#i'm bored so i'm here

[crazynightmarething]

I am a half Scottish, half Russian writer with the uncanny ability to role-play on Janitor.AI because Character.AI is balls now.

I might post some oneshots based off of any prompts I find on my home page.

I also repost and bully my friend (it's okay, she consents.)

I'm also a minor and under sixteen, so pedos go away.

I also have diagnosed FND and undiagnosed ADHD and Autism, so my brain is special.

Also, the usual DNI, don't interact if you're homophobic (cause I'm aroace) or transphobic (cause I'm trans FtM also it's bad.) or ableist. Or a radqueer and any MAPs or any weird things like that cause I'm horrified of you.

I have books on wattpad, check them out (iwannadie_gay) one is a romance, one is for that FND (he isn't diagnosed but do we need a diagnosis for proof?) rep we all need.

tags!

oneshots- #Bat's oneshots

oc content- #Bat's oc's

[hedgehog-moss]

I always underestimate how easy it can be to entertain a teenager. I have this preconception that small kids find everything fun even mundane stuff while teens are jaded and self-conscious and need elaborate or cool activities, but my teen cousins are visiting this week and when they arrived I was in the greenhouse having an issue with the filter in one of the tanks, so I asked them if they could catch all the fish from one tank and move them to the other tank, and they were delighted to be given little dip nets and sit on the edge of the tank to hunt fish for 20min. As I asked them to do it I was thinking, it’s like those duck-fishing fairground games from when they were toddlers, they’ll probably think it’s a bit cringe, and five minutes into it these jaded teenagers were like, hey it’s like duck fishing at the funfair when we were toddlers, I've missed it, it’s fun :D

[poorly-drawn-mdzs]

Good Morning, World.

[First] Prev <–-> Next

[bingiessm]

WARNING, LONG POST

Hello, welcome to the Bridgerton Season 3 trailer over-analysis corner. I am bingiessm--a film student that needs an outlet right now and wants to practice some film analysis--and am here to bring forth the FIRE/FLAME/CANDLE motif that was all over this trailer and I feel will be a HUGE motif throughout this season for Penelope and Colin (Polin).

So within the Polin context, let's look at each shot where a flame of a candle or lack thereof could represent their romantic interest in one another--and in particular the understanding/recognition of it.

This show is going all out putting candles EVERYWHERE--yes it was actual lighting in regency era, but you don't have to have it in the shot. That is a CHOICE. Also a choice to have it lit or not.

Also, "I burn for you" anyone?

FIRST SHOT: somewhat obvious but considering the context of both the mirror as well as other future shots within this trailer, this flame represents the feelings Penelope has for Colin, that she is well aware of and has held for a long while.

I also just have an inkling that she is seeing herself differently in this moment (feeling something for the first time possibly)--the way Nicola looks feels shocked/contemplative, but not scared as if it might be Whistledown-related.

SECOND SHOT: they are outside, talking about Penelope being a "lost cause." WHY IS THERE AN UNLIT CANDLE IN A MARKET STALL, if not to represent some unrealized feelings on Colin's part? It is also on his side of the frame. This is similar to this next one, both of which I believe are earlier in the season, as this is the start of him "helping" her.

THIRD SHOT: Once again, right there on Colin's side of the frame, YOU DID NOT NEED THIS IN THE FOREGROUND. It was a CHOICE to put a candle there again. They could have not had it, yes the shot would have had less depth and this does give a better sense of the space, placing them in a corner of the room instead of in an open space--but they didn't need to make it another CANDLE.

Colin has not fully recognized his feelings for Penelope yet, though they have always been there, and these two shots demonstrate that lack of understanding/feeling, but one that is soon to come with an unlit candle.

FOURTH SHOT: this, in the timing of the trailer, does come before the third, but RIGHT THERE IS A MIRROR AND CANDLES. It is on Penelope's side of the frame, but Colin, the mirror, and candles are what is in focus. She might be center frame, but we are drawn to the light as well as the contrast in Colin's outfit. This could arguably be Penelope's perspective, her burning feelings as he compliments her--also her future (we all want that mirror scene).

FIFTH SHOT: a HUGE TURNING POINT--a small flame, barely noticeable suddenly burning brighter as we focus on Colin in the background. This is so clearly him realizing his feelings for Penelope. It is also at the midpoint/turning point of the trailer when there is a big tonal shift. There is no more talk of Colin helping Penelope, but a larger focus on his perspective of her (all the gazing), the idea of romance, as well as mention of Debling--his rival. It will be a turning point for Colin when Debling--an actual suitor vying for Penelope's hand--comes into the picture. EDIT: Also going to add in, the candle is in a lantern--though that might have been easier to manage filming-wise--which could also represent him still holding back, especially with Debling in the picture.

SIXTH SHOT: This comes right after we hear Debling say "You look especially beautiful tonight, Miss Featherington." One of the many examples of Colin staring at the two of them, being jealous/worried. But right behind him? Oh, more candles. That they totally didn't need to have in the frame. Also, it doesn't look so much like a candle, but they are placed so close to one another that it looks like more of a flame. The lack of focus adds to this.

THEN WE GET TO THIS FINAL SEQUENCE--which imo is a FANTASY SEQUENCE

SEVENTH SHOT: Colin is coming from the darkness, with an unseen flame flickering directly behind him (small ember that he can't see).

EIGHTH SHOT: Penelope, also coming out of the dark, but with another flame on (what in this sequence is) her side of the frame. Though it is somewhat hidden behind these bars--some rough patches/guarded emotions? (probably depends on what point this is in the series).

NINTH SHOT: Penelope, already in the light of these fires, Colin entering with the large burning flame in the background covered by some growth.

TENTH SHOT: Penelope, lit by these fires, breathing heavily. A very clear close-up with so much blur to focus just on her face.

ELEVENTH SHOT: Colin, with a flickering/burning flame literally right behind him, lit by these other fires, staring right at Penelope.

So this whole sequence, in my opinion, is a dream sequence. But, in terms of this flame representation, this is Colin realizing he has feelings for Penelope. We see the flickering from the unseen light behind him in the seventh shot build and become the flame right behind him in the eleventh. It feels so obviously representative of the season. (The fog also seems to lift for him in this sequence, he comes out of the fog to Penelope--I could say more about this sequence and why I do think it is Colin's dream, mostly due to costuming and lighting and the fog as well) ______________________

And thus comes to a close my analysis/evidence of the FLAME/FIRE motif between Polin. I am cutting myself off here because this is a lot and I have an actual film shoot to plan. Thank you if you actually read all this. I love film analysis and Bridgerton is so fun and a stress reliever for me, so this was fun for me to write out.

Anyway, if any more of this fire/flame stuff comes up I might add on later.

TLDR: they are using fire and candles to represent the burning love between these two.

[teaboot]

Theoretically I enjoy living with people but unfortunately when you tell people you're a neuroatypical raccoon with twelve ongoing hobbies, completely random work hours, and a series of admittedly unusual lifelong compulsions they tend to hear that and go "oh haha you're trying to be Quirky okay" and then save their ten million questions and concerns for when you can't run away

[starrysharks]

hotel manager

[doodle17]

Future Raz and Lili archetypes wooooo

(In order from left to right)

Agent R: Raz's agent persona! Very over the top comic book type of guy. A little too courageous, and dives head first into situations. Doesn't understand jokes, tends to take them too literally. If you tell him to jump off a bridge because a higher up told him too, he'll do it without hesitation.

???: Yeah, no one knows who this guy is supposed to represent. He was Raz's first ever archetype, and he never really changed. (Personality wise) biggest head out of everyone, figuratively and literally (need to fit those big ass eyes)

Teacher: Very articulate strategic, and organized, it's Raz's teacher archetype! He showed up once Raz started counseling at Whispering Rock and taking on teaching interns. Definitely the most stressed out archetype of the bunch.

Ring Master: Raz's circus themed archetype! Big and dramatic, very theatrical expressions and personality. Acts as if he's always in front of an audience. He can even twist and stretch his paper without tearing, making him a great acrobat.

Sophisticate: This archetype represents Lili's more... Polite side. The perfect girl/daughter/agent that's very well behaved and professional. Usually the "facade" Lili puts up at business parties or big meetings to be a good example.

Loose Canon: The name pretty much explains it, but this archetype is for Lili's fiery attitude, especially on missions. Good at combat, likes to set things on fire, despite being made of paper, but that won't stop her. Arson...

Hopeless Romantic: Come on. She may not act like it, but we all know deep down Lili is a hopeless romantic, at least to some extent. That's why this archetype shows up. Boy and girl crazy, very sweet, flirty and so stinkin cute. Lili's least favorite Archetype, but she's definitely the favorite to some of Lili's co-workers!

[blackkatdraws2]

This little NPC is lost. The Narrator [Black] has come to guide her back to where she needs to be. [Blank Scripts AU]

I imagine Black would be a lot more tolerant toward his NPCs since they're basically just the Dungeons spawns, and by extension, his own creations.

[If you're familiar with manhwas / manhuas that features the dungeon / system genre, you'd be able to understand this AU a lot easier. The majority of my inspiration for worldbuilding came from those specific genres.]

[NOTE: 'Dungeon' is just another term for the Parable. Technically, Black owns a Dungeon and the Parable is just a small part of it. The Dungeon itself is much, much larger.]

For context, the comic below references this post about the Dungeon's children/guard dogs.

[They're more like the immune system since all they do is make sure the (body) is safe.]

[The reason the Narrator [Black] considers them his children is that the Dungeon is feeding off his energy and in turn shares the 'nutrients' to the monsters it produces, which transforms them into an image that resembles his power.]

And the old man below is Joseph!

Joseph is NOT AN NPC! He is a person who exists outside of the Dungeon!

[There are two separate 'worlds' for this AU. Inside the Dungeon (where most of the game-like stuff is happening) and the world outside (pretty much their normal world.)]

[There is a secret third world, and that's our world. Our reality.]

These characters are not actually important or anything, I just made them to make the AU feel more lively. To make a world that exists, you know?

When the Narrator [Black] first established himself in their world, he found a growing problem with homelessness. Not understanding human norms or why this has become a problem in the first place, he offers (tricks) them into working for him as janitors for the Dungeon and they accept for the money.

Most of them left after they got paid, but Joseph was one of the people who stayed. He doesn't have anywhere else to go and has no ambitions in life. He just wishes to live a peaceful life with food and a roof over his head.

Joseph defaults to referring to the Narrator [Black] with feminine terms due to his appearance despite his voice. The Narrator [Black] is not the type to care for such terms anyway so he doesn't care how other people refer to him as long as there's respect.

--------------

This post focuses more on the worldbuilding and background aspects of the AU! There are a lot more in store for the Blank Scripts AU, and I want to explore more on how the characters might interact with their surroundings and how this would work to make a world that makes sense.

It would be so cool if people made self-inserts or OCs for my AU actually. I'd love to see how you guys would work with my stuff. Play around with it like a barbie world for your little barbie dolls. Be canon compliant, be canon divergent, who cares, have fun.

[the-maw-consumes]

“Have you…ever been in love?” 

Steve blinked. That…wasn’t what he was expecting. Still, there’s only one definitive answer. 

“Yep,” he answers, popping the ‘p’. “Nancy Wheeler. First semester, senior year.” His mimicked gunshot doesn’t even cover how that felt, but he does it anyway. 

“Oh my god,” he hears from the other side, “She’s such a priss.”

Nancy Wheeler is a lot of things; priss, she is not. And maybe she doesn’t need him to defend her, but, still, he hums, “Turns out, not really.” 

Robin scoffs as if that’s unbelievable, and maybe it could be. Then, she asks, “Are you still in love with Nancy?”

No, is the first thought in his mind. And, well, it’s strange to think his answer would’ve been different at the beginning of the year, as much as he’d told himself he’d moved on back then. But, the months in between have just made him realize that how he feels for her has changed a lot since October. He loves her, of course he does, and he’ll never really get over her. But, he doesn’t think he’ll ever love her like he did again.

So, after a moment, he says, “No.”

Then, of course, she asks the question he’s been avoiding thinking about: “Why not?” 

There’s a lot of answers to that question, but Steve…well, he knows the one that’s most responsible, even if it’s been thrown to the back of his mind. He’s never really brought it to the light of day before—if bathroom lights could be called that. But there’s just something about this moment, sitting with Robin on a probably disgusting bathroom floor with his mind still kinda floating, that makes him feel like it’s safe here. They just went through hell—there wasn’t a better time, right?

“I think,” he starts, “it’s because I found someone who’s a little better for me.” He huffs a laugh, “It’s funny, you know? Ever since Dustin got home, he’s been saying, like, you gotta find your Suzie, you gotta find your Suzie.” 

“Wait, who’s Suzie?”

“It’s some girl from camp, I guess his girlfriend. To be honest with you, I'm not 100% sure she's even real.” Steve shakes his head and kinda wishes he’d thought up a better analogy. “But that’s not really the point. Uh, the point is…I think I already found my Suzie. You know—this person is someone I didn’t even talk to in school, and I don’t know why. Maybe Tommy H. would’ve made fun of me, or I wouldn’t be…prom king. It’s stupid.” He sighs. “I mean, Dustin’s right, it’s all a bunch of bullshit anyways. I should’ve been hanging out with this person the whole time. I wish I did. I mean, they’re so cool and hilarious—I feel like, the past few months, I’ve laughed harder than I have in a long time. And they’re smart, and a dork, but so passionate—you know, they can talk on and on about so many things, it’s amazing.” Captivating, really, but the second it takes to reminisce about those moments are enough to make him realize he’s been rambling for like, minutes, and he’s gotta stop at some point. So, “They’re honestly unlike anyone I’ve ever even met before.”

Steve smiles to himself for a second, his head still feeling a little flighty—but the silence keeps dragging on beyond that. The smile falls a bit, and Steve really hopes he was careful enough with his words. He really hopes he can trust Robin if he wasn’t. 

“Robin?” Steve taps on the stall wall between them, the sound echoing through the bathroom. When the silence just gets heavier, it’s with genuine concern that he asks, “Robin, did just OD in there?” 

“No.” He breathes a sigh of relief, then hears it echoed, though weighted, from the other side. “I…am still alive.” 

Still, there’s something so heavy in her tone, and a visual confirmation that she is alive becomes essential for him. So, shuffling over to grip the wall between them, Steve slides underneath the stall and lands a little to the left of where she sits, alive and breathing. She smiles a bit.

“The floor’s disgusting.” He huffs and glances down at the sailor uniform that has (probably) seen better. “Yeah, well. I already got a bunch of blood and puke on my shirt, so…” 

She breathes a bit of a laugh, and, at the very least, some of the heaviness is gone. Alive and breathing. 

“What do you think?” he asks her, almost intentionally vague. 

“About?”

“Am I in love with Nancy Wheeler?” 

“No,” she grants. Then, very decidedly, “But, I think you’re on drugs and not thinking clearly.” 

And the look she gives him feels too significant, too weighted, and he really, really hopes he was careful because the possibility he wasn’t is starting to loom over him. He can’t argue that his mind was in stellar shape a few minutes ago, and everything she’s done since then is just working to form a pit of dread in his stomach. It feels like wishful thinking to consider that nothing she’s said has been outwardly accusing, but it’s still there.  

Why did he have to say so much? 

No, no, right. The drugs. Robin may be right, he probably wasn’t thinking clearly. And, damn it, this may not be entirely his fault but he does not want the repercussions for it. 

“Well, I think I’m thinking pretty clearly now.” Wishful thinking, it is. 

“You’re not.” Somehow, her expression feels like an echo of his own worries. “Steve,” she starts, and the dread gets worse, “you’re not thinking clearly about this. Look, you don’t even know this person—” Wait, what? “and if you did know them, like, really know them—I don’t think you’d even want to be their friend.” 

Steve blinks. That—That’s what she was talking about? How did she even know who he was talking about? He shakes his head, honestly baffled. “Wait, what? That’s not true.” 

She speaks again before he could ask what about everything he said was so revealing, “Listen to me, Steve. It’s shocked me to my core, but I like you—” Harsh. “I really like you. But I’m not like your other friends. And I’m not like Nancy Wheeler.” 

Well, Steve thought he was thinking clearly, but he is lost. Somehow, this conversation has escaped him within the span of two seconds, and the moment feels wrong to ask how they got here. But, if he’s going to take any guess at her meaning, he much prefers thinking she’s…supportive, maybe. Indifferent, even. So, he doesn’t think of the ball of dread winding through his chest, and he tries to follow what Robin may be saying. “Robin, that’s exactly why I like you.” 

And that is the truth, really. He’s never had a friend like her, if they could be considered friends. This summer has carved a small space for her in Steve’s heart, and the past few days have done numbers on expanding that space. She’s funny and smart and definitely not like Nancy Wheeler, wherever that came from. And he really doesn’t want to lose her, not right now. If they get out of this, he wants to be her friend. He wants to know her better than ice cream shifts can tell him. 

Robin scoffs lightly as if that’s not what she needed to believe him. “Do you remember what I said about Click’s class? About me being jealous and, like, obsessed?”

“Yeah?” He nods slightly. 

“It isn’t because I had a crush on you,” she says, slowly, as if a plea to make him understand. He doesn’t. “It’s because…” she continues, hesitant in her words, and he desperately wants to know how to make this better because his heart breaks for the expression she has. Then, quickly, like ripping off a bandaid, “...she wouldn’t stop staring at you.” 

He blinks. “Mrs. Click?” 

A breath of a laugh at that, but her eyes plant themselves on the wall. She clarifies, almost resigned, “Tammy Thompson. I wanted her to look at me. But…she couldn’t pull her eyes away from you and your stupid hair.” She looks back at him, with watery eyes. “And I didn’t understand because you would get bagel crumbs all over the floor and you would ask dumb questions and you were a douchebag!” She shakes her head lightly and he really is trying to understand. “And…And you didn’t even like her, and I would go home and just…scream into my pillow.”

Steve stares for a second, trying to will his brain back into place, his thoughts to something clear, because something is being said here, something important and—

The puzzle pieces click together.

Oh. 

Oh!

“Holy shit.” 

“Holy shit,” she echoes.

Unwillingly, Steve laughs. A bark of laughter just bursting out of him because, jesus-–this entire situation is so botched. But her face falls and he immediately stops in a wave of guilt and throws himself at reassuring her. “No, no, that’s not what I meant! I didn’t mean to do that.” 

Robin looks away again, shrugs. “It’s fine.”

No, that won’t do. Steve shakes his head, vehemently, and taps her hand. “No, Robin, seriously—there’s been a huge misunderstanding here. I don’t have a crush on you.”

That makes her look back at him, eyebrows furrowed “What?”

“I think you’re awesome, Robin, and super cool and smart. I really want to be friends with you, seriously. But I wasn’t talking about you.” And Steve could stop there, but she just revealed…herself to him and he owes it to her to do the same. He knows how terrifying that is. “I was— Jesus.” He laughs again, brushes a hand down his face. And, still, knowing about her doesn’t make it any less terrifying to say it out loud. “I was talking about, um,” Like a bandaid, right? “...Eddie Munson.”

Her eyebrows seem to go to her hairline, but he celebrates the light that’s back in her eyes. “What.”

“Yeah, we uh—” There’s warmth in his cheeks. This is the first time he’s saying any of this out loud. “I don’t know how it happened, but we ran into each other one day and just started talking and…like, hit it off, super surprisingly. It’s crazy, he wasn’t even on my radar back then and now he’s—” Steve cuts himself off before he can start rambling again, rubs the back of his neck. “I really like him. I was talking about him.”

Robin grins. “Holy shit.” She shakes her head, repeats, “Holy. Shit,” enunciating, as if for good measure. He matches her grin.

“I had no idea what you were talking about.” He explains, “I mean, maybe I don’t really know Eddie, but how do you know that? And then you started talking about Mrs. Click’s…” he mimics an explosion in his head. “I thought the drugs completely fried my brain.” 

She laughs, finally, her head falling back onto the wall, and he can’t help but follow her lead. It’s a good few moments before they stop, Robin suddenly sobering to hold a hand, saying “Wait, wait, Eddie Munson? You’re hanging out with drug dealer, total nerd, band dweeb Eddie Munson?” 

“Hey, hey, I didn’t say you could criticize my taste, Miss Tammy Thompson.” 

She scoffs, sounding just a bit offended, “What’s wrong with Tammy?”

“I mean, she’s cute and all but she’s a total dud.” 

“She is not!”

. . .

[evilkaeya]

domestic skk

[roukabi]

I feel like when it comes to the Dusthide debate, a lot of people seem to misinterpret the main point of Ancients as both a game element and a product.

A big part of Flight Rising is dress-up. While users can argue on what the sole draw of FR is (dragons themselves, breeding, the Dominance system, etc), it's generally agreed that the dress-up aspect is one with a lot of care and resources put into it, and is therefore very important to site gameplay. Dress-up keeps getting updated with new apparel, and if there is to be a new dragon breed, it needs every piece of apparel re-drawn on it. This takes time. A lot of time. Gaps between dragons (now known as Moderns) stretch for years at a time.

Ancients were initially created as a way to fill in these time gaps between Moderns, and the easiest way to do that was to release dragons without apparel. However, this is a game that puts a lot of emphasis on dragon dress-up. Imagine if Obelisks were released without any coded apparel. You'd just have a naked dragon missing a huge element of the game, and for most players, there's no fun in that.

This is where the second point of Ancients comes in: because the appeal of clothing is gone, there has to be some kind of compromise. So... if Ancients can't wear apparel, then they are no longer restrained by the requirements for apparel (1 head/4 legs/2 wings)...

which means that they can break the modern mold freely! You can have a dragon with no legs, or six. Or with two heads, or no head. And now that you don't have to worry about apparel clipping, the tertiary genes can go wild! There is room for customization that apparel can't fulfill - you could give it extra wings, or a jellyfish head, or giant tree horns, or you could give it nothing at all as tertiary genes are optional, and it wouldn't matter because there's no apparel to be drawn around it!

Ancients are supposed to be a trade-off. There's no selling point to a dragon without clothing on the Dragons With Clothing Game, but there is a selling point to a dragon with, say, 13 legs, no wings and no tail. It doesn't wear apparel, because it physically can't, and it makes use of this function in creative ways. The inability to wear apparel is justified by the Ancient's unique proportions.

And this is where the criticisms for Dusthides and other 'basic' Ancients stems from: if your Ancient dragon is just the 1 head/4 legs/2 wings setup, then is it really an Ancient or a Modern you can't dress up? You could have the wildest, gaudiest, 15-limb tertiary gene on a Dusthide and it wouldn't matter, because tertiaries are optional and aren't a permanent part of the dragon that would inhibit the usage of apparel.

If a dragon doesn't have a justifiable reason to not wear apparel, then there's no reason for it being an Ancient.

No amount of linebreaking tertiaries will be able to hide the fact that some dragons seem to be created only for the first, initial purpose: just to tide people over until a better, 'real' dragon is created.

And that's just disappointing.

[buglaur-cc]

cillian set

harrington jacket: 3 swatches, 4.1k polys

sweater vest: 3 swatches, 4k polys

vest and jacket: 5 swatches, 4.6k polys

flat cap: 16 swatches (credit to fableroot), 2.6k polys

tou: no paywalls or ads, do whatever you want :) if you find issues shoot me an ask on my main blog @buglaur, not this one!!

download simsfileshare (merged or separated) 

[purplesoup-lad-le]

sometimes i wonder if one of those couple name generators would do better than what we've come up with.

I don't have to wonde anymore

[wlwitchofwhitestone]

I like the implication that Imogen always knew it would be okay to kiss Laudna. Like the specification that she can't tell *anymore* if it's okay, she can't tell if anything changed - I love the layers happening here. I don't think Laudna ever had the thought "I wish Imogen would kiss me." She's been very clear that the part of her brain that might have once entertained the idea has been off for a long time. If she had ever thought that, I think Imogen would've sprung by now. But the lack of active want isn't scary anymore. It's enough that she was okay with it once. Imogen knows Laudna doesn't work the way others do. She's known for a long time. But a lot has changed and she can't make assumptions any more than she can read thoughts directly. So for the first time perhaps in their entire relationship, they have to communicate properly. And what a reward.

[johnslittlespoon]

hii happy pride month, have a little 'you're a dog (i'm your man)' chapter four snippet as an apology for radio silence <33

“Did I wake you?” Gale asks, glancing at John apologetically, but John looks up from his effort to avoid muddy puddles to shake his head. Gale supposes it’s a silly question; John sleeps like a rock, dead to disturbances made by anything other than his own brain.

“Just my sixth sense,” John says, shrugging and shooting him a small smile. Gale snorts.

“You got a radar for me?” He teases, and John smiles wider, eyes crinkling.

“Built in,” he answers matter–of–factly, raising a hand and making a fist over the center of his chest before dropping it, returning his vigilant gaze to the uneven ground. Gale stares for a moment longer, floored not for the first time by John’s apparent obliviousness to the weight of his sentimentality.

Even knowing John how he does, it’s always unexpected coming from someone who a stranger might assume to be brazen and surface–level; John’s loud mouth and wandering hands do him no favours in that regard.

But Gale does know John, like an extension of himself half the time, and still he manages to render him speechless. The way his heart flutters as the sentiment hangs in the air makes Gale want to reach down his throat and squeeze it until it never beats again.

[foundfamilywhump]

truly i don't care who thinks it's stupid or boring or "doesn't count" or can't be as intense as what they think of as "real whump" or whatever else, whump with comfort and recovery and caretaker(s) is always going to be my style of whump and i'm gonna have a blast vibing with people who also enjoy that