#this has been sitting in the drafts for a little bit

[timesomewhere]

in honour of the West End's next to normal closing today I've finally proof-read my 'things I noticed/general thoughts' post that's been sitting in my drafts since I saw it earlier this month. it's very long I'm very sorry.

Act One:

it was really fun watching this show in September given that there's two references to it in the first song

I adore the monologue about the pills that Dr. Fine gives during 'Who's Crazy'. it's rhythmic and funny yet also unnerving. It's such a quick and impactful way to summarise what Diana has been through for the past 16 years

Gabe does a 'one of your French girls' pose on the kitchen counter under the cabinets during 'My Psychopharmacologist and I'

Jamie Parker made direct eye contact with me during the last part of 'Who's Crazy' and it was one of the most intense experiences of my life

I might just be dense but I don't get the point of the neon sign that says 'Fine' which drops down during the Dr. Fine scene. Initially I thought that then one would drop down saying 'Madden' during his scenes to help people differentiate between the doctors but then it didn't so it just feels like a weird extra prop

speaking of random props, shout out to the iPad on the table in the opening scene which Gabe pretty much instantly takes away after telling Diana that she shouldn't obsess over tragic news stories and is then never seen again as far as I remember

Dan in the flashback scene being such an optimist about Diana's pregnancy and the future they're gonna have together... soul-crushing

Caissie Levy's 'I Miss The Mountains.' Holy Shit.

I love how Diana and Gabe are the only characters who sing on/stand on the table. it's as though it's this extra dimension of the house that only they have access to and it's a really neat and subtle way to show that they relate to each other in ways other characters don't

'It's Gonna Be Good' is so underrated. Jamie Parker's somewhat genuine optimism becoming optimism-through-gritted-teeth is incredibly acted

The way Jamie delivers the first line of 'He's Not Here' is devastating. the heaviness of that moment as you feel the audience around you realising what's just happened is something I'll remember forever

Gabe body-blocking Dan from Diana during 'I Am the One' is such good staging. People talk about how Jack Wolfe plays Gabe with a lot of layers and a lot of simultaneous contradiction and this song is one of the best examples of that. how Jack manages to project a character who is goading his father and protecting his mother at the same time is beyond me

also Jack has maybe half-an-inch on Jamie which obviously isn't something the actors control but it does makes Gabe seem just that bit more threatening when he's getting in Dan's face

for the first part of Superboy and the Invisible Girl when it's just Natalie singing, Gabe is actively laughing. He's totally unperturbed by her efforts to make herself seen to her mother. it's only when Diana replies, particularly when she says "you're our little pride and joy, our perfect plan" that you see his face drop and you see him trying to figure out a way to stop her from getting Diana's attention which then results in him kicking her off the melody in her own song

"I'll hurt you" being directed at Dan and "I'll heal you" being directed at Diana as Gabe gently touches her face gets me so bad. but the most painful part of 'I'm Alive' for me is when Gabe looks at Dan as he says "I'm the perfect stranger who knows you too well." that's the first time you realise that perhaps Gabe doesn't just impact Diana, and there's something much larger at play

Caissie and Jack W's voices harmonising on 'Catch Me I'm Falling' was one of my favourite parts of the whole show. Their voices are so magical together and their mother/son chemistry is incredible

The 'I Dreamed A Dance' into 'There's a World' sequence is one of the most tragically beautiful things I've ever witnessed. I went into the show knowing what Gabe was trying to achieve during 'There's A World' and yet Jack's voice is so beautifully haunting you totally forget you're supposed to root against Gabe in that moment

Jamie Parker's 'I've Been' is some of the best acting through song out there. Interestingly my friend and I had very different interpretation's of what Gabe's horrified reaction to the blood meant. I viewed it as him being upset about what he convinced Diana to do - he doesn't like seeing her hurt. Whereas my friend saw it as him being angry at himself that she didn't manage to follow through, meaning that he has failed to regain control over her life

'I'm no sociopath, I'm no Sylvia Plath. I ain't no Frances Farmer kind of find for you' is one of the best musical theatre lyrics of all time. I genuinely don't know why I Miss The Mountains is the 'big song' known from N2N over 'Didn't I See This Movie?', it's just so good

Natalie's 'She trusts you!' line is heartbreaking, I was basically watching that entire scene through my fingers because of how high the emotion was

Act Two:

'Pfizer's woman of the year' will in fact be peak comedy every time. Eleanor's delivery is *chef's kiss*

Gabe having just one line in 'Wish I Were Here', and that line being 'Wish I were here.' Yeah. I feel very normal about that.

Natalie's line of "Can I hide my stupid hunger, fake some confidence and cheer?" being pretty much exactly what Gabe has done throughout the entirety of act 1

"And you're not a scary rockstar anymore" got one of the biggest laughs at both of the shows I went to

Dan's desperation during 'Better Than Before.' He is simultaneously trying to cajole Diana into remembering and get Natalie to be more positive. This one song really highlights how he's being pulled in a million different directions while trying to hold it all together and Jamie portrays that so well

Aftershocks. Wow. The way the last word of each line echoes throughout the theatre is great sound design. I've been in exam halls louder than the audience during that song. Holding a room that captive as a silhouette is quite the feat Jack Wolfe you will always be famous

"I don't know where the fucking pieces go" as Diana pushes things off the table as if there's a real jigsaw there that she's rage quitting and choosing to give up on is such a nice detail

"Have you talked of your depression, your delusions and your son?" The gasp in the theatre both times was sickening

the response of "good' in reply to "name?" when technically that was part of his name as they are the "Goodmans". I don't really have a point here I just think it's neat

The 'It's Gonna Be Good" reprise was one of my favourite Dan/Diana moments. Caissie and Jamie are really pushing each other to their emotional limits and they handle it so well

The first "Why stay?" is so fragile as Diana sits against the kitchen island. Also interesting given that Dan and Gabe will also sit against there later when they are at their lowest point in the story. The idea of the characters crawling to the 'centre/heart' of the home when they are at their weakest

"This is one old game that I can play so well" is the line that has stuck the most with me throughout the show. Jack's delivery of it while striding across the kitchen table - seemingly totally invincible - is crazy.

how Caissie manages to deliver "you shrugged and said that no one really knows" with humour and desperation at the same time is amazing

When Gabe and Diana stand on the table and if they let go of one another they'll fall. yeahhhhh.....

Gabe's realisation that Diana isn't going to give up on getting better. Totally collapsing in on himself and beginning to cry. How you manage to feel bad for him after all the destruction he's caused is wild

Diana's "maybe I'm tired of the game" relating back to Gabe's "this is one old game that I can play so well"

the lyrics in 'Hey #3' clearly reflecting things Diana has done, Henry cutting Natalie off at "bleeding in the bathtub"

"I am the one who'll heal you" being said to Dan not Diana this time

"Why didn't you go with her?" is the most devastating line in the whole musical I said what I said. Jamie's delivery of it is heart wrenching

the drums and bass kicking in for the loud part of I Am The One as Gabe becomes desperate to be seen once again

Jack and Jamie's acting in this moment is so intense. there's a moment where it's genuinely feels as though only one of them can make it out of the interaction alive

Jack's emphasis on the word 'loved' in the line "I am the one who loved you" nearly killed me on the spot. how somebody can deliver a line so desperately while remaining pitch perfect is unfair

Natalie coming in to kiss Dan's head at the start of 'Light' like Gabe kisses Diana's in the first scene. I'm such a sucker for a gut punching

the "And are they real?" line about Diana's parent's from Henry gets such a loud reaction from the audience. Some people laugh immediately, some people clearly get shocked out of their sobs. so good

In conclusion, this is my favourite musical of all time and I'm going to be so annoying waiting for the pro-shot to come out

[soaked-ghost]

their dynamic is so fucking funny because imagine being flowey, and u finally find someone u can relate to in terms of having no soul and seeing the world around u as a game...

... and that someone is sans.

[uhbasicallyjustmilex]

the way they just glow around each other -

[bidisaster-peanut-romano]

soo hi everyone!! i'm back on my bully essay/meta/something writing!! sort of. i did this.

anyways anyone who's been on this page for some time know how from time to time i have insistently mentioned the parallels between lola and peanut, right?

welp! that was a joke but the time has finally come!! a super-pretentious essay just for the fun of it!! (and also bc i haven't been writing actually argumentative texts in like months perhaps a year, so. yikes, i really need to practice again)

word count: 2.2k WOAH. IM SORRY

i, in my corner, with my monstrous needs. — susan sontag, as consciousness is harnessed to flesh

take this quote both as a title and an anticipation of what is to come. the essay will be distributed analyzing first the dependence of each of them on johnny, to then draw comparisons. i'll make sure to steer as away from headcanons as possible, sticking closely to the source text. obviously, some things' interpretation might be ambiguous, but, you know. your usual occupation hazard.

also, a disclaimer before we start: while they are psychologically complex and there is always a mimetic intention in developing them, these are fictional characters, and, as such, their primary function is to be vessels for different themes, questions and so forth. therefore, i will prioritize meaning and themes over moral implications and similar elements.

i. peanut

for how much i can adore talking about him, the way peanut depends on johnny is very much on the nose; worn on his sleeve, even. in 11:11 minutes of voice lines, he mentions johnny 30 times.

many interpret this as the caricature of a boy crush, but i have reasons to believe it is much less cute than that.

the problem is that, really, more than trying to identify specific situations... peanut seems to rely on johnny for a significant part of what he does. when he does good at dodgeball:

Look at me, Johnny, look at me!

almost like a child calling for his parent's attention to be praised. he calls johnny's name when he's going through hardships, when he's scared or when he's sad.

more than someone he just loves, johnny is a point of reference. whenever there's something going on, whenever he does or has to do something, his first thought goes to johnny; vice versa, what johnny asks of him is his priority.

I gotta tell Johnny! No time. I gotta see Johnny now. Gotta help Johnny. What can I do next to please Johnny? I mean Lola! I mean…

(this also goes in a "negative" direction, envy being the other side of the medal to adoration. especially because, in some way, this reliance on johnny might be felt by him as emasculating, and, being johnny his model of masculinity, adding it to the napoleon complex thing, it's not hard to guess why it can be so unpleasant. we can see this manifest through some of the things he expresses in regards to lola- not as much an interest he has towards her, but the interest he wishes to have from her- which are a bit more different than it might seem at a first glance. but this is a mouseketool we'll need later. still:

Last time I saw her, Lola made eyes at me, not Johnny!

do we really need this part? heh. i'm not sure, but it's always good to point out)

(also, just because, for the purpose of this analysis, it might be useful to specify: while these sentiments are very much implied in peanut's canon quotes, we have no evidence in canon in what measure they are reciprocated by johnny. the fandom has universally agreed that johnny also views peanut as his Best Friend In The World; while in some measure, they must be at least a bit close, i think it is even safe to say, given the caricaturist nature of bully's characterizations, that johnny holds peanut in less consideration that peanut deludes himself into believing. quoting another post of mine, the kids who show some level of obsession towards their leader mention him on average ten or less times (gord mentions derby eight times, parker six times, kirby mentions ted five times). the leaders don't usually make names at all, that much is true; however, peanut mentions johnny 30 times, and, even in front of this proportion, johnny mentions peanut 0 times. just to make that clear)

overall, what undeniably shines through his voice lines is a feeling of general inadequacy, whether about his height, or his strength in front of a bigger adversary. the audios in which he tries to show off range from being disingenuous, to straight up improbable.

crossing what we have until now said, it is not hard to come to the conclusion that he really tries to make up, to fill this empty feeling of inadequacy by taking pride in his role as johnny's second in command.

while i am a big fan of bully's characteristic of having left much content out of the main game, leaving the gamers to dig it up for themselves, i do believe that scrapping some of the stuff that was prepared for peanut is a loss. we have a number of voice lines coming from chapter 3, in which it was heavily implied how important peanut's role as johnny's right hand man was.

for example, much like... all other seconds in command, really, he was to be followed and then fought in the rumble, before you could get to johnny, with the specific duty to cover his back. even his very first scene, the opening cutscene of chapter 3, i believe, is not to be underestimated. most of the other people, as far as i recall, call you when they need it in person; johnny, however, sends peanut. making him, de facto, an extension of himself, almost.

again, you choose the motivation. what is important, from a narrative point of view, is that peanut clings to johnny through these acts of service, almost making it the foundation of his personhood.

basically, he makes it so that, if he can't be of help to johnny, his whole self is fundamentally annihilated, giving himself completely to johnny.

ii. lola

with lola, reading between the lines gets a bit more difficult; first of all, because lola is much less transparent than peanut, her insincerity being a supporting beam of the whole chapter 3. secondly, whether she was done dirty by the creators or not, it is undoubted that being the perspective that of a teenage boy (namely, jimmy, but we certainly, as viewers, are brought to sympathize more with johnny than with lola) with all the prejudices it can bring with itself.

however, it doesn't mean that there isn't anything to work with- quite the contrary, actually. the issue with lola is that there is a certain amount of layers to get through before gaining a satisfying perception of her as a character. still, we're here to try our best, aren't we!

even behind the muddiness of her intentions and the manipulation she shows herself a master at, it is clear from the second we first meet her that what she does is in function of johnny.

to get through this mess with order, we'll start from an easy, measurable numeric information: lola mentions johnny in her audio files 19 times. which, we're assessed, IS a considerable amount.

we have extensively talked about the way her cheating patterns are a strategy not to succumb to the passive role of the girl in the heteronormative, patriarchal prototypical couple (there's a post here breaking down a lot of this stuff, if any of you is interested!!), so, instead of this, i want to focus on what lies beneath that behavior.

ultimately, the whole point is that lola expects and wants johnny to fight for her. whether is it because she feels taken for granted, or just because he can't perceive it if not through grandiose gestures like the rumble- your interpretation will work; she wants to see johnny fighting nail and teeth not to lose her, she wants him to show her that he wants her.

she's all about that attention, and she knows exactly what and how to do to get it. and i think this is especially clear when you compare the moments in which she knows there's no advantage she could go for; when she has understood that jimmy won't fall for her manipulation, when algie and chad leave her unsatisfied, when norton openly accuses her and antagonizes her - she loses her temper, lets go of that sweetened and/or flirtatious voice tone, abandons that specific kind of gesturing. she doesn't care anymore about obtaining something. she was actually angry, and she was actually upset that johnny had disappeared.

in some of her audios, she references johnny with some amount of fondness, as well:

Johnny and I were on the best date ever.

(there is also a voice line in which she says "He told me he likes me because of my personality. Isn't that sweet?"; due to it being a general chatter and not exclusive to one chapter, i assume it is relatively safe to assume she is quoting johnny. however, as i said at the beginning, we're trying to stay as close to canon material as possible, so, do your thing- and i'm open to arguments!!)

a considerable amount of audio files, however (which will lead us to our final point) is about her... calling for help for johnny, or stating, confidently, that he will come save her, or avenge her later.

Someone get Johnny! Johnny's gonna get you for this. Johnny is gonna kill you!

but wait... i have some sense of déjà vu...

You're gonna be sorry when Johnny finds out!

iii. two faces of the same medal

if i had to pick an effective image for a metaphor, i'd say that the thing about lola and peanut is that they are both dogs looking for someone to take their leash; we’re talking here about an exclusive relationship with someone they can rely totally on, someone we’ll call the Other (with a capital o, distinguished from just other. yes it is unnecessarily complicated i’m sorry).

for what my professor would call accidents of history, it happened that both of them found that Other in johnny.

each of them attempts at creating an exclusive relationship with the Other, one foolproof and fundamentally… perfect. perfect in the way that everything works like oiled gears, in the way that every next move is predictable, in the way that any accident will not break the created equilibrium. (even if, in the general sense of the term, lola and johnny's relationship is everything but perfect, it is in the connotation that we have established here. lola is aware that, no matter what she does, johnny will come back around. hell, the very thing that she does is aimed at keeping that balance; specifically, keeping him a bit on the edge, pushing him into a corner where he has to actively make an effort to keep her close.)

they both hide something they are ashamed of, regulating not only their actions and reactions but their very way of existing in the world, in order to keep that gear working, in order to remain in johnny's hand. lola hides that craving for a genuine and stable affection, dissimulating it with the cheating and the fatuous physical demonstrations of closeness; peanut hides his sense of inadequacy and complex of inferiority, by being the tough and reliable second in command.

basically, what they mean to achieve is a sense of security, the safety of not really being the one to lead but, at the same time, finding a purpose, other than a shield from the outside world that they are not willing to concede themselves to. like a... symbiotic relationship?? i was going to say parasitic, but, yknow. the Other does get some advantages, which are, respectively, peanut's acts of service and lola's capacity to boost johnny's pride.

now, of course, johnny is not aware of either of their play. which makes it even better, since, as we already said, both of their approach to the relationship needs some degree of insincerity.

like, i don't deny that johnny might be a good friend, or a loyal one. but he is an oblivious, prideful fuck who can't see past his own nose; he's got a tendency to make it all about himself - which of course goes perfectly with what we said about both peanut and lola making the Other their center, taking up, in a certain way, a passive role in the relationship.

this way, both of them aim at creating with johnny a relationship that is, in a way, codependant and conditional, in which the do ut des (their respective "service" ↔ johnny's guarantee of stability) creates the foundation of the very relationship.

this, of course, brings up the problem of exclusivity; on which, however, i prefer not to delve into too much, as this would bring us to the topic of their antagonism which... isn't really what i wanted to go for, at least not here. (it would risk bringing us a bit too close to my subjective interpretation and too far away from the canon, which i PROMISED i wouldn't do. however, someday i might elaborate on that??? idk , please do lmk if someone's interested around here)

i will, however, show you a diagram (it looks like a triangle- i guess it is, but it is VERY important that it is a pyramid, with a top and a larger foundation) and a quote, to wrap this up bc i think it is already WAY too long and ramble-y lmao. let me know what you think anyway, my ask box is always open <3

it almost feels like a joke to play out a part when you are not the starring role in someone else's heart you know i'd rather walk alone (i'd rather walk alone) than play a supporting role if i can't get the starring role -- starring role, marina and the diamonds

[compacflt]

idk if this question has already been answered or not but idrc, would your ice have considered it "talking about it" to admit his physical attraction towards mav? like calling him beautiful or genuinely complementing him. this goes for mav too

i do feel post debriefing ice would call mav beautiful openly or some sappy bs like that

love your writing 💌

anon i need you to know this ask was so cute it made me physically nauseous. i was sick all week thinking about how cute this ask was. thank you for sending it.

i actually had a couple drabbles where yes ice both pre- and post-TGM mission is like yeah im physically attracted to you, but it’s less like “oh my god you’re so hot 😍” and more like “i mean, yeah, you objectively look like tom cruise so it’s not like i really have a choice.”

but “beautiful” specifically i had not thought of, and it has knocked me off my feet and made me go feral/rabid/undomesticated for a few days straight, so i will be writing something about this. thanks.

[kingcunny]

this, is a threat.

alicent can believe dyana, even feel bad for her, and still threaten her. still dismiss her claims. because aegon and his reputation are more important to her than any of his potential victims. dyana is just a servant girl. aegon is the future king.

alicent starts out by hugging dyana, stroking her face, physically comforting her, telling her she knows its not dyanas fault. once dyana lets her guard down, calms down enough to have a conversation, alicent immediately steps back, putting space between herself and dyana. drops the comforting persona and closes herself off to dyana (crossing her arms).

this is practiced, this is something shes done before. she places herself as the only safe and dependable person dyana has, ‘i might believe you, but no one else will’, and then takes that away too, when she scolds dyana for telling her what happened, something she thanked her for doing just a moment before. ‘dont tell anyone- including me’. she very plainly lays out the threat and consequences for dyana.

the moon tea and the money was not a (wholly) compassionate act. that was alicent destroying the evidence, ensuring dyana cant come back with a little silver haired baby and a story about how the prince (fingers crossed-king) raped her. the money was a bribe. alicent literally says 'for your trouble'. thats the most… bribe ass line to exist. dyana does not look comforted by this. she does not look grateful. she looks mortified, by alicent.

alicent also had the money and the moon tea ready to go, this is not the first time shed had to clean up after aegon.

and im not saying this was easy for alicent to do, or something she delighted in, she looks absolutely tortured throughout the entire scene. but she still does it. no one forced her to do this, no one told her to do it. this was *her* decision, *her* solution to aegons ‘problem’.

[springtimesdaughter]

Ethan Nakamura

Ethan, who remembers when Percy showed up. Who remembers that day that this new unclaimed camper who had been there less than a week disarmed Luke in practice. Ethan who could tell where the scales tipped. Knew this was going to be an Olympian kid.

The next question was if he would be claimed. There were several others in the Hermes cabin who were clearly an Olympian kid. Žofie the demeter kid who everyone knew her mother was very disappointed with. That was why she was unclaimed. There was Laura, who everyone had bet on being an Apollo kid. Hope, Yasmine, Theodore, etc. They were just unclaimed, not doing anything impressive enough to get claimed.

Ethan and several of the others were watching.

-

Ethan was disgruntled, annoyed, and angered. Jackson walked into camp, gets claimed, and is sent off on a quest. There's another empty cabin, another Olympian kid who has shaken everything up. He still has a mat and sleeping bag on the floor, knows who his mother is yet is still in an overcrowded cabin with every other unwanted demigod.

-

Ethan doesn't leave with the first of Luke's crew. He is angered at the Olympians, but he is still waiting, still seeing, who wants to think over the pros and cons. If this is truly what he will dedicate himself to.

He has a bunk now, he was lower on the list, he wasn't a Hermes kid, and his mother was a minor goddess that many have forgotten her power. It worked best for him, though. He wasn't notable like the Iris kids or the Hecate kids. He waits, he watches, and he thinks.

Victory for either side won't be easy. It won't be quick. It will be bloody, it will be drenched in blood and atop the mounds of dead. That is blamace. Victory is not easy. Balance is not easy. To hold too much pride in war is too loose. Everything comes at a cost. What is he willing to give up for it. What is he willing to sacrifice for his beliefs, for balance, for revenge.

-

The winter solstice passes. The newest camper ran, and Ethan made his leave. He left camp, and his decision was made. He would join Luke and join Kronos. The scales would tip in favor with time, with sacrifice, with blood.

He didn't like the idea of blood of unnecessary death, but there was balance. A sick balance that made him a bit sick, but to reach goals, something had to give.

-

He trades an eye for a tip of the scale. A little insurance to what needs to happen, a leeway.

-

The labyrinth is both a help and hinderence. Quick travel and a trap. The key to battle and an ultimate undoing. He has a fight to win.

[sonicbible]

I think people far too often misinterpret the "Likes: Nothing" from Shadow's Sonic Channel character profile as indicating some variation of "He hates everything/He doesn't feel positively towards anything," when logically that's very unlikely to be the case.

That part of the profile is not supposed to be that serious or encompassing, the original word choice is more along the lines of "Favorite Thing(s)" and it's where stuff like favorite foods or hobbies are listed on other characters' pages. If anything, it's supposed to indicate a self-denying nature.

[rvrend]

GROUNDED.

ONE. the first week orel doesn't show to his sermon doesn't raise much alarm. perhaps the boy was sick. still though, he found it odd the rest of the puppingtons were present in his absence. it wasn't like orel to miss church, but neither was it putty's place to pry.

TWO. the second week, putty lets his curiosity get the best of him. orel hadn't been to church all week long, and trust you, the reverend had been watching. something wasn't sitting right with him. he'd pulled clay aside before the mayor could leave church and responsibility behind. the man of the house claimed to be teaching orel a lesson. rod couldn't help but question his methods.

THREE. a third week goes by, still no sign of orel. still no answers, either. despite his proclaim of not praying outside his nine - to - five duty as is, he throws out a quick prayer that week, though he doesn't know exactly what for. just that orel be kept in safe hands.

FOUR. the fourth week and there's word on the street. talk of hospitalization. suicide. a strapping, bright boy like orel ? driven to suicide ?! and so the town has failed orel once again, over and over. he'd failed orel. it sits, rots like a pit in his stomach. the atmosphere is heavy, and he's barely able to keep a facade through the week's sermon.

END. the reverend is relieved when he sees orel's face show up again at church, though he tries not to let it show too much. there's no reprimanding, or questions of what happened to him. he just lets orel reiterate his sermon back to him, relieved moralton hadn't lost one of God's only beacons of light.

[fruitsyrups]

hiii. hi. hello

[tuxedo-rabbit]

Simon hasn't had Aveline in the party since she told Carver she blocked him from joining the guards back in act 1.

That and the way she talked to Isabela led him to refuse to do her personal quest in act 2.

The rest of the kirkwall gang still talk about her even though most of them have never been in a party together, presumably because Aveline forces herself into Simon's life despite him not being friendly to her at all for years.

This is my first time not doing her quest. I'm interested to see how it affects act 3.

[tennisarchives]

in honor of trophy husband being a surprise hit, allow me to present snippets of the conversation that started it all:

clearly @advantage-sinner and i are normal people who have normal thoughts about tennis 😚

[sisterdivinium]

And so ends the mini drabble regatta!

My thanks to everyone who read, liked or even left a little comment in the tags for these short attempts at different WN pairings <3

I want to hope that these humble offerings might inspire others to give other ships a chance, too, or to try their hand at drabbles in general. If I didn't please you with my interpretation of a given relationship, I am sorry; perhaps someone else will give it a go or maybe I'll do another one of these parties in the future and do better -- maybe you'll even consider joining me then.

For now, this blog returns to its regular schedule of doctor superion drabbles posted on Friday, at least until the end of the year. For early 2024, I want to have the next oneshot ready for publishing and I'll be focused on that until it happens. In the meantime, I'll be loitering around Tumblr as usual and sometimes on Dreamwidth as well :)

[bookshelf-in-progress]

Fun fact: The fairy tale flash fiction has now passed 4,000 words.

[veone]

little set design ideas for sid home back on europa. the idea is that this base is settled deep underground for the safety of the team working towards making the surface of the planet habitable to sustain life from earth. as of current day it’s still in the early stages of this process, they warmed the surface up enough for the ice to start to melt and in some areas there's water flowing on the surface during the moons summer months. some plants have taken root that the research team brought with them. outside of this goal the teams been successful with setting up multiple mining sites and this is funding the continuing efforts to develop the surface.

with this being said most of the colonist live underground and I like the idea that the original company funding this was very utilitarian with its designs. everything is build to have a purpose, nothing is decorative and the base is overall very bland. I’m thinking as brutalist as possible for the base layer of this set, with things being added on as the years went on. the design choices that were added on came as a new company took over. the base has been around for nearly fifty years and originally was never meant to be a primary home for its research team. It use to be a temporary home for a a year or so for researchers and students along with the miners who use to, and still, but not as much come and work for a few months and take up another job on another moon or planet site.

[brutalmasks]

[ 𝐦𝐨𝐮𝐭𝐡 ] : sender pleasures receiver with their mouth.-Irene !!

after spending some time away from her typical residence to pursue a particularly illusive criminal... bunny mask couldn't even describe how happy she was to return to her cave. because although it had once been a source of anxiety for her and on rare occasions, still was; it had been her home ever since the walls closing her in it had been broken down. and with a homecoming, also came the fact that bunny mask would get to have a long awaited reunion with her girlfriend, irene. bunny was in fact practically beaming when she got the chance to call her on a payphone within roanoke while she was on her way home.

it had mostly consisted of casual topics in the beginning, as one might expect, like questions about how the other was doing and such. which bunny was happy to do as it kept her in the loop of how irene's life was going. but in the middle of the conversation, she felt like she had to invite irene over; albeit by bunny dropping somewhat of a bomb-shell as she'd revealed to her that she needed to feed. and whenever it came time for that, she didn't gain anything from normal food. bunny actually sustained herself by sharing energy with other's through a physical connection. her tone then took on a coy one as she said that meant 'anything from hugging, to kissing, to possibly more. which is something i'd love to explore with you if you would also be up for it.'

and now, you could definitely say that they were undergoing something physical; bunny mask's bare chest heaving with the ministrations of irene's tongue delving into her folds. it was almost unbelievable how quickly her girlfriend seemed to be able to locate all of the sensitive parts inside her. but it felt incredible at the same time, as bunny mask tangled her clawed hands within irene's hair and rutted her hips forward slightly. a series of moans left her then, ❝ oh, god, you are skilled at that. you were not joking when you told me you would show me a 'good time,' ❞ bunny mask curled her toes as she laid there beneath irene.

a slight noise that was her version of a laugh left her mouth after, ❝ mm, do you like how i taste, beloved? i want to do the same thing to you... even more now. ❞