#I want to draw important moments that shaped his character | Explore Tumblr Posts and Blogs

sukinapan · 6 months

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honestly would be pretty interested in hearing about all of them, if thats alright

it's no problem o( ❛ᴗ❛ )o i like talking about this

for context, apart from making personal art i'm also an artist and character designer at Smarto Club, so I don't know if these count as OCs but i have posted art of them here: Haco from >Bubblegum Galaxy and Teacup from >Teacup.

you can check the steam pages on those games for more info if u like. i love all my characters but i don't usually make personal art of these two since i already do it as my job.

my newest Smarto Club character is a bit different since she's more in the style of what i'm doing personally so i want to make more art of her soon. her name is Abigail:

she's a kid who likes reading about bugs and catching them but she never hurts them : ) this is a short game in early development but it's about catching creatures called angels. it's got horrorish vibes but i don't think the end result will be full-out horror, since it's also kinda silly...

then there's Peklo, it's a game for which i created the whole concept and story but the plan is to develop it as a studio at Smarto Club. i wrote more context for it on this post, but for the characters, they're my favorites to make art about at the moment. the main ones are Kiku (the cat) and Mi (the bunny):

i recently created these human forms of them for fun but i'm not sure whether i'll establish them as canon or not... they're trapped in limbo/hell so there's space for them to have a past human form. they don't remember their lives but Kiku feels a deep sense of regret about things unkown to her and wants to break out of Peklo. Mi feels trapped in an eternal sadness, she longs to see the ocean, she can always hear it but has never been able to reach it.

the antagonist in Peklo is a frog entity called Guppy but i haven't really shown him outside of his froggy logo

i also have OCs from my smaller games. there's Hlina that i created specifically for >this game that was commissioned to me for a zine. i don't have any plans to use her again for now but i might make more art of her in the future for fun. she's part of a strange dream realm and is hostile to the player:

there's iro from the >game with the same name who's my oldest game OC. i created that bitsy game for her story but she existed previously in my art degree final project, it was a version of the same story but just a section of it. it's a dream of mine to create a full-fledged 3D game for her some day.

she's a bit of a defective space exploration robot, sent to explore planetoid Iridium-3 in search of human contact. it's set in a future where humanity has dispersed among the whole galaxy so lots of groups have lost contact with each other.

my latest game OC is Michtat, a wizard cat that i created just for this silly zine.

lasty, there’s the characters from my comic that I’m working on, called The most distant planet. the main characters are Victor and Mitya, two 9 year olds whose families end up living together.

i'd say these are the dearest characters to me of all. i don't post as much of them because they're mostly in the shape of comic pages and it doesn't spark as much interest as my games. i love drawing them though.

they’re both little weirdos who isolate themselves and don’t fit in much with other children, so the friendship they develop is very special to them. they have almost opposite personalities where Victor (darker hair) is very shy and dorky but also very sweet to everyone, while Mitya mostly gives 0 fucks about what anyone thinks or says, he blurts out whatever he’s thinking and just wants to run around wild.

the story is mostly slice of life-ish but there’s also a science fiction element ^-^ Victor is obsessed with things like ghosts, aliens, etc but Mitya thinks it’s all just dumb tales.

another important character is Alyosha, Mitya’s 17-18yo brother. he doesn’t know how to talk or relate to his little brother and is kinda weirded out by him. they where very close when they were younger, but when Mitya was 2 he had an accident that Alyosha feels guilty about, and has been somehow different ever since.

he still worries about his little brother and how isolated he is, though. at the beginning of the story the two of them live alone with their grandma who does love them but has kind of a cold and distant personality.

Alyosha was the type of kid to be considered “gifted” but now feels completely burnt out and had to repeat a grade at school. he felt so humiliated by this he eventually stopped going entirely, so he now works part time and just studies at home. he cut contact with his old classmates but he still has 2 best friends from the last few months he spent at school in the grade below, Manon and Min Na. they’re the kind of friends who just show up unannounced at his house and job, and are very involved with his family’s life.

i’ve also included Min Jie in some art, she’s Min Na’s younger cousin and comes into the story later:

i should have like character sheets and stuff for all of these OCs but i’m the kind to just jump head first into drawing/modeling lol, that's why i included all these finished illustrations.

i really wanna publish this comic, i’ve been working on it for a long time and i’m currently waiting for the results of a public funding application here in my country to decide what i'll do next.

hope this could be of interest (^人^) thanks for the ask!

#me #my art #tmdp #peklo #info

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stayfortwominutes · 8 months

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💭 reaction | lee know & changbin (part one)

prompt; "what do you need?" "... a kiss"

disclaimers; written in second person perspective, very amateur descriptions of kissing, no depictions of the members' personalities, actions or thoughts reflect their true character.

pairing; SKZ members x gender neutral reader

content; fluff, comfort, slightly suggestive*, established relationships | total word count; 1.1 k

related; part two ー hyunjin & seungmin

member; lee know (minho) | wc. 490+

a spirit of festivity kindled to life as the delightful aroma of cinnamon, ginger and honey wafted through the kitchen of your cosy apartment. basking in the serenity of each other’s presence was the perfect way to spend your weekend after a stressful week at your work.

perched upon the counter, you read the recipe as minho precisely measured each portion of flour, butter, sugar, and the necessary spices. he asked you to help combine the dry ingredients, knowing the mindless task would help reduce your mind’s unyielding chatter, diverting your attention to the task at hand. minho had developed a wondrous sixth sense about you, pinpointing the precise moments when you were need of respite before you would ever admit it.

as the two of you shaped the biscuits, you conversed through your respective weeks: you were inundated with more work than you were being paid for, whilst minho delved into details from his new dance routines and funny stories between him and the boys.

carefully placing the tray into the oven, minho took to cleaning the dishes. he insisted on an impromptu karaoke session, which you happily obliged, using a spare spatula as a makeshift microphone, and spontaneously pointing it in his direction as you rearranged your favourite songs into a couple’s duet. the sounds of laughter, music and the hint of spices danced in the air to create a blissfully domestic atmosphere that deliquesced your week’s worries.

ding.

the oven timer signalling its end snaps the two of you from your blithe bubble.

“oh, i forgot the most important thing…” minho muses aloud.

“what do you need?” you move to shuffle yourself off the counter, but minho is quick to hinder your path. he stands in between your knees, hands resting on the marble surface below, at either side of your thighs.

“…a kiss,” he breathes, before interlocking his lips with yours.

his hands come up, one placed behind your neck, and the other finding itself comfortably in the small of your back under your shirt.

the kiss begins slowly, the initial contact feathery, as he takes in your surprise. you immediately melt into his touch, your hands encircle his waist, pulling him closer and pressing your chest to his. you sigh in euphoria, and minho tenderly captures your lips again with his. his warm hands lovingly draw soothing patterns against your skin.

you reluctantly let minho pull back. he rests his forehead against yours.

“love, that's my secret ingredient,” he whispers. his plump reddened lips forming into a coy smile.

“i better take the biscuits out to rest.” the tips of minho's ears flushed red as splashes of pink burnt your cheeks.

now invested in minho’s mischief, you hook a finger in his collar to lure him back into your hold.

“forget the biscuits,” you mutter against his lips, feeling him smile into the kiss.

the two of you were soon lost indulging in the sweet, decadent taste of one another.

member; changbin | wc. 620+

you sit on your couch, observing your boyfriend as he paces back and forth, up the hall and then down to the entryway.

“i didn’t want to be alone today,” changbin whines. his gym session was cut vexingly short after chan and han had been summoned back to the company for a last-minute schedule. although not entirely a fan of exercising yourself, you sympathise and endeavour to offer him some motivation.

“how about we do some exercise together? you can do some sit-ups and i’ll hold onto your legs!” you chirp, conjuring up a cheeky method to motive him. he steadfastly moves the coffee table to the side of the room, and rolls out a thick, cushioned yoga mat.

“won’t be a moment!” you call, sauntering to the bedroom, to don a sweatband, before quickly slathering on a generous layer of changbin’s favourite lip balm: strawberry.

you briskly return and settle yourself with him on the mat in the centre of your living room floor.

“alright,” you begin, lacing your arms together underneath his calves, “before we start, i need you to do something for me.”

“what do you need?” he queries with slight perplexity.

“a kiss.”

“for every five sit ups, i’ll grant one kiss.” the apples of your cheeks round proudly. changbin holds your gaze, as the edges of his mouth begin to turn upwards in favour of your proposition, his demeanour brightening.

“deal!” he exclaims with refound vigour.

the kisses are simple, soft pecks. changbin was still engrossed in fulfilling his quotidian routine, but once he grazed your bottom lip, and recognised the familiar strawberry balm, his mind short circuited.

the next couple of kisses, he grew impatient, hastily pulling up and leaning even impossibly closer to you; lingering to enjoy a moment’s longer taste. you ease back, swatting kittenishly at a rogue hand that comes to cup your cheek.

“play nice,” you facetiously scold.

several more sets of sit-ups pass by, and changbin sheepishly obeys, his lips practically ghosting over yours.

you became crescively enamoured by the scene before you. changbin’s biceps flexed in complete glory as he continued his routine. the plump, porcelain skin an inviting site for just one small bite.

you plunge forward as he comes up; a resounding yelp emits from him. his arms no longer bent at the sides of his head, as he rubs at the glistening, red-tinged indent of your teeth that imprint just below his shoulder.

“what did you just do?” changbin stares back at you, a look of disbelief growing on his face as his mouth hangs agape and his brows start to furrow.

you stumble back, stifling a chuckle of satisfaction. “they looked so biteable.”

“you’ve got biteable biceps, baby.” you croon nonsensically.

“mmm, yummy." you hold your hands up in front of you as you curl your fingers in to mimic claws. a deviously glint twinkles in your eyes.

changbin reciprocates your sprightly behaviour, and nimbly tackles you down onto the mat. his fingers tickling mercilessly at the sides of your torso causing you to writhe underneath him in a fit of giggles. with his elated mood, he peppers kisses from your temples to your cheeks, and along your jaw.

then, a light bulb switches on in his mind, and he halts. continuing to hover over you, the look in his eyes slightly darkens; he licks his lip in a sultry manner.

with a few swift moves, changbin effortlessly hoists you up from the mat, into his arms, and walks the two of you in the direction of your bedroom. a smirk mysteriously graces his features. you study his face, your wide eyes brimming with anticipation.

“it’s time i get a proper reward for all my hard work.”

consider reading more: masterlist

૮ ˶ᵔ ᵕ ᵔ˶ ა note; as per the poll, i wrote this in second person, and i hope there was enough variation between each member's storyline that it wasn't repetitive! the prompt list i stumbled upon sparked a bunch of different ideas but i couldn't confidently write for all members so i chose the "best" ideas out of all eight that i roughly plotted. as usual, please enjoy, and reblog if you liked it, thank you 💖 please check out the original post from @scealaiscoite for the prompt! © stayfortwominutes ; september 02, 2023.

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phantom-nisnow · 3 months

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NARRATIVE STORYTELLING + COMPOSITION

First thing I always think of before doing ANY drawing is: what’s the story I want to tell? What’s the mood/emotion it should give off?

For The Visionary, I wanted to capture that feeling of seeing your hard work and creations finally come to life. It’s that satisfaction as artists, engineers, and creators we feel after seeing our hard work finally bear the fruits of our labor. It’s an exhilarating feeling and we feel a sense of pride.

I can pick out some key words from those descriptions: pride, excitement, satisfaction. Now, how do I depict that in the illustration + what compositional tools can reinforce that feeling and therefore story?

I also knew I wanted to draw my character, Kala. To reinforce the feeling, I wanted to think of his action and, in general, what he would be thinking in the illustration. I did a few thumbnails like below and figured to have him writing in his book and depicting boats in the background, almost like he’s drawing them at the moment and they’re appearing in the background.

Action: writing in his journal, almost as if making the background come to life -> gives a sense of pride and excitement.

This forms the basis of my composition. Everything from here on out (every decision in the illustration) relates back to this.

When thinking of your own illustrations and what you want your characters to do, try this simple template (do this for each of your characters in the scene):

<character> <action> -> gives <mood/emotion> e.g. The rogue flees from the castle guards -> gives a sense of urgency. A witch backs away from her cauldron -> gives a sense of fear.

Kala’s placement is important as well. I purposely made him stand on one of the fourths of the canvas at the far left to make him feel almost like one of the boats (one of his creations). You know those scenes in pirate movies (or even just Navia Genshin Impact) where the character stands next to all their soldiers or a series of cannons? Yeah, I wanted to do something similar here.

After thumbnailing, I’ll start refining the drawing and getting the structure right before doing anything else. Often, I’ll take reference photos like this and put them together in Photoshop. This helps not only get more accurate drawings but you can even put yourself in the shoes of your character. Imagine how they’re feeling in your illustration and act it out. Your pose—and therefore, your character’s pose—might change depending on how you do it which can help with your drawing.

The boats get lighter in value as they recede to the background. I fix this later on in the composition, but since Kala is the focus, I had to make sure that he had the greatest amount of contrast. So I put a hint of light near his face so that his silhouette would pop well against the darker boat behind him. I later enforce this contrast through differences in color saturation which I will show soon.

I felt the boats weren’t grand enough + the mast shapes were too busy, and therefore didn’t support the story as strongly as I wanted to. And to further add contrast + give Kala more focus, I made the boats a bit larger, drawing them more from a low angle to further emphasize their grandiosity and the pride Kala feels in his work. It’s great when something works both compositionally well and enforces the story:

General lines of action of objects for flow. The boats specifically are all angled differently, converging towards Kala, to draw the eye towards him more + not feel static. It creates a sweeping motion to draw the eye towards him, along with the placement of papers and the shape of his coat further adding to the flow.

In general, you can strategically place objects in your drawing to follow certain lines of flow that go back to your focus. This helps guide your viewer around your piece while also giving a sense of motion and energy.

Every artistic decision you make should reinforce the story in some way. Even the tiniest things like the line art style. This idea came after looking through the Across the Spiderverse concept art book, specifically reading about the art style choices of Nueva York. Constructional lines and architectural diagrams are seen throughout the city and I wanted to bring a bit of that into this piece.

It further enforces the idea that Kala is creating the background behind him while also making the boats recede into the background due to atmospheric perspective. Depth of field is determined by how refined the boat’s sketch is, so the boat furthest away is still in pure constructional lines while the one closest to him is fully rendered. I thought that was a big brain idea and I’m glad I went with it >:)

To add a bit of texture, I added a grid pattern off in the distance to help with the feeling of the background being drawn in. I also added sketches of engineering diagrams into Kala’s blue coat for a bit of visual interest. These further add to the fact my character is an engineer and is almost drawing the background himself. Plus, it just looks cool.

Quick breakdown of some visual choices + how they show the story:

large value range: the values go from very dark to very light -> deeper contrast gives sense of drama and overall intensity to the image -> reinforces feelings of epicness

strong warm vs. cool color contrast: shows the sunrise lighting, gives the character more focus (red is a very intense color) -> gives of sense of pride

sketch-y depth of field: objects further away have a more sketch-y, drawn look -> helps with atmospheric perspective and shows that the character is an engineer. contrast with more refined foreground and character.

character pose: Kala is standing tall while also writing in his journal with a very satisfied look ->

flowing papers in the foreground: intentionally placed to aid in the overall flow of the piece -> also enforces the idea that the character in question is very experienced + shows his hard work to get to where he is now

These are all my personal choices for the illustration based on my own experiences and intentions. But every choice, from the character pose, the value range, or whatnot was intentionally done to support the story I wanted to tell in the piece. You or another artist may have different choices given the same prompt, and that’s cool! It’s these kinds of intentional choices based on one’s own experience and emotions that make art awesome and inherently human.

Let me know if you like posts like this and I’ll do more, breaking down the process and my thinking in some of my other pieces!

#nis talks art #tutorial #art tutorial #art walkthrough #my art #1k+ words of nis rambling on about art #idk if i even made sense but I did my best to describe some of my decision processes in regards to composition #composition #steamworks family #art

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telekitnetic-art · 6 months

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Hi!! Your art is so fucking cool! Can I ask what the process looks like for form line? Ex. What do your sketches look like when they are really rough? How do you go from idea -> final product. 💕

Hadih, thanks so much for your question!

Honestly, it's sort of hard to explain? I do have some sketches to sort of give an idea though.

This sketch I posted a couple days ago is a pretty good example of what my initial concept sketches sometimes look like.. As you can see, they're pretty chaotic and very rough, and usually these sketches are more about getting the idea down then actually making the formline itself. There aren't formline shapes just yet, although I do sometimes sketch out elements or shapes like eyes or bodies or paws/hands that will usually have an ovoid in it, because those elements tend to be a focus or centerpiece. The sketch is obviously not final, and things can change along the way to account for space and balance as well as what I'm trying to convey. (These sketches aren't entirely accurate of course because they're for pieces that are meant to be fusions of character illustrations and formline art, but they're the best thing I can find on my pc at the moment)

The rough sketch helps me figure out the flow of the piece, and once I'm satisfied with it I try and get to putting down the shapes and silhouette, and it's here where I try to find the balance with my rough sketch and how the shapes can fit and behave in the piece to the best of their limits while also still conveying the message I want to send. The most common shape I start with is the focus shapes, which are usually ovoids.

This rough of my harbor seal formline which I sent to my aunt for review sort of gives a better Idea of what I mean when I say I try and focus on where the centerpoints will be. Ovoids are usually a focus, so you can see them pop up a lot; in the body, the head, the eyes, the tail, etc. Ovoids are so important and probably the most common shape in formline art, and one of the most common feedback I get from my aunt is to adjust how the ovoid looks in any one of my pieces; she often compared them to a loaf of bread! You don't want your ovoids to look like a loaf of bread! (Her words, not mine). I feel like I've gotten better at drawing ovoids though, because she gives it as feedback less and less nowadays. Ovoids usually also have to have a bit of weight/perspective to them; it's hard to describe but essentially the top of the ovoid should usually be bigger/thicker/have more weight then the bottom.

From ovoids, the next shapes are usually circles, u-shapes and crescents, then usually y-shapes/trigons. It can be difficult, because the key is to make sure the shapes flow together and feel cohesive, as well as to make sure the negative/positive space balance feels right. Also a fun tidbit, trigons are most typically used to essentially fill space; it's always important to make sure that they are binding bigger shapes like u-shapes and ovoids and not stealing all the space and attention.

The lines in this stage tend to be very rough and messy, and I always try to go over the next rough draft with a smoother and cleaner pen.

Once the initial shapes are done, I'll usually send the piece to my aunt (sometimes I send them earlier on, when I'm in the middle of working out the shapes) for feedback! I am still a student in formline work after all; basically all of my teachings come from my aunt, who has a lot more years of work in formline art then me. She'll give me feedback and tips of what she thinks I should fix or experiment with. I adjust and fix and sometimes even completely delete and redo parts of the piece with her guidance. The list of things she tells me to change decreases with each piece, so I like to take that as a sign that I'm improving!

Once the black and white version of the design is done, I move onto coloring. Usually I already have a color scheme in mind when I go into a piece, so I'll mess around and put down colors and see how well they contrast before I color it. Typically, a piece will have about 3 colors; one for the background, one primary color, and one secondary color. I use a clipping layer to color the entire formline piece with the primary color, and then go in with the pen tool and bucket tool to use the secondary color. Adding in the secondary color is tricky but important because it once again falls into balancing positive and negative space/colors and the transitions between the two.

Once coloring is done, the project is basically finished! Unless there are some other plans I have for it, ie using it for an overlay in a bigger piece, colouring is usually the final stage.

And that's about it! I hope this helps you understand a bit; this isn't a perfect explanation as this is just from my own artistic POV and other nations and artists have their own process, but I hope it helps nonetheless!!

Edit: I forgot I posted other WIP formlines here before 😭 here and here!! You can sort of see me figure out the flow and balance of the designs in between the WIP and the finished piece!

#indigenous art #formline art #indigenous culture #the process of balancing shapes is a lot harder and more complex then I can describe in a tumblr post #it really is a balancing act that can take a long time to learn and i think i still have a way's to go to perfect my abilities #In that way it's sort of hard to describe and put down how exactly I do formline art I think? Bc of how close and thoughtful the process is #there's something very personal and honestly almost spiritual about finding that balance and figuring out how to convey the message you're-#trying to convey even if the piece doesn't seem that way (the amogus one lol). that's the most clear way I can describe it.#i am rambling a lot oops.

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mariusroyale · 5 months

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tips on how to draw raph? :3

I’m a raph lover but he is so hard to draw 😔

hey an!! listen i get u completely, this big spikey boy can be a real challenge

my main advice would probably be to recognise raph’s structure? his shapes and how he’s formed, etc. and the best way for that imo are references! i have a tag for this actually

and here’s some raph refs!

if u wanna know how to draw the entirety of the best boy this post wouldn’t do it justice so here’s some main things:

if you’re trying to replicate the show’s style keep in mind how angular everything is. raph's main shape is a square because of how bulky and rigid he is (helps to encourage his character's role too! love that they made him such a fucken tank)

raph’s head shape is basically if you widened leo’s head- they’re both pointed too

one main thing i do for any head really is keep in mind the eye placement and the cheeks

if u happen to draw faces with the fabled circle and two lines- i use the horizontal line to mark where the bottom of the eyes are- and where the start of the cheek begins (i’m doing my best not to make this into a ‘now draw the rest of the owl’ moment)

if that makes any sense. heres a really shoddy 'tutorial'

i kinda just blank out on my canvas and raph appears out of sheer will

but also just like.

figure out how you like raph's head to look (maybe u want his snout longer, or his jaw shorter, etc etc)

figure out where his brow ridges are located and how they're moving (is he grumpy? is he angry??)

make a mask for his eyes to go in (jebus take the wheel)

pronounce snout (it protrudes, which makes it easy to figure out his facial planes)

do whatever feels right for his mouth- im not exactly rigid with how i draw as of rn, i just do what feels right

ive drawn raph with a more pronounced snout too, and oscillate between designs if i feel like it (truthfully i also sometimes begin his head shape with a square (i mean if im doing a different style), feel free to do that if it helps i dunno-)

if you want to draw his shell and plastron here’s what i do:

being able to carve out 3D shapes will help a lot with the border of his shell

by blocking out the main shape and then carving away at it you can then see how raph’s shell is structured (just. try decipher my sketch if u can pfghjhj)

for the actual shell itself it’s a lot like mikey and leo’s where it has a big curve and then dips at his midsection (where his belt goes!) also keep in mind the spikes of his shell follow those same curves (ft. dr belle)

with his plastron (chest plate) i basically make sure it’s the same length of his clavicle? the jagged edges of it i mean. it helps a lot to map out where his shoulders meet his arms

(pls keep in mind my art’s inconsistent and i don’t even follow my advice- the hole in his shell changes every time i draw it 💀)

his body shape is also just in general wider and stockier- if i ever see people draw him skinnier than he is you'd be able to hear my soul exiting my body

all of him is wider in general! hes bigger than the rest of his brothers so dont forget to show it instead of just giving him a height difference. he BEEG.

i’m not sure how else to describe the process of drawing him other than just. draw him?? 😅 my best advice would be to draw him repeatedly based on references- and study your favourite raph artists’ way of drawing him (mine would be jacocoon and itz_jazzy_jazzin)

and it helps to study bc it can answer these questions

how do you want to draw him? do you like the way a specific artist stylises his features? do you want him more spikey? more sharp? maybe you want to draw him bigger! (i myself like to give him a tail, extra markings on his spikes + a few scars post movie and his mismatched eyes)

repetition is super important to get it all engrained in your brain- and it’s why i don’t really even use refs for him anymore fldjs

dont forget a very important rule: appreciate the big boy in all his glory

#im not exactly the artist to go to for help unfortunately dfkdjhsdh #hoping this helps somehow #its better to understand his structure #every now and then i apply it to my sketches #most times ill just dick around on my canvas #feel free to dm me if you want more in depth stuff ajhddgh #rise raph #rottmnt #rise of the teenage mutant ninja turtles #rottmnt raph #ask

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sarucane · 6 months

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OFMD Spiral Parallels 39: Wearing Fine Things Well

Intro: What I love most about how season 2 builds on season 1 of OFMD is the spiral narrative structure. Ground is repeatedly and explicitly re-trod from season 1 to season 2, but in season 2 everything goes deeper than season 1. Meanings are shuffled, emotions are stronger and truer, and transformation is showcased above everything. The first season plucks certain notes, then the second season plucks the same ones--but louder, and then it weaves them together to create a symphony.

---

These are two scenes that are really, really direct parallels, right down to the staging, music, dialogue, and colors. That's lovely stuff you can get from the various gifsets and videos around tumblr, so I want to talk about the way these two scenes parallel and spiral deeper into the character's emotions. Because both scenes actually highlight the same character dynamic: the biggest obstacle to these guys' relationship is themselves, and how often they are just not in the same emotional place. In the first scene, that results in wistfulness, a lost opportunity to reach for more. But in the second scene, that results in hopefulness, a starting point for reaching something that both men agree they want.

In the first scene, Ed and Stede meet to talk about what happened at the party that day. Ed is feeling crappy and disillusioned. He tried something he'd idealized for a long time, and it went badly. He feels like he failed a test, and at the same time that somehow the test failed him.

But Stede repeatedly reinforces what, to him, is obvious: Ed's perfectly worthy of care, and not having done well in the aristocratic world doesn't reflect on him in any way.

Then the scenes move to something Ed's holding. In the first scene, Ed's shy and almost cruel to himself, calling this important memento "a tatty old thing," pretending to himself and to Stede that it doesn't matter as much as it does.

In the second scene, Ed has also just emerged from an unfamiliar situation. He's been fishing for the first time--and more than that, he's actually had a serious and open conversation with Fang for the first time in decades. Ed has started understanding something beyond being "not a good person" today: he started to get that the real problem was he "wasn't a good guy."

That day ends with Ed meeting Fang's challenge and catching this fish. In the first scene, Ed just begun to understand what the shape of his life won't be going forward; in the second, he's understanding what it will be.

In the second scene, Ed is the opposite of shy about what he's holding. It's a tiny fish, but it means a lot to him--and he's comfortable enough with Stede to communicate the full emotional importance of this (perfectly respectable if rather small) fish.

And then we get to the romance zone. In the first scene, Stede--high on his success overthrowing the rich assholes, and responding to Ed's clear sadness--is the one who initiates this, probably without realizing it.

In the second season, Ed moves into the romance zone, first by complimenting Stede's shirt, then by directly referencing the moment their relationship really shifted. Back in the first season, Stede did this pretty much unconsciously (which makes it, if anything, more charming: he doesn't want something from Ed, he's expressing what he really thinks about Ed)...

In the second season, Ed does this as a signal. He was the hurt party in their breakup, so Stede doesn't move back into romantic territory until Ed signals he's ready. And this is where it gets to the scenes somehow hit exactly the same notes, while also meaning completely different things, the first season entering an emotional holding pattern while the second season dives deep into seriousness, though alao ending with a holding pattern.

In the first season, Ed totally steps in for a kiss here, and then sees Stede open his mouth to say something, and goes "oh shit wrong reading," and draws back.

And while I want to scream "you idiot" at Stede, at the same time they really do have different ideas of their relationship here, and the only real way to resolve something like that is to talk about it, which both are too shy and insecure to do at this stage.

In the second scene, again a kiss is cut off. But while in the first scene this was a sign of missed connection, in this scene it's actually a step towards a deeper connection. Because the next thing Ed does is talk.

In the first scene, they're too nervous and insecure with each other to talk to each other about what they want. But in the second scene, both Ed and Stede are able to express themselves. And in a fantastic display of character development, Ed actually plows right past Stede saying bullshit like "Yeah" and "I know," the kind of pleasantries they exchanged in season 1.

In the first scene, Stede and Ed muttered at each other and low-key panic, both rocketing from completely comfortable to deeply nervous, unclear on what the other person or they, themselves, wants.

In the second scene, they actually talk. There's still a lot that's amorphous here to both of them, but they're not plowing through or running away. Relationships deepen when conversations are at their most awkward and vulnerable, just like this.

In the first scene, Ed is more disappointed than Stede that they didn't kiss. He internalizes his feelings, his body language moving inwards once his back is to Stede. He doesn't feel safe enough to express that he's interested in Stede at all, let alone create a situation where he'll feel safe within a relationship.

In the second season, Stede is also disappointed that they didn't kiss more here (dude's been keeping half the crew awake with moans of "oh Ed," god knows he's gone from shy and confused to thirsty af). But-- while he at first tries to skim over the incident, just like last time--when Ed explains what he's thinking Stede understands. Because while the cut off kiss of the first season was him and Ed avoiding advancing their relationship, this cut off kiss actually deepens that relationship. Ed doesn't want to rush into anything with Stede right now because he wants to be with Stede, and for the long haul.

And so, healthy boundaries in place, they can both relax with each other.

The first scene may not have been when they first kissed, but it was the true starting point of their adolescent first season romance. They both left the conversation knowing there was something there, between them, even if they didn't know what. The scene ends on a note of pure angst and tension.

But the second ends with comfortable joy. It's also the beginning of a new phase of their relationship--but this time it's not a couple of idiots stumbling around in the dark. It's the beginning of a grown-up romantic partnership.

#ofmd s2 spoilers #ofmd #ofmd s2 #our flag means death #ofmd spoilers #ofmd meta #ed teach #stede bonnet #blackbonnet #these boys are so dumb the first time #and so smart the second

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striderl · 1 month

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Have you ever been confused in arranging the plot to draw? It's like you have so many things you want to draw and don't know where to start. It's only mid-March but I already have enough plot to draw until June next year. And I'm still trying to arrange the story so that it's reasonable and not messy (⁠๑⁠•⁠﹏⁠•⁠)

I feel you, I have these moments when I have a bazillion ideas about one plot. But sometimes you need to resist the urge to spill everything at once. Try starting with the most important thing about the story, you know, the plot diagram, exposition → rising action → climax → falling action → resolution, which you probably had learned in school. In short, start with what’s most important for a character’s development, like a turning point in their life that leads to their current identity. For instance, I introduced Polaroid first with his incident that turned him into a Cameraman, which led to him developing a kinship with Sawmus, and the Bluetooth accident that resulted in him getting a position in the Film Industry. When I finished the skeleton of Polaroid’s story, I started to introduce the others and their story in a similar fashion, adding little pieces of information as I progressed.

If you are afraid of losing valuable ideas, try storyboarding. Which can be anything from scribbles of basic shapes with characters' names on them interacting with each other in single panels, to using bullet points to delineate the storyline of whatever you want to draw, polishing the dialogues and plot as you progress. It’s like writing an academic paper, you need multiple drafts till you reach the final product, unless you are the type of person who hates writing papers or you just have no patience in polishing your storyline, then no es de me incumbiencia😑

If you want tips on creating stories or characters, there’s a channel on YouTube that covers topics as such which is called Tale Foundry, which I enjoy watching and learning new tips about writing fiction.

[I’ve been constantly giving people tips and such, WHY YOU GUYS JUST NEVER TAKE YOUR TIME TO READ OR AT LEAST TRY TO COMPREHEND??!!]

#Ask #Storyboarding

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disruptivevoib · 24 days

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mx voib how on earth do you go about designing your hmsw variants, i'm so jealous

Oh I feel fancy now!

Anyhow, I don't have any distinct go-to process but generally having a good idea for the au or the concept I want to design them based on and stemming from there.

Many of my more baseline Aus are close to my canonical designs. With the re-designs of Eleutheromania having a half/half Heart to match the Mind design and make him more distinct.

Then there are the more abstract things like the "Death Thirds" Which is an au I've not really spoken on, and I don't recall if I've posted them here. Though I know I have on Twitter. (I recall CJ liking the Soul design)

Those are meant to be more ethereal, uncanny and inhuman designs. They are VERY self indulgent and more an experiment than anything. Though I knew I wanted to use the Mind design off the album cover for CCCC as baseline inspo for Mind. Soul happened kind of accidentally tbh. I was doodling and he came about.

Theres a set I'm drawing right now which have been far more in-depth. But thats because they stem from an existing media. But that's all I'll say on that one!

As for the smaller guys... I wanted to draw an HMS which was closer to 'canon' in some ways or just different from my typical used for the Song Pieces! They actually well exemplify some thematics in terms of square mind, circle heart, triangle (with rounded edges) soul. Which is a motif I've had since even my VERRRRY very very first concept ideas for my HMS designs!! Shape language is very important to me, and its something I highly suggest learning about or messing with.

I also like to take their canonical clothing; Mind's leather jacket or black vest, Heart's hoodie, Soul's jacket and apply or manipulate it to fit a design. The stripes in my Soul jacket I believe aren't how the real jacket CJ owns is but more so ripped from Kai @/calamarispiderart ?

But yeah! Overall. Themes, motifs, things like that are key in my designs.

Pluto is also a good show of that. I wanted to make sure he looked as faded and washed out as he felt. So his hair is white and his colors, even his Heart and Mind's colors are desaturated and a little off. Lacuna Mind leans into navy and teal while Lacuna Heart is nearly pink!

The Swap designs are also a good example. Viscera is a Whole with nothing in him, and while now I see Soul as more exemplifying that- Whole needs to exist in this au more physically. So— Viscera takes that place. He's a husk and a shell. The half mask with an empty void on the otherside showcases just as much. And for as uncanny and blank as he seems, he is soft. His face is always very soft and maybe a little bit sad. Ennui, Swap!Mind maintains the half/half motif of my Mind designs if only to keep him recognizable. But, his source is a jagged and sharp edged heart and the strings run in a simplistic but sharp form of a heartbeat. Electricity forced to be another way. His features are also softer still from the typical Mind design! Even in what he wears! Judge I have fewer notes on other than his blindfold is not present and in its place is his brain source, obscuring both his eyes if he technically has them at all. Astray, Soul, is faceless. For what is Soul supposed to even be without the mask? Especially when he doesn't know much of anything at all.

Sooo yeah! Just. A big ramble that boils down to the answer of... I try most often to make sure the designs convey the personality or story of the character in some way. Themes and motifs or ideas from or for the au also play that same part.

Course I cannot tell you why the au where they are in eternal snow, Mind has white hair. That is far more a "felt like it" moment than anything else.

Sorry if this is too broad or non specific. I can probably go more into depth on particular designs but yeah! And sometimes a design is one and done. Other times they need many thumbnails or concepts to cycle through. My own designs for the canon HMS have changed a lot in little ways since I began drawing em!

#voidthoughts #hope that helps.#I'd get images and write or draw on them but my tablet did die yesterday so im in the awkward stage of #can i fix it or do i have to buy a new one #asks #thank u tho anon!!#i love character design very very much i could talk about it forever.

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eilidh-eternal · 3 months

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HOW DO PEOPLE WRITE SMUT??

I've been trying to write a chapter in a fiction book I'm writing and idk how to do it properly 😭😭

I've read copious amount of smut, and yet I'm stuck, help 😰

-🌈💋anon

Hi love! I'm not sure how much help I can really offer, but here's some advice from a reader-turned-writer.

I wanna start with this: It's always going to feel a little cringe when you're learning, and that is Completely Normal!

It could be the most tame, vanilla, soft sex, or the kinkiest, hardcore smut you can't even believe you dreamt up. It's going to feel really weird writing it because you have to think about it. You're plotting and planning and deciding how these two, or more, people are gonna get down and dirty, and that really isn't something that happens when you actually do it.

Sure you daydream, fantasize, imagine what certain positions might feel like, what your partner will look like—but you're not really planning anything.

Sex is, largely, a spontaneous act. Our brains receive and perceive external stimuli and translate it into desire, desires that take shape in many different ways from person to person. We act on what we feel in those moments of desire, let instinct take over, so It's the thinking that makes the process feel, at least for me and in this particular context, awkward and stilted. Thinking about what's happening too much can pull me, as a reader, writer and participant, out of the moment and ruin the experience. Hence why the thinking part of writing it makes it feel so... meh. Embrace the spontaneity of the act when you're writing and focus your thoughts instead on the most important part, in my opinion—how what's currently happening feels for your characters.

The second part of this is going to be personal because sex is just that—a highly personal experience that we all have boundaries and personal preferences for which dictate how we experience it. Those boundaries, preferences, or a lack of experience with a certain kink, lifestyle or even position can also contribute to that awkward feeling.

Don't shy away from drawing on your own experiences for inspiration or guidance either, even if you haven't done the exact things you're writing! Fall back on the emotion you experienced, let your characters feel the same things you felt, and build off of that. If something feels good you probably don't want it to stop, right? What did you do to chase that particular feeling? What stimuli did you respond to in that moment that made you feel that way and how did you get more of it? These are the main factors that lead to changes in or the maintaining of position, pace, power dynamics, toys, etc..

It will take some practice, as all writing does, to learn how to let these scenes flow out of you naturally instead of trying to map out every single thing your characters do in detail. In the meantime, focusing on feelings rather than mechanics will help you avoid a lack of emotion and prevent you from neglecting the inner monologue or omniscient narration of what's going through a characters mind when they're in the moment. leaving out this context makes the scene feel more robotic, less organic, when the only thing being described is what's happening mechanically and nothing is said about how a character feels emotionally or physically; i.e., “going through the motions.”

This last bit is a very nit-picky subject, but the wording you use to describe anatomy can make your writing feel too clinical or immature depending on what you choose. For me, things like "cunny", "goey", "gummy" and "spongey" used in reference to the female anatomy feels more immature, lacks the finer details that could more vividly describe the experience. Using proper anatomical terms that you wouldn't normally use in the bedroom, like penis, labia, vagina, vulva, etc., will make it feel too clinical, though this isn't an absolute. Phrases like "silken walls", "velvety warmth", "slick heat" and "glistening folds" tells me soooo much more about what's being seen/felt and has more vivid imagery.

You can, however, go overboard with this. I'm sure we've all seen those tiktoks talking about the wild ways some authors have described anatomy; e.g., "love tool" and "pleasure canal." In this case, just call it what it is. Pussy and cock. Cunt and dick. Manhood/member and nether folds/lips if the style of writing or the time the story is set in is more conservative and you want to adhere to that. I know we have been societally conditioned to view these words as lewd and unacceptable due to some negative connotations, but I would much rather have a partner tell me they want to fuck my pussy raw than "take a ride on my pleasure canal." I cannot stress enough how much of this is a matter of personal preference and that this all my very biased opinion on anatomical descriptors.

I am by no means an expert, but I do hope some part of this helps you feel more confident about your writing! Remember that what works for some authors won't work for others, so if the advice I've given doesn't help it is not an indication of your writing abilities. The more you write the more comfortable you’ll feel, and you’ll start to get a sense of what does and doesn’t work for you!

#eilidh's asks #eilidh tries to give advice #not an expert #writing is subjective and should be for your enjoyment #what works for me might not work for you

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babyrdie · 3 months

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Achaeans

Sketches of some Achaeans from the Trojan War. This is a mix of based on real sources and headcanons and all of these designs are certainly subject to change.

[The heights are in meters because I can't understand this system of feet and inches, not even if my life depended on me understanding it lol]

I'm still terrible at drawing fingers (whether feet or hands) and so these sketches don't have any of them well-defined. And yeah, avoiding drawing them makes my chances of progress worse, but in my defense, I just wanted to make a character reference sheet without stressing about it.

Anyway, now I start commenting on the design choices. This is the time for you to leave the post or continue if you wish. If you want to continue, prepare yourself for a long story.

Drawing Menelaus and Agamemnon first because I need them ready to get an idea of the genealogy of the Atreides, but the next ones will probably be Ajax (the greater) and Teucer because I also need them in the genealogy of the Aeacids. I intend to do Odysseus and Diomedes too, but I feel like they will be the last (Diomedes the lastest of all because I still need Odysseus to match Penelope and thus have an idea of how to draw Telemachus). And Antilochus is there simply because I like him, so I already designed him.

ABOUT SCARS: don't try to find a reason for all the scars. I admit: they were invented simply because I found it ???? to look at a bunch of warriors without a single scar on their bodies. These are designs supposed to take place before the events of The Iliad. It may still be in the tenth year of the war, but it is certainly before the events of the Iliad. So no scars were made with the intention of matching the wounds described in The Iliad. Maybe I'll even increase the amount of scars, but we'll see.

As for Achilles, I'm not taking into account the version of the myth where he's invulnerable, I just have the headcanon that some demigods have improved healing. So he was injured, probably had to stay away from some fights because of this like the others and everything, but his healing stopped him from leaving scars. But yeah, it can also be explained if you prefer to consider the version of the myth where he's invulnerable.

Characters (in order from tallest to shortest )

ACHILLES: muscular, agile type because he is very reaffirmed by speed above all else. The colors, shape of the eyes, and volume of the hair were to allude to a lion, as he is often compared to one. As for the face, I wanted to avoid making it too "masculine" so that it would be believable that a younger version of him (15 years old, probably) could pass for a girl if wearing body-covering clothes and probably a veil.

The sharp canines are not fangs, they are simply sharp canines like I saw an old classmate of mine having and I and I thought it was a cute feature of hers and I wanted to put it in some design (but yeah they are from Tethis!). I imagine that his hair, his nose and the shape of his body (including height) are reminiscent of Thetis (because I love her so much), while the rest is more on the side of Peleus. His hair is long in a very impractical way, so I imagine he has to tie it up before wearing the armor (hence why the obvious difference in hair between him and Patroclus doesn't get in the way of Patroclus pretending to be him)

He's among the youngest and that's important for his character (prophecy), so I wanted to make him look young (I imagine he was around 25 when he died?). He was also kind of inspired by this fresco. I would say that his design remains consistent, it's just the eyes that I change all the time to see if I like the format better.

PATROCLUS: He's older than Achilles, but not by much. So I still made him look young and I imagine he was about 27. His role as someone who was supposed to guide Achilles to take the right actions (which he tried…it just didn't work at the important moment) made me want him to still look at least older than Achilles. He's the same height as Achilles and not too different a body type for it to make sense for the armor to fit him. He has beard because of this iconic kylix. I was also inspired by the description "handsome and powerfully built. His eyes were gray. He was modest, dependable, wise, a man richly endowed" by Dares the Phrygian as it was the only description I remembered of him. He was also kind of inspired by this fresco. The only REAL changes from the previous design I made of him are that he now has a mole and scars (yes, he still tends to tie his hair low.)

MENELAUS: I personally think that Menelaus could benefit from red hair as I saw some people doing, but I decided to go with the traditional representation of him being blonde (but a little red). I like the idea of Helen and him being a tall couple (consequently, their daughter Hermione is too) and him being taller than Agamemnon (because I think the dynamic of the taller brother being the youngest, while the shorter one is the older and more protective brother is funny), that's why he's so tall. I imagine him taking after his mother, while Agamemnon takes after their father. From my calculations, what makes the most sense is that at the end of the Trojan War, he and Agamemnon were AT LEAST forty years old, so my design of the two was based on the idea of them being at least forty years old.

AGAMEMNON: His hair and beard came from here, his body came from here. Although in this mirror his representation shows him more as someone with belly fat, I decided to make it more balanced and make him simply a strong type without being ripped.

Also, considering how in every source I've read so far the guy has multiple kids, I wanted to make his design look somewhat like a father? Anyway, I haven't drawn Clytemnestra yet, but I'll probably follow the same line of reasoning in giving her mother-of-many vibes.

Furthermore, his height was chosen based on Priam saying that he is tall, but not that tall, but that he is taller than Odysseus. I purposely made Menelaus taller because I like the idea of Agamemnon being so protective of him when Menelaus doesn't look defenseless. I haven't drawn other Atreides besides them, but I imagine that Agamemnon looks a lot like Atreus and that Orestes has a face similar to Agamemnon's (hair and colors in general I imagine looking like Clytemnestra). He's AT LEAST 40 years old. I didn't have his design yet.

ANTILOCHUS: The body was the type that could be agile, as its speed is heavily emphasized in the Iliad. Honestly, his facial features were chosen because I didn't want to run the risk of him looking like Achilles, Patroclus, or Menelaus. They're the characters that I imagine Antilochus interacting with mainly and so I didn't want to take any risk in drawing two very similar characters in the same scene (when the characters in question are not related, of course). Menelaus mentions about him being younger, so I went with that for age.

The color choices for hair and eyes came from Nestor, who in turn inherited it from Neleus, who in turn inherited it from Poseidon. For this I have an extensive explanation about how divine genetics works in my drawings, but it's too long and the post is already long enough without it. His height was because I wanted some dynamics with a big height difference (apart from Teucer and Ajax) and considering how tall Patrochilles and Menelaus are, I simply made Antilochus smaller because of them. I didn't have his design yet.

#greek mythology #tagamemnon #digital art #epic cycle #the iliad #achilles #agamemnon #menelaus #patroclus #antilochus #sketches #Iliad #IK

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sad-sad-detective · 3 months

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@ktoto-franny-side, answering your questions!

How ghouls look in general:

My ideas about ghouls' appearance are pretty general, tbh, inspired by classic depictions of evil spirits like chorti or biesy in Slavic folklore. As a species, ghouls are humanoid creatures with grey skin, pointy ears, horns of various shape and tails. Their body types are different, though quintessence and fire ghouls tend to be bigger and stronger while air and water ghouls are more ectomorphic. Fire ghouls also have darker skin on their hands and tails, like they are covered in soot. Dew, being a fire hybrid, has such markings too, but they are only sligthly darker than his skin color (I always forget to draw them, shame on me!). Their faces are human-like too, though I like to imagine them somehow animalistic. For example, Alpha's features remind of a tiger, especially when he's enraged or disgusted. Yeah, big cats from Hell. Ghouls have either paws or hooves, I hc that it depends of their habitat rather than their element. You can guess what part of Hell a certain ghoul comes from by the shape of their feet. Among the ghouls mentioned in "Rainbow", Windstille and Mountain have hooves. Mountain also has antlers, and Windstille has European mouflon horns (same goes for Ifrit). As for the shape of horns, this feature is similar to eye color and depends only on the genetics. As for wings, I don't think ghouls have them. It is more of angel feature.

I really really want to draw all ghouls from "Rainbow" and make character sheets for the band ghouls! Maybe, someday…

"Rainbow": "Rainbow"'s main focus remains on Dew and Aeth. I wanted to write their story from the moment I joined Ghost fandom. But "Rainbow" is a part of a bigger story, of a verse, if I can say so. But I try to give all important characters their share of "screen time", and some of them tend to steal the spotlight! Like Ifrit did, and Swiss will (yeah, expect to meet Swiss in the upcoming chapter).

#nameless ghouls #ghoul headcanons

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chains-of-destiny · 4 months

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Hi! Your introductory post is amazing?

Care to share some facts about the ROs?

Hey! I'm not sure if you meant this, but here you go (I haven't completed their character pages just yet, so this text might change in the actual game):

Barnabas

Barnabas's personality is a constantly shifting landscape, shaped by the winds of circumstance and the company he keeps. One moment, he can come off as overbearing and controlling, demanding that things be done his way without compromise. Then, in another, he would transform into a charismatic and charming figure, effortlessly winning over those around him with his quick wit and playful banter.

But within this ever-changing terrain lies treacherous crevices and volatile eruptions. The slightest inconvenience or disagreement can trigger Barnabas's explosive anger, causing him to lash out with insults and sharp remarks. This left a trail of fractured relationships in his wake, as those who had experienced his temper found it difficult to forgive and forget. Yet, there are moments of genuine kindness that shine through Barnabas's rough exterior. In those moments, he surprises both himself and others with acts of selflessness and compassion.

Loyalty is the cornerstone of Barnabas's values. He expects unwavering devotion from those in his inner circle and fiercely protects them in return. However, any hint that someone views him as inferior or disregards him will send Barnabas into a rage that can last for days.

As an officer in the Republican Army, his position was secured through his brother's influence and his own magnetic charisma. His comrades respect his tactical prowess but also fear his volatile nature. Many speculate on the origins of Barnabas's temperament, with numerous rumors circulating but none of them providing a definitive answer. Perhaps even Barnabas himself doesn't know the true reason behind his ever-shifting personality.

Zenon

Zenon is a gentle soul, always careful with his words and actions. At social gatherings, you can often find him tucked away in a corner, observing quietly from a distance. Just when it seems like he may finally join in on the conversation, Zenon instead flashes a shy smile and retreats further into his shell. But in the company of close friends, his true personality blossoms like a flower in sunlight. He becomes animated and lively, engaging in deep conversations that showcase his vast knowledge and passionate opinions. His eyes sparkle with excitement as he delves into his favorite topics, eager to share his perspective with anyone who will listen. In these moments, it is impossible not to notice the fire within Zenon—the burning desire to be heard and understood.

Loyalty and honesty are two values that hold great importance to Zenon. He treasures the few close friendships he has cultivated over the years, valuing their trust and unfaltering support above all else. A reliable friend, he is always there to offer a listening ear or lend a helping hand whenever needed. And if you ever want to see him flustered, just look in his general direction for more than a few seconds, and his cheeks will flush a bright shade of red.

Renna

From the moment Renna opens her eyes in the morning to the second she collapses onto her pillow at night, she is in constant motion. She thrives off the adrenaline rush, the thrill of pushing boundaries and testing limits. Every day is a new adventure for Renna, an opportunity to conquer the world and leave her mark. She is charming and charismatic, drawing people in with her infectious energy and magnetic personality.

She values ambition and drive above all else. Renna has seen too many people settle for a mediocre existence, letting complacency creep into their lives like a disease. But not her, she refuses to let that happen. Renna has dreams of dying rich and famous, with her name sung by drunken strangers in rundown taverns. But for now, she settles for the thrill of the chase, the anticipation of the next big score. She knows that success doesn't come to those who wait; it comes to those who chase after it relentlessly and refuse to take no for an answer.

Along with her unwavering determination and infectious energy, Renna possesses proficiency with melee weapons. She wields them with precision and grace, but don't underestimate her ability to fight dirty if necessary. After all, winning is all that matters to Renna, no matter what tactics she must use to come out on top.

Iris

You can learn a thousand little stories and details about Iris without coming any closer to deciphering her true self. When confronted with personal questions, it's like trying to catch a butterfly with a broken net - often deflecting with a witty joke or steering the conversation elsewhere, leaving you more confused than before. Yet, on the surface, she emanates kindness and charisma with a constant smile on her face and a sparkle in her eye. From her parents, she inherited a sharp wit and a curiosity that seems to know no bounds, teetering on the edge of recklessness.

Above all else, she values connection, human connection. It's not the kind of connection that can be easily quantified or measured, but rather the intangible bond that forms when two souls truly understand each other. Iris craves these moments of genuine connection like a desert craves rain, and she will go to great lengths to find them. She would strike up conversations with strangers without hesitation, eagerly listening to their unique stories and uncovering hidden gems just waiting to be discovered. In Iris's eyes, every person holds a story worth hearing within them, and she relishes uncovering them.

Elaine

Elanie is strong-willed and assertive, and she will often come off as rude or abrasive to others, but she makes no apologies for her behavior. Trust does not come easily to her, and she always expects the worst from people. As a result, she tends to stay away from others and prefers to keep to herself in her own corner. With a sharp tongue and quick temper, she isn't afraid to speak her mind, often using sarcasm and biting remarks as her contribution to any conversation.

She values assertiveness and getting things done, no matter the cost. Though she may never admit it, she secretly respects those who stand by their beliefs, even if they differ from hers. However, weakness and indecisiveness are qualities she has no patience for. In any argument, Elanie is a formidable opponent. She will fight tooth and nail to prove her point, never backing down without a fierce struggle.

Along with her sharp mind, her skills in hand-to-hand combat are formidable, and she is highly proficient in using a variety of weapons.

These are the things that come to mind about the ROs without spoiling the story.

#ask #ROs

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bittybeanie · 1 year

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Business As Usual (reigen x reader)

it's finally done, y'all! this fic has gone through so many different versions before ending up as what it is now, which is basically a collection of snippets that i connected together with some plot. i really wanted to explore aspec reigen but wanted to keep him in character AND still have a gender neutral reader which is VERY hard to do when you need to describe... where hands are going, but i think i finally did it!

also on ao3 here!

Your head rests against your palm as you stare blankly in Reigen's general direction, letting the sound of his voice from the doorway float over to you as a fond smile takes over your face. One of his legs is popped forward, his knee bent so his foot can rest flat against the wall behind him, and he slips his hands into his pockets. Your gaze lingers on his thumb, tucked over the top of his pocket, and your face slips off your hand before you can come to your senses. You're already scrambling for a pen by the time he glances over at you and raises his eyebrows in a silent question of "everything okay over there?"

You give him a shaky smile and a thumbs up, weakly holding up the pen and pulling the abandoned stack of papers on your desk toward you. He beams at you and turns back to Serizawa, casually switching to stand on his other leg like he didn't just make your heart skip a beat. You resist the urge to look back at him for all of a couple seconds, the embarrassment of almost getting caught staring not as strong as how distracting he is. He's already using his hands again, one flying through the air as he draws a square in what you think is his attempt to explain the layout of a room. The other hand hangs by his side, his thumb crossed in front of his index finger.

You prop one elbow on the desk, holding up the same makeshift heart shape as you pretend to return to your ignored work.

You find yourself leaning against the front of Reigen’s desk often. With Mob on a school trip and Serizawa at his class for the night, there's no need for you to keep up the act of office secretary, so you've settled into a sort of half-sit, one leg propped up so you can turn to face him without putting your full weight on the surface.

As he listens to you talk, he twirls a pen between his fingers, flipping it back and forth before stopping to spin it around his thumb, only to catch it and do it again. His other hand traces the trim of his desk - over the scratch in the edge from the arm of his chair, down the scuff mark on the corner from the time you'd both dragged it against the door frame on the way in, back up the slice in the surface from a time when he'd still taken dangerous clients on his own and a "stray" pocket knife had gone flying from a "possessed" man's hand. You make a mental note to buy Mob and Serizawa each something for all their hard work.

You trail off, trying to retrace your conversation to find the original point of your story. In the quiet that follows, you can hear the sound of his fingers along the wood. He's being so gentle, just barely making contact, like he's handling a precious artifact. In its own way, you suppose, the desk is an important part of the office's history, in the same way that every plant, every poster of his face, every picture with a client was a part of the journey here, to this moment.

You wonder if he'd handle you the same way.

"Everything okay?"

"Yeah, just... lost my train of thought there." You blink and give your most convincing spacey chuckle, mentally yelling at yourself to get a fucking grip already. "How did we end up talking about this again?" You're sure that he'll see through you in a second. Instead, he shrugs and stretches his arms above his head.

"Hell if I know." He drops his arms and rolls his shoulders. "Think it's safe to shut down for the night, though, so..." He stands with a flourish and jerks his thumb in the direction of the door. "Wanna get food?"

Despite your best efforts, you find yourselves at the same quiet bar as always, both of you too indecisive and habitual to pick somewhere else to eat. Both of you nod when the bartender asks if it'll be the usual, then shake your heads when she asks about drinks. She rolls her eyes at you, but it's good-natured, and she disappears around the corner to start your order.

There's something about the environment that sweeps you up in it - the dim lighting and the scratchy record player in the corner - and you think Reigen might have actually forgotten he hasn't had any alcohol. "Loose" is the only word you can think of to describe him in this moment, his face softer, his pinky over yours on the counter, his posture and his filter more relaxed. He doesn't even jolt when the bartender calls the two of you lovebirds, something that always made him scramble to defend himself before you officially started dating. Now, although his hand still gets a little clammy, he just looks over at you and smiles, and he presses a kiss to your temple.

She asks how things are going at the office (boring but peaceful), if you've told the others yet (Serizawa figured it out on his own, just like she did, and you're not sure how to bring it up to Mob yet, but you have a feeling he knows), if you have any fun plans. She raises her eyebrows on the last question, leaning forward to give you a meaningful stare, her face breaking out into a smirk.

You and Reigen freeze up at the same time, looking in opposite directions.

"I mean we're-"

"Yeah, it's, y'know, we-"

"Not that it's any of your-"

"Just what are you implying anyway, I mean-"

She waves her hands to cut you both off, laughing loudly at your awkwardness.

"Just teasing you guys, sheesh. But, seriously, nothing fun this weekend?"

"Ah, no, just business as usual."

She goes on a rant about how you two should really relax, take a vacation, you spend so much time in that damn office of yours, how do you two even-

You settle in, thankful for the change of subject, and chuckle quietly, not sure how to explain that, at this point, the office feels more like home than your apartment does. When she turns around to grab something, you press a quick kiss to Reigen's cheek, reveling in the way he always looks surprised no matter how many times you've done it before. He unlinks your pinkies and puts his whole hand over yours, giving a light squeeze. You bump your head against his shoulder just as she turns back around, and she makes a theatrical gagging sound.

Reigen had told you before that he was thankful to have a new regular bar, but it's moments like these that you really see it- dropping his pretenses bit by bit with every night you come in, asking her questions and talking to her not as a composed business man, or even as somebody that you've dragged along with you, but simply as himself.

You think this is your favorite way to see him.

He gets up eventually to use the restroom before you leave, and the bartender jumps at the chance to tease you some more. It's always a little embarrassing, despite how many times she's done it, but it's also strangely comforting in its familiarity.

"You know you look at him like a lovesick puppy, right?"

"So? We're dating, how am I supposed to look at him?"

She looks concerned. "No, it's not that, just... I think he's the only one that can't tell you wanna do him. Are you seriously gonna wait around forever?"

"I'll wait as long as I need." You know what she's getting at, and you admit that you haven't been the most straightforward with him, but you don't want to run the risk of making him uncomfortable. He's never officially told you outright, but you get the impression it just isn't something he's interested in, and you decided you were fine with that long before you asked him out. Your lingering stares and imagination would just have to be enough.

"And if he never-"

"Then I wait forever." You finish the last bit of your water in one go and set the glass down a bit too harshly, trying to distract her from your obviously flustered state. "In the meantime, I’ll keep enjoying what I have."

She considers you for a minute before glancing over your shoulder. Apparently she's satisfied with your answer, because she rolls her eyes again and takes the plates from the counter. You startle a bit when you feel Reigen's hand on your shoulder, and he presses a kiss to the top of your head as an apology before asking if you're ready to leave.

He slips his coat on and waits by the door as you hand the bartender your card.

"I'm not gonna stop teasing you about it," she whispers. "But I think you two are gonna be just fine." You're not sure what to say. You glance over at him as he readjusts his scarf, his tongue peeking out as he fights to get the sides even with each other. He stands up straighter to lean against the door frame when he notices you looking, clearing his throat loudly and giving you a wave. The bartender hands your card back.

"Yeah. Thanks."

You reach for Reigen's hand and link your fingers together as he swings the door open, turning around to give the bartender one last wave goodbye.

"Be safe! If you ever bang, that is!"

"Oi!" The door swinging shut behind you cuts off your noise of protest. You can see her laughing through the window, one hand covering her mouth as she waves you off.

"Actually, um..." He bumps his hip into yours. "I... I have something to ask you about."

"So, um." Reigen clears his throat. His hand is practically slipping out of yours from how sweaty it is, and that fact does nothing to calm your nerves about what he might say next. You tighten your grip. "Ekubo... brought something to my attention."

"O-oh? And what would that be?" Though you've never been able to see or hear the spirit for yourself, you've learned from Mob that he's incredibly blunt. Your worry increases.

"Well. He told me I was an 'oblivious asshole' and that even he knew I was 'wasting an opportunity', if that gives you any clues." Based on the context, you're pretty sure you know where this is going. This time, it's Reigen that tightens his grip.

"He was all," he makes his voice more nasally and tilts his head, "I definitely shouldn't have to be the one to tell you this but nobody else is going to do it and I'm sick of seeing them make googoo eyes at you all the time, so I'm just doing what needs to be done! Reigen! They totally wa-" He chokes a bit, trailing off into something you can't hear. "Well, I can't remember exactly what he said, but, um, he basically told me I should ask if there was something... more that you were hoping for. In our relationship." He slows his walking, staring down at his feet.

"I... don't know how to answer that, honestly." He seems surprised and a little relieved at your answer. It makes you all the more uncertain whether you should say anything. "I guess there is, but it's not- I mean it's definitely not a dealbreaker. I figured you weren't- I mean I'm not saying you- that you're not- it just seemed like something you didn't really... care about. Or... care for. That much."

He considers lying, but dismisses the idea quickly. The million excuses die on his tongue, the half-baked stories of his fake experience erased as his mind goes blank. He knows there's no need for him to lie, sees in how nervous you are that you mean it when you say it's not a dealbreaker, but he doesn't know what to say instead. He has no idea what will come out when he speaks, and that's a terrifying prospect.

"Well, I don't, I guess." You nod. "I care about you, though." He taps the back of his hand against your thigh, dragging your arm along with it. "You don't need to keep things from me. If that's- if I'm... something you- I mean, if you're- I'm-" He sighs harshly and stops walking to look up at the stars. "Honestly, I'm not the best at this sort of thing. I've never really thought that somebody would want me, so I hadn't considered it. But if you're really interested, if you... want..."

"I do."

He snaps his head down to look at you, like he's surprised to hear you say it even though he already knew it was true.

"The same goes for you, too, though. You don't need to keep things from me." You tap your elbow against his side. "And you don't need to give things just for my sake. Whatever Ekubo said, you're not 'wasting an opportunity.' I'll be here if you want me, and if you don't," you shrug, "I'll still be here anyway. No pressure. No offense taken."

He nods. You start walking again in silence, his eyebrows pulled together as he considers his options. He pulls his hand away from yours to wipe his palms on his thighs, and you barely conceal your laugh in time.

When you stop in front of your apartment building, he leans down to kiss you as usual. Your hands linger on his jaw, and you give him another quick peck before you fully pull away.

"You coming up?" He blinks at you, and the extra implication finally registers. "For tea! I mean."

He laughs and kisses you again, grabbing your wrist to pull you up the stairs.

You're turning to hang your coat - just barely holding onto to the end of one sleeve - when you hear the sound of your door clicking shut behind you and you find yourself pressed against it, Reigen's lips against yours. You drop your jacket on the floor in favor of steadying yourself, both hands on his shoulders as you lift yourself onto your toes. His fingers fidget with the hem of your shirt, and you pull back just in time to keep your breathing even.

"Where's all this coming from?"

He presses a kiss to your jaw. "I've decided," another kiss, just below your ear, "I want to give you what you want." His breath against your jaw is admittedly distracting, but something still feels off to you, and you're determined to figure out what it is before you let him get too far.

"Is that so?" He hums against your neck. "You really want to?" He hums again, pulling back so he can press his forehead against yours.

"Well, while I appreciate the effort..." You pull on his arm as you spin out into the room, and the door rattles when you push him back against it. "This is more like what I had in mind." All his preparation goes out the window, all the lines he's memorized "just in case" rendered useless, and he's left standing there gawking at you. You take a step back, suddenly unsure of yourself. "If... that's okay."

"Yes!" He clears his throat and waves a hand vaguely in the air. "Yes, that's... probably better. That way you can- exactly what you- y'know. I'm a little surprised, is all." He points in several directions as he talks, eventually settling on pressing his index finger lightly into your shoulder.

You breathe out a laugh and reach up to thread your fingers through his hair.

"Well, you know, you're just so darn handsome. Can't help but think about how you'll look in... other scenarios."

"Is that what you were thinking about while you were staring me down earlier? While I was talking to Serizawa?" He smirks like he expects you to laugh it off, to roll your eyes, to knock your head against his shoulder and exhale with that same half-laugh, half-scoff you give him when he tells a bad joke. You lean up to kiss him, instead, and his breath catches in his throat.

"Yeah, pretty much."

"Oh." He seems to realize he's still poking you in the shoulder, and he moves his hands so they both rest on your hips. You can feel them shaking. "Oh."

"Is that okay?"

He looks like he's genuinely considering it this time instead of just telling you what he thinks you want to hear. His shoulders relax, and he slides down the door. You chuckle at the way his jacket bunches up.

"Yeah. Yeah, it's okay. It's nice, honestly."

"Well, good thing there's way more where that came from, then."

"You're sure about this? Still okay?"

His fingers pull at your hair as his hand shakes, and his nails are pressing into your hip a little too tightly, and he's biting down on his lip so hard that you're sure he's gonna draw blood any second now, but he's nodding and looking at you like there's nothing else in the world. His hair is sticking up at the top and there's a faint red mark just below his collarbone, and he looks so perfect that you'd be the stupidest person in the world to stop now and give up the view.

But being an idiot is worth it if it means he's safe, so you stop again after you undo the last button of his shirt, looking back up at him when you slip your fingers under the collar. He nods again and kisses you, quick enough that you don't get a chance to deepen it but long enough to leave you chasing his lips when he pulls away. His fingers wrap around your wrists as he guides you to pull the sleeves down his arms, and the shirt falls to the bed with a quiet rustling of fabric, almost drowning out the way your heart is attempting to leap out of your chest.

"Hey. I know you said you, um- but..." He leans forward, shuffling so he's propped up on his knees. "Could we go back to this? It's a little easier."

"Of course. Whatever you need." His hair brushes against your forehead, and you can feel his breath across your nose as he pants. Moonlight streams in through your window, the corner of it lighting up the side of his face enough for you to see just how red his ears are. "I want you however I can have you, anyway, so it's not like it matters to me."

"Well, it's not gonna work if you keep saying things like that."

You laugh and flop backwards onto the bed, doing your best not to kick your pillows. "What, do you have a script up there or something? Am I going off book?" You tap a finger to the center of his forehead. He purses his lips and looks off to the side.

"Not... No. I don't need a script." He scoots closer to you, settling in between your legs as he puts one hand on either side of your head.

"Good answer." He shakes his head as he leans down to press his lips to your collarbone, but pulls back immediately when you let out a startled squeak.

"Sorry! Sorry, I don't know why that caught me so off guard." You laugh and wrap your arms around his waist. "Just nervous, I guess. You c- you can keep going, though. S'nice." You shift awkwardly when he doesn't move, glancing off to the side. "You... still okay? We can-"

"You're nervous?"

"Well, yeah. I mean... man of my dreams? Over me? About to do me? It's a little overwhelming, y'know? Good overwhelming, but still."

"Right. Yeah." He sits back onto his knees, and you follow by propping yourself up on one arm. "Wait, man of your dreams?" His voice cracks, but he doesn't bother clearing his throat.

"Y- uh. Y... Yes?" He opens his mouth, but you cut him off before he can say anything. "I mean, think what you will, but I have had dreams about you, so it's literal if nothing else."

He straightens at that, and you can practically see the light bulb go off above his head when he snaps his fingers. His smirk gets dangerously wide, and he leans back into your personal space, wrapping one arm under you to keep you from laying back down.

"Why don't you... tell me about those?"

"A mirror?!" He presses a kiss to your hip, muffling a laugh. "Certainly starting off strong."

"It was just the most recent one!" You squirm as he sneaks his thumbs into your waistband, looking up at you for confirmation. You lift your hips, and you hear him take a sharp breath before he yanks them down. "I can always pick a different one."

"No, no, I asked. Talk away." He presses a kiss to the inside of your thigh, lifting your leg on top of his shoulder. "What was the appeal, do you know? Or was your brain just looking for ideas?"

"Ah, both, I think. But I certainly know what the appeal was."

"Oh?" He licks a stripe up your thigh before sucking a section of your skin into his mouth, stopping just before he thinks it'll leave a mark to move to a new spot.

"Yeah, your h- mm. Uh, ha, w- um. Actually, that might be too embarrassing."

"What? Come on." He slides his hand up your other thigh, fidgeting with the waistband of your underwear as he steels himself to pull those off too.

"No, I'm- go ahead." He nods, but keeps fidgeting with the elastic for now. "I'm picking something else. You won't be able to look at me the same after."

"Is it really that bad?"

"It's not bad exactly, just- oh!" He pulls your underwear down a bit too fast, and they get caught on your foot, sending them slingshotting across the room. Your head falls back against the bed as you laugh from the sheer absurdity of it, and you grab the sheets to anchor yourself. "Anyway, it's just very specific. I don't want you to feel weirded out."

"I think I'm more weirded out by not knowing. You're scaring me a little." He takes your hand and guides it to the top of his head, not moving until you thread your fingers through his hair with a shaky sigh.

"Fine, fine, y- hmm." He sticks his fingers in his mouth to get them wet, mostly because it's something he'd read once that you were supposed to do, and you hear the loud pop when he pulls them out. "It's your hands."

He eases one finger inside you so slowly that it seems like he's waiting for something terrible to happen. All he gets is your satisfied shiver and a light tug on his hair to encourage him to move his head up.

"In a case like this, I can feel your hands but I can't see them. A mirror let me do both."

"What's so special about my hands?"

"You say as your fingers are literally inside me."

"Other than that, o-obviously." He closes his mouth around you, and your hips buck up before you can stop them.

"S-sorry."

"S'fine." He readjusts your hand in his hair so you can have a better hold. He hums lowly when you give a test pull, and you can feel the vibration of it in the very core of your body. "You were saying?"

"Oh, right, y- they're distracting. I mean, you just ha- oh, have nice hands in the first place, but- y- you use them so much that it's like... oh, Jesus." He slips another finger inside, crooking them up in a blind attempt to get a better reaction out of you. "I think about them a lot, I guess. And you're always fidgeting, so, w- they're super obvious. And it's a little more subtle than just... eye fucking you in general. Fuck!" You can feel his smirk when the shiver racks down your spine, and you press your nails against his scalp in a half-hearted protest. "Not subtle if you know about it, though."

He pulls his fingers out and slides his hand under your leg to drag you further down the bed so he can focus on using his mouth. You whine at the loss, but you can't really complain when it feels like ice is making its way through your veins, your skin tingling with electricity every time you feel his breath against you. What he lacks in skill - not that he lacks much in the first place, despite his concerns - he makes up for simply by being him, with you, in this moment you thought you would never get to have. Your free hand tightens around the sheets before coming up to lay across your eyes, and you gasp as you roll your hips up against him. He taps lightly against your ribs in a reminder to keep talking.

"A-and then there was the whole p - ha - part where y - oh - you were talking right in my ear but I could still see your face. Fuck, I bet you look so good right now. And, shit, f- I love your voice so much. S'really, the- the best of both- ah!"

Now that he's gotten the hang of it, he slips three fingers inside you again, trying to focus on how good you must be feeling based on your reactions instead of just how tight you feel around them. He'd be lying if he said he wasn't turned on by now, with the way you're gasping and trembling, quiet whines slipping out between words and your thighs shaking on his shoulders, but he's not ready to deal with the consequences of that just yet. He can't afford to think right now for fear that his nerves will start to creep in through the gaps, so he forces himself to focus on your voice, letting your words take over the space in his mind where his own thoughts should be.

He gives a particularly harsh suck right as his fingers bend to hit just the right spot, and you actually moan at that - not a whimper, not a hum or a sigh - and any resolve he had to keep listening to you is replaced with the desire to get you to make that noise again.

"Wow, I am not gonna last long if you- oh! Fuck, Rei- mm, Ara- fuck, fuck, fuck! Arataka, god, so perfect, you're so- ohh, shit, I-" He doesn't let up until it's almost impossible to move his hand, revels in the way you clench around his fingers, in your broken cry only slightly muffled behind your hand, even in the way your ankle digs into his back as you pull at his hair and press your hips up into his face.

When he sits up, your leg falls onto the bed with a thump, causing you to descend into a fit of giggles as he licks his lips and swallows, thumb swiping across his bottom lip.

"What, was it-" You shake your head and make grabby hands, rolling one wrist in an invitation for him to lay down beside you.

"I'm just really happy. You did great." He leans over you, seemingly debating if he's allowed to kiss you. You close the distance for him, cupping both sides of his face, and he shudders when you run your fingers through his hair in an attempt to fix it. "Want me to help-"

"Nope! No, no need, thanks." You raise an eyebrow, but you're too tired to put up a real fight.

"Alright, just come here, then."

"We're backwards. Your foot is on your pillow."

"It happens." You shrug. He looks like he's debating picking you up and flipping you around himself, but he eventually lays down beside you, albeit not before grabbing a spare blanket to drape over you.

"Maybe next time?"

"Next time?" You roll onto your side and drape one arm over him as he settles in, pressing your face into his chest.

"Yeah. Next time you can... maybe, I mean. It's still- but, I think I do want..."

"Yeah?" You smile and lay a hand flat on his lower back to pull him closer, the other hand tracing light heart shapes just under his collarbone.

"Yeah, unless you-"

"Maybe next time sounds perfect."

#reigen arataka x reader #reigen x reader #my writing #featuring my thing for Hands #and maybe some hair pulling #and uh... y'know. just a sprinkling of other lil mentions #..... sorry bestie #ahEM anyway #reigen is aspec in this #i had demi in mind but it's really just “somewhere on there”#reader is a lil aspec coded too just by... the nature of being written by me

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wordsbymae · 2 years

Text

The Killer Alphabet 18+

Hi everyone! Hope everyone is feeling good! I wasn't going to do one of these for this (disgusting) guy but you guys seem to enjoy my previous alphabets for The Mad King and Eli, and I have some time to kill so I thought why not. I really wanted to try something different with this guy compared to the traditional slashers you see in movies, please feel free to tell me if it worked or not!

Also If you haven't noticed I haven't given too much description to any of my OCs, I do have images of what they look like in my head but I'll leave it up to you guys what they look like to you (mainly cause I can't draw for shit). I do see him as Mario Casas in 'The skin of the wolf' but like I said I really don't mind what they look like to you. Also, I don't have a name for this man cause it didn't really make sense in my mind for him to have one so he'll be known as Killer. Once again this is based on @/dear-yandere original template.

Also, I hope I don't need to say this but I will just in case, I do not condone these sorts of actions!!! Or any actions in any of my work. This is pure fiction.

TW: Murder, violence, blood, Killer being aroused by a scene in a movie of a man kissing a woman but this is because it's from the golden era of film (1915-1963). Also please don't judge, I tried doing smut again but I am kinda insecure with how it turned out :/ Male Masturbation. Old-timey Pornography, not in much detail. reader described as pretty. Implied Non-con. Physical harm to reader - breaking bones, branding. Reader has sex with another person, who is then promptly killed. Please use discretion!!!

Minors turn away now, please!

Let's get into it!

This man scares me, not even kidding. Like he gives me the absolute creeps. The drabble this is based on is here.

Before we go into the meat of it, I want to flesh out an important character point. His whole character and personality kinda revolve around one thing. He is obsessed with movies from the golden era of film, especially the ones where the guy gets the girl. I like to think that his cabin wasn't always his, that he stumbled upon it wandering the woods, maybe after a run-in from the law, or even just travelling from his previous shelter to find a new one. And when Killer moves in (murders the old man living there) he is confused to find an old film and a projector set up. After accidentally getting it to work he is amazed by the pretty images floating on the wall. And the moment the man kisses the leading lady? He is baffled, flabbergasted. Where was the blood? The violence, the murder, the guts and gore being spread on screen?

This was the first time he saw physical interaction between people that didn't end with someone screaming, crying or bleeding. And man was he obsessed. He would rewatch that old film, over and over and over just so he could watch the few seconds where the two actors kissed. And I mean over and over again. He practically melted the film with how many times he played it. But he just couldn't help it, he was desperate to recreate this funny feeling in his gut he got every time the actor gripped the actress's waist or connected their lips. This feeling increased with each new rewatch, it went from just a feeling in his gut to taking a physical form in the shape of his pulsing member straining against the worn fabric of his pants (I see him in dark blue jeans but that is just my whorish side talking).

And when the pain got too much and he reached into his pants to check for injuries??? The moment he touched his dick for the first time when aroused?? He practically came right then and there. So after a few trial runs, he finally figures out how masturbation works (yes he is a 30/40ish-year-old virgin, fight me in the maccas carpark)

And that changes everything!! After melting the original film (he is still upset he destroyed it, there's a fist-shaped hole in the wall), he was able to figure out how to add another film from the massive collection the old man has hidden in a backroom (he's more careful with them now), and when the next kissing scene comes up? You bet he's got his hand in his pants and he's rutting into his palm desperately. And then comes his favourite actor!!! He just loves the way they move, the way their skin looks so soft and touchable, so grabbable. And especially the way their hands would look just delightful covered in blood. And they are so lucky! This actor seemed to be a big hit in the old days and a personal favourite of the old man, so there are countless films with them as the leading actor or as the romantic interest. Now he just can't help himself. Instead of just taking care of himself during the kissing scenes, he now has to pleasure himself whenever the actor comes on screen (it's a lot).

Now here is where it gets interesting. Firstly, you come onto the scene. It was your first trip to the camping site with your friends and you were a little nervous, but it was going to be such fun!. Your best friend hadn't been in a while, not since childhood, but how different could it be? It was safe back then so why not now? Surely the dozens of missing hikers were just people getting lost, dehydrated or injured? It had nothing to do with the slasher who had moved into the area, who hated people interrupting his personal time.

Ok so on the last night of the trip, spotlight started. You've run deep into the woods (far too deep) and have found a nice little hiding spot. The woods were filled with screams and laughter and yelling. It was so loud in fact it disrupted Killer from watching his nightly film. It was so loud he decided that the only reasonable way to regain peace and quiet would be to rip the tongue out of every one of these stupid little mutts. Unfortunately for you, he came across you first. You were crouching with your back towards him and your face hidden in the darkness. Now despite his size Killer can be quite the sneak, so you had no idea there was a murderer planning on planting an axe in your head. Just as he planned to jump out, you happened to turn your head at the right moment as the moonlight passed the clouds, and he was able to get a look at your face from his hiding space. Fortunately for you (but unfortunately in 4 years' time), you looked almost exactly like his favourite actor. He was so mesmerised and in awe of your resemblance that he was more than happy to let you slip away into the darkness. From then on he followed you throughout the night.

In doing so he found out so much about you! Like how you jumped and whimpered whenever you heard a sound from the darkness (so much like the bunnies he skinned with his trusty knife!), how you looked so good in that dark red jumper you wore, how pretty and soft he imagined your skin to be, and how you might even be better than the actor on his screen because you were there right in front of him, in the flesh.

So began his obsession with you!! How lucky he was that you returned every single year! It made him so happy to follow you around like a little puppy that he would even forget to torment the hikers near his cabin. He was just so painfully shy when it came to you though. Putting an axe through someone's chest cavity was easy when you didn't have to talk to them. But he wanted to talk to you and maybe even kiss you!! So he was happy for the next two years to just follow you around for a week before you drove away (not before he pinched some of your things- he needed to remember your scent till next year).

But!!! The few weeks leading up to your fourth (and final visit) were a bit different. He didn't pleasure himself often anymore with the sight of his favourite actor, instead, he would now think of you or smell some of your clothes he pinched, or when the actor was on screen he pretended they were you and he was the leading man gripping your waist. But, when looking for a new film to watch ( I wasn't lying when I said the collection was massive) he came across a box he hadn't seen before. Putting one of the films on he was shocked to see what came on screen. The people were doing a lot more than just kissing. It almost looked like the struggles he was used to when he strangled his victims, there were a lot more limbs going places and a lot more grunts and groans ( i don't know how the sound systems work for old projectors but it gonna work for us). But this was different, there was no blood, just two people rutting against each other. And no one died at the end? huh

Instead, he watched as hands travelled over their skin and up shirts, as the man flipped his partner over and ground his hips against their ass and how good it looked to finally have something soft to rut against instead of his callous hands.

If he thought the subtle grabs and light kissing were arousing this sent him over the edge. All these new things he could now imagine doing with you! But why leave it to the imagination? He had spent the last 3 years fixing the cabin where it might be somewhere you could live (and couldn't leave, don't want his little bunny to run). He fixed the walls, the windows, the roofs, and he even added some chains! This year was going to be the year he brought you home, his pretty bunny!

He had it all planned out, he would corner you during the spotlight game and give you pretty flowers and maybe even do the thing the people in the new film do with your hand around his cock! How exciting! No one had to get hurt, he saw how much those mutts meant to you, so he would let them live, even if it would be painful to not crack their skulls.

He had it all planned out! until he watched your boyfriend shove his cock into your mouth. Then he got a bit mad.

And we all know how that ended, don't we?

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A = Affection (How do they show their love and affection? How intense would it get?)

He shows his love in bloody, violent ways. He doesn't talk much, like at all, so his actions are everything. Skinned, still warm, rabbits laying on your pillow, leaving a bit of a mess. They make a perfect stew and the fur can make lovely gloves! The heart of a fox is gifted to you inside a worn wooden trinket box. So you know you have his heart! His victim's still bloody and torn clothes as a gift for all your good behaviour. He doesn't understand why the blood is a bad thing.

On the other hand, he worships old movies, most of which show courting and wooing. He'll pick you flowers and push in your chair, he'll give you rings he finds on his victims and try to slow dance with you in his make-shift living room (his feet are just too big, but he does get better though).

However, don't think just because you are his pretty thing he won't show his love in harsher ways. Gripping your wrist tight until you can almost feel the bones break when he gets a little too excited slow dancing. Tugging on your hair (if you have hair) and forcing you to sit still as he brushes it (even though you tell him you can't brush your hair type dry - I've got curly hair, I would hate this!!), leaving you to wince as he hits knots with the brush. He forces pretty clothes he found on you, gets annoyed when you say no (the actors in his films never said no to their partners) and holds you down on the thin mattress as he rips your old clothes on to manhandle you into your new ones. He forces you into a lot of things but I'll get into that later. Even though you might be crying and begging for him to stop, he still sees his actions as a form of love and just can't comprehend he's doing something wrong.

B = Blood (How messy are they willing to get when it comes to you?)

Extremely bloody!!!! Blood everywhere man. He doesn't need an excuse for him to go straight for his axe. I do think he would go for a slower death for someone who he thinks wrongs you. His greatest regret (besides not bringing you home kidnapping you sooner) is letting your boyfriend off with a somewhat quick death

C = Cruelty (How would they treat you once abducted? Would they mock you?)

Oh yeah, baby, he is cruel!!!! Not in verbal ways but physically. I mentioned before he grips your wrist too tight and that's when he's happy! When he is actually trying to cause you damage I see him do it as a way of punishment, he's not going to beat you for the fun of it, remember he loves those movies and he tries desperately to live the life he sees in it, so when you do something he doesn't like (like saying no or really any small thing) I see him using his leather belt (actually it was the old man's). But are you trying to run away or actively hurt him? Oh boy. I definitely see him as the sort to break a few fingers or even brand/carve his name into your back. But that's for real bad bunnies who try to runaway.

D = Darling (Aside from abduction, would they do anything against your will?)

Yep yep yep. The man is trying to recreate life from an era when consent was practically non-existent, especially between married couples (which he sees you as). And also he just doesn't care. He'll force you to dance awkwardly with him, he'll force you to bathe in front of him, change in front of him, masturbate in front of him, touch him (in more than one place), and force you to kiss him. Also, he doesn't speak often, if at all, only really to say things like:

bad bunny

good bunny

silly bunny

naughty bunny

pretty thing

soft

stay

yes

mine

touch me

so it takes you a long time to figure out his non-verbal clues to save yourself from his wrath.

E = Exposed (How much of their heart do they bare to you? How vulnerable are they when it comes to you?)

What heart? This man feels like 6 emotions: Blood lust, normal lust, hunger (Not even an emotion), thirst (still not an emotion), contentment and obsessive love towards you. So no, no vulnerability from this guy.

F = Fight (How would they feel if you fought back?)

Angry, to the point where he might break a few fingers to remind you bunnies don't have claws. (they literally do but he doesn't know that - neither do I apparently)

G = Game (Is this a game to them? How much would they enjoy watching you try to escape?)

Not a game, but a massive delusional mess. He actually thought that the picnic blanket set up was for him. He thought that your boyfriend was forcing you to do all those things (he wasn't) and all your cries of pleasure were just cries. He had to wait till the spotlight game though, even if he wanted to butcher your boyfriend then and there. That game was how you first met and he wanted everything to be special. So yeah when he saw you put out all those rose petals he was adamant they were for him, it's why he brought you back there for your first time together. He even washed his hands for you! He didn't want you to get mad at all the blood, how sweet :( He really thought as well that what you did was sex, unfortunately for you, he learns really soon what sex is.

The only time I see him wanting to play games is when he lets you go so he can chase after you through the woods or even play a version of spotlight! (it is just him playing hide and go seek, and you running for your life). That really gets his blood pumping. It's sad, cause you think that this might be the time you get away and that you won't be shoved to the ground on your hands and knees getting railed from behind.

run bunny

H = Hell (What would be your worst experience with them?)

Besides watching your boyfriend get killed? There are so many. Losing your virginity to him on the thin mattress, him breaking your finger when you try to slash him with his knife he left lying around (he actually thought he could trust you-naughty bunny), you watching from the window as he drags a hiker that tried to escape back to the front yard to kill them slowly (you couldn't look at him for days and you would sob every time you caught a glimpse of some blood still under his fingernails) or what about the time he kidnapped an unsuspecting camper and forced the two of you to have sex just so he can see if he's been doing it wrong. After the camper finishes, they are promptly killed while you sit on the bed sobbing watching it all unfold in the living room. I have so many more.

I = Ideals (What kind of future do they have in mind for/with you?)

I don't really know, I don't think he does either. I personally would like to say, like I have for my last two OCS, something to do with breeding and a slight housewife kink but that's just cause I'm a virgin whore. But I did say I would try to keep the reader gn for this one, so I really don't know. I think he would just want you to stay his, in his cabin till the police drag him out or until you both die. (feel free to add your five cents! I would love to hear your thoughts)

J = Jealousy (Do they get jealous? Do they lash out or find a way to cope?)

It's strange because I did say he let someone fuck you but then killed them. I don't think he gets jealous the way normal people do, as in afraid their partner would leave them or sees the other person as a threat. He doesn't see them as a threat he just sees them as a loose end and a distraction for you from him. Even your boyfriend was killed out of annoyance and delusion that you needed saving of sorts.

K = Kisses (How do they act around you?)

Like a massive murder puppy, heart eyes and everything (as long as you say yes to everything and never say no)

L = Love letters (How would they go about courting or approaching you?)

Very much the same as affection, lots of bloody gifts and lots of flowers and trinkets he stole from dead bodies.

M = Mask (Are their true colours drastically different from the way they act around everyone else?)

Not really, he just doesn't want to kill you or cause irreversible damage. He is still silent and broody and still scares the shit out of you, except of course he also acts like a love-sick puppy.

N = Naughty (How would they punish you?)

I mentioned this one a few times now, but breaking bones, branding, using his belt, chaining you up to the headboard of the bed, or keeping an ankle chain on you,

O = Oppression (How many rights would they take away from you?)

your right to freedom and privacy, you can't change your undies without this man standing like 2 cm behind you

P = Patience (How patient are they with you?)

no patience at all, if he makes the sign for you to sit on his lap during movie night, and you hesitate or worse straight out say no? Your getting punished for sure

Q = Quit (If you die, leave, or successfully escape, would they ever be able to move on?)

He would probably just do what he has always done and murder people in the woods, but he would be way more aggressive about it if that's even possible. Leaving is a big no-no, he has moved places before and you can bet your top dollar that this woodland slasher will become your not-so-friendly neighbourhood slasher real quick

R = Regret (Would they ever feel guilty about abducting you? Would they ever let you go?)

Nope!!! He's having the time of his life

S = Stigma (What brought about this side of them [childhood, curiosity, etc]?)

He's a murderous manic what more do you want from me

T = Tears (How do they feel about seeing you scream, cry, and/or isolate yourself?)

he would confuse crying during sex to mean good things and screaming to just be annoying (if during sex, he thinks it means he's doing it right), if you scream outside of sex he wouldn't have the patience and would just punish you then and there. His pet peeve is victims who scream. Isolating? He wouldn't really mind, as long as he can still manhandle you to do things he wants you to do, I really don't think he would care if you never spoke again.

U = Unique (Would they do anything different from the classic yandere?)

nothing i can think of

V = Vice (What weakness can you exploit in order to escape?)

His naivety. yes, I said what I said. This guy doesn't know anything about relationships or sex, or the modern world in general, so if you tell (beg) him to close his eyes cause you have a surprise for him that might involve you on your knees, he will gladly close his eyes and not even notice it has been ten minutes since you've made a sound till he gets bored and opens his eyes to the window jimmied open and you gone.

W = Wit’s end (Would they ever physically hurt you?)

hahaha yes. read above

X = Xoanon (How much would they revere or worship you? To what length would they go to win you over?)

Yeah, I do think he sees you as this soft, pretty creature that sometimes reminds him of a life before the blood. But not to the point of getting on his knees. Oh no no. Only bunnies get on their knees.

Y = Yearn (How long do they pine after you before they snap?)

This boy has been pining for you for years!! he had a dedicated box where he would put scraps of clothes of yours, flowers you touched, jewellery of yours, pieces of your hair, anything he could get his hands on! Even a polaroid picture your friend took of you on your 2nd trip, just don't ask why it's sticky. He "snapped" when he saw your boyfriend fucking your mouth but he had been planning on taking you anyway so I guess as soon as he saw you.

Z = Zenith (Would they ever break you?)

sure thing! Physically, mentally, and emotionally, this guy just does not care.

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