#that was the original idea behind this

[morebird]

Keep your distance, darling.

[s4ndg3m]

@sp0ngeysp0nge now imagine the gradient slimed up and coated in that sludge...

the second one was suppsoed to be both of ours slimed but i got. carried away. so.

[nibeul]

tsukumo yuki joins the fight!

[id: It’s a redraw of the panel where Tsukumo joins the fight between Choso and Kenjaku, her shikigami hovering in the air behind her while the barrier has broken. She’s drawn with tan skin and long blond hair with her brown roots visible. Her outfit has been modified slightly so that she wears a black body suit and green baggy pants, and she’s depicted as more muscular than she is in the manga. On her left arm, she has a tattoo sleeve filled with flowers and a fish, and her earlobes are also stretched though she doesn’t wear any earrings. /end id]

[chirpsythismorning]

Fun fact: In the original pitch for Stranger Things, El had a little brother.

After being rejected by almost 20 studios for the Montauk pilot, the Duffers were finally green-lit by Netflix. It was at this time that they began casting and then writing the first season officially, which included reworking a lot of that first episode.

This led to the removal of the brother reference, and with it, removing any sort of arc El could have had about her apparent brother.

But the thing about this moment, is that it might not have been scrapped entirely...

Going into the final season, no one can explain why or how El recognized Will back in 1x02. And while there are plenty of things on the show that are left unexplained, with a small portion likely left that way with the intention to uncover it later, what sets this moment apart from the rest is that there are very few possibilities here.

Because for starters, the story presents El's ability to see people in the void in s1 as requiring either a picture of that person for reference, or having met that person before.

But when El see's this picture of Will, she's never met him before. Or maybe she has, but we wouldn't know because they never showed us. They could have just not done this scene at all, given that it's clearly a copy/paste/edit of something scrapped from the pitch. Or they could have even still included it, but explained it.

One explanation could be that the lab had shown El a picture of Will before, similar to what they did with the Russian agent they wanted to spy on. But then that begs to question, why would the lab show El a picture of Will? Why would they want to see what he was doing? That alone is incriminating in and of itself, implying that Will is more connected to the lab than we realize.

The only other, and frankly most likely explanation, would be that El stumbled across Will at some point on her journey between escaping the lab and Will going missing. This is actually something that happens in The Other Side comic, which explores all the things Will may have experienced during his time in the Upside Down.

Though it’s worth noting the comics aren’t technically canon, and I highly doubt they would outright spoil everything in relation to Will’s time there, years before it was intended to be revealed. But still, let's humor this for a moment given that I do think Will's time in the UD is going to be very relevant in s5, which means it's highly likely they will finally address how exactly El saw him.

Basically, in the comic, Will see’s El walking through the woods, almost apparition like, glowing as she passes by, while also sporting the Benny’s burgers shirt. This means they would have crossed passed within a short span of time, between when El escaped Benny’s when the agents arrived, but before she was found by the boys.

Though it’s worth noting that we’re seeing this all from Will’s perspective. This means from the UD, Will was capable of seeing El on the other side, despite them being on different sides. And not only that, but she also looks back at him.

What confuses me about this, is that it doesn’t make sense for El to be in the woods, only to randomly decide to pop in to the void for a moment. She was trying to escape the lab and everything that came with it. I doubt she had any desire to lurk back there for some reason, not until someone encouraged her to. Not to mention, it would make no sense for her to go there and see Will if she wasn't even looking for him in the first place. And so this would mean Will and El could see each other, with Will being in the UD, and El being on the other side.

While it does seem pretty far off, given that you would think Will and El wouldn't be able to see each other from different sides, it is true in the story that El not only recognizes Will, but knows that he is in danger. She mentions that he is hiding specifically.

Which means she has likely seen him within the last 24 hours regardless.

This, in combination with Will being able to respond to El in the void at the end of the season in Castle Byers, when no one else outside of Terry and flayed-Billy have been able to, seems to imply that there is indeed something special about Will that makes him capable of communicating with El from the UD. Not only that, but El also seems to have an ability to be in this constant knowing state of how Will is doing, without even checking again to confirm. She's just certain of it. And she seems terrified about it.

Going forward, El never uses a picture of Will to find him. She never did. And more often than not, they don’t show us what she see’s either, not until the very end. And that’s the moment they reveal that he was able to communicate with her.

Again, there was really no reason to have El recognize Will. If anything it complicates things. But the fact that they chose to introduce this concept, with a scene from the original pitch that was related to El’s younger brother, with her pointing at his name cryptically, startling Benny, only to revamp it and have El not say anything at all while pointing at the picture of Will, startling Mike… It just really makes you stop and think.

Which brings me to the other aspect of this that might have people doubting, which is that El’s brother was originally younger than her.

We know Will is not younger than El, so how could this apply to him?

Well, it might be helpful to consider that in the original script, El was actually 10 years old, while the boys were always 12. Meaning that for some reason, they decided to age her up to the age of the boys, aka the same age as Will…

Ever since @erikiara80 shared this brother discovery with me, I have been sort of reeling. It then led to other little discoveries of changes they made between Montauk and Stranger Things.

It’s important to understand that the Montauk bible and the original script precedes what we ended up with in the final product, with it finally changing and evolving months, maybe even a year since that original vision. Even casting occurred before writing started for the first season. We know this because casting announcements were made in June and August of 2015, with writing not starting until August going into early 2016, simultaneously while they were filming.

And believe it or not, what I've discovered is that a lot of the changes they made between their original plans and what we see in the final product, have to do with not only Willel, but also Byler.

If you've read the original script for Montauk, you'll know that Mike's crush on Jennifer Hayes was focused on right from the jump, along with the birthmark on his face being focused on, which was the main cause of the bullying he experienced.

This has actually been talked about recently, and some of the claims people make do fit with what I am genuinely starting to consider here, which is that the initial plan for what makes Mike an outcast shifted.

I think when they completed casting, and started actually deep diving into what they wanted this world to look like, both from a short-term and long-term standpoint, they were presented with some pretty interesting discoveries, arguably already hiding in their initial plans without realizing it.

And this is where it sort of becomes a 'chicken or the egg' situation. Because which one came first? Byler or Willel?

I can't say for certain, because obviously this is all just speculation. But in the case that Willel came first, I think Byler would come very naturally after that.

The Duffers themselves are twins. Then they hire Noah, who is a twin. Then they're thinking and planning for El's past and how her family all fits into this, and they're thinking... wait a damn minute... We could totally Star Wars this bitch!

And then when they think it couldn't get any better, they uncover another layer that they hadn't planned or really considered in their initial plans.

While Will was always going to have sexual identity issues according to the Montauk bible, meaning that the writing process for him likely involved sitting down imagining scenarios that encapsulated this arc for Will from the beginning, they were simultaneously now finding very interesting aspects of Mike's character that made it hard not to at least consider the possiblity that Mike is not exactly straight.

Just think about it. The Byers and Wheelers are basically polar opposites on the spectrum of what a family looks like. While Will's discovery and acceptance of his queerness is interesting to explore because he comes from a low-income, single-mom household, all while having been bullied for years based on his perceived queerness, he also has a mother and brother constantly reinforcing that they will accept him no matter what. They've been sort of hitting us over the head with it for years, and so it wouldn't be very satisfying for his entire arc to merely lead up to something we've known all along. It's pretty much a given at this point.

On the other side of the spectrum, Mike comes from a more upper-middle class family at the end of a cul-de-sac, more aligned with what a nuclear family looks like. Mike's family is also presented as being more conservative, and while Karen does give that very queer-coded speech to Mike in s1 (I'm convinced they only wrote this after deciding to explore queer-coding more heavily with Mike), it also comes with comments from Ted and even still Karen that hint that they are probably not as open-minded and accepting as Will's family is to him. Which means Mike's arc would be a lot more about acceptance around him from his loved ones who we have been led to believe might not be as accepting of his queerness in contrast to Will.

And so as they're putting this story together, and they're being presented with something very interesting. Two similar experiences that play out in different ways because of the characters circumstances.

Will goes missing, and his twin sister with a buzzcut pops up and has the ability to help them find Will.

This leads to several moments where El is being compared to as not only a boy, but Will as well.

Now suddenly, their initial plans to have Mike's arc be about having a girl be interested in him and to hopefully have his first kiss and feel like less of a loser, starts to look a lot like what the experience a queer kid in his position might encounter growing up in the environment that he did.

And if you don't want to take my word for it, just hear the Duffer's themselves hinting at what they initially planned for Mike and the fact that it changed.

The changes don't stop there.

Believe it or not, 'It was a seven', did not exist in the initial pitch. When the boys went outside bickering over Nancy, they leave right after that.

Another thing that changed from the first script, was Scott Clarke's introduction:

And so you might be thinking, who cares? What does that have to do with anything?

Well, it's interesting because the line we end up with on the show is arguably one of the most on the nose Twelvegate proofs to date. Mind you, this is from the first episode:

Why chuck the original version, which was arguably more interesting and fascinating in terms of it hinting at the mysteriousness surrounding this story, only to replace it with him listing off tips about their upcoming test?

Well, I think it's the irony of it all. Here Mr. Clarke is practically telling us where to look to figure stuff out for ourselves what is going on, with all the kids filing out and ignoring him...

I relate to Scott a litttle too much in this shot here, any time I try to drop Willel evidence.

And the changes go on, as they obviously would.

Things like Terry Ives not even being El's mom, but actually a man who more so aligns with the characterization of Murray.

And one very interesting one I almost overlooked was in Hopper's introduction, where instead of a kids drawing done by who we assume to be Sarah, we actually see a picture on the wall of him and his wife and daughter... Interesting that they decided to switch it something that is a lot less definitive in presenting what Hopper's past looked like...

If you've made it this far, congratulations.

If you still think I'm out of my mind, just remember that El was going to have a brother in the original script, but they scrapped the scene and gave a near identical one to introduce her connection to Will instead 😘

[taikk0]

everytime i draw pomni anywhere i feel like im imprisoning her somewhere new

[cobaltfluff]

so i started playing persona 4

where are the QoL features

[asukachii]

(I don’t like putting watermarks so, PLEASE, if you want to post this gif somewhere GIVE CREDITS! Also, don’t use it in edits/videos. Thanks~)

[krystaljasper]

[nightswatchdisbandmentera]

Something rubbed against his leg beneath the table. Jon saw red eyes staring up at him. “Hungry again?” he asked. There was still half a honeyed chicken in the center of the table. Jon reached out to tear off a leg, then had a better idea. He knifed the bird whole and let the carcass slide to the floor between his legs. Ghost ripped into it in savage silence. His brothers and sisters had not been permitted to bring their wolves to the banquet, but there were more curs than Jon could count at this end of the hall, and no one had said a word about his pup. He told himself he was fortunate in that too. His eyes stung. Jon rubbed at them savagely, cursing the smoke. He swallowed another gulp of wine and watched his direwolf devour the chicken. Dogs moved between the tables, trailing after the serving girls. One of them, a black mongrel bitch with long yellow eyes, caught a scent of the chicken. She stopped and edged under the bench to get a share. Jon watched the confrontation. The bitch growled low in her throat and moved closer. Ghost looked up, silent, and fixed the dog with those hot red eyes. The bitch snapped an angry challenge. She was three times the size of the direwolf pup. Ghost did not move. He stood over his prize and opened his mouth, baring his fangs. The bitch tensed, barked again, then thought better of this fight. She turned and slunk away, with one last defiant snap to save her pride. Ghost went back to his meal. Jon grinned and reached under the table to ruffle the shaggy white fur. The direwolf looked up at him, nipped gently at his hand, then went back to eating.

Jon I, AGOT

It's interesting that GRRM would dedicate several paragraphs to a seemingly unimportant exchange between a boy, his wolf, and an unfriendly third party. But there's just something about this passage that has continued to nag at me for years since I first read it because, considering how heavy handed GRRM was with the foreshadowing in AGOT, this feels important.

Jon is sitting at table full of squires - aka would be knights. We don't really know who they are or what families they belong to, but it's safe to assume that they come from a certain level of privilege; this is considering the fact that it cannot be financially easy to be a squire. And these boys already have a slew of tales detailing all their previous knightly exploits regarding "battle and bedding and the hunt" which suggests that they have some capital. So you have boys who will soon be men. And they will, presumably, become men of some power.

These lads eat their fill of the chicken until only half remains, which Jon then gives to Ghost. The direwolf's name is not so important here but what he represents is. Throughout the series, we're told that Ghost is reminiscent of the weirwood trees (because of his red eyes and white fur). He's stated to be of and from the Old Gods and since he's a personification of the weirwoods, he might as well be one of them. It's almost as if Jon is presenting whatever is left on the table to the Old Gods (Ghost). He lets them devour his offerings while he silently watches. And the motif of watching is so interesting here because it's kind of like Jon takes on a stewardship role - to watch over land/people/etc. He oversees Ghost eating the chicken, so he's overseeing whatever has been given to the Old Gods. This is not new imagery to his arc. As a brother of the Night's Watch and eventually its leader, we have several instances where he leads people to adopting the Old Gods in some fashion. In ADWD, several recruits swear their vows to the Old Gods while he watches on as their Lord Commander. The Old Gods are also primarily of the North and we're told that Jon has more of the north in him than his brothers; interesting that this also includes Bran. So perhaps whatever is being offered to the Old Gods relates to the North.

We must also note that Jon initially thinks to give only a small portion, a leg, before pivoting and providing the entire thing. It feels to me a bit like the process of carving up a kingdom or something similar. The lords (represented by the squires) take what they want and leave aside what they don't; or perhaps they have eaten to their fill and can take no more. Then when his time comes, Jon first considers a small piece of land/group of people before eventually absorbing all of whatever is left behind. The concept of carving up a kingdom rings harder considering that we have several callbacks to the ideals of kingship in this chapter. Robert, Jaime, Tyrion, and even Mance though we don't know it yet, all play into this. And then there's the aspect of Jon letting the chicken slip between his legs which evokes birth/fatherhood, a very curious choice when GRRM could've just had Jon place the chicken on the floor. So land/people are carved up and Jon then uses whatever is left to birth his own type of kingdom. And this kingdom is one for the Old Gods.

This also touches on something that has been quite prevalent throughout Jon's arc. It's the concept of accepting the "others" or "those left over" who live apart from the accepted social norms. Arya (a tomboy), Sam (a gender non-confirming boy), the Night's Watch (criminals, extra sons, and men who have no future left or place to go), and even the wildlings are all examples of this. And Jon takes on a leadership/paternal role to every single one of them. He looks after them as a leader would/should. Sometimes, in the case of Arya and the wildlings, he's equated to a king. He's a steward/shepherd/king. There's messianic undertones to this:

Come unto me, all you who are heavy laden, and I will give you rest. Take my yoke upon you and learn from me, for I am gentle and humble in heart, and you will find rest for your souls. For my yoke is easy and my burden is light." (Matthew 11:28-30).

If you're familiar with Judeo-Christian tradition, you'll know that Jesus is often personified as one who spent the majority his time among the outcasts. The idea is that he came to save them too and that anew kingdom (or new earth depending on your translation) would spring up after the end of the world where he would forever rule as king; which presents the idea of a final king after the earthly ones are done away with. Now GRRM isn't so heavy handed with Christian allusions as other authors out there, but he does have a Catholic background and Jon is so overtly a Jesus figure. And in Revelation, Jesus is king and god at the very end....

One last thing: the mention of the mongrel who challenges Jon has always been rather interesting but confusing to me. A mongrel doesn't really relate to one specific type of dog. But it's interesting that Jon notes several roaming about where he is. They follow the serving girls who carry the food to be offered. Mongrels are used to describe antagonist/villainous groups in ASOIAF. Sometimes, they're used to describe slavers in Essos. But what's interesting is that most of the time, they're used to describe Euron's Ironborn especially in Victorian's POV. So I don't think the mongrel who challenges Ghost is a supernatural threat of death (i.e., the Others) but rather a human one. They represent those who are called to the scene once the lords have finished playing their games. It almost feels like a feast for (carrion) crows....

But it doesn't really matter because this mongrel isn't much of a challenge for Ghost. Though the mongrel is much larger, the direwolf is able to fend her off very effortlessly. Given that "mongrel" is used to describe Ironborn raiders, could this exchange between Ghost and the mongrel point to reavers or sea raiders who rise and fail challenge Jon kingdom? There is a historical King Jon Stark who did this....

When sea raiders landed in the east, Jon drove them out and built a castle, the Wolf's Den, at the mouth of the White Knife, so as to be able to defend the mouth of the river.[1][2] His son, Rickard, followed him on the throne and annexed the Neck to the north.

ref.

So this might shed some light not only on Jon's already published arc, but also on what we can expect in the future. We have some foreshadowing through Jon's ADWD dream that he will not only rise with the dawn (thereby live through the Long Night), but will be in a position to lead people (wildings in that chapter) to a new peace after a hard fought war. Also remember that the wildlings, rather enthusiastically, swear oaths to him as if swearing oaths to their king. In this instance, the supernatural (a dream of the war for the dawn) is followed by the natural/human. So perhaps this particular passage (and Jon's dream) can be used to predict that Jon comes out on top, and quite effortlessly too, as a leader. And he becomes a leader who rules by association with the Old Gods; or rules a kingdom for them.

To end, I think it's of note that this passage immediately precedes Jon's conversation with Benjen where he voices his desire to go out on his own - the hero's call to action. This is the adventure that's going to kickstart his growth as a man, warrior and most importantly, a leader. So it looks like before we even began, GRRM telegraphed how it would all end in just three short paragraphs.

[fortyfive-forty]

WTA TOP 4 AS LYRICS FROM SONGS I HAVE SAVED [5 - 8] [9 - 12] [INSP]

IGA ŚWIĄTEK [POL] -> THUNDERSTRUCK [AC/DC] ARYNA SABALENKA [BLR] -> ALL MY FAITH [THE LAST DINOSAUR] COCO GAUFF [USA] -> NEW SHAPES [BAD NERVES] JESSICA PEGULA [USA] -> RISE TO ME [THE DECEMBERISTS]

[hannahssimblr]

“What?”

“I said, you tore me out of this photo. I was there too,” I unpin it and hold it out to point to the crooked edge next to Jen where my eleven year old self once stood, tanned and grinning in red swimming shorts, “There, I was there.”

She looks at it, then me, but says nothing. 

“You can still see my shoulder.”

“Yeah.”

“You tore me out of it.”

Again, nothing. 

I let my arm drop, limply holding the photo between two fingers, speechless I just stare at her as though she might explain herself, give me some reason that makes sense, but she doesn’t, she just stands there chewing on her lip. 

I tug my shoulders sharply toward my ears, “Why did you do that? That was a nice day. We went swimming in the sea, I rescued you from a jellyfish, remember? I grabbed a piece of driftwood and flung it out of the water for you.”

“Yeah,”

“And later your mam brought us back to my house and we had a water fight on the lawn and made ice cream and coke floats,” I hold the photo out to her in a last ditch appeal, “It was a great day.”

“Yeah it was nice, we had fun.” She won’t meet my eyes and looks everywhere but at me, like acknowledgement is unbearable.

“What, Michelle? I don’t get it. What did I do that was so horrible?”

She scoffs and turns away. 

“C’mon, just tell me. I’ve had enough of all this bullshit between us, I’m serious. What is it?”

“Oh come on.”

“No, what?” I toss the photo onto her desk and approach her, my hand on her arm makes her flinch as I spin her to look at me, eyes livid, as I insist upon her, “What?” 

“My God, you’re awful,” she hisses, “Why do you need to hear me saying it? Is it an ego thing? Is it because you’re all single and sad again?”

“What are you on about?”

“You already know what this is all about, it just gives you a thrill to bring it up.”

“No! I don’t know!”

“Oh cop on,” She slaps my hand off her, “That stuff with Holly, you just don’t remember? That’s convenient.”

“Holly?”

“Oh my God,” she tries to twist away from me but I stop her, “What did Holly say to you?”

Michelle glares right into my face with a fury that would make a lesser man cower, but I don’t budge. “Tell me!” 

“That you don’t fancy me,” she grinds out, “and that I’m not even pretty.”

I hesitate. 

She tosses her hand at me and hacks out a laugh, “See, you don’t even deny it.”

“Yeah, I was thirteen and stupid, she was jealous and I suppose I was just telling her what she wanted to hear. Shell!” she backs off and I follow, trying to insert myself into her eye line, “I didn’t mean it, she just didn’t get it, the way it wasn’t like that between us, but I don’t know why she told you that.”

“It’s because she knew I fancied you, and she thought it was funny how you didn’t fancy me back.”

“You don’t know that.”

“You didn’t, you fancied Holly.” 

I sigh, “Holly was… everyone expected that of me.”

“What does that even mean?” 

“She liked me, and she was the sort of girl that all the other boys talked about all the time, I felt like I should just go out with her because it’d be the most normal thing to do.”

“Oh my God, that’s ridiculous.”

“Yeah, I know, but I was still a kid and, I don’t know, you, Jen and I had a good thing going, I just didn’t want to risk ruining it.”

“Well obviously you did, by saying I was ugly and throwing your birthday gifts back in my face.”

“I never said you were ugly, and the birthday gifts… she told me I couldn’t have them because they were from you, but I still liked them! Those pens were better than her gift, you know, I didn’t even like the movie she took me to see,” my attempt at a laugh sounds very weird and tight, “It was actually so shit.”

Michelle is unmoved, with her arms crossed over her chest she says, “You read what I said in the card and you still threw it away like it was nothing.”

“No, I didn’t- I skimmed- I barely read it.”

She reels back like I’ve spit in her face, “Is that supposed to be better?”

I don’t answer. 

“‘Dear Jude,’” She recites, “‘Happy thirteenth birthday! I hope you have an amazing day! I just want to say that being your friend is the best! You’re so nice and funny and talented, I’m glad all of the time that you started going to our school because you make our friend group so much better. I hope you like the gel pens, I know you hate drawing with yellow colours because they don’t show up on the page, but I couldn’t exactly take it out of the packet or it would look pretty strange! Maybe you can use them to draw more comics. I look at the one you drew for me with the cowboy cats every day and it still makes me laugh. Is that weird? I hope not. Anyway, I hope you have an amazing birthday because you’re an amazing friend! xxx Michelle.’” She glares at me. The way she positively spat that message at me threw me off a bit, but the essence of it still comes across and makes my stomach sink with shame all of the same. It really was a nice card, and I wish for the millionth time in my seventeen-and-a-half years that I wasn’t such a fucking idiot. 

“I remember the cowboy cat comic,” I mutter, “Do you still have it?”

It seems as though my stupidity is confounding her, “No, I fucked it into the bin. Obviously. I was heartbroken.”

“Heartbroken?” A bit dramatic, surely. 

“Yeah. Holly and her friends bullied me for years, and you just went and abandoned me for them.”

“That’s not fair, I didn’t. You pushed me away, remember? You accused me of choosing them, I never chose them. You chose not to be my friend.” 

“Yeah, I wonder why.”

“Why are you being like this?”

“Like what?”

“So stubborn. You can't let this go.”

“Uh! Yeah! Because it’s humiliating.”

“What is? That you fancied me?”

She brings her hands to her cheeks, burning not with rage, but embarrassment. She takes a shaky breath, “did you know?”

“About you-”

“Yes.”

I chew on my lip. Of course I did. It was written all over her, the way she was so eager to sit next to me in class or in the car, squeezing into the middle seat just so that her leg could rest against mine. How she jumped at the chance to help me out with something before anybody else could, her laugh, a little bit harder and longer than everyone else's when I told a joke, but not addressing it was always easier. Maybe I liked the attention a little bit, enjoyed being admired by a cute girl, or maybe it was easier, less disruptive than admitting my own uncomfortable, friendship-group-ruining feelings. 

“No, I had no idea,” I say. 

Her eyes are fixed upon the carpet between our feet as though by looking so intently at the looped fibres she can transport herself anywhere other than here with me and my interrogations. 

“Hey, look at me.”

“No.”

I sigh, “Look, Michelle, I did think you were pretty. That’s why Holly was so jealous. Our friendship made her insecure, and she hated how much I liked hanging out with you. She could sense that I liked you.”

“Oh, come on, that’s the kind of thing you say to those stupid girls at school so that they’ll let you borrow their homework or something.”

“I really did!”

“You used to throw potato wedges at me outside the deli!”

“Yeah! That’s how you show a girl you fancy her when you’re twelve!”

Her laugh is humourless, “Please.”

“I’m telling you I did,” I take her wrist, with her pulse jumping under my fingers and hold her like that, for reasons I’m not sure of, perhaps just for connection. Close like this I can feel the heat of her body. I am desperate to show her how serious I am. “And if I wasn’t so stupid I might have done something about it.”

“Too late.”

“It’s not.”

I bend and kiss her before she can argue any more. Once, just once, but insistently, and I pull back hard with a smack expecting outrage on her face but I find only surprise, desire, and eyes that flick from my eyes to my mouth and back. I kiss her again, slow this time, deep, sure, as my hands hold her hips close to mine, willing for this kiss to wipe it all away, all of the years of hurt and anguish between us, and she lets me kiss her, and she kisses me back with hands that thread through my hair and lips that part so I can slide my tongue inside her mouth.

My knees knock against hers in our clumsy waltz towards her bed and we come down on it together, my body pressing against hers and my fingers finding the warm skin beneath her t-shirt. I draw back to look at her again, dark eyes and full lips and skin, as is mine, blushed amber with the first rays of dawn that stream through the window. 

“Do you want to stop?” I say, and she shakes her head. 

“No.”

And outside, as the sun creeps up over Clontarf, the branches of the cherry blossom trees hold their leafy arms up in surrender. 

Beginning // Prev // Next

[sukugo]

gojo gifts sukuna a cinnamoroll plush to mess with him. sukuna is visibly altered by it. he stares at it in challenge, his face is crumpled in distaste, body vibrating ready to snap, he looks like he wants to rip it apart under his fingers. two days later, gojo walks in on him kissing it on the mouth

[doomedclockworkdotmp3]

i drew vash doing the sonic adventure pose a while back and while i was working on that i thought "dont wolfwood and shadow look similar?" (its shadows chest fluff it makes him look like hes wearing a suit) but then i never did anything with that thought. until now because ive been watching sonic prime and i was in the mood oops

so i drew shadow as wolfwoods debut panel. ive never drawn a sonic character before. it was fun i hope i did ok

[sisididis]

HAPPY BIRTHDAY @reallunargift!

Guess who's using his last cents after a night out to wish you a very happy birthday? I hope you're leaning in extra close, because Port has to make himself heard over the pimba playing in the background!

[shibaleeart]

discussing a timelooped au with friends on twitter, but each reset Izaya has to kill the original timeline version of himself cause I love putting this man through psychological turmoil :)

[send-me-a-puffalope]

i love how Vanny designs have two very distinct flavors. one is an adult woman in a fursuit and the other is just an anthro rabbit 💀💀💀