a something old blurb to celebrate the impeccable street style
---
You tilted your head towards the sky, basking in the early June sunshine, the sounds of the busy London streets far away, that horrible eight am meeting nothing more than a distant memory. You can feel his heartbeat from where your back is pressed against his chest and you close your eyes, feeling a bit dazed at his ability to make everything better, the stress of your morning instantly melting away when you saw his surprise “Got sandwiches. Lunch break’s at one?” text.
A wide grin on his face when he met you outside your office, explaining that he “was on a walk in the area, figured I should stop by” before he took your hand and headed to a secluded spot in the park, laying out the blanket he packed alongside the lunch he brought, a proud smile on his face.
Lasting all of five minutes before he wrapped his arms around your waist and pulled you into him, settling against the nearby tree with you sitting between his thighs. And that’s where you stayed, eating lunch and laughing together, conversation dwindling to companionable silence, your fingers drawing mindless patterns against the grooves on his shorts.
“Have to go back soon,” you say regretfully, and you can feel his grumble as much as you hear it.
“Y’ should play hooky.”
“Yeah? You reckon?” you say with a laugh.
“‘M being serious,” he says, nudging his nose against your neck before planting a line of kisses against the skin. “Play hooky with me, baby. Call out sick for the rest of the day.”
“H, they all saw me leave for lunch break. They’ll know I’m lying out of my arse.”
“Don’t know, love. Pollen’s really bad this year.” he says, laughing when you do.
“C’mon, we can go for a walk…” he says, pressing a lingering kiss to your shoulder. “Can get some drinks by the water…can take y’ home and have my way with you…”
“Mmm. It is hump day after all,” you say, giggling when he honks out a delighted laugh. You turn to face him, his legs sliding down to hold you in his lap, his hands immediately sliding up under your shirt, fingers drawing up and down your spine.
“Please?” he says, before licking his lips, his eyes grazing across your features. “Just wan’ to spend time with you.”
“Gonna be with you for the whole summer. You’re not gonna get sick of me?” you ask, mostly as a joke, heart clenching when he shakes his head immediately, looking at you with such open affection it makes your breath catch in your throat.
“Not possible.” he says softly, his hand coming up to hold your cheek. “Come here.”
He pulls you towards him, capturing your lips in a sweet kiss. He kisses you softly, gently, his thumb brushing against your cheek as he drags his lips against yours. You could stay here forever, slowly melting into him as he pulls you closer, taking you apart kiss by kiss.
“Have to -” you say breathlessly as he starts to kiss a line down your face, mouth resting against your collarbone as you both catch your breath. “Have to text my boss. Tell her I’m not making it back today.”
“Get innn,” he says, pumping his fist, looking up at you with mischief twinkling in his eyes.
“You are a terrible influence.”
“And proud of it, love.”
---
191 notes
·
View notes
Why I’m currently mad at Chaol:
… buckle up folks; these ever-changing opinions (started with the Rowan rollercoaster) & are now about to go off the roads (much like Queen of Shadows seems to be preparing me for)…
Honestly, I think I am angrier with him than I was with Rowan. Maybe cause I’m slightly bitter because I did love him (maybe I still do… we shall see) but that came first, so there was a character more than the initial arguments — but even more so because she loved him, and he did love her; it makes it worse — Rowan at least didn’t know her; yes, it made him seem more unjust in his cruelty & anger, it was clearly far more assumption based & projection, but despite how well he managed to know her (& use it to hit where it hurt) he didn’t really know her (not yet, not in the same way). Meanwhile, Chaol KNOWS her & she trusted him; more than almost anyone or “entrusted” (maybe as the better term); giving him her identity after 10 years TEN YEARS on the run she told him.
And when he said those words it was pointed to the fact of knowing her, hurtful in a way only he could be; knowing not only her, but her past, her trauma, her grief, and saying all of it to spite those things; to hurt her. I at least don’t think Rowan wanted to hurt her; he was willing to, he was aware of the bruises he left but with the end goal was not suffering, he wanted to help. Chaol was angry over some petty claim to a broken heart, angry at himself & unable to admit it, angry at her for so many held tallies & mistakes against her, he leaves so much unforgiven & carries such a grudge. He is unwilling to admit to the parts he plays & willing to hurt her for the sake of his anger, regardless of the price; one she will be paying instead. The way he blatantly disregards her; her name, her ideas, her love, her family, her grief, her fear, her… everything; the good she did, the bad he did, what parts they both played. It’s not acceptable.
Not After everything… perhaps one could say it’s because of everything… but it’s just unacceptable. And though there is no “just” nor excuse in trauma; it’s not a competition; he, however, has no reason within it. I’m sorry, but your broken heart is not the same as hers, your year is not the same, you know nothing of duty & horror & guilt & grief; of monsters, & love, & tragedy. And though he has kept his hands mostly clean, he has been privileged; that’s not to say she hasn’t chosen wrongly, she has decided to bloody her hands in wrong ways time & time again. There is no changing that, but she also has not had many choices in her life & the ones she had she made right. She tried to spare you of so much even after & in her own fury over Nehemia… and you just threw her to the wolves like that; just. like. that.
All of this; intent, uneven, ignorant, cruel, small mindedness… it’s shifted into something more menacing; & dare I say tinged with misogyny? His system of; she is erratic, emotional, hysterical, uncontrollable, manipulative, selfish, unpredictable, “monster” thought process of a “tyrant queen”… Not to mention the further concerning growing edge of prejudice; his love & his fear for his friends, his lack of knowledge & blissful ignorance of privilege, has all instead shifted into a “holier than thou” it’s all of them thought process. A belief system built on eliminating danger, on singular right without wrong; dangerously capable justifications & a start to ruin; not just for her, or him, but the world.
4 notes
·
View notes
I think I've read just about every gay hockey romance out there and most of them are. Yeah. Not great. I really like Heated Rivalry/The Long Game by Rachel Reid (the other books in the series are a bit more meh for me but readable, and oddly enough, the first time I read it, I didn't love it but I've reread it so many times now), as well as Him/Us by Sarina Bowen and Elle Kennedy (as well as the Understatement of the Year by just Bowen), I tend to come back to those pretty often. They're pretty big classics in that little world! I've got lots of other "probably not worth rereading but definitely readable" recs if your anon wants them.
once I found out heated rivalry was ovi/sid inspired, I kinda just wanted to read actual fic! I didn't get too deep into it, but maybe I should give it another shot. elle kennedy burnt me BAD on "the deal" (I disliked it a lot) so I don't intend on reading her other stuff, though I hope her m/m stuff is better!
7 notes
·
View notes
now that i think about it, it’s actually pretty sad that i had all the major plot twists of respective ygo series spoiled before watching the actual things, because they’re — objectively — surprisingly good?
like. zexal. ryoga being a barian (not any barian, while we’re at that, more like The Barian) actually made a lot of sense and was a really huge thing, seeing how he turned from an almost-protagonist to the main antag, but i knew it beforehand, so my best reaction was “uh-huh”. jaden’s relationship with yubel and the fact that he goes batshit mad in the final arcs? immaculate, but i knew that beforehand as well. godwin being the last signer in 5ds’ initial arc? interesting turn of events, but i knew from dl. arc v and the yu-boys being all parts of zarc, the chief villain, while yuzu &co had once been riley? i’m not commenting on the execution, but overall idea was top notch — yeah, i had at least half of that spoiled too. and only now do i notice what a waste that actually was??
i’m not here to complain about untagged spoilers or anything (honestly, it was mostly from scrolling through memes, on my part, so that’s entirely a consequence of my own actions) — but it’s just that, hey, these series are not always as stupid plot-wise as they look. and because they’re full of oh-yeah-who-cares-about-coherency stuff and plot holes and no-i’ve-not-heard-the-word-sense solutions, i tend to forget that the key ideas are often real nice (as long as they’re not carried out like vector’s true identity “twist”. i’m still sour about that one).
5 notes
·
View notes
Dream fangame that will never be made 'cause I'm a lazy fuck part 1: Touken Ranbu/Bungo to Alchemist/Senjyushi(/Twisted Wonderland?) crossover tactical RPG thing
The basic idea is that units are divided into three different categories, depending on which game they came from: Sword, Author, and Gun.
Sword units excel at close range, but struggle with dealing with enemies dealing damage from afar. Only a few Sword units have long range options, and while these are quite limited in scope and require meeting certain conditions, they're pretty good for crowd control.
Gun units, meanwhile, are the reverse of Sword units. They excel at taking down enemies from afar, but struggle once the enemy gets up close. Unlike Sword units, with their limited long range options, all Gun units have close range attacks. The trade off is that these attacks do very little damage, and are best used as a last resort.
Author units are somewhere between Sword and Gun units. All author units are equipped with two different weapons, one usually being long ranged while the other being short ranged. Author units can switch between their two weapons, though this takes up a turn. Another drawback is that their sword and gun options are not as good as a Sword or Gun units of an equal level and stats, however they have access to two weapons not used by these units; bows and whips.
If TWST is included, then there's a fourth unit category: Magic. Magic units have access to spells, which in turn come in four different categories. All Magic units have four spell slots, one of which is always taken up by a spell unique to each unit. The drawback is that only one Magic unit can have a spell at a time; that is, two Magic units cannot use the exact same spell on the battlefield. In addition, using spells (or at least the unique spell) drains a bit of HP.
Each unit category also has subtypes. For example, Sword units come in Tantou, Wakizashi, Uchigatana, Tachi, Ootachi, Yari, Naginata, and Tsurugi subtypes. While the basics of what each subtype does is the same as their type, a unit's subtype determines what they specialize in.
(might add more later, we'll see)
0 notes
I used to work for a trade book reviewer where I got paid to review people's books, and one of the rules of that review company is one that I think is just super useful to media analysis as a whole, and that is, we were told never to critique media for what it didn't do but only for what it did.
So, for instance, I couldn't say "this book didn't give its characters strong agency or goals". I instead had to say, "the characters in this book acted in ways that often felt misaligned with their characterization as if they were being pulled by the plot."
I think this is really important because a lot of "critiques" people give, if subverted to address what the book does instead of what it doesn't do, actually read pretty nonsensical. For instance, "none of the characters were unique" becomes "all of the characters read like other characters that exist in other media", which like... okay? That's not really a critique. It's just how fiction works. Or "none of the characters were likeable" becomes "all of the characters, at some point or another, did things that I found disagreeable or annoying" which is literally how every book works?
It also keeps you from holding a book to a standard it never sought to meet. "The world building in this book simply wasn't complex enough" becomes "The world building in this book was very simple", which, yes, good, that can actually be a good thing. Many books aspire to this. It's not actually a negative critique. Or "The stakes weren't very high and the climax didn't really offer any major plot twists or turns" becomes "The stakes were low and and the ending was quite predictable", which, if this is a cute romcom is exactly what I'm looking for.
Not to mention, I think this really helps to deconstruct a lot of the biases we carry into fiction. Characters not having strong agency isn't inherently bad. Characters who react to their surroundings can make a good story, so saying "the characters didn't have enough agency" is kind of weak, but when you flip it to say "the characters acted misaligned from their characterization" we can now see that the *real* problem here isn't that they lacked agency but that this lack of agency is inconsistent with the type of character that they are. a character this strong-willed *should* have more agency even if a weak-willed character might not.
So it's just a really simple way of framing the way I critique books that I think has really helped to show the difference between "this book is bad" and "this book didn't meet my personal preferences", but also, as someone talking about books, I think it helps give other people a clearer idea of what the book actually looks like so they can decide for themselves if it's worth their time.
Update: This is literally just a thought exercise to help you be more intentional with how you critique media. I'm not enforcing this as some divine rule that must be followed any time you have an opinion on fiction, and I'm definitely not saying that you have to structure every single sentence in a review to contain zero negative phrases. I'm just saying that I repurposed a rule we had at that specific reviewer to be a helpful tool to check myself when writing critiques now. If you don't want to use the tool, literally no one (especially not me) can or wants to force you to use it. As with all advice, it is a totally reasonable and normal thing to not have use for every piece of it that exists from random strangers on the internet. Use it to whatever extent it helps you or not at all.
45K notes
·
View notes