#love the sight and love the sounds | Explore Tumblr Posts and Blogs

desognthinking · 3 months

Text

WIP... Wednesday

Tagged by @willowedhepatica (thanks!) I'm so sorry that this comes so late 😭 life got in the way. Not sure who i can tag who has things in the works they can share, but please Please know if anyone has any snippets or sneak peaks I would love to see them and yell about them with you pleaseee

Not strictly a WIP but here’s just under 3.5k of an oldish experimental AU inspired by this post :’) in this one they’re… *checks notes*, ah, hmm. Chimerical tomb guardians carved from stone.

-----

It’s a wickedly stormy day when a procession scores up the hill through beating rain and blowing dust, but there’s no time to waste. The wedding will not wait, and on its occasion, as a symbol of the new ties between the families of the bride and the groom, there is a terrible, beautiful new guardian grotesque to be received by the Silva tombhouse from the Salviuses.

It is surely mounted on the property sometime during the silver-black onslaught of sky upon earth, but Beatrice cannot clearly see it through the rain and the maze of trees that still separates the Silvas from their neighbors. The families on this hill are not quite rich enough to expand at the pace of the wealthiest among them, who slice and raze to add to their already broad campuses of tombs. Instead, in this part of town, modest, often unmatching clusters dwell amongst the wildflowers and long-lived trees sprayed across the land.

Beatrice likes the nature. Her perch is kept cool by the damp and dewy mornings, birdsong flickering from above and around. In the filtered haze of heat and light there is some measure of peace too – here, there is less to fight over, and fewer lines of tension between the families. Hidden by farther slopes, there are fewer threats from beyond. And, overshadowed by the lower circuit of large gated tombhouses, there are far milder spoils for aspiring robbers.

It’s from one of these large inner-city tombhouses that the new stone protector is said to arrive. The Salviuses have money spilling out their hands and down their wrists. It’s said, it’s said, it’s said – it’s whispered in the wind that carries the falling leaves from vine to vane, so easy for Beatrice to stretch up and put an ear to. The pollen clouds dispersed over grass in shapes spelling disruption and newcomer. It’s gossiped over pages in the library, first with smug nods and just you wait and see, dear, we’re never wrong from the grandfathers and grandmothers as Beatrice pores through the volumes in the upper shelves, precious books pressed so high and so far back that they’re backed into both wall and ceiling.

Then, inevitably, it carries through the air in the giggles and hushed gasps of the living members of this family, hands curling over yarn and needle as the youngest children breathlessly run and hide behind the walls and in the shadowy pockets of the tombhouse. The Great-great-great Grandmother who had been the first to break the news is mollified by the confirmation, and generously refuses to gloat.

A Silva girl is marrying a Salvius boy, and the Salviuses are pledging a guardian – the spirits know they have too many anyway, but still, a Salvius guardian – to this hill.

“You’ve got to go over and see what’s going on,” Beatrice is instructed one morning, in no uncertain terms. They’re going over integration by partial fractions on the little platform at the back that looks down over the mills: her, Great-Grandfather, and Lilith, who’s slunk over yet again from the Villaumbrosias’ for some ‘peace and quiet’, and also because Beatrice’s family likes her for some mysterious reason. They pretend it’s because they need the extra pair – or, well, pairs, in Lilith’s case – of eyes. The massive, foreboding, Villaumbrosia affair the next hill over already boasts so many fearsome hands on deck, and they only have one Beatrice.

Great-grandfather is gentle and teasing about it; Beatrice (and Lilith, although she will never admit it) is his favorite captive audience.

Of course, it’s easy to treat her as one of their own on mornings like this — quiet summer days when she’s stripped of silica and scale, descended from her weatherworn perch. Devoid of the coarse matter of rock and metal twisted into hungry, flame-spitting fangs, and instead merely a soft-spoken spirit in a youthful skin. When the great grandfathers and mothers and their grandfathers and grandmothers look at her and see dark, almost-human eyes and loosely-bound hair in a bun above her shoulders.

And when Beatrice walks Lilith out and across the rocky way that leads home, it’s easy for them to wave the two of them off. After all, Lilith is just a young woman with black waves she tucks carefully behind her ears and a handsome, slanting jaw that could almost pass as being real; as being pressed and molded with muscle and mandible and a fragile, mycelial network of vasculature and nerves. Not another delicate illusion that would slip and shatter at the first sign of danger, revealing in a flash the grotesque ugliness within.

There hasn’t been an attack in a while. When there hasn’t been an attack in a while Beatrice thinks the family tends to forget where exactly they hold court.

(Here, cradled close enough within these hills to walk back to where home once was. Children’s handprints on the threshold, coal scribbles on the floor. Walls still perfused with the fragrance and vapor of hot homemade stew.)

This is a graveyard. This is a necropolis, a city of the dead. It slithers amongst the roots of the living but does not make a home of it. In its palm lies the fragile in-between, the sickly sweet intersection where the living and the after-dead mingle like the meeting of two clouds. Within its grounds the family is wont to forget the ruthlessness that’s sometimes needed to keep it in balance.

Once they depart, Beatrice and Lilith’s guises fall away. Invisible to a still-beating heart, two terrible chimeras gouge skid-marks through the dirt to get to the Villaumbrosia citadel before its guests arrive at ten-thirty. Miraculously, only twice during the entire trip does Lilith half-heartedly threaten to snap Beatrice’s tail off.

They make it there just in time. Beatrice watches as Lilith sweeps her way up the manicured moss columns and melds, in a quick thrash, with the magnificent dark-gray creature of stone that lunges out from the south turret. Frozen like this: mouth curled in a snarl and sharp wings flung out – in mockery, in bombast, in warning; Lilith at her most vindictive and most frightening, the elaborate Villaumbrosia insignia branded hot and painful down her side.

Beatrice knows it hurts, of course. Perhaps less so like this but certainly in the flesh, where it is always red and raw like the day it was carved down Lilith’s ribs in the workshop. Preserved unchanging in the meat as it is preserved forever in the rock. Lilith winces, when she thinks the others aren’t looking, but Beatrice knows. Camila might say something – probably does say something, but Beatrice doesn’t. She understands too well, and after all, what can they do?

After all, this is their work. This is life: whatever is asked of them. For Lilith today, it is to be a showpiece for guests at a bloated, overwrought tea ceremony. Broadly, it is watchman, and protector, and advocate. And at times like these, when there is a stir in the tangled ecosystem of bloodlines and their guardian-creatures, Beatrice is called upon to be an ambassador.

So, the day after the storm, Beatrice leaves her perch to seek out the Silvas. She glides down from the still-slippery stone, and lands softly on the wet earth, scale meeting fur meeting soil and humid air.

In her hands – her metaphorical hands – she clasps fistfuls of string that stretch, infinitely thin, to every corner of her tombhouse. She flexes each one and puts it between her teeth as she steps over the threshold and into the trees, testing their elasticity and tensile strength. If there is to be a twang, however minute, she must feel it. There is only one of her at home.

As she approaches the Silva tombhouse the air around her shifts and seems to solidify into a medium both probing and warning. Beatrice stills, allowing the woods to see her and course through her calmness. They know her, of course, and she waits for them to pass on the message to the newest guardian, still incredibly sensitive to the prickle of unfamiliar movement and sound.

Presently, physically, the world exhales.

Beatrice cautiously continues forward, until the treeline peels away to reveal the Silva tombhouse.

Tombhouse, as it goes, is a misnomer – a tombhouse is a complex rather than a single shell. It is no single cell for a coffin, but a collection of connected mausoleums and courtyards and passageways and corners and gates, lifted high and tunneled low. And as befitting a clan of esteemed craftsmen, the Silva tombhouse is a harmonious set spiraling outwards in organic whorls. Its walls are scraped clean and brushed beige, curled and leafed and folded in at the edges. Delicate and pretty in its strength in a way Beatrice’s own plain, stoic little set of residences could never be.

At the top of the central mausoleum, bounded by a parapet, rests a flat platform. On that ledge sits the new grotesque.

Ink-black stone peeks curiously down at Beatrice.

Immediately it is clear that she is like nothing Beatrice has ever seen before. Yes, as is tradition she is joined and jawed together piecemeal from various symbolic beasts, but this composition and style is unique.

She’s simultaneously entirely unlike both the typical statues produced by-the-dozen in the workshops, and the specially commissioned sculptures like Beatrice herself. This guardian is a patchwork of shapes and textures Beatrice has only ever seen in the watercolor sketches of her tombhouse’s own library as belonging to exotic creatures from faraway places. Still other elements escape her recognition and description, and everything meshes deftly at smooth, near-invisible seams.

Perhaps this isn’t surprising in a Salvius guardian – Jillian’s own commission too, it’s rumored. No less should be expected from someone the alchemists and scientists alike shy away from. Jillian Salvius considers herself a traveler, and a collector, and a dabbler, and Beatrice hears that the spokes of her gates are gnarled and carved in strange patterns from foreign lands.

The guardian shifts and cocks her head curiously, and Beatrice pulls herself together sharply.

“Hi,” the creature says. “You must be the neighbor from the east.”

Beatrice snaps back into polite, exceedingly proper posture. She nods, dipping forward in a movement resembling a bow. It makes the high-perched creature giggle, gauzy like air.

“Good morning,” she replies. “My name is Beatrice, and you’re right. How did you know?”

The guardian doesn’t answer. She separates from her stone in a miasma of color, swoops down noisily, and lands, a little clumsily, on a lower ledge. “Two heads, huh?” she says, thoughtfully. “Kinda perfect for the scholars.”

It’s not said judgmentally; more so with a further curious slant of her head, observational and light. Beatrice feels strange and semisolid all over.

She doesn’t correct the new guardian; tell her that no, she hadn’t actually been crafted or blessed for this bloodline, only gifted to them just one generation ago. And gifted rather carelessly, at that; an obligatory token presented upon the death of the benefactor’s tutor.

Before that her two heads were designed not as a tribute to wisdom or a paean to collaboration, but in order to stare proudly over an excessive estate, stretching out in opposite directions over land too vast for merely one head to behold. An arrogant symbol of not just physical, but political reach. She was a status symbol for powerful people – two-faced might be a better descriptor.

Beatrice has always considered this with some bitterness, but today, she oddly feels no urge to self-flagellate. She feels, suspiciously, nothing at all; a fuzzy blank.

Instead, in response to the guardian, Beatrice blinks. Both of her heads do. They crane and incline together, like long-necked birds bending to convene. She feels sharp ears on each one twitch and flutter.

The creature laughs again. She descends further to the porch, then approaches Beatrice slowly. “I’m Ava,” she introduces herself, finally. Shyly. “It’s nice to meet you.”

“Ava,” Beatrice repeats, careful and hushed. She parses it over and traces it as though threading a needle – how the strange, simple symmetry of the word, the hypnotic up-down-up of A-V-A, doesn't begin to encompass the entity approaching her. On cue, Ava does a funny, shuddery motion that cascades down her whole form.

Beatrice, leaning her heads over old tomes like water jugs tipped over a parched tongue, dreams of fantastical things, from places that often sound even more surreal. And yet before her now stands the most peculiar thing alive yet, that defies everything she’s known and seen.

Yes, clearer now before her eyes, Ava is a patchwork of impossible parts.

Up close Beatrice can see she’s also a riverbed of illusory things. Small divots seem to scoop themselves out, sink deep, and then ripple back up into the surface of her body. Bubbling, and collapsing, and reforming, like springs of molten mother-of-pearl. Each little cavity shimmers like roughened gemstones: a gasping, dark blue, like well water under the sun; or a moody green like the light-starved undershade in a storm; or a thawing amber that Beatrice cannot even describe except that it looks like the smell of hot bread with a sweet cream core, tempting and steaming.

“Beatrice,” Ava echoes, her eyes gleaming and dark. They bubble expressively and endlessly deep. Gazing at Beatrice, straight, still and pondering. Searching.

Silence stretches until it doesn’t.

Something snaps – a bird on a twig above – and Ava shakes herself awake. “Where’s my manners!” she exclaims suddenly. “Come on,” she swishes around gamely. Beatrice, bewildered, sneezes.

She’s learning quickly that when Ava laughs, the dense tassel-like feathers on the back rise in delighted reflex and splay apart.

The two of them slip between trees into a little glade, buoyed by her relentless charm and a thrumming current of something else, in the undertow.

Once upon a time, this was a courtyard, although now that the Silva tombhouse has unfurled in the opposite direction it’s been allowed to tastefully overgrow into its former self, mossy and scruffy. Old pieces of wall and pillars still cordon off one side; Beatrice resists the temptation to bound about and explore, and instead parks herself primly at a corner, not fidgeting.

Ava has no such compunctions. She wriggles herself into a comfortable position on a large boulder. Her weapon of a tail dangles down and bats at the ground idly, uprooting chunks of grass.

“How are you finding it here?” Beatrice asks, trying very hard to be normal.

“Honestly? I don’t know yet,” Ava grins, “and you’re the first one of us I’ve met here.”

She pauses, cocks her head to one side so strikingly. The gesture almost looks human. “You know, my new folks think very highly of you,” She looks appraisingly over Beatrice with an indecipherable expression.

Beatrice feels quite hot. “Mine are curious about you.”

There is a shift in the air as Ava straightens abruptly. Her tail stills. “What will you tell them?”

Beatrice bites her tongues, undecided. She’d meant to think of it later, to phrase and rephrase and turn the words over and over in her mouth on the way back to get them right. It takes a while, usually, to distill her thoughts precisely into words that balance both insinuation and tone, and half the time it ends up all too stilted and formal anyway. How people seem to be able to do that, off the cuff – it’s confusing. Far easier, Beatrice thinks, to sit quietly beside and let such people do the talking.

Especially now that this seems, somehow, to be important to Ava. And especially now that she finds she doesn’t quite have any of the words.

If Beatrice had hands she would wring them. She thinks, distantly, of what someone else wiser than her might say. “They’ll agree with me that you’re certainly unique,” she starts, and it’s like Shannon’s talking through her, stately and gentle. Bold, like Mary.

She adds, in an abrupt impulse that’s, alarmingly, all Beatrice, “I do think you’ll fit in well here.”

“Oh,” Ava seems surprised. Her tail, heretofore curled tightly on the boulder, relaxes and turns a loose arc in the air, hacking at the grass. “Thanks,” she looks at Beatrice, and inhales sharply, although not unkindly.

Pauses. Sheepishly, she adds, “I’ve heard some people, uh, calling me devilish and other things, you see. But you know, it’s fine. Whatever.”

Beatrice grimaces involuntarily, then schools her expression back into an empathetic nod. It’s not unexpected. There’s bound to be a procession of curious gawkers and onlookers filing through to try and catch a glimpse of something hailing from the elusive Salviuses. Beartice knows the type: traditional, gossipy and busybodies.

They’ll take one look up the roof and gasp in disbelief or disgust, probably. Sneer up at the twisted, unnatural proportions, if they’re brave. Ava runs too close to the precipice of their diluted tolerance.

“The Silvas are good people. They’ll stand by you.” Beatrice isn’t sure if it helps, but it’s true. The households here are the little silver lining of this part of town, otherwise ragged and out of the way and a little discordant in its hues.

Ava exhales gently. Beatrice thinks there’s a small smile there. “I know.”

“It doesn’t make it easier.”

“Yeah. I know,” repeats Ava, her eyes shining, and it’s almost like she really does.

Beatrice understands. They did it to her, too, after all.

The people who commissioned her had made a puppet of her. They had demanded a departure from classical references and therefore affixed to her frame things like startling, swiveling joints and odd angles. Two heads, of course, among other modifications – all in an arrogant, ambitious drive to defy tradition and create a visionary symbol of fear and envy. Instead, the lay beholder glanced upon the warped anatomy and thought it blasphemy. And so, Beatrice rapidly became that to her own family too: acrid to the eyes, rotted in the soul, a disembowelment. Failure. An embarrassment.

The whispers billowed large like cotton sheets drying in the fields, caught and blown out in the wind.

It was a matter of time. Beatrice imagines the tiny family offspring being taught their true oral history in a sugary sick little chant, clapping their chubby hands cheerfully and squealing every grim word,

Then the old teacher died / and it was a great relief / The family rushed to ready / a token of public grief

Her, of course. Her, and not any of the cruder, more sedate, stone guardians that studded the estate. The small ones who, on a good day, sat patiently and circulated air and respired noisily, and who were not capable of thought or pain. The family had a lot of them lining their walls, not much more than large decorative lumps of dough programmed to trap, waylay, or bite at intruders.

Instead, they parted ways with the looming, ghastly and elaborate figure that guarded one of their main wings, and painted it as a great outpouring of sadness. Beatrice knew better.

The whole event was swift; almost planned in advance. She’d barely had time to send an urgent warning to Lilith before she was gone – a failed experiment in pomposity that took an unforeseen and regrettable turn into the profane.

In a matter of days she was transplanted from lush green gardens into dry hills bathed in reedy, half-obscured sunsets. The kind of neighborhood her old family would call avant-garde or ‘forward-thinking’, although with a scoff that betrayed what they really thought.

And at night, looking down to sleeping homes, Beatrice would hear in the nothingness the same whispers splashing down the stone like rain, all over again.

Mindlessly, now, she has the sudden urge to reach out and feel. Fluttering cells or hardened stone, it doesn’t matter. She wants to transmute a hand of tender human pulp and skin, and run fragile fingers softly over the strangest braided foldery and flattening of membrane, bumps and spindles until they catch, pierce and bleed.

And she so badly wants to tell Ava: I think you’re nightmarish and very beautiful. You would hold an army off this humble hill. like holding out a pathetic little bundle of flowers– but she doesn’t. It’s too long and too much; I’m here. is too short, and both are too naked. She’s not that kind of creature. She’s carved from solid rock and even when she sheds it it still feels like its weight chains her to the earth.

Her voices remain even and steady, somehow.

“I –This isn’t the customary welcome and introductory visit,” Beatrice confesses, in lieu of it all.

“Oh. It’s not?”

Beatrice shakes her heads. “There’ll need to be a more official one.”

The overlapping layers of spines along Ava’s limbs rise and then flatten, quickly. “So I’ll get to see you again soon?”

Feeling warm, or moist, or something like a pillar of pressurized foam, Beatrice clears her throats. “I suppose so. Yes.”

#“Ard wtf is this AU” 😭 listen. it was a strange and fun little thing/experiment to play around with #YEAH imagine a large town/small city that spills out over the hills in a labyrinthine necropolis of familial mausoleums / tomb complexes #pragmatic bulwarks of defence and important centers of social/intellectual/cultural life and death and the rich after-death #beatrice is the super serious guardian of a respectable but modest bloodline of teachers and scholars #when she's not staring moodily out into the distance she spends like all her free time in the library/underground heirloom chamber #and getting tutorials from fond but vaguely concerned ancestors #They love her unconditionally btw she’s just sometimes in her head too much to see it #the Silvas are renowned artisans! Jillian is jillian lol #If some of the words sound like they don’t exist it’s because they straight up don’t. I’ve no idea what old me was thinking.#hashtag avatrice hashtag meetcute hashtag wrarior nun hashtag mutually obsessed at first sight etc.

34 notes · View notes

spacedlexi · 4 months

Note

Hi Lexi

What do you think of partially blinded Vi? You never seem to draw her that way, and I kind of just wanted to know what do you think of it as a certified Vi lover.

I personally think that while something like this can be "cool" (as in, being beneficial to the character design), it's handled quite poor for Vi and it just looks a bit... ungrateful. Simply doesn't look good, doesn't fit her personality or character (am I missing something?) and it doesn't seem to fit or suit her...unlike Kenny's iconic eyepatch. To me, it has become a pivotal thing in his design to a degree in which Kenny with both eyes seems a bit odd looking. I see it as a symbol which stands for Ken being a martyr and all he's lost and sacrificed. He is all about family and helping those he loved, his loved ones truly were the "apple of his eye". It all makes sense, doesn't it?

But for Vi, it's excatly the opposite. I'm just so sorry to see her like this. 😭😭😭 I don't think it makes sense in any way. Louis losing his tongue because he's so talkative and "won't shut up" does kind of make sense, but I cant help but see Violet losing sight as kind of lazy writing. "We need something bad happening to her!!! suffer the children!!!'- the writers exclaimed.

i think vi losing her eyesight is incredibly impactful on her character and i honestly dont understand why some people say its lazy writing. especially since it was foreshadowed multiple times. vi losing her eyesight i think is even more impactful on her character than louis losing his tongue because at least louis still has his music to express himself and uplift spirits through (and its not like he cant communicate At All. his note still makes clem laugh). the reason i dont draw blind vi very often is because of how sad it is to me. for multiple reasons

violets whole thing is wanting to be able to protect the people she cares about, and feels immense grief and guilt about the times she feels shes failed them (thinks if she had been there with the twins that day that she couldve done something to save them. feels she failed everyone taken by the raiders. is scared of failing clem too "if something happened to you because of me? i cant lose you too. i wont". its why she cant leave minnie after shooting her. and a kidnapped vi attacks clem because she doesnt want anyone else to get hurt. hell it even ties back to her grandma and feeling guilty about not doing anything for her)

so for her to lose her eyesight? she took pride in her ability to fight and now she cant do that anymore. cant protect the people she loves. and as someone who started the season as an isolated loner, it forces her to rely on those around her for help, stripping her of her independence (and her independence is what allowed her to stand up against the group for clem when it came to the marlon situation in ep2). a blinded vi is forced into accepting community, whereas a saved violet accepts it on her own. her and clem turn ericsons into the home violet could never see it as

the other reason blind vi makes me so sad is that it is Directly a result of clems actions. kidnapped vi had nothing and wanted nothing to do with the bomb, and yet shes the ONLY ONE who gets hurt by it. clem choosing to let vi be taken means clem both breaks her heart, and then burns out her eyes. louis and his tongue is between him and lilly and was a choice THEY each made outside of clems direct influence (even if it was clem who inspired him to speak up, it is ultimately his choice to keep talking, and lilly hurts him for it. its sad he gets punished for a character moment, but clem had no direct hand in him losing his tongue. its why hes not angry to see her in the cell. he doesnt blame clem for what happened), but the way vi is feeling in that cell is DIRECTLY due to clems actions. vi feels like clem abandoned her after she had put herself on the line for her multiple times. she always had clems back but clem didnt have hers. clem is the one who planted the bomb and vi gets caught in the blast. clem hurts her emotionally And physically. and vi apologizes for getting upset (she tries to apologize on the beach too before theyre forced out in the cart, so she felt wrong for those actions immediately even tho they were understandable. lilly and minnie used her moment of weakness to get in her head. she just wanted everyone to be safe)

kidnapped blinded vi is just so incredibly sad to me, especially when you compare her to a fully realized violet. a violet who has come into herself, has confidence, has opened up, has stopped pushing people away out of fear and lets herself love again. shes a leader. a fighter. a protector. and those are all things a blinded violet loses

neither vi losing her eyes or louis losing his tongue is supposed to add anything to their characters. its about what theyve lost. both of them have important parts of their identity stripped away from them after being taken by the delta. its supposed to be sad. heartbreaking. regrettable. unfortunate. they have not gained anything by their time at the delta, only lost important parts of themselves to it

#twdg #like idk to me kennys eyepatch symbolizes his descent into madness. its the impact carver had on him #hes 'lost his sight' hes losing his way. becoming a danger to the people he says he cares about #kenny gets waaaay too much forgiveness in the fandom and i cant take it honestly. his motivations dont justify his actions #i dont hate him but god do i hate the way the fandom talks about him #esp when certain kenny stans ignore all the protagonists and hate all the women/anyone who opposes a protagonists views/actions #EXCEPT for kenny for some reason???? like when he opposes lee its fine but no one else can do it #you cannot deny hes a scary man by the end of s2 regardless of his motivations and people loooooove to handwave it away #i hate that 'family is family' crap #have none of you ever had a family member do something so horrible that you cut them out of your life completely?#HES NOT EVEN BLOOD FAMILY like that idea doesnt even apply here!!#the whole point of that phrase is that you cant choose who youre related to. twdg is LITERALLY about choosing your family #s3 is the one that makes a point to address blood relations and what worth they have #ok unexpected kenny rant over sorry but boy does the overwhelming kenny love get to me sometimes. there are other characters #sorry i hope this doesnt sound directed at you personally its just the overwhelming fan opinion i see and it drives me mad #where is the NUANCE??#replies with lexi #plamglam

27 notes · View notes

cerise-on-top · 3 months

Note

Hiiii how are you?? Id like to request farah finds out reader is ticklish and uses it agenist them when reader is in a bad mood and being rude to everyone

(Sorry if this is really silly btw🫶🏻🫶🏻)

Hey! I'm doing well! Got a surge of motivation to write before therapy! This ask was just the right amount of silly actually! It was very fun to write!

Cheer Up Tickles with Farah

She’d likely find out when she wraps an arm around your waist and her fingers twitch a bit for a moment, making you react a little bit. Unfortunately, she’d pick up on that immediately, raise her eyebrow and give you a knowing smile. It’s a slightly cocky one as well, because she knows your weakness now, so if she ever felt like it, she could destroy you. Farah might poke you from time to time, but it usually won’t go farther than that. However, if you’re being especially grumpy for no reason whatsoever and you’re being rude to everyone, that might change.

At first she’d just poke your side, gauge your reaction. You can cuss her out all you want, she’s not going to let up just yet. It’s then that you can either cheer up and apologize to her, or feel her wrath and tickles. However, given your ask, you don’t cheer up, instead noticing, with horror in your eyes, that you messed up. Farah would wiggle her fingers at you before pouncing like a tiger that got its first prey in three days. Although she may go easy on you at first, letting you struggle so you feel as though you have a chance of getting away, there’s no way she’d just let you go like that. You can squirm all you want, you’re trapped underneath her since she’s a very strong fighter. You’re not going to escape her grasp, you’re going to get tickled and teased to oblivion and back. Once you’re calm, she’d start teasing you a bit before going in for the kill.

Farah wouldn’t even hesitate to be gentle in the beginning, she’s gonna get you good from the get go, straddling you and squeezing your sides. Try to throw her off all you want, you can’t. It’s fun to her if you struggle a bit as well, it makes it all the more challenging for her. While she may not know just yet where your weak spots are, she’ll find them quickly enough, staying in one spot for a few moments before switching to your armpits, for example. If you trap her fingers there she’s gonna have a field trip. No matter how much you’re laughing at that point, she’ll tease you about being less grumpy already and how you’re smiling like a goof. How adorable you are and how she should just tickle you more often when she has the time to do so.

Naturally, she’s a leader, so she needs to make sure all her loved ones are doing well, therefore she needs to check up on your ribs as well. Counts them, prods at them, vibrates her fingers between them to make sure you haven’t sustained any injuries. If you’re completely healthy, then she’ll say so, but she also needs to make sure your tummy is in good condition. Lifts up your shirt and starts scribbling away to make sure everything is in order. However, as time goes on, she’d grow a bit hungry and nibble at your sides and your ribs as well. Besides, while she may need to be sated, she also wants to share something delicious with you as well. So naturally, kind as she is, she gives you some raspberries.

However, once she notices your laughter having gone silent, or when there are a lot of tears streaming down your face, that’s when she’ll slow down a bit, before stopping entirely. Your dazed, cute face is just too adorable, though, so she’ll lean over to give you a kiss on your forehead and wipe away your tears with her thumb. Once she sees that you’ve been cheered up, she’ll get off of you, put your shirt over your tummy again and laugh a bit about how tired you seem all of a sudden. You weren’t this tired yet when you were cussing her out still. Pats your tummy one last time and helps you up, even if you don’t need her help. You seem out of it a bit, but not unhappy.

Farah doesn’t mind having tickle fights with you every once in a while. However, be warned, if you ever decide to tickle her first, then I can assure you that she’s going to get her revenge. Besides, she can hold her reactions in quite well. Much to your dismay, she’s also rather observant, so she’s going to figure out which spots make you scream fairly quickly. She’s always so serious anyway, so sometimes you just need to let loose and be a little goofy. Loves getting to be silly with you from time to time, even if it’s just through play fighting and tickling one another.

#cod #cod x reader #farah karim #farah karim x reader #tickling is such a fun concept to me. you get to make someone laugh just by touching them gently #you get to goof around with them and playfully fight them. it's absolutely adorable. but I know many people disagree with me on that one #still Farah as a ler would be a little menace as fun as it would be #I do think about the characters as lers more often than I would like to admit in all honesty. it's just so fun and sweet #besides just goofing around with Farah sounds like a dream to me #getting to be silly and stupid over essentially nothing is fun I wish she was real so I could fight her a bit #but alas #still I get to write about her having a good time and that's what's important! no angst in sight baby!!! just silly!!#I love writing silly and fluff! my favorite genres! I can vibe to that since it doesn't break my heart!#but now I'm off to therapy so I can't write too much in the tags!#thank you for the ask it was really fun! have a nice day anon!

30 notes · View notes