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#IVE FINALLY BEEN ABLE TO DRAW THIS SCENE

dustykneed · 3 months

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for context: star trek into darkness (specifically, my take on the implications of bones doing what he had to do and the emotional fallout of those missing scenes) (not that ive seen it!! but ive read enough fic to know the gist of it LMAO) (can you believe this started as an impulse draw to see if i could use pastels to convey heavy emotions and now im writing a very very long headcanon in my notes app.)

...

Leonard goes and he plays god, and injects Jim with that godforsaken blood, and then there is nothing left to do but wait.

He sinks into the chair at his desk, and steeples his fingers together. It occurs to him that these circumstances are the sort that would drive any religious man to bow his head and clasp his hands together, like so, and pray.

--but he is a doctor, and he has never been religious, and he has a duty to do, and he has broken his oath, and there is blood on his hands and flecking his shirt.

Leonard sits very still at his desk and weeps, and he does not pray.

...

sorry to all of y'all who had to find out i was an angst goblin this way <///3 but basically the hc/rough fic is an extension of the angst potential of that one scene where jim wakes up and fixates on spock (and his lack of response towards bones is never addressed afterwards i think? not sure but it's an interesting premise imo)

brief summary: bones never gets closure from jim after he wakes up because jim and spock get together immediately after and it just slips their minds, so bones is stuck in "oh god jim's dying" mode and feels absolutely terrible, but the bridge crew helps a bit by being there for him to hang out with, but still bones does overwork while trying to work through the sense of wrongness of not being able to have his emotional needs met after the whole jim dying fiasco and feeling like his best friend has forgotten him. he admittedly makes good progress (by which i mean he's able to take really big overwhelming feelings and put them away well enough in his daily life to function relatively normally) but the crushing grief is always in the background. about a month or so after spirk gets together, spock accidentally brushes bones' arm and is absolutely slammed by a wave of unexpected exhaustion and emotional pain and is like ??????!!!????????? long story short he drags bones to jim and bones cries for the first time since jim "died" and it is immensely cathartic and then jim blurts out a confession because he has horrible timing and asks bones to join him and spock and obviously bones cries harder and spock is about to smack jim upside the head lmao (bones says its way too much to process and he needs time but hes not exactly opposed, and they all start spending more time together, and then eventually bones is like fuck it and asks for a kiss and they finally get together !!!!!!)

as a treat for reading all of my mildly insane word vomit y'all get a soft bittersweet aos mcspirk scribble<33

gotta love aos jim's majestic eyebrows and aos spock's general sort of >:[ expression!! really growin on me tbh

#star trek #star trek aos #star trek fanart #star trek into darkness #mcspirk #aos #leonard mccoy #bones mccoy #spock #s'chn t'gai spock #jim kirk #spirk #dust trek hcs #dust hcs #im going very steadily insane #also thank you guys so much for all the sweet tags and comments on my scribbles and hcs!! i appreciate all of them so very much and #i have a low social battery but just wanted to say i love yall sm!! and i will continue to go insane and make things for yall as thanks<333

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f1nalboys · 7 months

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Movie Night ; Randy Meeks

Randy Meeks x Fem!AFAB!Reader

haiiii guys :3 sorry ive been away for so long. im still not totally back, i had inspo for this after a convo me and tati had and i needed it OUT of my brain tbh!!! pls be gentle with me this is legit the first thing ive written in months JSGJBSGB anyways!!! i hope u all enjoy it take this as a silly kinktober kinda thing? idk <3 peace and love babies ily all

WORD COUNT: 1083

WARNINGS: smut, dark!randy and if you squint, ghostface!randy, handjob, implied fingering, slight dom!reader but it's switchy, randy gets jerked off to a slasher film, just kinda fucked up if you look at the implications of everything... not proofread bc im so lazy please be kind to me <3

The apartment was dark. Everything had been flicked off, even the overhead light of the oven that Randy always kept on so he could see in the middle of the night, leaving the TV as the only source of light in the entire apartment. On the slightly out of focus screen was a generic slasher from the late 80’s, one Randy had rented and seen a million times before, but he wasn’t focused on the screen. No, he was sitting there with his eyes closed and his head tilted back, his lips pink and swollen, your hand wrapped around his cock.

“Does that feel good, baby?” You purr into his ear, your other hand running through his hair. Your movements are slow, calculated, and Randy is barely able to swallow back a moan as he nods his head, his eyes still squeezed shut. He can feel the vibration of your chest and he flushes, knowing you were laughing at him. “Your favorite scene’s coming up, Ray,” you say, your hand stalling its movements at the base of his cock as you squeeze gently, drawing a sharp hiss from him. “Don’t wanna miss that, now do you?”

Randy shakes his head, swallowing heavily as he forces himself to open his eyes. His pants were shoved down his thighs just enough to pull his cock out and yet you were still fully clothed. He glances over at you and the large smile on your face and he squirms, breathing a little harder as he tries to talk to you. “You sure you don’t wanna ride me, baby?” He asks, giving you a small smile when you shake your head. “You’re such a tease.” He murmurs, moaning when your hand moves up slowly, your grip still tight.

“How am I a tease if I’m letting you cum?”

“Beacuse, fuck,” his head tips forwards before he swallows, looking back up. You were still curled into his side, pressed tight against him, and the movie had gotten to Randy’s favorite chase scene in the entire movie. He glances at you. “Because you’re using your hand.”

“You seem to be enjoying my hand.”

“Oh, I am, don’t worry. I just know, mmf, fuck, I know that your tight pussy would feel so much better.”

You laugh, shaking your head as your movements speed up a little bit. You squeeze tighter around his tip, drawing a long moan from him. “You’re such a charmer, but you asked for this, remember?” You say, your lips just by his ear as you whisper. “Now, keep your fucking eyes on the screen or I stop completely, okay?”

Randy nods as he lets out a shaky breath, his eyes searching your face and, after deciding you were actually serious, turning to look at the TV. The final girls best friend was being chased all through her large house, the masked killer wielding his knife chasing after her. Randy swallows heavily as your hand begins to move faster, just a little bit, his heart beating in tune with it.

“Fuck,” he moans as the killer slices at the girl who’s name he can’t even remember, her shirt getting cut off. It was cheesy and stupid, something Randy would normally roll his eyes at, but he knew what came next. His cock throbs under your palm, slick with your spit and his pre-cum, and he whimpers as you begin to swipe your thumb over the head of his cock with each pass of your hand. “Ke-keep going, please?”

His question is closer to a beg, but not quite there. His eyes roll into the back of his head for a second but he keeps them focused hazily on the screen. The girl was running slower, the house dark. Randy’s breathing picks up and his hand, which had been on your thigh, squeezes you tightly, his nails digging into your flesh. The girl was cornered now, the killer standing above her as she begs for him to stop, to leave her alone, to go away. She slinks down the wall, the killer looming tall, his mask and the knife the only discernible thing about him.

Randy’s hips twitch ever so slightly as the killer drags the blade down the girl's tear-streaked cheek, a thin line of blood bubbling up in its wake. He can’t help but replace the girl with you, imagining the fear in your eyes as he, masked and unknown to you just yet, hunts you down like an animal. “Holy shit, baby, fuck!” He grunts as the killer raises his knife and your hand speeds up, jerking him off as quick as you can. Randy’s hips thrust up into your hand as the knife is plunged into the screaming girl's chest.

He grunts, an almost animalistic sound, thrusting his cock into your hand in tune with the knife. He lets the pleasure overtake him, his cock the knife, your hand your body, and he cums, the only other sound besides his moans being the gurgle of life leaving the poor girl’s throat one final time before she slumps over. Randy lets his head tip backwards as he finishes cumming, your hand and his cock covered in cum. His hips stop moving and he sits there beside you, staring at the dark ceiling as he catches his breath.

“How was that?” You murmur. “Everything you thought it would be?” Tilting your head, you bring your hand to your mouth and lick away the cum that has covered your skin, a smug smile on your face. He looks over at you, his cheeks flushed pink, and he gives you a toothy grin, leaning in to kiss you. It’s a sweet kiss, one you always expected from Randy, with just a bit of heat underneath it. “It was fucking amazing, Y/N.” He says against your lips, his hand coming to rest on the back of your neck. The kiss deepens for just a second before the noises of the movie draw his attention; it was the final chase scene, the bloody battle against good and evil.

When he pulls back his hand slides down your shoulder and arm down to your waist, his large hand tugging at the hem of your shirt. “Get this off,” His voice is gruffer as his hand slides down again, this time to your pants, your breath hitching in your throat at the feeling of his calloused fingertips dipping past your waistband. “And these. Let me repay the favor, final girl.”

#f1nalboys masterlist #f1nalboys writing #f1nalboys works #randy meeks #scream 1996 #scream 2 #scream 1997 #randy meeks x reader #randy meeks x y/n #ghostface!randy meeks

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yoonia · 8 months

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the bedroom hymns ● chapter iv

⟶ Chapter summary | The time has finally come for you to finally depart from home. You have no idea what to expect from the upcoming journey, but knowing how peculiar the circumstances have been, you probably should have predicted that this trip would not be an average one after all.

chapter iv. in bloom

It is finally time.

It still feels quite surreal to think that you are going to leave the palace, to finally escape this heavenly-like prison where you grew up in. It still seems unfathomable to think that you are going to be in another place before the next morning arrives.

But here you are now, standing at the courtyard where the royal carriage is going through its final preparations, with the King standing close by as he is giving his final instructions and commands to the driver of the carriage and the guards who are going to travel alongside you. On the corner of your eyes, you can see Marc and a few guards loading up all the luggage into the carriage, with a couple of other guards making sure that the carriage is safe and secure by checking every detail closely. Meanwhile, you can see Nanny Abigail and Miss Pippa getting busy setting up the seats to make sure that it would be comfortable for your journey, all while fretting about the lack of pillows and blankets to keep you warm inside.

Aside from Miss Pippa and a small group of guards, you see no sight of any other palace staff around. Not even the advisors or the men who would often work closely with the King. Knowing that your father had intended to keep your departure as a confidential matter, you can only assume that he may have relieved everyone in the palace out of their duties. Except for the people who matters.

As much as you are anxious about leaving, you are also excited for it. To be able to feel a bit of freedom regardless of why you are being sent out of this place, and when it feels like your prayers had been heard—to be given the chance to venture deep into the Elcester Forest and see for yourself the secrets hidden in its gloom. The only apprehension that you have about this trip is the fact that tonight would be the eve of Lemmus Rising—the sacred night that should give more reasons to stay away from the deep forest, where it was said that the souls of the dead would appear once the night has fallen.

You did wonder the reason why the King would choose this specific evening for your departure. Until you realise that there would not be another night like this one.

During the evening, everyone in the capital city and the surrounding districts would be paying more attention to their rituals and staying clear from the dark places around the woods, opening up the chance for the royal carriage to make its trip across the Coyne River and into the forest without drawing too much attention. There would also be the thick mist, the fog which would be able to conceal the royal carriage’s movements across the borders until it descends into the deep woods.

You look up to the sky, watching as the signs of the Lemmus Rising begin to unfold. The bright daylight has been rapidly fading, melting into the warm shade of burnt orange that is dancing across the horizon as the sun continues to descend. Right down below, a thin presence of mist has begun to rise, crawling slowly across the cobblestone-covered ground. You watch it swirling around the wheels of the carriage and passing between the horses’s restless legs as if it has come alive.

While you are closely observing all the movements around you and the changes that are happening as the day turns to dusk, His Majesty finishes his instructions to the driver and the captain of the guards. It draws your attention away from the sunset when you hear the King’s deep voice saying, “I entrust you to do your best to make sure my daughter’s safety.”

“Indeed, Your Majesty,” you hear the driver speaks. “I will make sure that Her Highness will arrive safely at the home castle by sunrise without any harm.”

Something that he says draws your curiosity that you quickly turn to look at the driver, just in time to see him bending his waist down to bow at the King. You never paid much attention to the driver when he first arrived with the royal carriage, so you didn’t quite get a good look at the man until now. The driver looks tall, and there is something in the way he presents himself which reminds you of the pub-keeper, Sir Elias. But while he has similar broad shoulders and a pair of arms that look almost as strong, his body is leaner. It makes him look a bit taller than he probably should have once he straightens back up to his height. You cannot tell wether he is old or young, with half of his face covered in a layer of dark, thick moustache and beard, but there is quite a sharpness in his gaze and soft lines appearing around his eyes when he smiles that are showing you that he may not have been that much younger compared to your father.

You barely have a thing to say when the driver is dismissed, and King Aneas comes to pull you away briefly before letting you go. Once you are in a safe distance away from the other people around you, he surprises you by asking, “Are you armed?”

“Yes, Father,” you answer him with a low voice. You signal to him the presence of the dagger that is hidden under your dress, tied up to your thigh with the leather-made garter belt that you created with your own hands during one of your crafting lessons. “I carry with me the golden dagger you gave me, and prepared a bow and a substantial amount of arrows. I have them all set up together with my short sword under the seats earlier with Marc’s help.”

King Aneas, who is known to always hide his expression in front of others, smiles proudly after hearing your answers. “Well done, Princess. I hope that you won’t have to use them during the journey as you will have the guards coming with you to keep you safe, but it’s always good to be prepared,” he says. There is something in his eyes that makes you wonder if there is something else that he may want to say to you, but the look disappears completely as he straightens himself up. “The driver to the carriage is someone who is familiar with the territory and he will take you safely to the home castle. He is also trained to defend himself so you will be safe in his hands. But always stay alert, no matter what.”

“Father, what—”

Before you can have a chance to speak, your father immediately adds, “And don’t forget. Never take off your necklace. Make sure that you keep it on you the whole time you are away and never to lose it.”

Despite the voices nagging in the back of your mind, you choose to keep your questions to yourself. “I promise,” you murmur softly while absentmindedly reaching up to grab your necklace. Pleased with your answer, the King regards you with a nod and begins to usher you towards the awaiting royal carriage.

“It’s time to go, Your Highness,” the driver calls to you, and with Marc’s assistance, you step into the carriage carefully and settle down in your seat. While the driver and the guards prepare themselves for the departure, you continue to look out the window, unable to look away from your father.

As the carriage begins to depart through the gate on the south side of the palace, the part of The Citadel which is cleverly hidden from the common folks’ eyes, your eyes remain on the King. His Majesty remains to stand there on the side threshold of the palace, watching you closely with his unwavering gaze. As the carriage continues to drive further away from him, you almost believe that the mist which has been swirling on the ground begin to rise, growing thicker and denser until it almost makes it hard for you to see him, just as much as you are sure that the royal carriage is being concealed. Your gaze remain on your father’s shadow as you look through the back window, until the moment his sight disappears completely with the distance and the obscuring mist, and that is the last you see of him until the palace’s gate is closed behind the departing carriage.

You finally draw your eyes away from the palace once you notice the carriage slowing down on the bridge passing over the Coyne River. Beyond you appears the short drive towards the woods from the bridge, with the road disappearing between the thickets. Before the driver sets his horses off towards the forest’s borders, he opens the small window separating the front box-seat to the passenger car so he could speak with you and Nanny Abigail.

“It is the peak of the summer still, so the night will be short. We will still have some sun as we enter the forest, so you’ll get to enjoy the view for a short while before the sky gets dark. Please be aware that it will be mostly pitch-black once we are deep in the forest, but there will be no need for you to be worried. I’ve put up some lamps inside the carriage as you can see, and they will light up once the sunlight is gone so you and the governess can see just as well on the inside,” he nods his chin pointing to the side of your seats, where a couple of lamps—much similar to the regular oil lamps that you have seen uses back at the palace—are hung right by the windows.

Just as you begin to wonder how to light up the lamps when there are no sight of the oil canisters around you, the driver speaks again. “We do have some fog around us aside from the dense trees, but we should have enough moonlight, so it should be enough to help see around us better,” the driver reassuringly says, as if he can sense how anxious you feel about being in the dark.

“I can assure you that the sky will be bright once again when we are out of these woods, as I predict that we will be able to reach the home castle at the break of dawn,” he continues, before lowering his voice a little when he adds, “As long as there is no trouble coming in our way, of course.”

Not knowing what to say, you simply grow silent. Thankfully, Nanny Abigail—who is sitting right across from you and much closer to the driver’s window—takes over by saying to the driver, “Thank you kindly for the assurance, Sir. We are trusting our safety in your hands.”

The driver nods at her with a grin on his face, and then does the same to you, before closing the window shut and facing forward again to lead his horses, and the carriage steadily moves faster towards the forest’s edge.

It takes a while, but as soon as the steady sounds of the horses’s foot galloping on top of the cobblestone road fill the air, you begin to grow calmer. Before long the line of trees appear ahead of you, and your agitation soon turns into excitement.

Once the carriage drives past the borders and into the thicket, your heartbeat picks up rapidly, still in disbelief even as you are surrounded by nothing but trees. The cobblestone road that continues from the palace carries on for a while longer once you are in the woods, with lines of trees standing on either side of the road which seem like they are passing by quickly as the carriage drives past them. It doesn’t take long before the road breaks out into a path covered with gravel, and the forest begins to open up for you to see a lot more from what lies within the grove.

As you look out the window, beyond you lay endless rows of trees, with a dense layer of foliage formed by the high grass and wild bushes. Through the small openings that you can find between the trees, you get to see the sight of the green sloping land which is adorned with steep hills appearing here and there, all covered in a spread of green grass. There are small hills in the distance which are adorned with clumps of trees crowning each of their tops, and since you are still close to the edge of the forest, you can see the rare sightings of orchards and farmhouses peeking not too far away.

Everywhere you look, spread a variety of bright and soft colours that are easily drawing your attention. The beauty that comes from the colourful fresh fruits growing from the top of the evergreen and the blooming petals materialising from the shrubberies, all seem to glow under the warmth coming from the setting sun.

Soon, the darkness will fall, and these colours would no longer be available to your eyes. So you allow yourself to relish on the view and in the moment, until the carriage gets deeper into the woods, just in time for the sun to disappear completely in the horizon. As the sky finally gets darker, the mist around you seems to grow thicker and reaching higher above ground, and the bright colours which you have been admiring is slowly being replaced with dark shadows. The gloom doesn’t have a chance to enter the carriage, however, as the lamps on your side walls suddenly light up out of nowhere, and a gentle glow fills the car immediately as soon as the world outside is covered by the gloom.

Surrounded by the darkness, the silence within grows almost as thick as the dense trees outside, and that is when your mind becomes louder. Loud enough for the questions that you were forced to silence earlier to come to surface, leaving you wondering to yourself—

If The Citadel was supposed to be your home, then why do people keep referring this new place of solitude that you are heading to as the ‘home castle’?

“What is happening?”

The journey has been going on without any disturbance for a while, until you finally notice how restless the driver seems to be. With the curtains on the driver’s window left open, you can see it when his demeanour begins to change—he seems distracted by something and starts glancing and turning to his right, looking out into the distance beyond the trees, and his commands sounds more like a mixture of firm shouts and soothing words, as if he is trying to calm his horses while making them march with more haste. Then you look out through the window as two of the guards on horses separate themselves from the group, and another guard leads his horse to ride closely to the carriage so he could talk to the driver.

Moving on instinct, you jump across your seat and slide open the window just in time to hear the guard’s voice speaking through the loud noises of the horses’ rapid steps and the carriage wheels, “It’s those nosy boys from the Brotherhood of Jorn. They noticed the carriage entering into the forest and are following us close.”

You hear the driver cursing loudly before asking, “Can you do something about it?”

“We’ll drive them away from the carriage and apprehend them to find out what they’re up to. In the meantime, focus on getting Her Highness out of here. Fast!” the guard quickly says, before leading his horse towards the trees, as he joins the other guards to chase away the rebel army with a couple of more guards following him.

Once they departed, the driver looks over his shoulder, looking straight at you with a grin. “Hang on tight, Your Highness. We’re going to have to have a sharp detour right ahead if we want to stay away from the melee,” he yells out, and both you and Nanny Abigail quickly take hold onto the seats to avoid falling as the carriage swerves to the left, just as the gravel-covered road branches out into three different lanes.

The driver leads the carriage to continue a bit further before he slows down a little, taking his time to make sure that he has taken you away from where the brawl may occur. He looks back through the window, apologising for the crisis at hand before explaining, “Our journey right ahead is going to be a long and exhausting one with us using a different path to be safe. But rest assured, that even in the absence of royal guards, Her Highness’ safety is accounted for. Regardless, we may still have at least two guards with us following in the shadows.”

You take a quick glance out the window after hearing this, just in time for you to see the shadows of the guards following you from beyond the trees, their horses barely make a sound as they try to match the carriage’s speed. “I shall see it for myself to send Her Highness and the governess to the home castle safely.”

As you turn back to look and keep your eyes on the driver the whole time he is talking to you, something odd seems to be happening. For a moment, you almost believe that you are seeing his beard glowing faintly with a shade that looks almost blue, and his eyes glimmer in the shade of silver. But they all vanish as quickly as they appear, and the man appears to you as normal as he was before when he smiles at you. Since it is dark around the road, with limited moonlight falling on his face and only the small lamps illuminating inside the carriage, you chalk it all of as nothing more but a trick of the moonlight.

You don’t have any more chances to make clear what you are seeing, as once the drive is done talking to you, he pulls down the curtains and closes the glass window separating the driver’s seat to the passenger car, covering the whole front of the box-seat as if to make sure that you would no longer be disturbed by his presence or any other incident that might happen.

The next thing you hear is the sound of his whip cracking in the air, right over his horses, which soon start their steady run once again and the carriage sets off to move along the gravel road. With it, you soon lose sight of your worries and what was possibly a part of your vivid imagination as you continue to take in the scene that you are seeing through the windows as the carriage carries on its journey across the Elcester Forest.

Never before you truly realised just how far and wide the Elcester Forest was until you are deep within its territory. The journey feels endless, and even if you have let yourself be distracted by the glorious sights around you until the moment darkness fell around you, it feels even more abundantly clear how deep the territory is now once the moonlight is hidden by the tree branches reaching over the road like dark, extended canopy. You see nothing but the eerie shadows crawling between the trees and the gliding mist. Not a sign of this journey ending anytime soon.

As the evening falls deeper, the air grows colder. Very cold, as a matter of fact, that you feel it piercing through your thick coat even the windows are closed shut.

“See here, Your Highness, cover yourself with this blanket,” Nanny Abigail says as she hands you a blanket which she pulled out from the storage box beneath the seats. “Best to keep yourself warm until we arrive and catch some sleep, so when you are to see His Royal Majesty, the King father, again, you will be all healthy and well rested. Let us draw the curtains to give you some peace of mind.”

Taking the blanket in your hands, you simply spread them over your lap while you glance back out into the darkness just as Nanny Abigail starts pulling the curtains to cover most of the windows. “How much longer will this journey take us?” you wonder out loud. “I never knew just how far this forest is spread. Are we even still in Smotia?”

Nanny Abigail gives you a small smile. “My best guest is that we won’t be able to tell until we arrive at dawn, or at least once we’re out of the woods. We might get there a bit later than what the driver promised us if this road leads us through a longer path. Which is why it would be best if we rest through our trip. Have some shut eyes while we can so we can face whatever it is waiting for us on the other end with fresh minds, don’t you agree?” she continues to convince you, though you can still sense the uncertainty in her words. She might still be rattled after the previous crisis, no doubt, so you choose not to say a thing to deny her.

Nanny Abigail soon falls asleep, curling on her side with her head resting against the cushioned armrest under her side of the window. Meanwhile, sleep eludes you, leaving you wide awake even when your body is filled with exhaustion. Still, your mind is loud, still too restless to allow sleep to come and your senses are too high alert for you to relax. In the quietness that falls in the carriage, you can hear nothing but the sound of the soft breathing from Nanny Abigail, the steady pace from the racing horses and the occasional sharp commands coming from the driver. The sounds should have been enough to distract you from your anxiousness, to help your mind to feel at ease, and when they fail to calm you down, you choose to distract yourself with your other surroundings instead.

After dimming the lamps a little, you pull open the curtain to your side just a little bit to allow you to have a peek of the forest and the one at the front window to be able to see what the driver is seeing. You notice that there are some changes happening with the trees outside, just as there are more bumps on the road and some odd stillness in the air. You may have gotten even deeper into the forest, yet the trees no longer seem as dense as they were, even though they look even more eerie and intimidating with their presence in the gloom. With no more branches reaching over the road, you now had enough opening above to allow you to look up at the sky, and for the moonlight to illuminate through.

You marvel at how the twilight seems to merge into the dark void formed between the gloom of trees and thickets, which would oftentimes swallow the carriage as it drives through the valleys running deep between the spurs of the hills. The mist have grown high enough that you can see it from the window, and it seems as if the fog keeps coming apart around the wheels and crawling closer to engulf the carriage as it drives past.

Captivated by the sights you are seeing, your hand instinctively reach up to take hold of your necklace, seeking comfort from its presence.

With the tip of your fingers, you trace along the sides of the pendant—a ruby stone shaped as a heart, with a golden frame holding it together, and gold embellishments made in the shape of a smaller heart placed right at the center of the ruby and little curls that almost appear like ancient scriptures circling around the stone and its surrounding frame. You had questioned the meaning of the prettily made twirls to your father once, yet he simply told you that they were nothing but a simple artwork that your mother had designed herself, and she had been wearing the necklace ever since the night of her debutante ball where they first met.

But just like your father, King Aneas, you have been keeping secrets of your own, and one of them has everything to do with the necklace that he had made you swore to never take off wherever you would go.

For a long time, since the day you received the necklace, you had always admired and loved the beautiful craftwork even as a child. One day, not too long after your twelfth birthday, you had accidentally dropped the necklace while you were playing alone in your bedchamber, accidentally breaking the golden frame holding the stone at its center.

You remember being so hurt by it, knowing how important the necklace was for both your father and your late mother. But most of all, you were terrified of your father’s wrath if he should find out what had happened. So you locked yourself in your room that night, and tried your best to fix it before you would have to wear it again in the morning, only to find that the necklace held a secret of its own.

The framed ruby stone was a disguised locket, with pictures of your mother hidden inside. On one side, was the image of the young Queen, your mother as a Princess who was no older than you are now today, posing in a lovely dress with a small tiara placed over her head. Just like the one you wore during your debutante ball. On the other side was the image of the Queen once she was just a bit older. In her arms was a small baby who you recognised as yourself from the pictures that you found in your bedchamber.

You had never told anyone about what you found that night, afraid that your father would take it away if he should find out, just like how he had taken down all the pictures and paintings of your mother from the palace—except for the one he kept in his chamber. You have never truly known the reason why he would do this, so you had kept this necklace close, cherishing it privately as it becomes the only thing that you have left that carries the memory of your mother. That was the true reason why you had been so willing to follow His Majesty’s command to wear it at all times, because it has made you feel closer to your mother while wearing it around your neck, and its presence gives you warmth and comfort whenever you would need it.

Just like always, you feel a deep longing of your mother’s presence each time you think about her, so you shake away your thoughts before you start getting too emotional and distract yourself by looking out the window again.

Outside, the night continues to grow deeper, while the carriage travels far deeper into the Elcester Forest where the trees are shaped oddly and menacingly than they normally would, and you start noticing how the driver has been making haste. You cannot understand the reason for the sudden urgency as you are unable to see things too clearly in the dark aside from the stars above. And so, at first, you simply reckon that the darkness itself is the reason for the rising speed, assuming that the driver simply wants to get out of the forest quickly as you are lacking guards keeping you secure.

That is, until the moment you begin to see it.

For a while longer, you see nothing but the deep dark forest, with the shadows of the trees flashing by at the windows. All the wonderful colours which you had seen by dusk have long disappeared along with the sun, which perhaps becomes the reason why your eyes are quick to find the new colours coming out of the darkness.

It begins with a faint flickering blue flame emerging through the thicket, a distance away from the road and out of reach from the advancing carriage. At first, you take it in assumption that your eyes are deceiving you. That after straining your eyes to look out into the dark forest, you are beginning to imagine seeing lights and colours appearing against the gloom. You also wonder if you might be dreaming. That sleep has finally come and you have lost the ability to tell the difference between reality and fantasy.

But soon you can tell that the driver is seeing this at the same time when you can hear the excitement showing in his command as he controls the horses, swerving to start heading towards the source of light. And only then do you finally realise that this is not simply a figment of your imagination, knowing it would be impossible for the driver to know what might be inside your mind.

From one small flame, another appears on the other side of the road, both flickering from a fair distance from one to the other, then more of it begins to emerge, alternating between the left and right side of the road. You have no idea what to do, or think, as the carriage carries on driving between them while the flames continue to emerge here and there. You wonder if this has anything to do with the Lemmus Rising, and if these blue flames are what the townsfolk has believed to be the souls of the elders, especially when you can see the mist moving as if they are avoiding the flames, crawling away from where they seem to be emerging from.

Surprisingly so, instead of driving out of the road and away from the shady phenomenon, the driver continues leading the carriage to continue the journey by following and turning rapidly towards where the blue flames are rising as if he is using them as a guide to know just where to go.

The flames continue to emerge more frequently from then on, slowly forming two lines of blue flames on either side of the road and appearing as if they are getting closer and closer while the carriage continues to pick up its speed. Their presence make it seem like the path is growing a bit brighter, yet despite the close proximity, you feel no warmth nor heat inside the carriage. The cold remains strong, and so is the fog that has somehow risen around you, the thick fog dispersing around you as the carriage drives past before gathering back together over the tracks.

This pattern continues for a moment longer, then what happens next seems to you like a strange optical effect taunting your exhausted mind. The flames suddenly seem to be dancing as the carriage drives past them, while the air ripples around you in a steady current that you almost think of it as being in water instead of a rapidly pacing carriage going through the woods.

A shout comes from the driver while you are wondering about what might be happening. His unsteady voice startles you, but it does little to worry you when the excitement seems to remain in his voice. You look to the front to see what the driver is seeing, and your jaw nearly drops when something seems to emerge right beyond your eyes.

Right in the middle of the road ahead, the pair of lines of blue flames unite and form a tall pillar. A massive, roaring blue inferno rises from the ground, as if cutting the end of your journey with its threatening blaze. Once again, the driver’s actions startles you. When seeing this, instead of avoiding it and coming to a halt, the carriage speeds up, as if the driver has every intention of driving the whole carriage and its passengers right into the heart of the burning inferno.

And that is exactly what he does.

Before you can react, the driver sends the horses diving straight forward, carrying everything and everyone along with them into the roaring blue pillar of flame.

On the other side of the forest, Yoongi is awakened by a ripple of strong aura that seems to be passing through the air. He wakes up completely alert but cautious, as he tries to identify the source of this queer force and find out where it is coming from. Just as he pulls out his amulet necklace to help him as a guide, Ansen barges into his tent, his unkempt hair showing that the poor man has rushed his way here after the magic force had awakened him at the same time it did with Yoongi.

“Your Highness!” Ansen nearly shouts at his Prince with a strained voice. “Did you feel it too?”

“Yes, I did,” Yoongi says, still feeling obviously astounded as he raises his amulet to see that the black crystal is glowing as it also senses the powerful force reverberating through the air. Yoongi’s brows are furrowed when he realises that the glow appears to be in a shade of iridescent blue, something that seems impossible to happen, not in this realm, but it does help him recognise what kind of magic this one would be. “It’s an ancient magic, an old spell. Seems like someone has gone across the realm.”

“But—how? How was it possible?”

Before Yoongi can answer him, Yijeong slips into the tent just then and answers for him. “It feels like a portal to me. Whoever it was, they made it across by going through it.” He falls silent, while Ansen seems to be lost in deep thought, until Yijeong openly questions his Prince, “Are you thinking what I’m thinking, Your Highness?”

Wearing the amulet around his neck, Yoongi slowly nods. “Yes, there’s only one person who can use such a powerful mana to create a portal and send someone away even without him having to be present.” He looks up to his companions with a grim look on his face. “This is his magic. It’s been his magic that we’ve felt all along.”

There is no need for Yoongi to explain further, as he and his men had been dealing with these old spells for some time now without understanding how it would be possible for such magic to exist in the territory of Smotia. Now that the source of magic has finally shown its true self, they finally have the answers that they needed.

“He really was here the whole time,” Yoongi says, voicing out exactly what the others are thinking. “And I think he knows that we were on to him.”

Once again, the blue glow shimmers brightly from his black crystal, as if agreeing with him as Yoongi mentions the one name that he hasn’t been able to say out loud for a long time.

“It’s Bluebeard.”

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ltsmoving · 6 months

Text

Voretober 14: Fans

not able to draw rn but this prompt is making me think of a certain freak of mine giggles. seren is a character ive never mentioned here before, but if im feeling brave, he might return.

"Aren't you excited?" Seren couldn't keep still in his seat as he spoke, hands tight on the wheel, keeping him braced as much as possible. "This is our biggest show yet! We're actually getting somewhere now- we'll be taking the top hits soon, Max, just you wait."

Max nodded along, trying his best to listen past the anxieties screaming in his ears, and past the discomfort of being packed into the backseat of a car half his height. Seren was right, this would be their largest crowd they had ever performed for- with at least a hundred people at the venue, they were guaranteed to stick in someone's head. But one hundred people is a lot, and he held his breath picturing his voice cracking or forgetting lines on stage.

"Hey, it's okay if you're worried, you know. You'll be great out there." His striking blue eyes flicked between the road and the rear mirror, looking at Max with a sugary sympathy. It calmed his nerves, but he couldn't help the gnawing fears that always overcame him before he first got on stage.

Before he really knew it, they were at the venue: a club near their old university campus, a few people they recognised from their time there in the crowd.

They made their way to the backstage area, Seren and Max hanging up their denim jacket and hoodie respectively, revealing their black button-downs and neck ties in blue and red. The pair practiced the parts of their songs they were going to struggle with the most, whether for Seren having to play a difficult melody, or Max singing a particularly quick and eclectic line. Getting up to wait in the wings, they listened in to the guy before them and prepared to go up themselves.

When it was finally their turn, Max was at least happy to find out that most people were milling about the bar, or talking over a drink than staring into his eyes, awaiting a perfect performance. By the time they were done, they weren't being booed off stage, so they must have done something right, even if they were off key at points or encountered some mic issues before hand.

Most surprising was that when they had come to the end of their set, a lone crowd member had wandered up to the stage as Seren was packing his guitar back into its case.

"You guys were great!" she said, speaking with bright eyes and excitement. "Substandard, was it?"

"That's us," Seren responded, holding back his joy that someone had been so enthralled by their music to come up and talk to them personally.

She nodded and smiled, turning to Max. "Can I make a request?"

"Sorry, our set is over, we've gotta let the next band up." Max gave the woman a polite smile, but she simply persisted, waving her hand and ushering the singer to kneel down so she could whisper into his ear.

At first, a coy smile adorned his face, before it morphed into a confused shocked expression. His first instinct was to look at Seren, as if asking for some silent permission for an unheard request. Despite this, he quietly responded, face slightly pink. Seren felt a twinge of jealousy, having this conversation kept private from him.

He had assumed the woman had asked for something like an autograph or a photo, the last thing he expected was to see his best friend with a mouthful of fangirl.

The crowd of conversations slowed to a dead stop as people took notice of the scene taking place on the stage. Everyone's eyes following the movements of the girl's torso being pulled into his gullet before her legs slipped down his throat- a voyeuristic spectacle of morbid fascination as her form disappeared, and Max's fuzzy gut was exposed.

Once she was down, Max panted, trying to heave himself and his newfound weight off of the stage before he noticed the ocean of eyes drinking in such a curious moment, Seren included. Some people turned to muttering, others cringed in disgust, others were whistling, whooping, even cheering at the display, and Max couldn't tell if he wanted to bathe in the response for a while longer or disappear into the earth and wallow in embarrassment.

Seren decided for him, dragging him by the arm off the stage as the band after them cautiously stepped up, clearly shaky to follow up the killer finish Substandard had brought. Out the back of the building, Seren left Max to struggle with the weight of another person as he fetched their car, and Max was alone with his thoughts and hundreds of pounds of human meat wriggling inside of him.

A stray hand palmed the surface, and he nearly fell over as his prey resisted the touch- must have been her face, then? He tried again to apply some pressure to his distended skin, and when he was met by no fight, he felt great, but he felt disgusted by himself to admit that. He was painfully full, and about to commit a homicide! Even still, he couldn't keep his hands off the mound of flesh on flesh.

The headlights of the car pulled him back to reality, and he hobbled his way to the backseat once again, this time having to lie down over the whole thing- there was no way he was fitting himself upright in that tiny space while sharing it with his meal.

The drive was accompanied by scared, angry, and confused rambling from Seren, but Max still couldn't find himself comprehending a single word, lost in the ecstasy of his wriggling meal, and thoughts screaming in his ears about how many more future fans might also want to be eaten. He definitely had a new diet to get used to.

#i feel cringe but i am free #v.ore #v ore #soft vore #digestion #male pred #fatal vore #female prey #willing prey #voretober #voretober 2023 #oc seren #oc max #eddie wrote this

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choccy-milky · 5 months

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Hi! I started reading your story sometime in the last week and I’m OBSESSED! I normally don’t have much patience and can’t get myself to read anything past like 15k or anything that’s still being worked on, but your story hooked me almost instantly! I really liked the description and decided to give it a try and I’m so glad I did. The detailed descriptions you give pull me into the story and the way you seamlessly switch points of view feels so natural. I just wanted to let you know how much I’m enjoying reading so far and I’m excited for more! ❤️

AW TYSM😭😭 this means a lot, esp since ive been kinda self conscious about the length of my fic lately (and also how long its gonna end up being once im actually done LMFAO) and ik my chapters have gotten ginormous BAHAHA so im glad that even if you don't usually read long stuff you still gave my fic a try and enjoyed it so much + are looking forward to more!!💖💖so ty again😭🙏 AND as usual i'll be using this to answer other asks:

thank you and AA im glad to hear it!! a lot of people have been telling me ive been inspiring them to draw lately and i love it (im just sorry i dont have any concrete tips to give people other than keep practicing LOL) but good luck and i hope you keep at it!!🥰🥰

GIRL IDK, IDEK HOW LONG THE STORY IS GONNA BE, but assuming im still brainrotted even when its done then YEAH u wouldnt be able to stop me if you tried😊 (im glad you like them so much as well, ty!!😭)

thank you!! and yes i usually have at least a vague idea of what i want in the story before i start, though a lot of it didn't become concrete until i started writing/things evolving from there. i made a big (slightly) vague timeline of the entire fic from beginning to (almost) end, and then i keep fleshing it out from there as the ideas keep coming to me/evolving, and for each chapter i make an even more detailed outline, and THEN i get started on the final chapter. so its a bit of a process bahaha, but the brainstorming is really fun!! as for any advice, im not sure. maybe just brainstorm/write down scenes and ideas that you know for a fact that you want to put in your fic, and then try to find a way to connect them to other scenes from there and work backwards. basically WRITE WHAT YOU WANT TO READ, cuz like im my own biggest fan fr, thats the most important part LMAO

LMFAO speaking of outlining future events.....this may or may not happen in the future/in an epilogue when clora is pregnant and she got those pregnant woman hormones that seb is fighting for his LIFE to keep up with HAHAHA

ive been drawing since i was 4 years old so...a while. LOL. and if you even look back to the beginning of my blog, my first drawings of seb were SO UGLY💀💀 so if you just keep drawing you constantly get better naturally (also in response to the other ask you sent as well, i use clip studio paint to draw!)

AW TYYY. AND YES CLORA WILL HAVE ANOTHER MC MOMENT, the ranrok confrontation is still coming, after all...👀👀 and true, idek who would win if clora and seb duelled again with neither of them holding back, but u are so right. even if clora DID win that would do nothing to change sebs mind about how protective he is LMFAO. THANK YOU AGAIN im glad you like my fic + drawings so much!!💖💖

BAHAHAH in my fic (for smut reasons and so that they could be 17 when they did the nasty) i made clora's bday april 3rd and sebs february 12, so clora is an aries and seb is an aquarius (and yes i just checked and apparently they ARE compatible, so seb can rest. also i just read up on aquarius and damn it unintentionally suits seb so well?? LOL "Aquarius is undoubtedly the most innovative, progressive, rebellious, and humanitarian. " and "They have incredible energy, though they may not always use it wisely. They find it easy to get through life on charm and good looks." LMFAO. ok king we love that

#ask #THERES STILL SOME I HAVENT REPLIED TO BUT JUST KNOW I APPRECIATE THEM ALL💖💖

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loversgothic · 9 months

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Maybe you've done it already and I missed it, but what would Gabriel's two-week-notice look like in the Ultradanse AU?

This has nothing to do with any other comments you have made about feral Gabriel or any other desire to see how he changes from The Gilded Nightingale to The Nightingale.

:3c. OOOHH. WELL

ive been really trying to think about that hard, since comparing the characters to those in fairytales and ballets tended to skew the story a bit.

and uh... my descriptions wont be the best.. im not the best at explaining things in ballet terms moreso just based on my perception of the art form and what i see in it through my eyes.

also im gonna go off of the concept that ultradanse is almost like a stage performance, a show

the most i can do to describe how it looks is to compare it to my vision for the first encounter with Odile/V1... because of the way i designed his lil costume he has a sort of princely look, and even though hes yknow. out to kill V1 because V1 traversed past his warnings, his dancing with V1 then is much more... poised. it might feel a bit distant, maybe it might even seem like hes unsatisfied doing it, as at the time there is no personal connection with V1, no love nor hatred. its not romantic, hardly so. i dont know if this is a good example, but i was thinking abt Prince Siegfried's dancing in Waltz: Tempo di valse...

once V1 is pretty much responsible for his 2-week notice, i like to think Nightingale/Gabriel starts to match V1's high energy, his grace is kinda going out the window... itd be much more intense. if its a pas de deux hes probably getting his fucking hands all over them like hes about to tear them apart. hes abandoning that princely facade. i feel like though in the second half a pas de deux between them would make them slow their pace. now that both of them are dancing together and able to match intensity, it starts to slow down into something more... romantic? yeah :3 i like to think this, this is where any romantic tension starts

now about how he changes from the gilded nightingale to the nightingale. you see... after their second encounter, Gabriel is convinced hes going to die, after all thats what he was told. once he returns from heaven, he seeks out V1 to ask of one final request. he doesn't want to die lonely, and asks V1 to dance with him until the final hour runs out. V1 has no reason to accept his request, other than something pulling at it do so and the possibility it could take a little bit more blood before he's gone. dancing together, progressively Gabriel becomes weaker and weaker.

i REALLY wanted to keep this secret for a scene i wanted to draw but honeeesttlyyyy i dont think its too bad if i share it. after all, im not sharing V1's feelings here. im sharing Gabriel's :3

i had this whole.. plan

my thing abt pas de deuxs is that. i like to find symbolism in the fact that traditionally, the male dancer is supposed to support the ballerina to be able to perform moves she typically wouldnt be able to on her own without someone holding her.

towards the end of their dance, V1 switches positions to hold and uplift Gabriel instead, who has this entire time been in the place of the male dancer. in his approaching final moments V1 lays him down on the ground. he's hardly moving, and V1 holds onto him, finding itself not wanting him to just... disappear.

now im still figuring out HOW i want this to work. but i thought abt V1 in desperation, grasping onto the sides of his helmet and ripping his helmet in half being the symbolic thing that sets him free. the thing about the gilded nightingale, is that the armor is the bird's cage. Gabriel's design in this AU only really has the helmet and no other armor, so it just... makes sense to me. this is what sets him free. how the transformation works though? i am.. still thinking about it. you might need to give me a bit to think about that

#im trying not to make that transformation magical girl esque LMAO BUT ITS SO HARD NOT TOOOOO #.txt #ask #sorry for rambling meoww #ultradanse au #crazy? i was crazy once #im considering redesigning ultradanse gabe a little again im not sure why

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aemiron-main · 1 year

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HUGE MIKE REALIZATION HES SO SCREWED IN S5 OH MY GOD

OHHHHHH FUCK. EVERYTHING IVE BEEN TALKING ABT LATELY WITH HOW MIKE’S QUEERNESS IS TIED TO HIS GUILT OVER PEOPLES’ DEATHS/LOSING THEM?? SUCH AS IN THIS POST?? well not only does it tie to eddie and tie to el like i just talked abt in the replies of this post with @heroesbyler but it also ties to bob. to be extremely clear i am not saying that mike ever had romantic feelings for bob because he didn’t. what i AM saying is that mike may feel guilt for bob’s death that are tied to his queerness via mike’s gay feelings for will.

like think about it. mike was desperately trying to warn those soldiers that it was a trap. MIKE is the one who will told about his murder plan first. Mike actually prompted Will to talk, going “what’s wrong? are you hurting again?” and then Will says “I saw something,” and mike goes “in your now memories?”. He’s the one prompting Will, in mike’s mind, he might have been responsible for giving will the idea to look at his now memories. He was trying to help Will, he saw that Will was just sort of sitting there in a daze and was trying to HELP, calling will’s name and trying to see what’s happening, make sure he’s okay, asking him what’s wrong. But in mike’s mind, his attempts to help just ended up hurting, just like how his feelings for people end up getting them killed/hurting them. Mike, thinking that if maybe he wasn’t so blinded by his feelings for will/queerness, he could’ve looked at will more critically and realized what was going on. Mike is the one who realized that will is the spy, but he feels like he’s the one who failed to realize it. He’s the one who came up with the idea to sedate Will, but he may also feel responsible for the fact that Will has to be sedated in the first place, that he was too blinded by his own feelings for Will and trust in Will to see what was going on- and not only did this result in the soliders and Bob getting hurt/dying, but it also resulted in WILL getting hurt, in WILL almost dying (he would’ve died if they closed the gate). Maybe if they didn’t need to sedate Will, maybe if Mike had noticed sooner, before possessed!Will could get away with his plan, maybe if Mike hadn’t literally prompted Will to talk about his plan, then maybe the demodogs wouldn’t have been called to the surface, and Bob wouldn’t have been killed by them. Maybe if Mike hadn’t been so happy that Will recognized him, then he would’ve been more focused on being concerned about will *not* recognizing other people. Maybe if Mike had been able to figure out Will’s map of drawings at the Byers house, Bob wouldn’t have needed to be involved, maybe if Mike was just a little bit smarter, had paid a little bit more attention in class or looked a little bit closer at a map of Hawkins once. So now mike also feels responsible for will’s guilt and will being in danger/almost dying and the soldiers’ deaths AND bob’s death and that feeling of responsibility/guilt is tied to his queerness AGAIN. Plus, the shed scene: the shed was Mike’s idea. And it helped! It worked, initially! But then because they were in the shed, Will could hear the phone ringing. Mike, seeing it not as a success for himself, but a failure, because maybe if he hadn’t suggested the shed, maybe if they took Will somewhere else, he wouldn’t have known where they were, because he wouldn’t have heard the phone ring. Mike’s intelligence and love for the people around him SAVES them constantly, but he sees it as hurting them. He only sees the way that he hurts people. And vecna is going to use this against him in s5. Mike doesn’t have one big moment of guilt or one main person who died/got hurt because of him and his queerness. He has this huge, layared amalgamation of many, of all of those moments, of El and Eddie and Will and Bob and the soliders and everyone. It’s death by a thousand cuts and Henry’s going to deliver the final one in s5. Hell, these are just a few examples of this sort of thing with mike, there’s SO many more examples of how his queerness, in his mind, intertwines with peoples’ deaths. Remember that scene of Mike staring at Will’s lips while quietly telling max to stay away from the door when Billy’s in the sauna? I didn’t really understand at first why they chose to write that scene the way that they did except to hammer home that mike is gay/distracted by his feelings for Will, but why not just show that at another time? Why show it in such a high-stakes situation to the point where it almost becomes comical? Because it links mike’s queerness to other people getting killed/hurt. Mike is so busy staring at Will that he doesn’t warn Max loudly or fast enough. And then everyone is put in danger once Billy breaks out. Mike, thinking about how maybe if he hadn’t been so distracted, if he’d been faster or louder, maybe Billy wouldn’t have broken out, if he’d been stronger when standing up against Billy, maybe he could’ve stopped him. This also gets MIKE hurt though, but mike doesn’t CARE about that, doesn’t care to the point where he doesn’t even register it. Mike gets his head bashed against a pipe by Billy, but that doesn’t matter to him, he only sees how his queerness is hurting other people, he doesn’t see or care how people are hurting him. But how do i know that Mike is making these connections in his brain? That he’s connecting himself in all of these ways that i’ve mentioned? You might be thinking “well em you’re just assuming that mike’s brain works like that. how can you demonstrate it?” How can I demonstrate that this is how Mike’s brain works/that he is likely to make these connections to himself and how his queerness intertwines with getting people hurt/killed? Well, let’s look at the Wheeler family dynamic. t’s summed up best by Ted: “What did i do?” The wheeler family fucking sucks at communication. They don’t tell their kids or eachother what they’ve done wrong and what they can do to make it right. They’re passive agressive, they give cold shoulders and silent glares. Instead, Mike and Ted are both left wondering what they’ve done. Which forces Mike to try and figure it out instead of people telling him. Which pushes his brain towards making all of those connections. And no wonder Mike acts out so much: he’s hoping that somebody will finally get mad enough at him to just TELL HIM what he’s doing wrong! We see this at rink o mania too! He literally ASKS will “why is this on me? why am i the bad guy?” He’s ASKING HE WANTS TO KNOW WHAT HE DID WRONG. USUALLY HE JUST TRIES TO FIGURE IT OUT AND EVENTUALLY FINDS A REASON FOR IT TO BE HIS FAULT BUT THIS TIME?? HE CANT FIND ONE HE HAS TO ASK. He doesn’t even fucking clap back at will and say that it was will’s fault, he doesn’t defend himself and say that he ISN’T the bad guy, he ASKS WHY HE IS. JESUS CHRIST MICHAEL DO YOU HAVE NO SELF ESTEEM OR SENSE OF SELF WORTH?? HE JUST ASSUMES THAT ITS HIS FAULT BUT HE AT LEAST WANTS TO KNOW WHY BECAUSE EVEN HIS SELF LOATHING BRAIN CANT FIGURE OUT A WAY TO MAKE IT HIS FAULT THIS TIME BECAUSE HE DID CALL HE CALLED SO MANY TIMES. “Do you see what happens, Michael?” “What happens when what? Again, Mike is forced to answer the question himself, the wheeler family dynamic literally fosters that guilt and personal responsibility spiral. It’s also a personal representation of the individualistic nature of capitalism and how capitalism fosters a sense of individualism which leads to a sense of personal responsibility for things that aren’t a single person’s fault + purposefully stifles organized change and cooperation. Mike is forced to wonder what Ted meant, and it’s no surprise that after that dinner scene, we get a scene of Mike in the basement saying to Lucas that he’s worried about Will: because mike has been ruminating about what happened to Will, about what ted meant, trying to figure out what ‘what’ isnt, figure out the answer to ‘do you see what happens,’ trying to figure out WHAT HAPPENED, trying to figure out ‘what happens when what?’. And Mike has such a deep sense of personal responsbility for things and also a deep sense of justice and wanting to make things right: he doesn’t like to lie, he wants to resolve the conflict with lucas in s1. But then he starts feeling like he can’t make things right, ESPECIALLY in s4. He DOESN’T resolve things with lucas and hellfire. He DOESN’T properly resolve things with El or with Will, there’s still that tension with both of them. He still WANTS to make things right even though he’s failing at it and feels like he CANT, just because he isn’t doing it doesn’t mean he doesn’t WANT to anymore.

So he’s desperate when it comes to making things right. Especially since he feels like it’s his fault that it’s wrong. Mike stands up against injustice that isn’t even his fault (see: the bullies making fun of will, it’s not mike’s fault that will’s gay (smthn smthn ‘its not my fault that you dont like girls’ smthn smthn mikes sense of personal responsibility and guilt is REALLY starting to beat his ass in s3), so when the injustice IS his fault/he feels like it is, it really hurts him, he REALLY wants to make it right, which gets even more terrifying for him with the fact that again, he feels responsibility for things that aren’t even his fault. And desperate times call for desperate measures. And sacrificing himself in s5? That’s a desperate measure. Mike feels as if he’s hurt so many people so any times, like i said, its an amalgamation of things, not just one event. And so, he KNOWS that he can’t make up for every single one of them individually, can’t make up for those deaths or those moments of hurt. So he has to make up for all of them at once. And it’s going to kill him- scratch that, him dying is going to be HOW he makes up for it. He’s going to die to save others, which in his mind, not only HELPS them by saving them, but also prevents them from experiencing further harm as a result of him and his queerness specifically. I’m also looking fucking DIRECTLY at “war” by frankie goes to hollywood on mike’s playlist. holy FUCK. The queercoding is something i’ve talked about before, with how ‘frankie goes to hollywood,’ was a band known for gay music videos and who had two gay men in it. But look at the lyrics in addition to the queercoding. These lyrics often aren’t listed because it’s more of a voiceover in the song (the song has a voiceover on top of the song ‘war’ by edwin star), but this is what it says: “Then, of course, there is revolutionary love. Love of comrades fighting for the people, and love of people. Not an abstract people, but one who one lives and works with. When che guevara talked of love being at the centre of revolutionary endeavour, he meant both. For people like Che, or george jackson, or malcom x, love was the prime mover of their struggle. And love cost them their lives. Love, coupled with immense pride.” This song is literally about sacrificing oneself out of love, and how love saves people but also kills and hurts people. And saving people in your life specifically, not just a general sacrifice for all of hawkins like Eddie’s was, but rather, about Mike saving the people that he ‘lives and works with,’ the people in HIS life, not just the abstract people of hawkins/world as a whole. “love, coupled with immense pride.” IMMENSE PRIDE?? COMING FROM A DEEPLY QUEER BAND?? AND EVERYTHING IVE BEEN SAYING ABOUT HOW MIKES GUILT ISNT JUST TIED TO HIS FEELINGS FOR WILL OR GUILT ABOUT BEING RUDE/HURTFUL TO PEOPLE IN GENERAL BUT TO HIS QUEERNESS SPECIFICALLY?? LOVE COST THEM THEIR LIVES?? QUEER PEOPLE BEING KILLED FOR THEIR LOVE IN ST (HENRY TARGETING WILL AND BARB AND THE FACT THAT WILLS VANISHING WAS THOUGHT TO BE A HATECRIME AND HOW MIKES LOVE IS GOING TO COST HIM HIS LIFE BC HIS GUILT IS TIED TO HIS QUEERNESS) And this song also ties back to what I talked about with the wheeler family’s representation of capitalism and individualism (and god this HAS to tie into the russia arc and communism stuff somehow), because love and pride and collectivism and fighting for a people are something that goes against capitalism, but it costs people their lives. Mike going against that individualism is going to cost him his life, Mike being vulnerable and sacrificing himself and likely getting outed by henry is going to kill him, but it’s going to save other people. Especially maybe if Mike gets outed to stop Will from getting outed, dies so that will’s feelings for mike aren’t revealed. Love and pride are what’s going to kill mike. His love and his queerness will kill him. But it’s also going to save him. It’s going to bring him back, too. AND LOOK AT ‘MAD WORLD’ ON HIS PLAYLIST TOO: “the dreams in which i’m dying are the best i’ve ever had.” It’s a song about feeling out of place in society/going against society but also out of place in one’s interpersonal relationships and how both of those result in death, JUST like how ‘war’ by frankie goes to hollywood is about how people who rebelled against society and died as a result of it. And while the people mentioned in ‘war’ didn’t die at their own hand and sacrificed themselves but still died at another’s hand, ‘mad world,’ is more suicide at one’s own hand, which ties to how Mike sacrificing himself in s5 is going to be tied directly to his suicidality and work as a metaphor for him having killed himself in a non-supernatural/self sacrificing way, as a metaphor for what i’ve talked about before with how mike is invisible gay men who die by suicide vs how will is hypervisible gay men who die by hate crimes. But also look at this excerpt about the song: “This song is about a depressed young person who feels out of place in this world. He sees life as being empty, and looks for ways to escape the pain. The line, "The dreams in which I'm dying are the best I've ever had" suggests thoughts of suicide, and according to Roland Orzabal, who wrote the lyrics, it relates to the psychologist Arthur Janov's idea that our most dramatic dreams release the most tension. So, the guy in the song isn't necessarily looking to die - he wakes up from morbid, lucid dreams feeling better.“

Mike doesn’t want to die persay: he just wants to stop hurting people, he wants to die in the sense that he sees death and self-sacrifice/suicide as the only way for him to stop hurting people AND for him to make up for the hurt he’s caused AND as the only way for him to save/protect people. Mike doesn’t just randomly want to die, just like how the singer of ‘mad world’ doesn’t want to just randomly die- but rather, sees death as a possible solution to the isolation and pain. Mike is going to experience those morbid ‘dreams,’ he’s going to die, but he’s going to come BACK. Plus vecna and all of the dream imagery with him?? the freddy krueger parallels?? the ‘dream a little dream of me’ and ‘california dreaming’ imagery and paralells and how both songs tie to henry and will? ‘the dreams in which im dying are the best ive ever had’? This imagery almost seems to indicate that mike won’t actually die but rather just dream of it, but i disagree: i think the dream imagery ties his death to vecna, that it’s tied to a dream in the sense that henry kills people in their dreams.

“I find it hard to tell you ‘cause I find it hard to take.” Mike has trouble opening up to people because he’s struggling with his guilt and struggling with finding himself/his guilt/queerness ‘hard to take,’ so if he can’t even accept it, in his mind, how can he expect others to accept it? What he doesn’t realize is that other people accepting it is what’s going to help HIM accept himself, like how i talked about in this post with how mike makes will not feel like a mistake but the vice versa is also true and how mike’s ability to accept his own sexuality is intrinsically tied to Will. Mike is fucked. Mike is SO FUCKED. But he’s going to be saved. He’s going to die and come back. Love is going to save him, the very thing that killed him. Just like how mike thinks his actions/his love for people and helping them actually hurt them when in reality it SAVED them. And henry’s whole “tricked you? I saved you.” thing. It’s the opposite for mike, it would be ‘saved you? i ‘tricked’ (hurt) you.”

#st analysis #mike's mental health #mike wheeler analysis #st narrative #mike gets vecna'd #st5 #st music #mike's bassment beats #st dream a little dream of me #st california dreaming #st mad world by tears for fears #st war by frankie goes to hollywood #tw suicide #wheeler family #ted wheeler ref #st bullies #byler

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mikajihiko · 1 year

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PASH 2019 A Summary of Natsuki Kizu’s GIVEN Interview 1- How was Given born, what works made you want to draw? I wanted to draw a manga which had another key point other than love. I think the main purpose of BL is "romance" but I wanted something other than that. There are a lot of reasons why I chose music. I simply like music and a friend of mine used to be in a band- I wondered if using music to express emotions in BL had a good compatibility.

2- What are the origins, like the character settings of the 4 main characters. It was originally planned to be completed in one volume, similar to many BL works. Initially, the plan was to end with the first live performance. As for the other characters, I cant express well with their origins- only Mafuyu was a decisive decision.

3- Which character was the easiest and hardest to move In contrast, I have a hard time handling Mafuyu since he has a lot of elements that I don't have. Hiragi was the easiest to write as his elements are simple.

4- Tell us a behind-the-scene information that will only be revealed here Haruki has only one ex-boyfriend.

5- Who is going to be the uke and seme among Ritsuka & Mafuyu, or Haruki & Akihiko; and how is it going to pan out The theme for both is "emergence". I'm not picky when it comes to who's uke and seme as I prioritize the plot regardless of what I think.

6- What scene or line left the strongest impression on you "Just a little bit" on page 124 volume 2. This series started because I wanted to convey this, and so I was deeply moved when I was finally able to say it.

7- How familiar are you with music? Do you have any musical instruments youre familiar with, or experience in bands? I'm an amateur when it comes to music. I have no band experience, I just love music. I did a lot of lessons but I didn't keep up, I did like listening.

8- What genre of music did you have in mind for Given, and did you use any artists for reference I was asked this when making the anime and it really bothered me because I haven’t decided at all. This is because of "Imeson culture" or image song. It is where the subject is similar but the songs are different to each person. Musical preference also play a role so theres almost no right answer- I think its better to not limit the reader. Regarding "what kind of music is playing", it's left to the reader as much as possible. Ive been careful to leave a space in between as I draw.

9- How did you become a professional writer, and what or who are those that influenced your style? In university, I was in the video (movie) field. Even though I didn't end up in the video field, I think I was strongly influenced by the video-like expression method.

10- What BL works have greatly influenced you, or that you would recommend It's not BL, it's "Banana Fish". My father likes it, and it's almost the only manga I've had at home. It’s one of my original experiences with manga.

11- In production, what do you pay attention to the most I pay attention to the right amount of realism. Since BL stories itself are in insane fantasy, I thought that the foundation that supports it should be somewhat realistic. So, in order to keep the band setting, I studied music and conducted interviews. Also, Given has a mix of true stories from myself and friends, however, it would be a waste of fiction if it was true to reality.

I recommend buying the magazine, its really big! It features Akihiko and Ugetsu on the cover along with a large poster and ticket holder. Check it out here!

#Given #Given Anime #Given Manga #Natsuki Kizu #Pash 2019 interview #Pash 2019 Given #PASH Given #Merch_GU #GivenUpdates

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definitelynotshouting · 10 months

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hi tem!! 72, 77, 78!!

Ask me fanfic writer questions!

Omg hello!!! Eidnwjdjdj i shouldve guessed i'd get 77 immediately 😂😂😂😂

72.) what do you do if a scene gets too serious?

Generally im almost always aiming for serious on some level, tbh-- thats my favorite thing to write about!! Even while writing comedy, i tend to go for more serious undertones; in the case that im going intentionally for pure humor, though, and the scene comes out a little more serious than intended, i try to dial it back by focusing on banter, adding a bit of humor to the narration itself, and essentially laying the scene out in a way that's intentionally meant to draw your attention to whats supposed to be funny.

On the whole, though, serious scenes are my JAM and i adore writing them, so its not often i run into this problem!!

77.) how do you write kissing scenes?

OH BOY. OKAY. this is the point, i suppose, where i mention the Kissing Seminar.

The Kissing Seminar is a very informal discussion i held in one of my discord servers and later transcribed to a google doc when the topic of how to write kisses came up. Full disclosure: i kiss a lot. I love kissing. Ive kissed a ton of people in my life and i kiss my partner constantly. So when im writing kisses, i am pulling DIRECTLY from my own experiences on how it feels and how i do it (and sometimes i do need refreshers; last time i wrote a kiss i had to pause, kiss my partner for a minute, and then go back to writing. Partner reported being INCREDIBLY confused by the abruptness but was pleased to receive smooches until the next day when i informed them of why, and then they hit me with a pillow SJDNEJDJEJJS 😂😂😂😂)

Anyway, the Kissing Seminar is something ive been meaning to pretty up and post for public consumption time and time again, but havent yet because its just so currently low on the priority list. But it details HOW to kiss, and what to expect, and some options for how to write it if you want to go for something more detailed rather than just saying "they smooched". As a tl;dr, its generally all about body placement, rhythm, and emotions-- and the intermingling between them. If you want to write good kisses, focus on all three of these things, and it'll help you out a lot

78.) how do you choose where to end a chapter?

I go off of instinct, mostly!!! Usually i try to keep my chapters all to a similar length (so for hunger au, im aiming for 4-5k each time), and because i know how long most of my scenes take (about 1-2k depending) im able to round off where things should stop after a certain amount of scenes have been written. Sometimes its not precise, though-- last chapter of litd was meant to have the Pearl conversation fully in it, but Tango ended up being the primary focus, and i couldnt really edit that out without sacrificing a lot. So as soon as i found a good stopping place, i went ahead and finished the chapter.

Good stopping places for me are where a scene naturally ends and begins to transition into a new one-- think like movie clips, or scenes in a play. To continue using hunger au chap 4 as an example, the final "clip" so to speak started with Tango and Grian on the couch, and ended with Tango leaving the set while Pearl took his place. I found this to be a really good natural stopping point for the chapter, because Pearl and Grian's convo is very different from the way Tango and Grian's went, so it requires a different tone and new atmosphere to fully delve into that. I find that when the tone of a scene changes, or something new is happening, or time is shown to have passed in some way, these are naturally good places to stop a chapter.

I think this is often why people will choose to end their chapters with their characters falling asleep-- its a natural transition that people instinctively recognize as moving things forward, so it acts as a way to separate one scene from the next. The problem with relying on that alone though is that it can become very repetitive, so its important to be able to start pinpointing all your transition sentences or paragraphs so you can find other places and ways to end chapters and add in some variety

As with all things, though, this isnt a hard and fast rule; i can think of several ways one might want to lean on that for thematic purposes, or using it as a motif, or just a particular expression of style. Really what it comes down to is what you want from your story, and the best ways to achieve that; a good editor in particular will help you find a way to do that. Wkdnwke sorry this became sort of a very extended ramble, but as a professional editor and a longtime writer i find the subject fascinating and feel like mechanics like this arent really talked about often enough. Anyway thank you for listening to my little soapbox if you read all the way through, and thank you so much for the questions!!!!! :DD

#shouting speaks #asks #ask game #THISS GOT SO LONGGGG IM SO SORRY #long post #writing #hunger au #figured i'd tag that since im discussing parts of it in depth here #anyway uhhhh if anyone ever wants to ask me questions on writing mechanics i will be so happy to ramble #i have saur many thoughts and i love analyzing how these things work #<- autism special interest is winning today fr fr #txt

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amarioe · 6 months

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Day 15: True Potential

Oh cmon, theres no way i wasn't going to draw this iconic scene for true potential- can you blame me? Lol

Anyway, im finally starting to put out all the art ive been doing that i was procrastinating on posting. halloweens coming up and i don't really know if i'll be able to finish all the Nintober prompts, especially since it's test week.

I could continue to draw the Ninjtober prompts into the next months? It'll be a win-win really, i post more art and i have things i can draw when the history teacher starts speaking in backround noise (seriously, if he let me draw in his class i would've been pumping out art like some kind of printer, that guys criminally boring to listen to considering the fact i enjoy learning history literally anywhere except his class)

Prompt list:

< Previous | Next >

#art #traditional art #fanart #ninjago fanart #ninjago #lego ninjago #zane #zane julien #zane ninjago #true potential #i wonder if i would ever achieve my true potential #maybe if i finally learn how to draw things like hats or the top part of the ninja gi 😭#seriously #thats becoming an issue #ninjtober #day 15

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prettyboykatsuki · 2 years

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izuku midoriya and shoot style / the hand motif

“if im worried about my arms, then i’ll use my legs. one for all, full cowling: shoot style”

ive been wanting to talk about this scene for a long, long time. not the scene itself but rather - the significance of dekus signature move in the greater scale of his arc. while it seems innocuous at first - the importance of this move is probably more than is widely recognized. it's something i thought about as this rewatch started.

the obvious, stand-out way is that naturally, as allmights benefactor - developing a move in this direction is a clear change of izuku's grasp on his power. in that same vain, this is also a clear distinction of izuku's style in relation to how he often mimics bakugou.

the biggest take-away is that he's coming into his own as a hero and finally gained a more clear understanding of both his capabilities and weaknesses.

but on the aside - this move style highlights a motif in izuku's character development. the importance and significance of hands.

from the moment the series began - the idea of a hand or an outreached hand has played some role in the main characters. the above scene from the bakugou and deku childhood is one major example - but the entire essence of shigaraki's character also follows this theme.

several shots of the anime and manga provide this sort of emphasis on hands - specifically an outreached hand. the kamino ward arc with bakugou taking kirishimas hands. another example that lends itself well to this point is overhaul and the loss of his arms and in turn his hands.

im not the first person to note this - horikoshi has mentioned he enjoys drawing hands and believes they're one of the most expressive parts of the body.

even so, i think it's worth it consider deku's relationship to his hands and how deku's character is representative of both justice and redemption. a constant theme we see is izuku reaching out his hands and destroying them for the sake of others. to me, the fact that izuku begins to preserve that same thing is indicative of their importance and doubly representative of his changes.

the path he's paved now goes beyond sacrifice. instead, izuku is gaining a true sense of self. it's no longer as allmights successor, but as him. as pro-hero deku. in many ways, i believe using his legs strongly establishes his sturdiness. his desire to fight with all of him, in a very literal way.

izuku's hands in all senses of the word represent being a saviour and a true hero. the scars concentrated on his hands, the destruction of them during the todoroki fight, the constant outreach for everyone. ideally i hope his arc will end with him taking shigaraki's hand. hands that save above all else, at any cost. hands that must be protected in order to protect otherss.

to me, that's what makes this move a cornerstone. there is nothig more important than who those hands are able to reach. his protection of them is a huge step in the right direction.

#fang.meta #i think if we ever get a spinoff #one of dekus major changes will be losing an arm #i wishs we saw more of it in fics i do #in many ways when he loses his hands both metaphorically and literally #he will have reached his limits as a hero #i really love shoot style and what it means for deku #it plays a huge factor in establishing his legitmacy and sense of self #ive been really excited for it since the end of kamino ward

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moonlayl · 2 years

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I love Inquisitor Reva! she’s exactly how an ambitious inquisitor should be.

their jobs are hunting down jedi. they want power and recognition and respect.

the empire clearly was never about helping the people of the galaxy. Why wouldn’t Reva consider a few innocent lives expendable for the ”bigger picture” in her eyes? Especially when it would give her exactly what she wanted and craved?

She’s ruthless, intelligent, and efficient and that makes for a perfect and frightening combination in an antagonist.

Her ambition drives her, and not only is she willing to do whatever it takes to get exactly what she wants, she’s actually capable of it and poses a genuine threat.

Reva is exactly the kind of female antagonist ive been waiting to see in star wars, and they’ve finally delivered.

EDIT: Wrote this before that scene where she gasps when she witnesses Vader snap someone’s neck, and before she touches the jedi symbol on the wall.

So, I’m thinking, it’s less about her truly thinking innocent lives are expendable, and more knowing exactly what kind of tactics are necessary to draw the Jedi out.

jedi cannot help what they are, their compassion leaves a trail

Reva knows this. She knew the Jedi man wouldn’t be able to allow an innocent person get stabbed, especially not for him.

She knew that if her threat against Owen and Owen’s family spread around, and she actually made a threatening move, the Jedi (she didn’t know it was Kenobi, she thought it was the other man) would come to save their lives the same way he did earlier on in the episode.

Which is why that despite the fact she’s fully willing to threaten and even so much as almost hurt people, Vader actually killing made her gasp.

This adds nuance to all her character and all her previous scenes, and I love the theory (which seems more and more probable now) that she was one of those Jedi younglings in the beginning of the first episode.

#kenobi series #kenobi spoilers #inquisitor reva #reva #third sister #moses ingram #star wars #sw #obi wan kenobi #obi wan kenobi spoilers #sw meta

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xbloodygasmzx · 8 months

Note

omg i didnt think i'd find someone who does jacket x oc

seeing your Paprika doodles, I went 'f this I need to doodle out my HLM Self Insert despite how horrible it may look'

My Hotline Miami verse is kinda different since this happens in current time (HLM, Payday, Watch Dogs, Need for speed because I am really unoriginal smh)

honestly her outfit is based on a cosplay I did,thus photos were used as reference

I'm currently doing chapter 1 of this AU thats titled Watchline Miami, just need to hang on a bit more on finals week

As thanks for inspiring me to doodle out this, heres the info! Meet Monarch. Shes a long way from home (by long i mean across the globe) as she transferred to Miami as a Crime Scene Investigator when Pardo was recommended on her by her police uncle to get an 'internship' somesort. Shes the one who tracked down Jacket when he was on that murder spree against the Russian mob. But even after his arrest, she wouldnt stop there. She felt something was off upon discovering Jacket being shot when he was the prime suspect. After some digging, she vowed to track down 50 Blessings and unveil the truth to prove Jacket's statement of his innocence being right. There you go, summary on Monarch! Shes starting to become one of my fave characters to draw because ive watched a litle too much CSI miami as a kid (whoops thanks Mom). And TBH, I've only recently gotten into HLM because Bf sent me a fanart on jacket unmasked and I went 'why he hot tho' and he said 'WHAT YOU MEAN HES ALWAYS BEEN HOT' and the rest history. Once again thanks for inspiring me to do this! Bonus: Monarch is 4'9

I HAVENT LOOKED THRU MY QUESTIONS FOR A WHILE..!! THIS IS SO CUTENESS IM SO GLAD I WAS ABLE TO INSPIRE YOU TO MAKE UR OWN STORY FOR UR OC...that makes me so happy this is awesome :'))

#hotline miami #hlm oc #hlm

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enekorre · 1 year

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dude, hoping i don't sound pretentious but i feel like the greatest advice for people who try to defend ai art w/ 'but what if i want art?' is srsly to just make some of your own like yeah it has a 90% chance of being bad but like ive been there and its SO SO worth it to just learn the trade. its helped my self-confidence, patience and artist spaces are great places to spend time. the world can never have enough ppl making art. Give it some time. artists have resources 4 other artists too!

Exactly! When I started being serious about learning to draw I created an account on deviantArt, looked at art that looked like what I wanted to make daily, and I doodled! I'm no great artist, but after being at it on and off for 13 years I'm happy with where I am. Will I ever be able to draw a face? No. Can I draw my dragons and my nature scenes and my werewolves? Fuck yes!

Like yeah, obviously your shit is gonna suck in the beginning. Everyones does. But buy some paints or crayons or pencils from the kids art supplies row, sit down at home at a place that can get dirty, and play around! Art is really fun! And don't worry about anatomy or anything. If you find that you really wanna learn how to draw something (say, a wolf), you go and look at wolf art you like, pictures of wolves, the skeletons in the museums, etc. Look up some youtube videos about perspective!

When I was 13 and just starting out, the thing people always told me and all the other 13 year olds was "practice!". It sucked to hear, because at the time you wanted to be able to draw the best and most amazingest sparkle-wolf known to man immediately. But you couldn't. So you doodled in maths class. You spent time on art forums. You payed extra attention in art class.

Just because you're an adult now doesn't mean you're cursed to never be able to draw. You just have to sit down and practice. You didn't start when you were a kid, so you might feel like you can never do it, but all you have to do is catch up. And if you're an adult, you have so many more options about how to go about learning. In my town, they occasionally hold free drawing and painting courses. I've never attended (mainly bc I didn't know they existed until yesterday when I got a magazine about it in the mail lol) but I'm sure something similar exists in most towns. Otherwise, there's always the internet.

Making stuff tends to be a really good feeling. Even if you're frustrated when doing it, when you're finally finished you can look at your thing and go "I made that". If your art comes out funky and you hate it, try again. If it's really not working out, (the answer is try again) you can always try another kind of art. Maybe knitting is your thing? Origami? Gardening?

There's so many skills out there and like everything else, they require time and practice.

#m #asks #good ask anon!#ai art #if you have motor function issues (im kinda shaky myself) there tends to be ways of managing it #for example a weighted pen if you have shakes #drawing digitally requires a bit of an upfront cost but can be great if you have poor vision (also me lol)#lack arms? draw with your feet or mouth!#and drawing isnt the only way to make art #Blind? writing or singing is right there!#you could also sculpt or do something else tactile

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