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covenofagatha · 7 months ago

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Hii can you please write athlete-student fem reader x Professor Agatha, where she is her favorite student and they have a close connection despite Agatha's cold demeanor. So one day y/n comes limping to Agatha's class bcuz she got injured during the practice and her coach kept pushing her, without letting to rest, so the injury got worse and now y/n can barely step on her leg. Agatha takes notice of that and asks y/n to stay after the lecture, where Agatha discovers the truth about abusive coach. So Agatha helps Y/N to her car and takes her home, where Agatha takes care of her and they finally kiss or maybe even smut if you are good with it please. Kinda like hurt/comfort with possesive Agatha

Thank you for all your amazing writing💜

As a former swimmer with a coach that was fired for emotional/verbal abuse I fucking loved this request so thank you and I hope you like!

Swimming into her arms

You hurt your leg during practice and your coach makes it worse, so Professor Agatha has to take care of you

Word count: 3400

Warnings: hurt/comfort, slight possessiveness, oral sex, soft

“Coach, can I talk with you for a second before we get in?” You ask, stepping gingerly over to him. He barely even glances at you, just waves his hand to tell you to get on with it. “I just hurt my knee during weights and the trainer said that I shouldn’t kick that much until I can go see a doctor.”

Now he looks at you, displeasure written all over his face. Your swim coach is not known for being nice and you inwardly wince to brace yourself. “What did you do?”

“We were doing band jumps from the pullup bars and I landed weirdly and there was a pop from my knee. It hurts to walk and I’m really not sure I should swim.”

He scoffs and straightens up against the fence where he was leaning. You cross your arms over your chest, wishing you were standing in more than just your swimsuit. You should’ve worn clothes to come talk to him, but deep down you knew how this was going to go.

“We have a meet this weekend and you’re our best backstroker somehow, despite your awful underwater kicks. You’re swimming.”

The dig about your underwaters doesn’t even phase you now, having heard it enough times already. But the thought of bending your knee like that makes you brave enough to protest. “Can I just pull for today? I’ll try to get to the doctor this afternoon.”

You feel your stomach sink as he rolls his eyes. “I don’t need damaged goods on this team so if you’re not going to get in the pool and you’re going to be weak, then just get off the deck and come back next week. Don’t expect to be put in any more meets though.”

You have to bite the inside of your cheeks to keep your jaw from dropping. You nod and turn around to hide the tears stinging in your eyes and put your cap on. You’re on a scholarship at the university for swimming, so if you quit or he lets you go, you’ll most likely have to drop out.

“That’s what I thought,” you hear your coach huff quietly behind you. “Let’s go. You’re five minutes late getting in.”

The moment you jump into the pool and push off the wall for warm up, you know you’ve made a mistake. Your leg is screaming. Every kick is pure agony and you try your absolute best to not move it more than you have to. But each flip turn makes you want to cry. You barely make it through the warm up and your heart drops when you see the main set that your coach wrote on the board.

You wouldn’t be surprised if he changed it up and made it harder just to mess with you.

Your lanemate asks if you want to go first and all you can do is shake your head. If you speak, you’re afraid you’re going to fall apart. You refuse to take your goggles off because your eyes are red and teary.

One round in, your coach stops you on the wall. “Are you even trying?” He demands.

“My knee,” is all you can get out before your voice wavers.

He squats down so he’s closer to you. “I’m 55 years old. My knees hurt every day and you don’t see me whining about it. Now either do the set right, or you’re off the relay.”

This time, when you push off the wall, you kick with both legs. By the end of the 25, you’re already sobbing into the water, choking on gasps when you turn your head to breathe. You’ve never felt pain like this before in your life and you are convinced that something is really wrong.

At one point, you think you almost black out.

You fall behind in the set because you physically can’t kick fast enough to make the interval so your coach makes you stay behind late to finish it, despite you telling him that you have to get to class.

When he finally lets you out of the pool, there’s twenty minutes until your class starts and you still have to shower, get dressed, and somehow walk across campus.

Some of your professors would be chill if you walked in late. Hell, most of them were happy if 75% of the class actually showed up.

But not Professor Agatha Harkness. She was feared by everyone on campus, even those who weren’t in her class, for her stony cold demeanor. There were rumors that she made students cry just by looking at them.

Although, she wasn’t like that with you. While she was still tough, there was a softness in her eyes when she looked at you, a certain fondness in her smile. You weren’t sure what it was about you that made her like that, but you and Agatha had grown quite close over the past semester. You would go bother her during her office hours and she would patiently answer all your questions and help you with her assignments. You knew you could talk to her about anything, and you often did. Friend drama, other classes, swimming, you name it. The way she made you feel heard and seen, plus with how hot she was, had you falling for her.

The only thing you hadn’t really opened up on was how mean your coach could be.

But just because of your relationship with her didn’t mean she would allow you to be late to her class.

For now though, your task was to get out of the pool without screaming. Your coach would throw a fit if you didn’t “get out like an athlete” by putting your knee in the gutter instead of your foot, but you weren’t sure you could do either. You maneuver yourself up using the handles on the starting blocks so you’re sitting and then push yourself up. You try to put weight on your hurt leg and you gasp loudly.

That’s not going to happen.

Your coach walks over to you and you think that he might offer some sort of help or an apology or anything, but all he says is, “See you tomorrow.”

Your head falls back in frustration and you experiment with some different movements to see which is the best for your knee. You can slide it a little on the wet ground for now to get to the locker room, but when you go outside with shoes on, you’re going to have to figure out something new.

You shower in record time while still getting all your tears out and throw on sweatpants and a t-shirt, putting moisturizer on your face while your hair is twisted up in your towel. The warm water did a little to help your leg so you’re able to put the tiniest bit of weight on it now. However, it doesn’t hide the evidence that you were clearly crying.

Still, your class starts in five minutes. The building her lecture is in is four minutes away with a good leg.

Hobbling while whimpering every step takes eight.

You try to open the door as quietly as possible, and you succeed, but your bag swings and clangs onto the metal trash can that is right in the doorway. Because of course it is.

Silence falls through the room as the sound echoes, and Agatha looks up from her place at the front of the room. You offer a shaky smile and limp down the aisle to your spot in the second row. Going down the slanted floor is a new type of pain that has you grabbing onto chairs.

“Stay after class so I can hear your excuse about why you’re late,” Agatha says coldly once you’ve sat in your usual seat, sighing when the burn in your knee dies down to a dull ache. Your heart squeezes but you do see some concern in her eyes. You realize that her tough exterior just now was an act. You nod, not able to look at her for fear that she’ll see right through you, and you dig in your backpack for paper and a pen for notes.

The hour lecture goes so slowly, your knee now starting to throb from sitting. You’re not really sure what you’re supposed to do to get it to stop hurting.

Finally, Agatha releases everyone but you stay seated. While you’re in pain sitting, you know it’s much worse if you stand up. She doesn’t seem to mind, just comes to stand on the other side of her podium and lean against it.

“What’s wrong?” She asks, voice softer than you’ve ever heard it before and you just start hysterically crying. She looks more taken-aback than you’ve ever seen her and walks over to crouch next to you and rub a hand comfortingly up and down your arm. “Sweetheart?”

Your breath catches at the pet name and you hiccup. You swipe furiously at your eyes, embarrassed to show this much emotion in front of the older woman. When you open your mouth to start talking though, you can’t stop. “I hurt my leg in weights and I tried to tell my coach that the trainer said I shouldn’t swim and that it hurts but he made me get in anyways because we have a meet coming up and told me I wasn’t doing good enough and I had to stay late to finish the set and my knee hurts so fucking much I can barely walk.” You don’t even have it in you to apologize for the swearing and Agatha doesn’t care either.

She cups your tear-stained cheek, thumbing at it, and you meet her eyes with your watery ones. You’re a little surprised to see pure anger in them.

“That is not okay,” she says seriously. “He should be fired for doing that. He deliberately put you in a situation where you’re only going to be more injured and now look at you. This is unbelievable. I’m going to talk to the athletic director, someone needs to know about this.”

You shake your head quickly. “No, Professor, you really don’t have to, it’s not–”

“It is a big deal,” she cuts you off firmly. “There need to be consequences. He fucking hurt you and he’s going to pay!” Your heart skips a beat at how protective she’s being and she seems to realize what she said because she immediately changes gears. “Do you need help?”

It’s the first time anyone has asked you that all day. Even the trainer or your weight’s coach didn’t offer. It almost makes you start crying again.

“Yes, please,” you say and she holds out your hands, pulling you up out of the chair. You put your hurt leg on the floor and buckle into Agatha’s arms. “M’ so sorry, oh my god,” you stammer as she’s practically holding you now.

She uses her strength to get you standing straight again, and without saying anything, slings your backpack over her shoulder and puts her other arm under yours so she can act as a crutch for you.

“I’m sorry about your coach,” she finally says as she’s working on steering you out of the building.

You wince going down the steps and shrug. “He’s not a bad coach. Like his sets are good and stuff and I’ve gotten faster for him. Just not a great…person. Where are we going?” You’ve finally realized that she’s not helping you back to the dorms.

“My car,” she says matter-of-factly. Your heart skips a beat and you crane your head to look up at her. She has a variety of emotions struggling on her face and you’ve never felt so taken care of.

“Why did you park so far away?” You groan and she chuckles. It feels like you’ve been limping for a mile. Luckily, there’s not too many other people outside right now to see Agatha helping you like this, but you do find it oddly touching that she would risk her heartless reputation for you.

At last, you get to the lot where the professors park and she basically drops you into the passenger seat, sliding into the driver’s side once she puts your bag in the back.

“Thank you for helping me,” you say quietly once she’s reversing out of her spot. She pauses for a second to look at you, a new expression on her face that you’ve never seen before.

“Of course, sweetheart.”

Once again, she goes in an unfamiliar direction. Maybe she’s taking you to a doctor?

Nope.

You’re still confused, even when Agatha turns into a quaint suburban neighborhood, but you think you figure it out when she stops in front of a house.

You turn to gape at your professor. “Is this yours?” She gives you a look that says obviously and then gets out of the car quickly so she can come get you out. She doesn’t grab your bag from the back but you don’t need it. She helps you hobble inside and brings you over to the couch so you can lay down on it. You swing the bad leg up and then the good one and she hands you a pillow to put under the hurting knee.

The elevation helps a little and while Agatha walks out of the living room, your eyes close, head resting on the back of the couch. It feels like you have been drained of all your energy from weights, practice, and then your knee.

You think you might doze off just a bit because you startle when you hear Agatha entering. She’s carrying a bag of ice in one hand and a plate with a sandwich and raspberries in the other. You scooch into an upright position and graciously accept the food, instantly taking a huge bite. You moan at the taste and then notice that Agatha is standing next to you, bag of ice in hand, looking at your sweatpant-clad legs.

Her eyes dart to yours and then back down. “Do you think you can take these off?” She asks, tapping your leg and your cheeks turn almost as red as hers.

“Um, oh, sure,” you answer, mouth full of food. You set the plate down on the coffee table and raise your hips so you can get your pants off. You refuse to look at her as you basically undress in front of her.

And then you begin to struggle. You can bend one leg just fine, but you don’t even want to risk moving your right knee in the slightest. The problem is, you’re nowhere near flexible enough to take your pants off while keeping one leg straight.

Thankfully, Agatha completely understands without you having to ask, saving you from that embarrassment. She reaches across your body and gently slides the sweatpants off your bad leg. And then your entire bottom half is naked except for your underwear.

You know why you’re blushing, but why is Agatha?

She clears her throat and arranges the bag of ice on your knee, but it won’t stay because your leg is slanted up on the pillow.

“Um, can you…” she trails off like she’s trying to figure out how to word it. You also understand what she needs, so you move your left leg so it hangs off the couch and she can sit in-between your legs and hold the ice to your knee.

“Are you okay?” You ask after the two of you have been sitting in silence for a little bit. It’s comfortable, but you can still see the outline of grimace on Agatha’s face.

She sighs heavily and runs a hand through her hair. “It’s just hard,” she admits. “Seeing you in pain like this.”

“Why?” You dare to ask, the question barely louder than a whisper. She looks at you and then back to the ice.

“I care about you a lot,” she says, like it pains her. It feels like all the air has left your lungs.

“I care about you, too,” you reply, hoping more than anything that she means it the same way as you.

She shakes her head as if to clear her thoughts. “Is there anything else I can do to help?”

“A kiss?” It’s meant to be a joke, like when your mom would kiss a paper cut or a scrap just to make it feel better. And then you inwardly kick yourself because you know you did not just ask stone-cold Agatha Harkness to kiss your knee.

But she smirks and then you realize that you never specified which part of your body you wanted her to kiss.

She leans in, hand grabbing onto the arm of the sofa next to you to hold herself up and she brushes her lips against yours. It’s barely anything, easily written off, but when she pulls back, her eyes are dilated.

“Did that make your knee feel better?” She asks playfully.

You pretend to think about it for a second and then you tilt your head. “You know what? It did. Better do it again so it helps even more.”

This time, her tongue parts your lips and licks into your mouth. Her other hand slides under your shirt to feel your stomach and heat starts to course through you. You moan into her mouth and wrap your arms around her so pull her even closer. She shifts and accidentally bumps your knee and you hiss in pain.

“Fuck, sorry!” She exclaims, jerking back like she was burned.

“No, you’re okay,” you groan. “I just don’t know if this is the best way to do this.” You pout because you want to keep kissing her, you need to feel her.

A sly smile spreads onto her face. “I know something else that might help.” You raise your eyebrows in question and inhale sharply as she carefully moves down your body so her head is right by your underwear. She toys with the waistband, checking to make sure it’s okay. You nod more eagerly than you ever have in your life. “If it hurts your knee, let me know.”

“Okay,” you breathe and you shiver when she pulls your wet underwear to the side and the cold air hits your pussy.

And then she lazily licks through your folds, swirling her tongue on your clit and your back arches off the couch.

“Fuck,” you moan, one hand tangling in her hair and the other grabbing the side of the couch. She continues softly lapping at you, fingers digging into your hips to keep them still so you don’t accidentally hurt yourself by moving. Agatha takes her time tasting you, making a noise every and then that makes your head fall back.

Your pleasure slowly builds from her hot, careful mouth on you, but Agatha doesn’t seem to mind. She alternates dipping her tongue into your pussy and then sucking your clit and back again. She gets more enthusiastic about it once she feels confident that she’s not hurting you and begins to be a little rougher.

“I’m getting close, Agatha,” you whimper and it’s the first time you’ve ever called her by her first name. She must realize it too because she groans into your pussy and sucks hard on your clit, sending you over the edge. Sounds fall out of your mouth as you cum, hips trying but failing to buck against her tight grip to ride it out.

“Is your knee okay?” is the first thing she asks when she stops licking at you. You laugh at the timing of the question.

“Yes, it feels totally fine.”

Agatha leans down to peck your lips. “Okay, good. Still, I’m going to make an appointment at my doctor this afternoon. I’ll take you.”

Even though she just ate you out, this is the sexiest you’ve ever seen her. So caring, so protective. Your heart yearns for more of this woman.

“You don’t have to do all that,” you protest though, not wanting to ask for more than she’s already given you. She waves her hand to shush you.

“Nonsense. I’m going to take care of you because apparently no one else can. And I want to.”

You smile fondly at her and tug at hair to bring her in for a deeper kiss this time. “I want you to as well.”

And she does.

#agatha harkness x fem!reader #agatha harkness x reader #agatha x reader #agatha x you #agatha harkness x you #kathryn hahn x reader #agatha harkness smut #agatha smut #agatha all along #covsfics

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alixandra-multifandom-version · 1 month ago

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At the age of 55 or 54 that Mattew is? He can still get it

I love him he's my pookie bear

And the fandom needs to be fed

Warnings : an unhinged horror movie character!!!

He's the kind to randomly pick up stray animals and bring them home, saying:

"Babe see our new pet!"

Is super clingy like an overgrown over attached puppy

You laughed at something he said??? He feels HONORED

during his crush phase he's so fucking jealous

But when you guys get together he's pretty chill

You've never officially met his parents, but you have met Billy, and he approved you so you're good

Remembers little details about you

Steal kisses from you A LOT

Sometimes you feel like a third person when he brings billy along on dates

He definitely tries to get you into a poly with him and Billy at some point

He likes to scare you, so expect random jumpscares and boo's from him throughout the day

You don't know he's ghostface

Calls you with the voice changer scaring you

One time, and only one time he attacked you (he wasn't going to actually hurt you just chasing you around)

Gets a sick twisted feeling when you seek comfort from him after the so called attack

Likes to carry you around

Or giving you piggy back rides

Makes a lot of weird and unhinged jokes

Will definitely kill someone for you

When you found out he was ghostface you guys had a whole "I love you...." "I love you I'm sorry" moment

#stu matcher x reader #stu macher #stu macher x reader #stu macher x billy loomis #stu macher x you #stu macher x y/n #matthew lillard #ghostface x y/n #ghostface x you #ghostface x reader #ghostface #stu macher x male reader #stu matcher x you #billy loomis x stu matcher

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antiparticular · 2 months ago

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idk about yall but I've listened to skeleta and the vibe I'm getting from papa v is 'just left the catholic church, revelling in finally having an edgy rebellious teenager phase at the age of 55'

#love rockets yaknow #“the third rider looks cool on a steed”#he's a bit of a dweeb i fear (i love it)#also the sneaking a 'fucking' right at the end of marks of the evil one. it's giving 'omg im allowed to say swears now'#the band ghost #ghost bc #papa v perpetua #skeleta

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prokopetz · 2 years ago

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Your long and arduous journey has led you to this, the final confrontation. You thought you knew what to expect, but just as you struck the final blow, your ultimate foe's eyes gleamed with unnatural light as they proclaimed…

THIS ISN'T EVEN MY FINAL FORM

A game for 4–6 players

Introduction

This Isn't Even My Final Form is a GMless tactical minigame for 4–6 players. You'll take on the roles of a party of heroic adventurers nearing the end of a world-spanning quest to defeat a great evil, the Final Boss. Unfortunately for them, each time they think they've won, the Final Boss assumes a new, even more horrifying form, and the struggle begins anew. Is there any end to this conflict? There's only one way to find out!

What You'll Need

This Isn't Even My Final Form requires a dozen six-sided dice, as well as a way of keeping track of a few important numbers – a shared text document or some scrap paper will suffice.

Update 2023-10-30: Print-and-play card decks are available here:

http://penguinking.com/this-isnt-even-my-final-form/

Character Creation

Choose two of the following actions to be your Party Member's Class Actions: Strike, Heal, Buff, Debuff. If you'd rather determine this randomly, roll on the following table.

1. Strike, Heal 2. Strike, Buff 3. Strike, Debuff 4. Heal, Buff 5. Heal, Debuff 6. Buff, Debuff

Give your Party Member's Class a name which suits your Class Actions. Also give your Party Member a name; it is traditional but not obligatory for your Party Member's name to have exactly five letters.

Playing the Game

Play is divided into a series of Phases. During each Phase, one player takes on the role of the Final Boss. That player's Party Member does not participate in this Phase; they're trapped, lost, incapacitated, or otherwise separated from the party or unable to act for the duration of the Phase. All other players take on the roles of their Party Members.

The Final Boss player's first order of business is to describe what the current Phase looks like. The Final Boss player can roll 1–3 times on the following table (re-rolling duplicates) to decide on a theme, or use it as inspiration for their own theme. To use this table, roll a six-sided die twice, treating the first roll as the "tens" place and the second roll as the "ones" place, yielding a number in the range from 11 to 66.

11. Beasts 12. Bells 13. Blood 14. Bones 15. Chains 16. Chaos 21. Cubes 22. Eyes 23. Fire 24. Flowers 25. Food 26. Games 31. Gears 32. Glass 33. Gold 34. Hands 35. Holes 36. Ice 41. Iron 42. Light 43. Mazes 44. Meat 45. Mirrors 46. Music 51. Orbs 52. Order 53. Plague 54. Shadow 55. Slime 56. Space 61. Spikes 62. Teeth 63. Time 64. Trees 65. Weapons 66. Wings

Once the Phase has been defined, set the party's Momentum to zero. Momentum is a value which will increase or decrease over the course of the Phase; it has a minimum value of zero, and no particular upper limit.

Play proceeds in a series of rounds, as follows.

The Final Boss Attacks

The Final Boss always goes first in each round. Roll one die:

1–3: The Final Boss chooses one of the following actions. 4–5: The Final Boss chooses two of the following actions. You may not target the same Party Member twice; however, you may use the same action on two different Party Members if you wish. 6: The Final Boss does nothing this round. On its turn next round, it does not roll and instead uses its Ultimate Attack.

Wound: Inflict the Critical Condition on a single Party Member. If the chosen Party Member already has the Critical Condition, it's replaced with the Down Condition and the party loses one Momentum.

Imprecate: Inflict the Cursed Condition on a single Party Member.

Envenom: Inflict the Poisoned Condition on a single Party Member.

Bewilder: Inflict the Confused Condition on a single Party Member.

Counter: If you're targeted by the Strike or Debuff actions this round, after resolving that action, perform the Wound action on the Party Member who targeted you. You may counter any number of actions in this way.

Dispel: Remove the Buffed and Protected Conditions from any number of Party Members.

Enrage: The Final Boss rolls two dice and takes the better result on its next action. The party may cancel this benefit with a successful Debuff action; doing so removes the extra die instead of forcing the Final Boss to roll twice and take the lower result.

Ultimate Attack: This action can only be chosen by rolling a 6 during the previous round. When the Final Boss uses this action, choose Cursed, Poisoned, or Confused: you may perform the Wound action AND inflict the chosen Condition upon any number of Party Members, in that order. (i.e., Wound each targeted Party Member, THEN Curse/Confuse/Poison any who remain standing.)

The Final Boss player describes the outcome of the chosen action(s) in as much or as little detail as they like; control then passes to the other players.

The Party Acts

After the Final Boss has attacked, each Party Member who doesn't have the Down condition chooses one of the following actions, in any order the players wish. After choosing any action other than Defend, the player rolls their dice pool, which is a handful of six-sided dice constructed as follows:

Start with a number of dice equal to the party's current Momentum (initially zero, though it will grow over the course of the Phase)

Add one die if you're performing one of your Party Member's Class Actions

Add one die if your Party Member currently has the Buffed Condition

Add one die if your Party Member currently has the Critical Condition

Roll all of the dice together, and find the highest result. Ties for the highest result have no special significance; for example, if you rolled four dice and got 1, 3, 5 and 5, your result is 5. If you'd ever end up with zero or fewer dice for any reason – either because your dice pool was empty to begin with, or because some effect obliged you to discard every die you rolled – you receive an automatic result of 1.

If an action requires you to target a specific Party Member or make other choices, you can wait and see the result of your roll before making those decisions.

Strike: You attack the Final Boss. Roll your dice pool:

1–3: Nothing happens – either the attack misses, or the Final Boss turns out to be immune to whatever you just did. 4–5: The attack strikes true. The party gains one Momentum. 6: Critical hit! The party gains two Momentum.

Special: If you roll triples or better (i.e., at least three of the same number) on a Strike action, the Final Boss' current Phase is defeated, and you move on to the next Phase. It doesn't matter what number comes up triples.

Heal: You attempt to restore the party's strength. Roll your dice pool:

1–3: You may remove the Critical Condition from a single Party Member. If no Party Member has the Critical Condition, nothing happens. 4–5: You may remove the Critical Condition from any number of party members OR you may remove the Down Condition from a single Party Member. 6: You may remove the Critical and Down Conditions from any number of party members.

Buff: You attempt to bolster a party member. Roll your dice pool:

1–3: You may grant the Buffed Condition to a single Party Member OR remove a Condition of your choice other than Critical or Down from a single Party Member. 4–5: You may grant the Buffed Condition to a single Party Member AND remove a Condition of your choice other than Critical or Down from that Party Member, if they have one. 6: You may grant the Buffed Condition OR remove a Condition of your choice other than Critical or Down to any number of Party Members. You may choose a different option for each targeted Party Member.

Debuff: You attempt to weaken the Final Boss. Roll your dice pool:

1-3: Nothing happens – it turns out the Final Boss was immune to that effect. 4–5: The Final Boss rolls two dice and takes the lower result on its next action. 6: The Final Boss rolls two dice and takes the lower result on its next action AND the party gains one Momentum.

Defend: You may grant the Protected condition to a Party Member of your choice. Do not roll.

Based on the outcome of your roll (if applicable), describe the outcome of your action in as much or as little detail as you wish.

Once each Party Member has acted, return to "The Final Boss Attacks" to begin the next round.

Ending the Phase

As noted above, rolling triples or better on a Strike action results in the immediate defeat of the current Phase. Alternatively, if all Party Members simultaneously have the Down Condition, the Final Boss player's Party Member suddenly breaks free or arrives on the scene and rescues everyone in a stunning deus ex machina; this also ends the Phase, but does not count as defeating it.

In either case, reset the party's momentum to zero, remove all Conditions, and move on to the next Phase. The role of the Final Boss passes to a different player, with preference given to those who haven't yet had a chance to be the Final Boss; the previous Final Boss player resumes playing their Party Member.

Continue until the party has defeated a number of Phases at least equal to the number of players, or until mutual agreement has been reached that all this has gone on quite long enough.

Conditions

Some actions can impose Conditions upon the individual Party Members. Conditions can be positive or negative, and last until specific conditions for their removal are met.

Buffed: Your strength has been boosted. When rolling your dice pool, you roll one extra die.

Confused: You've lost your wits. When the party acts, your action is determined by rolling a d6 – 1: Strike; 2: Heal; 3: Buff; 4: Debuff; 5: Defend; 6: do nothing this round AND remove this Condition. This Condition is also removed if you gain the Critical Condition while under its effects. You may choose targets normally if the rolled action requires them. Confused Party Members always act before their un-Confused peers; if there are multiple Confused Party Members, the Final Boss decides the order in which they act.

Critical: You are badly wounded. Desperation lends strength, and so this Condition adds one extra die to your dice pools; however, if you suffer the Critical Condition a second time, it becomes the Down Condition instead.

Cursed: You've been afflicted with misfortune. Discard your highest result after rolling your dice pool, but before applying your chosen action's effects. If there's a tie for the highest result, discard all of them; for example, if you roll four dice while Cursed and get 1, 3, 5 and 5, your result is 3. If the Condition causes you to discard your only set of triples of better on a Strike action, the Phase does not end.

Down: You are incapacitated by injury or foul enchantment. When the party acts, you may not choose an action; your action remains lost even if this Condition is removed before the end of the round. When you gain this Condition, remove all other Conditions, and the party loses one Momentum. (This is not in addition to the Momentum loss noted by effects which inflict this Condition – those are just reminders.) You may not gain other Conditions while this one persists.

Poisoned: You're afflicted by a poison, plague, or death-curse. If you have the Poisoned Condition after resolving your action for the round, you gain the Critical Condition. If you already have the Critical Condition, you instead gain the Down Condition, and the party loses one Momentum.

Protected: The next time you would gain any Condition other than Buffed, remove this Condition instead. You also remove this Condition if you take any action other than Defend on your turn.

#gaming #tabletop roleplaying #tabletop rpgs #this isn't even my final form #game design #violence mention

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droppingartintotheinfinite · 1 year ago

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more dirks

#art #sketch #digital art #fanart #homestuck #dirk strider #decapitation tw #(implied)#phase 55

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windvexer · 5 months ago

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Book Review: The Witch's Art of Incantation, 2nd ed. by Roger J. Horne

10/10, I'd buy again for what it is: but you should know what it is before you buy it

This is a review of the second edition, which is about 100 pages longer than the original and contains 55 additional incantations.

What's it about?

This is a book of translated and edited historical and folk incantations to be used in syncretic folk witchcraft or any form of witchcraft. These incantations are grouped into 9 categories:

Seeking the Old Ones

Calling to the Green World

Love and Spurned Love

Coinage and Prosperity

Curses and Maledictions

Spirit Flight and Second Sight

Blessings and Benedictions

Heretical Psalmistry

Miscellaneous latinate charms

Besides a brief introduction, the book is just incantations.

It's not a spellbook. It doesn't tell you to collect candles or herbs, or what day of the week to work them on, or the moon phase, or whatever. Just as it says on the tin, it's a book of incantations.

However, Horne does have a very handy section at the beginning called Approaches to the Art of Incantation.

Here he describes methods and techniques to help empower incantations (I recommend not skipping it), a framework for understanding the power of words, and folk magic actions that may be combined with incantations, such as the burning of candles with pins stuck in, or speaking over poppets.

If you've skipped Folk Witchcraft, definitely check out this section.

(As Horne explains in the introduction, the first ed. of this book was a companion book to his other text, Folk Witchcraft. Apparently, Folk Witchcraft provided a great deal of context and lore surrounding the use of the incantations themselves.

The second ed. has been developed into a standalone text, but Horne still recommends looking to Folk Witchcraft if you want more context.)

Where do these incantations come from?

Horne makes it clear that he primarily sourced incantations from Europe and America (primarily Appalachia) not because they're particularly better in any way, but because these are the areas his ancestors and practice stem from. He makes an outspoken statement against any perceived Eurocentric authority, and warns people to not take his area of focus to mean there is more power within those cultures than within others.

That being given, these incantations are sourced historically from at least the first century onward, from a wide variety of sources, including Greco-Roman, Irish, Scottish, Cornish, Welsh, French, German, Appalachian, Icelandic, and more.

When possible, Horne notes where the incantation originated from, and in what manner he edited it.

All of these incantations have been edited for use by the modern reader; they are Horne's original adaptations. This is not a historical reference.

An example?

To give you an idea of the contents, this is one of the shorter incantations in the book, "A Call to Fire."

A Call to Fire Fire untamed, lustrous, and bright, power behind the sun, moon and every star. Aetherial fire, source of life, most splendid flower, heat-bringer, light-bringer, hear me, radiant fire. [Origin: 3 BC - 1 AD. Greco-Roman. Adapted and rearranged with poetic license after The Hymns of Orpheus. pg. 100.]

This incantation may be used to charm offering candles, to consecrate sacred fires, to call forth salamanders or fire elementals, to honor a god or spirit of fire, and so forth - the application is up to you.

Is the variety solid? Are they versatile enough for use even if you don't consider yourself to be a folk witch?

A big reason I recommend this book so highly isn't just because it's handy for me, but because I think it is very versatile.

The variety of what's presented is exceptional; there are charms to hail the seasons and the moons, the Old Ones and plant allies, to cure grief and wrath, to call a lover, to steal wealth, to conjure all varieties of helpful spirits, to reveal a thief, to hag-ride, to skin-change, to induce second-sight, to charm your cards for better readings, and I could go on and on.

In addition, because Horne sources everything where he can, it's a wealth to look not only at his adaptations but compare the charms to the historical originals, and thereby gain inspiration for developing your own incantations.

The best part for me is that they're all usable. It's not a spellbook where you can't get some ingredients so you can't use some spells. They're incantations that you pair with whatever spell elements you want to include, including just using them on their own.

But are they sexy? Will I feel like I'm living deliciously?

Yes. You will feel like you are living deliciously. You will feel like ye olde wytche who feeds blood and honey to their familiar, and steals the potency of men at night as you roam in your second skin; you will believe you may only be harmed with a silver bullet when you take the form of a hare to rob milk from cows.

Real quick, what's up with those 'heretical psalms' and latinate charms?

The last (and smallest) portion of the book more heavily leans into syncreticism. Horne's attitude in the book is that folk witchcraft is by practicality and oftentimes necessity a syncretic one, and that witches use what's on hand in order to get the job done. He references the importance of the influence of the Church on modern cunning traditions, including both the adoption of psalms and also of latinate language.

Twenty-three psalms are printed in the book along with recommended magical uses, along with a list of the magical uses of psalms (which you'd have to look up yourself).

Finally, Horne has a fifteen incantations in Latin. Or, latinate, as he keeps clarifying. He hasn't taken charms and translated them into Latin, rather he's edited historical folk charms that were recited in liturgical Latin by the people who used them - again emphasizing syncreticism in folk magic.

If you're not into Christian syncreticism, I doubt this section would be of use to you. This section constitutes 80 total pages out of 319, or about a quarter of the book. Personally I'd still get it for the more pagan incantations even if I didn't want the more syncretic ones, but it's certainly not to everyone's tastes.

(Be advised that there is a lot of Scottish folk magic in this book, plenty of which calls on Mary as divine authority. Obviously you can change the incantations as you please, but if you're allergic to these things, be aware they are peppered throughout the text.)

Chicken, who would you personally recommend this book to?

I would recommend this book to a practitioner who is:

Ready to start seriously investing in their personal repertoire of spells

Confident enough to experiment with spellcrafting

Sick and tired of spellbooks that recommend inaccessible ingredients, and just want building blocks to make their own full-format spells

Wanting a resource that helps with getting practical magic done within their current paradigm, without having to adopt a lot of new ritual aspects or theories

Looking for inspiration to expand their current practice without having to restart their practice

Looking for resources on Christian or heretical witchcraft

Anyone seeking resources on the power of words in practical sorcery

I'm a pagan, not a witch, and I love hymns and incantations. Would I like it?

To be honest, I doubt it.

Yes, the book starts with incantations to the Old Ones, who are ostensibly gods; but anyone with an eye to see can tell that the incantations all either relate to the Devil or the Queen of Witches. Also, one for Fenris ("darkling wolf") and one for the Sun.

Like 5 of the incantations may clearly be associated with Greek gods, but those gods are not named and the association appears to be selected based on their relevance to witchcraft.

A vast majority of all incantations in the book are related to spellwork and conjuring nature spirits. These incantations were designed for use in magic, which includes calling spirits and compelling action; not so much veneration or worship.

Readability and Accessibility

The physical quality of the book is disappointing. And that's not the author's fault and has no bearing on the actual contents, but right out of the box I was afraid the poor thing was going to fall apart. However it was cheap as hell so I have nothing to complain about, this thing was like $15 for a paperback. It has the quality you would expect from such a cheap purchase.

The text is sort of an artsy one? It's a serif font that's not too out there, but it's smaller than I was expecting, and my eyes don't love it. You will have to find your reading glasses for this one. All his books I bought are published in this typeface so I assume it's a choice.

Horne loves big paragraphs and long sentences. I find his writing style to be clear and easy to follow, but it's not a lower grade reading level. You may expect a maximum of two paragraphs per page in the prose portions.

The incantations themselves are broken up into much more manageable parts, always containing no more than 2 lines per paragraph break.

I believe Horne did this on purpose to compel the reader to find their own cadence in the incantations. But, it has the added effect of contributing to readability. The way each incantation is split up makes it very easy to follow and not lose your place.

6/10 for physical manufacture; I really wish the typeface was less artsy and more standard, but I could still read it through, especially once I got used to it.

#book review #witchblr #witch community #the witch's art of incantation #roger j horne #long #long text #witchcraft #witch books #windvexer book review

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starlightshadowsworld · 3 days ago

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One of the biggest misconceptions I feel people have about Kunikida is that they think he doesn’t care about the people around him.

This sentiment that at best he tolerates Dazai’s antics and at worst he despises him. That he’s this angry and cold person who finds everyone around him a nuisance.

And it blows my mind because if anything Kunikida cares too much. Hell I’d go so far to say that’s what defines his character more then anything else.

Kunikida who comforts scared children with bombs strapped to them. Kunikida who is haunted by Sasaki’s death 2 years after the fact because he blames himself for not being able to save her.

Kunikida who tried to mentor Rokuzo, to give him a role model and a job. He was never going to give that blackmail to the police because he’d never hurt him.

Kunikida who had Kyouka’s phone alert him whenever someone else tries to ring it so that he could come to her aid.

Kunikida who was gonna let himself rot in prison for a crime he didn’t commit because he blamed himself for not being able to save that girl.

Kunikida who regularly cleans Katai’s house when he himself can’t do it. He drove for hours one day because Katai wanted to visit the sea. And got him to join the Agency because it would be good for him.

This is the same guy who has been so ready to throw his life away to save his friends and even strangers.

Kunikida who defies anyone who dares stand in the way of him protecting others. Even when guns are drawn, even when it would make more sense to back down he refuses too.

To his own detriment.

He was stabbed by Amenogozen and held onto that blade as long as he could so that Atsushi could get to Junichiro.

As for Dazai…Kunikida canonically calls Dazai twice a day to check up on him.

The Agency (55 minutes) has a protocol for when Dazai is fatally wounded. And Kunikida has ensured that everyone knows it, inside and out.

Kunikida knew Dazai was in the river in the first episode because (Dazai’s entrance exam) he put a tracker on him so that he can go fish him out of trouble.

He bought 30 bowls of tea on rice for Atsushi and then gathered the rest of the Agency on a moments notice all because Dazai wrote him a vague note.

For crying out loud the entire reason Dazai’s in the Agency to begin with is because Kunikida trusts him.

Like I can understand where the “oh Kunikida’s a perfect little rule follower” allegations come from. I don’t agree with them and neither does the series but I get where they come from.

But I don’t know where this came from.

Kunikida doesn’t care…Kunikida doesn’t even live for himself. He says multiple times that his ideals can live on without him. And in those moments he’s choosing to save the Agency over himself.

And the Agency are his ideals, they are the people he dedicates his life to. He is one of the most selfless characters in this entire series.

To the point that Kunikida chose protecting the city over trying to kill Mori. Because that’s what the Agejcy stands for, that’s what Fukuzawa would want and that triumphs anything else.

I won’t even accept the oh it’s because Kunikida’s angry and annoyed all the time because so is Chuuya. And I have yet to see anyone think that he doesn’t care for other people.

Kunikida throws Dazai around and suddenly he despises him and we can’t imagine they care about each other. But Akutagawa can hack off Atsushi’s legs off so often that even Atsushi isn’t phased by it and no yeah no debate whether they care about each other.

“Kunikida you are the strongest and most virtuous of us in the Agency. It’s why the enemy tried to break you first.” -Ranpo to Kunikida in the cannibalism arc.

“He’s the perfect flag bearer for us, unwavering, unyielding and compassionate towards the weak. A man born to be a leader, yup who else could it be but our very own Kunikida.” -Dazai in the OVA

And even Beast Kunikida hugs Beast Akutagawa and says tells him that he’s not evil and a part of the Agency so it’s a constant in every universe.

When the world is so jaded and cruel Kunikida defies it by being kind.

#bungou stray dogs #bsd #bsd kunikida #kunikida doppo #bsd spoilers #bsd manga spoilers #idk maybe I’m losing it #bsd ada #bsd armed detective agency

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pedroscurls · 6 months ago

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training partners (pt. 16)

summary: an article comes out about you and your relationship with hugh while he's away and you know just exactly who it was. pairing: hugh jackman x fem!reader warnings: reader's insecurities come back, brief mention of physical abuse (not with hugh!), mention of age gap, implied age gap (hugh is 55, reader is in late 20s-early 30s), no use of y/n. word count: 2.8k a/n: so... jack is back y'all and we've got a few more parts left of this story, so stay tuned! as always, this is purely fictional! i mean no disrespect to hugh jackman. prev part. - next part.

Hugh’s been gone for a couple of weeks now and you both manage to create a routine to speak with each other every day, depending on the time zone that he’s in. He continues to send you photos of where he’s been, wishing that you were with him, but despite the distance, it never does feel like he’s away. Hugh makes sure that you know that you’re his priority and you never have to second guess what he’s doing or where he’s at because he’s always communicating with you.

You’ll send him a text every morning you wake up, counting down the days until he gets home. You spend most of your time either editing, at a photoshoot, or working out with your personal trainer. It helps to keep yourself busy because the home you now share with Hugh is just too big for you alone. You miss his presence, miss his touch, falling asleep and waking up in his arms.

You miss him.

Today, though, you have nothing planned and you know Hugh has a day off from press so you decide to give him a call through FaceTime. He’s in Brazil, which just happens to be only two hours ahead. Dialing his number, you’re sitting out on the balcony, eating your dinner while watching the sun set. This still doesn’t feel real, like one day you’re going to wake up and realize it was all just a dream.

You hear his voice and then look down to see him through your phone, your entire face lighting up at the sight of him. You prop your phone against your water bottle and take another bite of pasta as you bring a leg up on the seat.

“Hey, baby,” he says with a smile. “Whatcha eating?”

“Made some pasta,” you answer, showing him your bowl. “Eating out on the balcony, watching the sunset. Wish you were here though.”

“I know,” Hugh sighs. “Wish I was there too. Just two more weeks, baby, then I’ll be home.”

You nod and then set your fork down, turning your entire attention on the man through your screen. “Just two more weeks,” you repeat. “How’s it going so far?”

“It’s been so much fun,” he answers. “Ryan likes to bring you up in every conversation we have almost daily,” Hugh chuckles. “Says you should be here with us, with me… and I agree with him.”

You laugh quietly and shake your head. “We both know that if you had it your way, I’d have gone with you.”

“Well…” Hugh smiles, leaning back against the bed that he’s lying on. “I did say you should come with me.”

“You know, usually the honeymoon phases out by now…” you tease. “I think you’re obsessed with me, Hugh Jackman.”

He laughs quietly, turning to lie on his side instead as he keeps the phone facing him. He is so enamored with you, that even through a simple FaceTime call, he can feel the amount of love he has for you. You’re so beautiful, the sunset casting a glow around you.

“Oh, I’m obsessed with you, huh?”

“Oh yeah,” you grin. “What is it about me, hm?”

“Everything,” he answers honestly. “I can’t just pick one thing, baby.”

You feel the heat rise in your cheeks as you wrap an arm around your leg and rest your chin on your knee. “Still the smooth talker, I see.”

Hugh rolls his eyes playfully. “I’m just tellin’ the truth.”

“I love you,” you blurt out instead.

His eyes light up – he’d never get tired of hearing you say those words. “I love you too, baby.”

“You know, the house feels so empty without you,” you admit. “I don’t know how you lived here all by yourself.”

“It was hard,” Hugh answers. “Kept myself busy most of the time, but you– you’ve made it a home. A place where I want to spend most of my days at, as long as you’re there.”

“When you say things like that, it makes me want to kiss you. So, what am I supposed to do if you aren’t here?” you smile.

“Use your imagination,” he teases.

“Ah, so I guess I’ll just have to entertain myself.”

Hugh’s gaze darkens as he shakes his head. “Don’t you dare tease me.”

“Or what? You’re not here,” you grin mischievously, pulling your lower lip between your teeth.

“Guess you’ll find out when I get home then, won’t you?”

“Fine,” you huff. “My fingers and toy aren’t the same anyway.”

“Y–You have a toy?”

You giggle. “Actually bought one a couple of days ago. Figured we could try it out together when you get back.”

“Yeah?”

“Yeah,” you grin excitedly.

Hugh groans. “Two more weeks… just two more weeks.”

You laugh to yourself and then tilt your head, eyes staring at the screen. You wish you could reach out to him, to feel his strong arms around you. “Got a full day of interviews tomorrow?”

Hugh nods. “Yeah, but you know I’ll make time to give you a call.”

“I know, Hugh,” you smile. “But it’s fine if you don’t, you know. I know you’re busy and–”

“You know I can’t go a day without talking to you, baby,” Hugh interrupts. “I’m never too busy for you.”

“I know, I just–” you sigh. “Just don’t want you to feel like you have to talk to me if you’re tired.”

“Never,” he answers. “Never too tired to talk to you. I’m already miserable without you here. If I don’t get to talk to you every day, I think I’d lose my mind.”

“Okay, Hugh,” you nod. “My perfect man.”

He chuckles and rolls his eyes. “Hopefully only perfect for you.”

“Oh, I think you’re it,” you admit with a smile.

“Yeah?” he grins. “You mean that?”

“Oh yeah,” you nod. “So don’t go and break my heart, okay?”

“I don’t ever plan to, baby,” he answers. “Because I think you’re it for me too.”

“Yeah, I wish you were here,” you sigh. “This would be a perfect moment to kiss you.”

Hugh chuckles. “I love you, baby.”

“I love you too. Just two more weeks,” you repeat. “Then you’re all mine.”

“Oh, I can’t wait. We’re not leaving the house for a week, at least,” he winks.

“What did you have in mind we do for an entire week?” you ask innocently.

“I think it’d be better to show you when I get back,” he grins.

“Well, I can’t wait,” you smile. “You should probably get some rest, Hugh. I’ll talk to you tomorrow?”

Hugh nods. “Yes, baby. I’ll give you a call tomorrow. I love you.”

“I love you too. Good night, Hugh.”

“Night, baby. Sweet dreams.”

“I’ll be dreaming of you,” you wink.

“Good because I’ll be dreaming of you too.”

—

A week later, you’re sitting on the bed re-reading the story about your relationship with Hugh in a well-known online published article. You can feel tears stinging your eyes, can feel your hands tremble as you read every single untrue word.

They call you a gold digger due to the age gap.

They say that you’re too ugly to be with someone like Hugh.

They say that Hugh’s only having fun with you.

That the relationship isn’t serious.

That you’re not enough.

That he’s going to realize that he deserves better than a nobody like you.

And the words stay with you because it all sounds so familiar. You’ve heard it before and there’s a dreadful feeling in the pit of your stomach when you realize who might be behind this article.

An article that’s now gaining more and more traction. You shouldn’t have googled Hugh’s name because all you can see in the search results are different variations of the same article. With your name plastered all over.

You’re only with him for his money.

The age gap is too ridiculous and Hugh’s just messing around after his divorce.

You’re not enough.

You finally toss your phone aside and curl into the sheets, eyes staring out the large window. You’ve never felt more alone than you did now. You can hear your phone ringing but you don’t bother trying to answer it; you just want to disappear and you certainly can’t call Hugh.

You can’t tell him; he’s already got other things to worry about.

Your tears trickle down your cheeks and stain your pillow as your breathing picks up. The article brings up a lot of feelings that you’ve tried so hard to work through because you know who’s behind it.

Jack.

It’s always going to be Jack. He just can’t leave you alone. Despite him being the one to end the relationship and the one who has verbally and physically abused you, he’s still acting like you’re the one who hurt him.

It just seems like he can’t let you go, like he still has to have some control over you.

Your phone goes off again and you turn around to grab it, seeing Hugh’s contact on your screen. You don’t answer, afraid that he’s going to tell that something’s wrong so instead, you send him a quick text to let him know that you’re busy editing and that you’d call him back once you’re finished.

It’s a lie and you hate lying to him, but you can’t tell him the truth. You can’t tell him that there’s rumors about you, about your relationship with him and how you want (and need) him so badly to be here.

He reads your message, but instead of sending a reply, he just calls you again. You don’t answer, letting it go straight to voicemail. He doesn’t leave a message, but you see that he’s begun typing – the three dots appearing on your text thread with him.

Four simple words. He texts four simple words that make your heart ache even more: You’re lying. Call me.

With a heavy sigh, you wipe your tears away and then begin to dial his number. It barely rings once before he answers the phone, his voice immediately coming on the other end of the speaker.

“You saw it,” he says.

“Yeah.” You don’t need him to clarify what he’s referring to because you know exactly what he’s talking about.

“I know you’re not okay, so don’t tell me that you are.”

“Well, what else am I supposed to say, Hugh?”

“The truth,” he answers.

“What good will that do? You’re not here.”

You hear him sigh. His voice sounds tired. “Baby, please. Just–”

“It was Jack,” you interrupt.

“What?”

“The article. It was Jack. It’s gotta be.” Your voice trembles. “I’ll be fine and–”

“I’m coming home,” Hugh says.

“You have one more week left of press.”

“I don’t care. You matter more. I’m coming home,” he repeats.

“Hugh–”

“No,” he interrupts. “Don’t defend him again. You shouldn’t even be defending him.”

“I’m not.”

“Then tell me what’s on your mind!” He raises his voice and your eyes fall shut, gripping the phone close to your ear. You know that he’s frustrated at being so far from you, for allowing you to deal with this all by yourself. He should be there with you. He needs to be there with you. “I’m sorry, baby. I just– Fuck, I feel helpless here.”

“Well, I’m feeling helpless too,” you admit. “That article… Those rumors, maybe some of them are true. Maybe you do deserve better than me.”

“Stop.” Hugh sighs. “You know that’s not true.”

“You’re you and I’m just… I’m just me.”

You can hear ruffling on the other end of the phone and when he goes to speak again, his voice sounds more distant, like he’s not holding the phone directly to his ear anymore. “I’m coming home. I already told Ryan and Shawn.”

“Hugh,” you sigh. “Baby, please.”

“No,” he says. “Don’t you think that article hurts me too?”

“B– Because of your reputation? Because of what it says about you?”

“No,” he sighs. “Because of what it says about you. It’s not fucking true. None of it is, and it hurts me because I know that it’s hurting you. So, yes, I’m coming home so that I can be there with you.”

You don’t answer because you finally feel yourself begin to break down. You put the phone on speaker and set it aside, burying your face into your hands as you let out an inaudible sob.

“Baby?”

“Don’t come home,” you finally answer. “Let me– Let me handle this on my own. Let me work through this on my own. Please, Hugh.”

“Baby,” Hugh sighs. “I can’t–”

“Hugh, I need to do this for myself. Please, can you do that for me?”

“I don’t want to,” he answers.

“I know, but you need to.”

“I can hear you crying, baby.”

“It just hurts. All of it, but I can do this,” you sniffle. You want so badly to just feel his arms around you.

Hugh sighs in defeat. “I love you,” he whispers quietly. “So much, okay?”

“I know,” you answer with a slightly trembling voice. “I know you do.”

“I won’t come home today, but I will be home by the end of the week. Can we come to that compromise?”

“Yeah,” you answer. “I think that’s okay.”

“You know you’re the best person I’ve ever met, right?” Hugh asks. “You’re kind, thoughtful, considerate… so passionate and I love everything about you. Flaws and all.”

“Even when I get into my own head and–”

“Yes,” he interrupts. “And I wish that you can see what I see in you, what everyone sees in you.”

You shut your eyes and imagine him there with you, arms wrapped around your frame, lips near your ear as he whispers. You lie on your side and wrap the sheets further around your frame as you keep the phone on speaker.

“I’m sorry I’m broken…”

“Baby,” he sighs. “You’re not broken, and you shouldn’t be apologizing. Someone who you trusted, who you loved, hurt you over and over again. He manipulated you, took advantage of you and–” he has to stop himself from talking because he can feel himself getting angrier and angrier. “Jack never deserved your love. He never deserved you.”

“Hugh…” you whisper. “I love you.” His words awakens something inside of you, something that you never thought existed. You thought you had done a lot of reflection on your relationship with Jack, but you never looked at it from your perspective in this way. You always wondered what you could have done differently, what you could have changed about yourself that it wasn’t until you met Hugh that you realized the issue was never you.

It was Jack.

And it will always be Jack.

“I’ll be home soon, okay?” Hugh sighs. “I love you, baby.”

“I love you too, Hugh,” you sigh. “More than you ever know.”

“I’m one lucky man, I’ll tell you.” He replies.

You bite your lower lip and take your phone off speaker to bring it close to your ear instead. “I’ll call you later?” You ask.

“Yeah, baby. I’ll be here.”

“Got another full day of press?”

He sighs. “I have time for you. Always will.”

“You sure?”

“Positive, baby.”

—

For the rest of the day, you steer clear from your phone and laptop. The only time you’d reach for it is to respond to a text from Hugh or from your trainer. You distract yourself by watching movies, but even in the living room, you’re missing Hugh’s presence.

The movies only do so much for so long when your mind begins to drift to Jack. For the longest time, you’ve tried so hard to ignore it, to just move on without ever reflecting on just how toxic that relationship was for you. It was easier to just forget, but when he decided to force himself back into your life, you realized just how many unresolved emotions lay dormant.

You can still vividly feel his fist connecting with your cheek, can feel his entire body weight behind the punch. You should have left him then, shouldn’t have even let it go that far, and you wished you had a good enough reason why you didn’t leave.

Part of it was because Jack had made you believe that no one would ever want you if you did decide to leave on your own… and he would tell you how worthless you were over and over and over again to a point that you started to believe it.

But him ending the relationship had been the one of the best things to ever happen to you. You know that you still have so much to work through, but you’re no longer the same woman you were when you were still with Jack.

You try to remind yourself of that. Jack doesn’t have authority over you anymore (and he never should have). He never should have laid his hands on you. Never should have repeatedly put you down with his words.

And you’re tired of letting him get away with it. You’re tired of letting him win.

---

taglist (if links don't work, i'm sorry!): @corvusmorte - @dragonqueen89 - @whimsiwitchy - @kellyxo1

@wolviehugh - @moonxknightx - @sullyselena - @angelofthorr - @spectorrrhgf

@needz1nk - @fandomxo00 - @godlypresley - @kythefangirl25 - @callsignyourmom

@sue8724 - @squishyfruitloop - @sylviavf - @emotrash1 - @dissentientss

@sir-thisisadndserver - @absolutepie - @millajay - @itsallyscorner - @haytchee

@wolverigrl - @its-in-the-woods - @d3ad2you - @definitely-not-chill - @khxna

@jules-and-gemss @keerygal

#hugh jackman #hugh jackman angst #hugh jackman fanfiction #hugh jackman fanfic #hugh jackman x reader #hugh jackman x fem!reader #hugh jackman x female reader #hugh jackman x f!reader #rpf #real person fiction #story: training partners

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fiamat12 · 30 days ago

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Re: The State of the Lukola Union

Part 1: Mercy Kill or Cover Up?

Sifting through the options of what today was about leaves me w/ one of those two options as *most likely* w/ the info. available as of now:

1) Mercy Kill

This could be good... this is probably the only time I'll use the word "kill" and "good" simultaneously but that's what we *may* have gotten today - trying to end this as painlessly as possible. I mean, it was a literal stroll in the park next to the Baftas debacle. And that's about all the positivity I can muster because I'm annoyed to say the least, as we all are - if you're not laughing or rolling your eyes. 😠🤣🙄

Discord comment of the day: ⬇️

I agree A's 15 min. of fame is up. Indifference protects our peace, but for Lukola it could mean no one cares to watch them anymore...

I didn't love the execution by L's team. L's super slow like of A's post then pap pics, ok whiplash!The Robot, however seems to thinks it's lower risk than other options... and he's probably right.

TY as always @jmuz09 ⬇️⬇️⬇️

Note: it's still uncertain we're in the final obligations phase (need more info.) and no clue if Lukola is still in Ireland or not...

2) Cover up for Lukola getting papped

• After a 55 hr. hold-out on L liking A's post, and less engagement in general, the pap pics come off as a mixed message. (prob how they got into this mess in the 1st place, isn't it? 😏)

• I'm open to it being part of an exchange - meaning Lukola was papped and the Antluke pics were traded for them. The fact Lukola hasn't been papped yet has always been SUS to me.

• If obligations are winding down but not quite done, getting papped could risk a breach of contract. We've thought they may have employed this tactic before, w/ the JD & N carrot pap pics.

• The Fastnet festival looked amazing but was also crowded & lively and it's possible they could've been snapped there or on their way back. The Robot even thinks SHFH isn't off the table...

⬇️⬇️⬇️

#all in time time will reveal

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ashleyrowanthewriter · 11 months ago

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Porcelain Doll HRT Observation Report

Part I - WTO Foreword

The report is based on studies and observations performed by Dr. Pierre Oupée, Dr. Kotomi Abuki and Dr. Pirkko Osliini. The team studied 25 participants who underwent therapy including Dr. Osliini.

The therapy has been approved by the World Transhumanism Association, but every licensed physician administering the treatment has to report the course of therapy of at least 50% of patients for clarity of data. The therapy is to be submitted for reapproval once reports of at least 1000 patients are collected.

Part II - Recommended Psychological Evaluation

Before undergoing the therapy it is recommended to evaluate the patients psychologically. The evaluation should take three sessions, which should be performed in intervals of 14 days. The process of evaluation prioritises informed consent and letting the patient consider their decision.

The first session is focused on discussing the desired effects with the patient. During the second session the patient is to be explained about the effects of the therapy. During the third session the patient signs the informed consent file after which they can undergo an endocrinological evaluation and get prescribed the medications.

Part III - Required Medications

All medications are available in oral and epidermal form. It is important to note that the exact dosage differs from patient to patient.

Antihomogen (0,5-2 mg/week) - Humanity removal agent. Due to the anthropomorphic nature of the therapy it is important to keep the dosage low unless cross administering multiple therapies.

Antisomatotropin (10-17 mg/week) - Somatotropin halting agent.

Contostropin (13-22 mg/week) - Shrinking hormone. Due to the rate of influence the final dose should be taken when the patient reaches the height of 5-7 cm higher than desired. Further research is advised.

Tsichirone (17,5-32 mg/week) - Porcelanising agent.

Part IV - Course of Therapy

Phase 1 (onset on week 4-8) - Somatotropin in the patient’s body stops influencing it and constopropin causes it to start shrinking.

Phase 2 (onset on week 7-14) - Tsichirone starts turning the patient’s skin into soft porcelain. The effects of constotropine become amplified causing rapid decrease in height. The patient’s hair starts falling out. It is not understood what causes this effect, but it is observed that it doesn’t affect scalp hair. Further research is required.

Phase 3 (onset on week 20-30) - Tsichirone might cause the patient’s body to spontaneously freeze for a short time. The effect first affects small parts of the body such as single fingers to later spread to entire limbs and near the onset of phase 4 even the entire body. The patient’s scalp hair stops growing. It is not understood what causes this effect. Further research is required. The patient’s body hair falls out entirely midway through this phase. Tsichirone causes the patient’s skin to become more brittle. The patient’s hearing becomes more sensitive to high sounds. It is not understood what causes this effect. Further research is required.

Phase 4 (onset on week 40-56) - The patient’s body is completely turned into soft porcelain. While the patient retains muscle control for some time, tsichirone starts causing muscle atrophy and conversion of movable soft porcelain into immovable hard porcelain.

Phase 4A (10 weeks after the onset of phase 4) - The patient has to register in a surgery clinic licensed to perform dollification surgeries.

Phase 5 (onset on week 55-70) - Tsichirone causes complete conversion of soft porcelain into hard porcelain and complete muscle atrophy. The patient loses control over their body. Dollification surgeries become possible. The medication process is deemed completed.

Part V - Course of Surgeries

All the surgeries become possible after the patient reaches phase 5 of therapy.

Articuplasty involves cutting the patient’s body and shaping new joints out of kintsugine. The joints become integrated with the patient's body after two to three weeks of auxiliary tsichirone therapy after which the patient is to undergo physical rehabilitation. Articuplasty is to be performed on shoulder joints, elbows, wrists, finger joints, hips, knees and ankles. If the patient expresses such desire, articuplasty can also be performed on toe joints, neck and some regions of the torso. The patients are able to use their joints despite muscle atrophy.

Voice box transplantation is not necessary for transition, but if the patient wishes not to undergo it, it is advised they learn sign language. The surgery involves cutting a hole in the body region chosen by the patient, inserting an artificial voice box and sealing the hole using kintsugine. The seal gets healed after one to two weeks of auxiliary tsichirone therapy. Although the voice box can be transplanted to any part of the body that is big enough to store it, it is highly recommended to transplant it into the neck or the torso.

Some patients express a desire for their post-transition forms to possess winding keys. In such cases it is possible for them to undergo winding key transplantation. The transplantation consists of drilling a hole in the patient’s body, constructing a key rail out of kintsugine, inserting the key and sealing the rail. The key becomes integrated into the patient’s body after two to three weeks of auxiliary tsichirone therapy, during which it is absolutely necessary not to touch the key. Touching the key during the auxiliary therapy may result in damage which may render the key unusable or require repeating the surgery. Winding the key seems to have no effect on the patient's physical state. It is however understood to cause feelings of relaxation. Further research is required.

Some patients express a desire for their post-transition forms to possess movable eyelids. In such cases it is possible for them to undergo palpebraplasty. The surgery involves cutting the eyelid rails into the patient’s eye sockets and shaping the eyelids out of kintsugine. The eyelids become integrated with the patient’s body after four to eight days of auxiliary tsichirone therapy. To ensure proper shape of the eyelids they are to be shaped in the closed position.

Part VI - Reversibility

The effects of the therapy are currently understood to be irreversible once the patient’s body enters phase 4 of the transition process. Further research is required.

Part VII - Contraindications

The therapy is not to be administered to patients with calcium deficiency until the deficiency is treated.

To prevent damage to the organism the therapy is not to be administered to patients with brittle bone disease.

Patients with any health conditions causing muscle atrophy are to be thoroughly observed by their physician.

The physician has the right to alter or completely halt therapy if it poses danger to the patient’s life.

Part VIII - WTO Approval

The World Transhumanism Organisation approved the therapy on August 2nd 20XX.

*************

Sorry, but I like the otherkin HRT genre too much. And while it will feel weird to self-insert myself into such a story as a receiver (because it seems my disability prevents me from gender HRT IRL), I thought I could write some lore bits to contribute to the community. It might not even be the only report I decide to write.

Of course, feel free to base your own story on that report. I'd be excited to read it!

#otherkin hrt #therian hrt #furry hrt #doll hrt #dollposting #animal hrt

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the-astronome · 2 months ago

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Found a curious little thing in P3 Quarantine, which took me aback ngl

This is going to be quite a post, but I won’t place a tldr because I’m an annoying asshole (scroll down the post, the aforementioned detail is there)

Those who played P1 know that the game was always very vague about its time period. I covered it in another post of mine, but basically Patho Classic takes different features and aesthetics from several decades, namely from the 1910s and up to the 1940s. This is augmented even more by the subtle references to real literature/media/events, which created a sense of the game world being weirdly familiar but you couldn’t grasp what exactly made you feel this way.

Patho 2 (especially the Marble Nest) writing became less subtle, with open (or not that obscured) references to real events and literature. One of the brightest examples is Artemy’s mentioning of the Civil War continuing for the third year already ("Уже третий год идёт гражданская война.". That's a touch quote for the revolver). And this immediately “lands you back to earth” in a way; you understand “Well, this must be the early 1920s then” (obviously with the assumption that it's the Russian Civil War we're talking about). This replica of Haruspex doesn’t necessarily break the immersion, but it makes the storytelling a bit more direct.

And then comes Patho 3 Quarantine. All that I’m going to talk about below started as a mere joke for myself: on Day 8, when the Bachelor tries to board a train, we find ourselves in the middle of the Steppe at night. A bright, full moon is shining.

We know that Pathologic takes place in September. Moreover, on Day 5, at Stillwater on Bachelor’s desk, there is a calendar, which indicates September 3rd (я календарь переверну-AHEM sorry). If this detail is anything to go by, this means the game starts on August 30th, therefore, Day 8 is September 6th.

You might say, “OP, but this might be just a random detail, that doesn’t mean anything”. HAHA do you think I’m called the astronome for nothing? Remember the full moon on Day 8? Assuming that we constrain our range of years to 1910-1940 (explained above), we can calculate for what years the moon was at its brightest on Day 8. Moreover, just the phase is not enough. We need to make sure that the moon was seen at night on that day (i.e. wasn’t below the horizon) on that latitude. I’m taking northern latitudes between 51 and 55 degrees, a typical coordinate for major Siberian cities (I’m taking Novosibirsk, Irkutsk and Ulan-Ude as references here).

I’m using Stellarium, but you can check it just with Google really (I did that as well), it will all have the same result. We have a full moon (or at least a phase close enough to it) for 1914 (phase 95.4%), 1922 (99.6%) and 1933 (96.8%). The moon is above the horizon, and tbh if I had the exact time when the Day 8 sequence happens, I would've tried to approximate the latitude used in the game (if there is one). Anyway, this is just a set of years. That's not that interesting, right? Would have been so, if not for the Bachelor's replica in dialogue with Filat.

(yea it's in russian ik) I'm talking about the second answer option (the highlighted one). There, Daniil inquires if the Termitary has been closed for the sixth day already, since Tuesday. This dialogue takes place on Day 5, September 3rd. Do you see where this is going? If September 3rd is the sixth day since the Termitary's closure, then it was sealed on August 29th. And it was Tuesday. Using New Style (i.e. Gregorian Calendar), August 29th was Tuesday in... 1922 and 1933. Using Old Style (after all, it was used in Russia until 1918), the closest ones are 1923 and 1934. In all honesty, if I were to choose just one of these years, it would be 1922. It makes sense in terms of the moon phase (it got the closest illumination percentage to the full moon, 99.6%). It coincides nicely with that Tuesday situation, assuming that in their country a Gregorian calendar is utilised. The game's aesthetics, Capital's architecture, and overall design are a clear reference to the European 1920s. More importantly, do you remember Artemy's note on the Civil War duration? Yes, technically, the Russian Civil War started in 1917/1918 (thus the third year is 1919/1920). However, I think this is where Pathologic gets back to its usual subtlety in writing. Indeed, the dates are not exact, but it's close enough to ring a bell for most players. Why did IPL include this in Quarantine? There is a certain chance that all the aforementioned details are not intentional and are just a mere coincidence. Maybe it's deliberate. This is, imo, a choice of the player. Eye of the beholder and all that. (for people who scrolled down without reading) Regardless, Pathologic 3 seems to take place in 1922 or, less likely, 1933. Now you are also burdened with the knowledge of it.

#ну давайте скажите мне что они не угорали всей студией когда ставили этот календарик с третьим сентября #im a professional overthinker as you can see #also when i see moon in media the first thing to do is to calculate the year #what astronomy does to a person #oh it never leaves you fellas #pathologic #pathologic 3 #мор утопия #pathologic 3 spoilers #даниил данковский #daniil dankovsky

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ms-m-astrologer · 1 month ago

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Cosmic Events: June 2025

Executive summary: maybe our best month in 2025 to get things done - don’t waste these opportunities!

Lunar Phases

Tuesday, June 3, 03:41 UTC - First Quarter Moon, 12°50’ Virgo

Saturday, June 7, 05:56 UTC - Gibbous Moon, 1°45’ Scorpio

Wednesday, June 11, 07:44 UTC - Full Moon, 20°39’ Sagittarius

A very high energy Full Moon, with a grand trine in Fire signs (Moon/Sag, Mars/Leo, Chiron and Eris/Aries) just begging for some positive direction. Aim wisely.

Sunday, June 15, 04:43 UTC - Disseminating Moon, 9°21’ Aquarius

Wednesday, June 18, 19:19 UTC - Last Quarter Moon, 27°48’ Pisces

Sunday, June 22, 04:12 UTC - Balsamic Moon, 16°01’ Taurus

Wednesday, June 25, 10:32 UTC - New Moon, 4°08’ Cancer

Exactly conjunct Jupiter, exactly sextile Mars/Virgo - this has major “home improvement” energy. We need to be laser-focused on our intentions.

Saturday, June 28, 21:50 UTC - Crescent Moon, 22°26’ Leo

Void of Course Moon

Sunday, June 1, 23:38 UTC (Leo) - Monday, June 2, 03:00 UTC (Virgo)

Wednesday, June 4, 11:11 UTC (Virgo) - 13:38 UTC (Libra)

Saturday, June 7, 01:04 UTC (Libra) - 02:23 UTC (Scorpio)

Monday, June 9, 12:06 UTC (Scorpio) - 14:56 UTCc (Sagittarius)

Wednesday, June 11, 19:58 UTC (Sagittarius) - Thursday, June 12, 01:55 UTC (Capricorn)

Saturday, June 14, 08:52 UTC (Capricorn) - 11:00 UTC (Aquarius)

Monday, June 16, 17:31 UTC (Aquarius) - 18:09 UTC (Pisces)

Wednesday, June 18, 21:34 UTC (Pisces) - 23:08 UTC (Aries)

Saturday, June 21, 01:49 UTC (Aries) - 01:53 UTC (Taurus)

At a duration of four minutes, this is the shortest void Moon in June.

Monday, June 23, 01:50 UTC (Taurus) - 02:57 UTC (Gemini)

Monday, June 23, 08:26 UTC (Gemini) - Wednesday, June 25, 03:44 UTC (Cancer)

At a duration of 43 hours, 18 minutes, this is the longest void Moon in June.

Friday, June 27, 05:16 UTC (Cancer) - 06:05 UTC (Leo)

Sunday, June 29, 11:03 UTC (Leo) - 11:44 UTC (Virgo)

(There will be some similarly long void Moons in July….)

Retrograde/Direct/Etc.

Transiting Mercury enters its pre-retrograde shadow on Monday, June 30.

Transiting Venus has her greatest western elongation on Sunday, June 1. This is similar in feel to a First Quarter Moon: we finally feel ready to get on with new Venus projects.

Transiting Ceres is in her pre-retrograde shadow all month.

Transiting Pallas begins June in her pre-retrograde shadow; she stations retrograde on Monday, June 9, remaining retrograde until October 4.

Transiting Juno is retrograde all month.

Transiting Vesta starts June retrograde; she stations direct on Saturday, June 14, entering her post-retrograde shadow.

Transiting Saturn is in its pre-retrograde shadow all month.

Transiting Pluto is retrograde all month.

Ingresses

Friday, June 6 - transiting Venus enters Taurus

Sunday, June 8 - transiting Mercury enters Cancer

Monday, June 9 - transiting Jupiter enters Cancer

Tuesday, June 17 - transiting Mars enters Virgo

Staurday, June 21 - transiting Sun enters Cancer

(Alias the Cancer Solstice.)

Thursday, June 26 - transiting Mercury enters Leo

Opportunity Periods

Sunday, June 1, 23:32 UTC - 23:38 UTC. “You’ll have just a few minutes to do something meaningful during this very short OP.” (Ms M is rolling her eyes.)

Wednesday, June 4, 20:52 UTC - Saturday, June 7, 01:04 UTC. “A much-needed waxing Moon OP perfect for communication, networking, and projects related to beauty, events, and more.”

Thursday, June 12, 15:56 UTC - Saturday, June 14, 08:52 UTC. “This long OP favors many things, from creative work to practical family matters, just in time for Father’s Day.”

Wednesday, June 18, 19:19 UTC - 23:08 UTC. “Use this time for artistic activities, expressing love, and renewing your emotions during the Last Quarter Moon.”

Friday, June 20, 10:32 UTC - Saturday, June 21, 01:49 UTC. “You have the whole day to network and complete tasks.”

Wednesday, June 25, 10:02 UTC - 11:02 UTC. This is one-half hour before and after the Cancer New Moon. “If you have something important to start around now, this is a great time to do it.”

Thursday, June 26, 15:08 UTC - Friday, June 26, 06:05 UTC. “Very good OP for being creative and also to strengthen healthy and loving relationships.”

Monday, June 30, 01:14 UTC - Tuesday, July 1, 20:47 UTC. “Any activity during this long and positive OP will give good results, from practical matters to romance. This is the last OP before Mercury begins to slow down.”

Et Cetera

The Cancer Solstice is on Saturday, June 21, at 02:42 UTC. It’s very similar to New Moon chart four days later - excellent for “tending our gardens” like Candide.

#Astrology #Cosmic Events June 2025 #Ms M astrologer

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