bounce meticulously. Your moans are muffled with his kiss, practically impaling yourself on his dick. 

Your hips roll experimentally, throwing your head back with a drawn out moan and your nails clawing down his chest when he hits that particular spot inside your pussy. Hyunjae lets out a sound akin to a strangled moan, wanting nothing more than to get his hands all over your body so he can fuck you six ways to Sunday. 

He bends his knees to make it a bit smoother for you, relishing in the way you’re losing yourself to your pleasure without him having to do a single thing. You’re just rutting against him at this point, legs beginning to give out this early. 

“Don’t— mmm— Hyunjae, I can’t— ‘s too much,” your speech is already slurred, words blurring together and making hardly any sense. 

“Let me get out of these, baby,” he tugs at the ribbons. “I’ll fuck you so good, my love. I’ll give you— fuck— what you want.”

You nod frantically, not trusting your voice to say anything remotely coherent. Thankfully, Hyunjae takes note of the lack of strength you currently have, not expecting you to untie the knots on his wrists without struggle. You watch with heavy lids and he pulls harshly, tearing the satin binding him to the bed frame. So much for them being secure…

Your top half collapses into his chest and he grasps at your waist roughly, having half the mind to flip you over and pin you to the mattress. Instead, he presses up into you, slow at first so he can regain his bearings after being tied up, and then he’s bucking up into your pussy like a jackrabbit. 

“Thought you could take me—“ he cuts himself off with a groan. “Thought you could take me all by yourself like a big girl, huh?” 

Whining in response is all you can do, almost on the verge of tears. The sounds of your cunt sucking him in, squelching echoing around the bedroom, are nearly enough to knock you over the edge. The coil in the pit of your stomach stretches more and more, teeth sinking into his collarbone and marking up his supple, sweaty skin like it was your day job. His blunt nails dig into the fat of your hips as a means of grounding himself, holding back from finishing before you because you were his top priority. 

Your nimble fingers sneak between your bodies to massage your oh-so-sensitive clit, ring and middle digits working at double their usual speed. Hyunjae stares at you with hearts in his eyes as you try desperately to get yourself off. He thinks you’re gorgeous every second of every day, but for some reason, you look fucking breathtaking right now. 

“My pretty girl, taking it like a champ,” he grits his teeth. “You love when I fuck you like a pornstar, don’t you?” 

It’s when he connects your lips in a kiss so sweet it puts all the others to shame and so polar-opposite to the filth the two of you were committing, that you cum without warning, velvety walls constricting around his cock. Your head is empty and your vision goes white for a moment, static ringing in your ears. He follows immediately after, moaning into your mouth as he does so. You swallow the noises while your breathing stutters, the sensation of him filling you up with all he can give blindsiding your senses. 

You stay sandwiched together as you both calm down, tired and achy from such strenuous activity. When you stop to think about the cause of these events, you snort until it morphs into an uncontrollable laughter. (Then you wince because Hyunjae’s dick was still inside of you.)

“What’s so funny?” He furrows his eyebrows, making no effort to move. 

“That fucking bow trend led to one of the best orgasms of my life,” you’re still laughing, chin on your hands, which are folded over his chest. “It’s so stupid.”

“The bows are cute. Maybe you should let me try tying you up with them next time.” Hyunjae pecks your forehead, running his fingers through your hair. 

“Trust me,” you giggle, a yawn threatening to push past your lips. “There will definitely be a next time.”

© juyeonszn. do not steal, claim, or repost.