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givemea-dam-break · 1 year

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Your Lockwood. Enemies to lover was sooooo good, please I need a part 2🥺

a/n: so glad you liked it! of course i’ll write a part 2 i am extremely emotionally attached to this series. also to the person who requested the lucy carlyle x reader, it is on its way i promise

warnings: language gn reader

full series collection: here

"You, again? I saw you last week. My eyes can't handle this pain anymore."

Lockwood grins in your doorway. "Come on, last week wasn't so bad. We made it out alive. How are your hands doing, by the way?"

"I almost fell out of a window because of an abusive old man," you grumble. "And they're fine, but they still smell like Savlon, thanks to you. I suppose you'll want to come in?"

"If that's alright," Lockwood says. "I've got more business for you."

Groaning quietly, you move out of the way and gesture for him to come inside. "Alice left for work not long ago, so you won't scare her away. Come on, I'll put some tea on. Milk and sugar?"

"Just milk, please."

You direct Lockwood over to your sofa, bought second-hand from some old couple in north London. That much is evident from its less-than-appealing pattern, but it's comfortable enough. Lockwood sinks down onto it, smiling gratefully when you hand him a mug of tea.

"So, what is it this time?" you ask, leaning against the kitchen counter.

"Haunted mansion out in Harrow. A bit of a trek away, but it's good pay. Type Two again, but Lucy will be coming along this time, so hopefully a repeat of last time doesn't happen. We just need an extra pair of hands. It's a big space to cover for three people."

You cross your arms. "Bold of you to assume I want to work with you again. I could've died last time."

"But you will come with us, won't you?"

"I might as well," you grumble. "Nothing else on. Rent's this week. Any information on the house, possible ideas of who the ghost is, or will Lucy and I have to find that out for you?"

Lockwood smiles and, surprisingly, it doesn't piss you off as much as it used to. "George is neck deep in newspapers right now - I've just come from the Archives - so I'm sure we'll have much more than we did last time."

"Alright," you say. "I'm in, but I'm going nowhere near a window again, okay? You can fall out of it this time."

"Deal." He stands, and you almost forgot how obnoxiously tall he is. It's infuriating having to tilt your head to look at him. "Meet us at the station at four."

Making your way to the door, you say, "Be on time, this time. In fact, be early. That would be preferable."

"We'll try." Something about his smile makes your stomach flip. "Thanks for the tea. See you later."

The train ride is relatively peaceful.

You sit next to Lucy, who smiles upon seeing you, and across from Lockwood, who wears a shit-eating grin the whole ride, saying something about 'feeling good about this case'. You'd stopped listening to him two seconds after his arrival. You only start paying attention again when George starts to explain his research.

"Apparently," George says, consulting his notebook, "there was a fire at this house in the mid-eighteen-hundreds. The exterior of the house didn't burn down, being made out of sandstone, but the inside was wrecked. Most people managed to escape the blaze, but three died - the lord of the house and his two daughters. The interior has been rebuilt, since, but I managed to find the original plans for the house's layout."

Lucy leans over the architectural plan. "The rooms have all moved around. Where do you think the fire stemmed from?"

"Reports say the lounge, which is now the dining room," George explains. "Lord Ammenby and his daughters, Susanne and Marcella, had seemingly fallen asleep there during the evening, and the fire was left unchecked. It consumed them before anyone could save them."

"So the source could be where the fireplace was," Lockwood guesses.

"Or where they were," you say. "Maybe even where they are now. George, do your notes say anything about where their remains were buried?"

He takes a minute to scan through his notes, flipping through pages. "There's apparently a big sycamore on the estate where the girls had a swing. The servants buried the family there with the thought that they could play in the swing for the rest of eternity."

"Bit grim," Lucy says, "but sweet, I guess. So, are those our three main guesses?"

"They're possible sources," Lockwood says. "Vague, but the best we've got."

"Better than last time," you say, frowning. "So, plan of action?"

Lockwood sits forward. "Lucy and George, you guys scout out the house. Lucy's Listening is more powerful, so you're more likely to hear if anything is going on in the house. (name) and I will take our chance with the tree. If we get nothing from it, we'll join back up with you guys."

"Should we have a signal or something?" you ask. "To save us shouting for help, or running backwards and forwards and risk getting ghost-touched? Like adjusting the lantern light a few times, or flashing our torches."

Goerge nods. "Good idea. Seeing as that ghost last week prevented me from hearing you guys, that's probably our best bet."

"One flash means everything is clear," Lockwood says. "Two means potential finding. Three means -"

"Ah, shit, there's a ghost, come help," you finish.

"I suppose that's one way of putting it," Lucy says with a snort.

It doesn't take much longer to reach Harrow, and the taxi ride to the mansion passes in what feels like mere minutes. Before long, you're all crawling out of the car, duffle bags in hand, chains looped over your shoulders, and rapiers at your sides.

Wrought iron gates tower before you, towering over you and casting twisting shadows on the slowly darkening pavement. You all pass through it and begin the trek up to the mansion - a hulking beast of sandstone, pinpricked with large windows and balconies. It's shaped so that there's a large courtyard in front of the entrance, hosting a large fountain with some kind of statue in the middle.

"Everyone remember the code?" Lockwood asks, eyeing the large double doors just ahead.

"One is good, two is alright, three is bad," George says. "Yes, we remember. Now, go. That's the tree over there, I think."

The four of you turn to the right, where a massive tree looms, covered in bright green leaves. In the breeze, a few flutter down from the branches, and a small swing moves softly. A shadow hangs below it, so large it almost reaches the mansion.

"Not creepy at all," you murmur. "Are we ready to start this happy journey?"

With big sighs, George and Lucy make their way into the mansion, holding the old and new plans of the layout. You and Lockwood share a look, a mix of confidence and worry - more on your part than anything - before trudging over to the massive tree.

"At least there are no windows for us to fall out of," you say, staring up at the tree. Its roots are so large that you're still standing at least six feet away from the trunk.

Lockwood breathes a laugh, checking his temperature gun about fifteen feet from the tree. "Fifteen degrees over here."

"Ten here." You frown at the hulking mass of bark and leaves. "Should we signal Lucy and George? I don't think this is just a chill from standing in the shadow."

"Not yet," Lockwood says, turning on a few lanterns. "See if you can hear anything first. I'll keep a lookout and see if they signal us."

Nodding, you look up at the twisting branches. Sounds around you drain out until you're surrounded by silence, thick and heavy, broken only by the faint sound of a rhythmic swoosh, swoosh, swoosh of a swing. Someone, a young girl, giggles, followed by the sound of a man's chuckle. You can feel a smile play on your lips. They're happy. So happy.

A hand closes over your arm, grip tight. "Lucy and George are signalling," Lockwood says, his tone urgent. "Three flashes. We need to go."

"Wait," you murmur. "There's something..."

"(name), we need to go now. They're in danger."

"No... I can hear something... A woman's voice. Did George mention anything about a Lady of the mansion? I can't remember."

Lockwood tugs your arm. "I don't know, but we need to go help -"

"Get away from the tree!" Lucy's voice shrieks. "It's a trap!"

And then you hear it, the words, the malicious tone of a woman speaking to nothing but tree roots. Your heart thunders in your chest, and a heavy wave of nausea hits you. You stumble backwards, falling into Lockwood's chest.

"His wife, the mother," you manage. "She started the fire. She -"

"Get away from the tree!"

Suddenly, there's a bright light directly in front of you and you can't move. A ghost hovers over the tree roots, but it doesn't appear as it once was. No, its skin is charred and burned, oozing with liquid - blood, maybe? Clothes have melted onto its skin, and the sight is enough to make you even more ill. You'd throw up if you weren't in a ghost lock.

"Snap out of it!" Lockwood yells. He wraps his arms around you, pulling you into the iron circle he must have made while you were using your Talent. "It's Lord Ammenby."

Your joints feel a little loose-jointed and disoriented, but you're no longer ghost-locked. "He's a Wraith. He was burned alive by his wife..."

"We can discuss the fate of his death later," Lockwood says. "For now, we need to get to the source."

"Did you manage to see where he appeared from?"

Lockwood points. "In between those roots, there, but we don't have shovels."

You swallow your fear down, watching the Visitor approach slowly. "Crowbar?"

He bends down and retrieves a crowbar from his duffle bag, handing it to you. "I'll distract him, you get the source. George and Lucy will be here soon, so we'll hold him off."

"Wonderful," you grumble. "Because that went swimmingly last time."

"Hey." His hand clutches your wrist gently, and a tingle runs up your arm at the contact. "You'll be fine. Lucy and George are almost here. And I'll keep you safe. I promise."

You glance back at him, finding nothing but sincerity in his eyes. "Okay. Ready?"

His grin gives you confidence. "I was born ready."

Drawing his rapier, he leaps out of the iron circle, drawing the attention of the Wraith. Almost instantaneously, Lord Ammenby's ghost launches at him, wailing.

You take your chance and sprint for the tree's roots, crowbar in one hand and a silver net in the other. Stumbling across the thick, gnarled roots, you manage to reach the area Lockwood pointed to - a gap, no larger than your fist. With a grunt, you slam the crowbar into the ground and begin hacking away at the soil.

Behind you, the ghost wails again, followed by a chorus of salt bombs and shouting. By the sound of it, Lucy and George have joined the fight.

The ground is packed hard and laced with roots, thinner than the ones protruding from the ground, but still tough, and the crowbar is proving to hinder you more than anything. As much as you don't want to, you reach into the hole you've created with your hand, digging around as deep as you can.

"(name), look out!" Lucy cries.

Looking up, you can see the ghost racing towards you. As quickly as you can, you tear your arm out of the ground and throw a salt bomb, momentarily stopping the attack, but Lord Ammenby is back sooner than you have time to process.

"(name)!"

A rapier blade passes clean through the ghost, and as the other-light dissipates, Lockwood's face, splattered with a little soil, appears. "Hurry!" is all he says.

Once again, you shove your arm back into the ground, scratching around with your hand until you finally feel it - the rough, scratchy feel of bones under your nails. Screams overtake your mind, and you can feel heat on your skin, but you push through it, shimmying the small cluster around until you're able to pull them free of the hole.

As you wrap the charred remains in the silver net, the ghost vanishes, and the dark estate becomes silent.

Lockwood, standing just in front of you, is panting, still in a defensive stance. Lucy and George aren't too far off, hunched and holding onto their knees as they catch their breath.

Standing, you wipe as much dirt and soil from your arm as you can. "Well," you say. "It seems we have a thing for men murdered by their wives."

"Lockwood, if you'd told me sooner that your tea tasted this good, I would've forgiven you sooner and worked with you more."

The boy in question laughs, reclining in his seat in the living room. "At least I know now."

"As long as I get paid, I don't see any more mishaps occurring," you say, leaning your head back against the cushioned armrest.

Despite closing your eyes, you're well aware of Lockwood's gaze on your face. You can feel it, like little pinpricks on your face, but you're too tired to mock him for it.

"You know," he says, and something in his tone confuses you - caution. "We make a pretty good team, you and I."

A small smile tugs at the corners of your mouth. "As much as I hate to admit it, we do. Thanks for having my back out there."

"That's what friends do."

Something in your chest tugs. Other than your flatmate, there hasn't been anyone you can call a friend for a while.

"As long as that notion is correct?"

"I suppose it's not entirely out the window," you murmur. "As long as I get more tea."

"As much as you want." You can hear the smile in his voice, and, funnily enough, it makes your smile grow. "Do you want me to walk you to the nearest night cab station? It's quite late."

Opening your eyes, you slowly sit up. "That's alright. I'm sure I can manage."

His smile has softened into something unfamiliar. It's not his usual cocky grin, or that one of triumph, but rather something more personal.

"As long as you're sure," he says, his dark eyes fixed on yours. "But know that you're welcome to stay here if you like."

You roll your eyes. "God, it's like you don't want me to leave! I'll be fine. Want me to call you when I get home, mum?"

He laughs, and the sound of it makes you feel inexplicably content. "Just get home safe, yeah? I know where to find you if we need your help again."

"I specialise in husband-murdered-by-wife cases, so you're aware," you inform him. "And I'm particularly adept at window removals and gardening."

"Come on," Lockwood says, standing. "Get home before it gets any later."

"You're a bossy one today, Lockwood. Don't get your knickers in a twist."

"Go on. Get out of my house, you twat."

"Anthony Lockwood! I never!"

As you leave his house, you swear that his laughter follows you into the night like a companion.

#lockwood x reader #anthony lockwood x reader #lockwood and co x reader #lockwood and co fanfiction #lockwood and co #lockwood and co netflix #anthony lockwood #lucy carlyle #george karim #fanfiction #x reader #givemea-dam-break

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emptypassicn · 5 months

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@nebula-drcams sent ;;

“ 14. what traits does your muse want to avoid when it comes to choosing a romantic partner? + 28. would it bother your muse if they had differing interests from their partner(s), or would they delight in it? + 32. does your muse have an ideal "type"? For Mole, Herbert { sp }, and Bradley From; romance & relationship headcanons! } ”

From ;; romance & relationship headcanons! // Currently Accepting

Answers under the cut because it got long.

14. what traits does your muse want to avoid when it comes to choosing a romantic partner?

Mole wouldn't want a partner who's needy / clingy or self-entitled. He will be gone at times for long periods of time for work so someone that always needs him around, always needs things from him, or stuff like that would not be someone he would stick around. Similarly, he wouldn't stay around someone who's self-entitled for very long. He will not do things for someone because they expect him to, have a particular status, or so on. Mole doesn't really give a fuck who someone is, what their status is, or so on. He won't put up with being expected to conform to someone who's entitled like that.

Herbert similarly isn't interested in people who are self-entitled. He'd seen enough entitlement from people during the time he was alive due to the circles his family was involved in. He thinks its obnoxious and snobby. He also can't stand the idea of being with someone who's constantly negative. Herbert likes to believe himself to be a pretty positive person so he doesn't think he could really deal with someone who's always so down acting. Also, it reminds him of his cousin a bit too much.

Bradley likely wouldn't be able to remain with someone clingy / needs him around a lot. Like Mole he will be gone for very long periods of time but, unlike Mole, he won't be able to be contacted at all due to being off planet. He wouldn't want someone to get clingy amounts of attached to him only for him to have to be gone for a long time. He also wouldn't want to be with someone who gets jealous easily.

28. would it bother your muse if they had differing interests from their partner(s), or would they delight in it?

Mole wouldn't care very much. It likely wouldn't bother him nor would he really delight in it, it'd just be something he's neutral to. As long as the interests aren't ones he's not forced to partake in when he doesn't want to then he won't care at all. They can talk about it and he'll listen, he prefers listening anyways.

Herbert would likely delight in it. He'd be interested in hearing about any interests his partner may have, maybe even partaking in them himself. He's definitely open to trying anything once.

Bradley would be fine with his partner having differing interests. While he might not always understand what they may be interested in he'll be more than happy to listen to them talk about it. Maybe he'd also be open to partaking in any interests his partner has but that really depends on what it is.

32. does your muse have an ideal "type"?

None of them really have a set ideal type but they do have general preferences for an ideal partner I guess?

Obviously, Mole would prefer someone who's independent and can deal with his absences. He also would want someone who wouldn't pressure him into changing how he lives such as trying to get him to stop his mercenary work. Though, probably the biggest thing for him is wanting someone who won't force him into any form of physical touch. Surprising him with or pressuring him him into physical touch is the quickest way to get Mole to not like you anymore aside from trying to get him to change himself.

Herbert does not have an ideal type at all. Just be a decent person and you're fine.

Bradley, similarly to Mole, would prefer someone who's more independent and can deal with his long-term absences. He also just wants someone who's nice and can be "soft" per se.

#nebula-drcams #ɪɴǫᴜɪʀʏ.;; [ answered ask ]#ᴍᴏʀᴇ ᴏɴ ᴛʜᴇ ᴍᴜsᴇ.;; [ headcanons ]#ᴛʜᴇ ᴍᴏʟᴇ’s ʀᴇᴘʀɪsᴇ.;; [ Ze Mole ]#ᴘᴀʟᴇ ʏᴏᴜɴɢ ɢᴇɴᴛʟᴇᴍᴀɴ.;; [ Herbert Pocket ]#sʜᴀʙʟᴀɢᴏᴏ!;; [ Bradley Biggle ]

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astarab1aze · 4 months

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Truth Serum + How do you really feel about Jezebel? [ Kaede ]

truth serum!

Annoyance struck him on a dime, speech compelled by - something, something he couldn't fight.

"I-- Think she's fucking irritating. I don't know what her problem is, and I never know what she's thinking until she's throwing herself into the middle of a fight or telling me in so many words she thinks I'm a git. It's frustrating to never be able to have a solid conversation; She always rebuffs, attacks me, or incidentally drags me into a fight when all I'm trying to do is make sure she stays alive. She thinks she knows what type of person I am, or doesn't care, and reads my efforts as a personal affront-- But that's the furthest thing from the truth. She'd know that if she stopped for a minute and talked to me. Maybe she knows and just doesn't care, that seems more likely. Obnoxious, annoying- It makes me want to throttle her, cut her down where she stands, and I hate that because I don't fully understand why I feel so fucking strongly about it. She doesn't care about me, but I care about her in a way I can't make sense of, no matter how tempting the idea of murder can be.

"And I hate, even more, that I can't help but draw similarities between us. That I feel some flavor of kinship for her. That I'd like, maybe one day, to see her be less like me, less like whoever made her into the violent asshole she is now. I mean, it's like looking into a... broken mirror at times. I just can't stand it. I want her to be quiet and listen to me. I want her to settle down and stop thrashing. I want her to let me help her. But fuck, if I can't do it myself, I guess I'll never get her to do the same. Too volatile, both of us, and I'm not sure if that's a trait unique to us or if it's just part of what it means to be fucked up, or human. In either case, I think of her as an asshole. An obnoxious little shit, like she thinks of me, but maybe I care just a little more. I don't want her to die. I'd be even more pissed off at her if she kicked the bucket and I wasn't there to do anything about it - I'd also be royally pissed at myself, but that doesn't matter. And maybe she doesn't need saving, but fuck her. I don't care how good she is in a fight; I don't and won't ever allow the people I'm allied with to die or suffer injuries if I can help it. I don't expect her to do the same for me, but the least she could do is let someone who maybe, sorta, kinda at least cares about her safety and wellbeing even a little to help her out.

"As I'm sure you've gathered, she makes me fucking mad. Now why, really, do you think that is, huh? Because in my heart of hearts, I want to be close to her and I fucking hate it. She'll never want to be close to me, so it's a wash. It literally doesn't matter what I say or do. I will always just be an idiotic potential threat to her, an enemy she just happens to be forced into an allyship with because I won't just leave her be. Do you know how embarrassing this is? How utterly moot a point. It would be easier if I didn't have to deal with this anymore, but I'd still fucking - worry, about her like it matters. This is why I still drink whisky. I hate this. I hate thinking and feeling shit for people who don't give a rat's ass about me, yet here I am... Here I am. Like the trained dog my clan turned me into. And she wonders why I'm so dogged."

#☿ || Asks.#♞ // Verse: JJK.#origami-assassin #/ he's so - angry about it ksjdhfs #/ it almost comes off like he hates her #/ but he doesn't #/ he's just #'i want her to stop for 5 minutes and talk to me so we can be friends or something and also so we don't kill each other'#/ literally would never say this out loud in one go but sprinkle it in over time #/ but kaede angry ranting about a girl he cares about--

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guns-in-the-desert · 3 years

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Alone Time- Germany(NSFW) one-shot

IT’S FINALLY HERE, MY FIRST ONE SHOT ON THIS BLOG, To the angel that requested it, I’m sorry it took so long, I hope you love it. I tried my best to keep it gender neutral as possible. So tell if there are any slip ups (specifically with pronouns).

anyways, here are the warnings

Pet-play(she was on a leash), Boot licking, Oral sex (reader giving), Germany being hot, and bad writing.

Status: Unedited

“Stop it, Ludwig,” I say, feeling my boyfriend's lips on my neck. “I'm trying to cook.”

“I'm not doing anything, just relax.” and me, being the idiot I am, I listened. I tried my best to focus on not burning the pancakes in front of me, but Ludwig was making this the most difficult task in the world. I feel his cold hands slowly begin to caress up my waist, and under my (his) shirt. He reaches over my shoulder and turns off the stove. He begins to bite my shoulder. I let out a breath I didn't even know I was holding. Ludwig starts to rub up my thighs, I bite my lip, in anticipation. He slowly inches his hands closer to my core. He begins to slide my underwear to the side, I feel his finger start to enter my.

“Ass face, I need powdered sugar.” Monika’s (nyo!Germany) voice rings through the house. I hear the front door slam and turn around to see Ludwig, eyes wide, and cheeks red. He Immediately removes his hands from me, and goes upstairs. Great, now I'm horny with a half cooked pancake.

It’s been a week since Ludwig’s sister caught us in a less than decent position, and he hasn’t laid a hand on me since “You need to get over your weird paranoia, no one is gonna walk in.” I say crawling towards him, leash around my neck. There’s no way he could resist me like this, I'm practically the perfect puppy. He looked right at me, and turned right back to his laptop. My eyes were saucers, at this point. I stared at him in awe. He completely ignored me. I see my boyfriend's eyes look in my direction.

“Don't give me that look.” he says, my face twisted into a confused look. “Stop it.” Ludwig commands.

“I don’t know what you're talking about.” He gives me a stern look and I begin to catch on. Slowly I start to crawl towards my boyfriend, tongue out, eyes wide.

“Sit.” I stop dead in my tracks, look at him, cocking my head to the side. “Stop, I'm working.” I bite my lip and whimper. He takes a deep breath and continues to type. I continue crawling forward. “I said stop!” he said, his jaw tense.

“But master,” I pause, “I've been so good.” Without hesitation, he grabs the leash and yanks me in his direction.

“I've spoken to you about talking back, haven’t I?” he questions, his voice lowering. I nod in response. “Then what exactly am I gonna do about that mouth of yours?” he asks while he pinches my cheek. Despite the way it was phrased it wasn't much of a question.

Ludwig unzips his pants and takes his length out, he grabs the back of my head, and not so gently places my mouth around his cock.

“HEY WEST!” The obnoxious sound of my boyfriend's older brother, Gilbert’s, voice fills the home office. I'm immediately yanked off of my boyfriend's cock by my hair. “I don't remember what I came in here for, but mine is way bigger.” and before I knew it, we were both being kicked out. Joke’s on him, I could hear his porn through the door, that he had the nerve to lock me out of.

At this point, Ludwig’s refusing to even glance in my direction, and doesn’t seem to like the idea of taking back the keys he gave to his siblings, so once again, I'm forced to take matters into my own hands. I wait for him to come home, on the couch, in nothing but a collar and pink thong, this has to work or I might actually explode.

I hear the lock on the front door turn, and I perk up, “Hey, Ludwig, how was work?” I greet him casually

“Oh, it was fi-” he cuts himself off upon seeing me, I can't but feel proud of myself for triggering this reaction from him. I look up at him with wide, innocent eyes.

“What’s wrong?” I cock my head to the side. “Long day?” Ludwig can’t seem to find words. “If so, I know what you need.” I say guiding him to the couch. “A good ol’ fashion boot cleaning.” I state lowering myself onto my knees.

“No, I'm okay.” My boyfriend says in retaliation.

“D-did he just say no?” I think to myself. I'm pretty sure my jaw literally hit the floor.

“Would you prefer a foot rest?” I ask, switching my position to my hands and knees. He stays silent and doesn’t move an inch, it’s like he’s frozen. “Welp, I guess boot cleaning it is.” I state lowering my face to the boots in question. I start by licking up the side, my tongue only grazing the rubber sole. I make my way to the steel toe, and just as I'm getting to my favorite part.

“HEY BROHAUS, I'M GOING THE STORE, YOU WANT SOM- OH!”

“GODDAMMIT JJ!” I shout in frustration.

“You're just gonna let her talk to your big sister like that.” JJ says, sitting on the chair, in the living room like she didn't interrupt us. Ludwig looks as if he’s frozen. “Damn Luddy, you’ve kinda disappointed me here, you gotta make her lick it like she means it.” Ludwig doesn't say anything in response to his sister just lowers his head in shame. “If she doesn't, what's the point?” his sister continues.

“Umm..” I begin but I can't figure what I could possibly say in this situation.

“Anyways, do you need anything from the store?” JJ offers with a smile. I'm in absolute shock by her nonchalant nature.

“Just some milk.” Ludwig says, eyes still on his lap.

“No problem, baby.” She says in an endearing, motherly tone (no one has ever confused me more than this woman has at this moment), getting up to pinch her baby brother's cheeks. Her demeanor immediately changes to her regular, obnoxious one, as she exits through the front door. “DON'T FORGET TO CLEAN THE SOLES!” She laughs while closing the door. I stay on the floor stunned at what just happened, as my boyfriend just goes upstairs to take, what I assume to be, a cold shower.

I wake up to hear water running, I quickly get up and make my way to the bathroom, and strip down completely. I hop in behind my unsuspecting boyfriend, and wrap my arms around his torso, I feel him jump slightly.

“What exactly do you think you are doing?” Ludwig questions turning to face me.

“Saving water, I thought it was obvious.” I say a playful tone in my voice. I lower myself onto my knees, to take his half hard cock into my hand, and slowly start to pump.

“Stop, what if somebody co-” I shush him

“Who is going to come in, while your showering?” I say before putting my mouth to good use.

“Well, I suppose your right.” he says, grabbing me by my hair, and bringing my nose to his toned abdomen. I feel myself choke slightly.

“What’s wrong, can't take it, all of sudden.” He chuckles. “Pathetic.” he presses my head down with a firmer grip. “Suck it like you mean it, or don’t suck it all.” I'm suddenly hit with flashbacks of his sister from two weeks ago. I'm not gonna lie, It threw me off a bit.

Ludwig continues to bob my head back and forth on his length, watching me intensely. I feel him start to twitch in my mouth, he tenses and I feel his warm load glide down throat and dribble down my chin.

“GERMAAAAAANYYYYYYY” I hear the voice of Feliciano, Ludwig’s best friend, as I'm met with the cold air, from the curtain being torn open. “Oh hi Y/N, you look awfully pretty today.” I see ludwigs eyes darken from his friend's comment.

“What do you want?” Ludwig says, visually irritated.

“I wanted to know if you had seen my spatual, I used it yesterday and now I can't find it.” Feliciano had said it so fast, I almost didn't understand him.

“Why the hell would I know, YOU DON'T LIVE HERE!” I jumped a little at his sudden increase of volume, it was kinda hot.

“I'm sorry Luddy, I forgot?” I giggle at Feli’s response.

“You mean to tell me you walked all the way to my house, and still didn’t remember you lived somewhere else?” Feliciano just nodded in response to my boyfriend's question. “GET OUT!” and with that, Feli was out the door.

Ludwig reaches over to turn the water off. “Um, what exactly do you think you're doing?” I say and he shoots me a confused look. “You get to finish, and I don’t?” He stops and stands straight up. “I think the fuck not, you trick ass bitch.”

Ludwig sighs, hoisting me up against the wall, and rubbing circles on my clit. “You’re right, that was rude of me.” he says, biting my neck.

“That's quite a subby response, if you ask me.” I say earning me a slap on the ass, the water only amplifying the sting caused from his hand. Thank god, I don’t know what’d I would've done if he left me hanging again.

Up next: Axis with a bratty s/o

Until next time😚

#hetalia #aph #hetalia x reader #hetalia headcanons #aph germany #germany #germany x reader #aph germany x reader #hetalia smut #aph Germany smut #one shot #anime #fanfic

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whumpmatsus · 3 years

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So. Todomatsu always ACTS like he hates that Karamatsu is so eccentric, but we all know he actually doesn't mind that much. If anyone else made fun of him for that stuff, I can't help but think he wouldn't let it fly. So what about a situation where Karamatsu gets made fun of/bullied/put down by someone OUTSIDE the family for being the way he be and Todomatsu gets an opportunity to go into full protective mode over him??

OH SHIT the youngest of them goes feral

dare I say... RELEASE THE BABY!!!!!

God I love Zaimoku, it’s so good <3

If Totty is being completely, utterly, unfailingly honest with himself, his brothers need his help if one of them is going to be going on a date.

Really, he’s the only one who has any clue about how to act on a date! He could hit his big brothers over the head with a Clue-by-four with that shit and they still wouldn’t really get it.

Even so… part of him thinks he shouldn’t really be following Karamatsu to a date. Karamatsu is the one Totty knows is never going to come running to him for advice or assistance, especially with girls; he’s got the undeserved ego of an avocado toast sandwich. Totty isn’t sure he’d be pleased to know his baby brother tagged along not because he has to sort out a schedule thing at work, but because he wants to keep an eye on Karamatsu.

What else is he supposed to do, though? Just let Karamatsu go alone and totally blow it? His usual behavior aside, Totty really wants his big brothers to be happy and have fulfilling relationships. He thinks if he can be there to keep an eye on things, well, maybe it won’t go so bad. Maybe Karamatsu will have a shot with this woman. Maybe he’ll get a girlfriend!

The very idea was enough to make him feel a little better about lying so that his brother will take him along. It eases his conscience, imagining that if he manages to help Karamatsu out to the point that the second eldest ends up in a loving, joyful relationship, (obviously as opposed to the past few horrible ones he’s had), then a little fib isn’t so bad, is it?

After all, if he were the one in need of something like this, he’d be grateful for his brothers’ help however they did it.

Of course, when he sees the look this girl gives Karamatsu, a look like the kind a baby gives after licking a lemon for the first time, Totty can’t help but wince. This isn’t off to a great start. He lingers by the counter, greeting Sacchi and Aida, trying not to look as if he’s watching his big brother’s date.

“Aren’t you off today, Totty?” Sacchi hums as she turns to start making a drink.

He nods. “Yeah, well, I can’t stay away, I guess, haha.”

Aida jerks her head toward the table where Karamatsu and his date are. “That’s one of your brothers, right? Still as painful as ever,” she teases. “Is he… oh, my God, he’s on a date??”

“Shhhh, shh!” Totty waves his hands a little, hoping to get his friends to quiet down a little. The last thing Karamatsu needs is to be drawing attention. “He thinks I tagged along to talk to you guys about my schedule. But, yes, he’s here on a date.”

Sacchi finishes serving her customer, one of the few in the shop at the moment, and then leans against the counter to look over. “Aw, good for him. He’s not either of our types, but he deserves a shot with someone who’s interested.”

He lets out a soft sigh. “Agreed there. I kind of just wanna keep an eye on him, you know? To make sure he doesn’t mess it up too much. He should have let me pick his outfit, ugh… that aside, he’s doing okay so far, though, I think.”

Aida frowns as she slides a cup of coffee toward her coworker. “Um, I hate to burst your bubble, but he’s got his work cut out for him. I’ve been to some mixers with that girl, and she always finds something wrong with every guy she hangs out with.”

“She’s right,” Sacchi adds. “Good thing you came along so you can carry him home, ‘cause that girl’s gonna tear him to pieces. I mean, she went out with Atsushi and the next day he was in here crying and telling me she made him feel two inches tall. Nobody’s good enough for her.”

Aida clicks her tongue. “Your big brother’s in big trouble, Totty.”

It’s Totty’s turn to frown as he looks toward Karamatsu. Unfortunately, Sutabaa is so small and he’s close enough that he doesn’t have to strain too much to hear what’s being said.

The woman is laughing. However… Karamatsu hasn’t even really opened his mouth yet. “Oh, my God! You’re my date, huh? Last time I let my sister set me up. That bitch, haha. Ah, well… wow, your jacket is hurting my eyes. Could you take it off?”

Karamatsu seems to be trying his best to smile. “O-oh, yes, of course.” He moves to tug it off, folding it over the back of his chair. “Please forgive me. Anyway, my name is Karamatsu. And you, my angel?”

“Ahaha, WHAT?” The woman raises an eyebrow at him. “C’mon, dude. Don’t call me that. I’m nobody’s angel.”

Totty feels himself starting to steam. You’ve got that right.

“A-ah… right, my apologies.” Karamatsu just keeps smiling. The expression on his face reads almost like he’s in pain. “Well, should we order?”

She gives a cursory glance toward the menu, then suddenly her eyes are drawn to Karamatsu again. “Oh, my God, hold on… is… is that your face on your shirt?! Holy shit! Are you really that full of yourself?”

Totty’s heart sinks as his brother’s cheeks flush bright red. This is not going well. And while, yes, Karamatsu probably should have picked a different shirt, what’s really wrong with what he’s wearing? Even though he’s a little over-the-top and dramatic, this woman can’t know whether or not he’s ‘full of himself’ when she’s barely letting him get a word in.

Totty is the most socially intelligent of his brothers, and even he doesn’t think Karamatsu’s actually doing anything wrong. He hasn’t drawn anyone else’s attention like he usually does, he hasn’t gone overboard with any poses, and he’s… kind of just being himself, slightly toned down. It’s not like he’s bragging or being a jerk. Hell, it’s just a strange fashion choice; how the hell does she think it has any bearing on what he’s like as a person?

“Damn,” Sacchi cringes. “She’s not wasting any time, is she?”

Aida gives a pout toward her friends. “He didn’t even do anything wrong yet. He’s been a perfect gentleman.”

“Yeah, he’s just a little odd and, like, a tiny bit painful. But he’s acting really nice and polite.” Sacchi sighs as she props her head up on her hand. “There’s no pleasing some people. Aida, why don’t you go take their order? Maybe you can accidentally spill it on that pretentious top of hers when you bring it to them.”

“Pfff, if only. I’m on it, though.”

Totty continues to fume as he watches his poor brother try to impress this girl, pretty much in vain. He gets the feeling that nothing Karamatsu says or does is going to be good enough. For some reason, that really pisses him off. Despite the fact that Karamatsu can be a bit much, that he’s overcompensating for being insecure on the inside, that everyone rolls their eyes at him… Karamatsu isn’t a bad guy. He tries hard to make other people happy and treats them with respect. Even his brothers who don’t always return the favor.

By the point Sacchi and Aida are finished making their order, the youngest is ready to explode at this woman. She never even told Karamatsu her name, but she’s spent the whole time talking him down. When she asked what he did ‘besides be super excruciating’, and he told her he didn’t really have a job, she laughed at him. He tried to save it by saying he occasionally played guitar at coffee shops, and she responded something along the lines of, “What kind of hipster loser does that these days??”

Listening to it just makes him so angry. She doesn’t think Karamatsu is attractive, she’s called him embarrassing more than once, and no matter what he does or says, she’s not happy with it. Why the fuck did she even bother going out with him, then?

Totty was worried that Karamatsu was going to screw this up; so far he’s actually managed to be a decent date. He wasn’t prepared for his brother’s date to be the shitty one.

Sacchi brings him a simple iced coffee while Aida returns with the serving tray, a fake smile on her face from laughing uncomfortably at one of the woman’s comments. “God, she’s exhausting.”

“I don’t even know her and I can’t stand her,” Totty mutterrs before taking a sip of his drink. “Why the hell is she treating him like that? He’s just… being himself!”

Being himself. Karamatsu’s really not doing anything wrong. He’s trying to talk himself up when this woman gives him a chance to, but who doesn’t talk themself up on a first date? He just wants to impress her.

It makes Totty feel a little guilty to realize that, honestly, all Karamatsu really wants is to impress everyone because he wants people to like him… including his brothers. If Karamatsu feels the need to seek love and acceptance from strangers like this girl, to the point that he’s willing to put up with the horrible way she’s treating him, what does that say about his brothers? It’s not the first time he’s sucked it up and dealt with something he shouldn’t have from someone just because he wants that person to love him.

His attention is drawn by the woman giggling a little too loudly. “Fuck, you wanna go out with me again? I mean, how do you think this is going? I’m two seconds away from sneaking out the bathroom window. You’re so obnoxious, you dress like an edgy middle schooler, and who wears sunglasses inside, especially when it’s raining outside? You’re, like, cringe incarnate.”

Completely contradicting every statement she made, she slid her hand across the table to take his, if only for a brief moment. The wicked look in her eyes, more sadistic than even Ichimatsu, made Totty’s stomach twist in anger. “I might keep you around, though. You seem like a guy who’d keep me laughing for a while. Maybe next time I’ll take you out with my friends so everyone can laugh at you.”

Oh, that’s it.

He doesn’t know if Karamatsu is oblivious to what she means because he’s blinded and deafened by the promise of another date, or if he knows exactly what she means but perhaps thinks it’s worth it. His eyes light up… and behind that hopeful spark is the pain she’s already put him through.

Baby of the bunch though he is, Totty isn’t going to sit around and twiddle his thumbs while some bitch takes advantage of his big brother.

“Oh, that is sooooo not happening!” he calls as he approaches the table. Although he feels a little bad about just stepping in like this, he’s not gonna let her get away with treating Karamatsu like that. Laughing at him herself was bad enough; parading him in front of her friends for all of them to laugh at him when there’s nothing wrong with Karamatsu isn’t gonna happen if Totty has something to say about it.

The woman gives him an unimpressed look. “Who the fuck are you?”

“T-Totty!!” Karamatsu, on the other hand, looks immediately panicked. “I can handle this… please, go back and fix your schedule, and I’ll meet you at home.”

“Wait, you work here?” She tilts her head at him. “Oh, shit, hold up. You’re the asshole who messed up my drink last time I was here.” Her gaze flits between the two of them, and she laughs again.

“― Oh, my God! You had to bring your twin brother along to come on a date? You’re pathetic!” Her hand pulls away from Karamatsu’s. “Oh, you’re definitely coming out with me and my friends.”

Totty hisses and pushes her hand away from Karamatsu’s. He steps in front of his big brother to physically block this woman from him. “Keep your hands off him! You’re not taking him anywhere. He’s never seeing you again, because you treated him like… like, fuck, I wouldn’t treat a rock the way you treated him!”

He hears Karamatsu make a noise of almost-protest behind him; he can just imagine the other man sinking down in his seat and trying to hide his face. “Totty, please…”

“No! No, she doesn’t get to just treat you like dirt, Karamatsu-nii-san! You think my brother’s just some kind of dumbass you can show off to your friends and laugh at and treat him like crap?!” he snarls. “Well, guess what? He may be sort of a dumbass sometimes, and maybe he’s a little painful, and maybe he’s not the perfect guy you’re looking for! But he’s a whole hell of a better person than you are!”

Although Totty could kick himself for not saying anything to Karamatsu before, it might be best it’s coming out now. He doesn’t have a lot of time to really think about it or pretend or rehearse. What he’s saying isn’t practiced, it’s real. “Karamatsu is the kindest person I know, and you wish you had at least half the passion he does for the things he likes! Who cares that he wears a shirt with his own face on it? He was bending over backwards to make you happy, even though everything out of your mouth was word barf about how embarrassing he is! And, by the way, you’re wrong!”

It only takes half a step for him to reach over to grab his coffee from the counter, assisted by Aida who’s smirking as she holds it out for him. “If my choice was between you or him, I’d be way less embarrassed to be seen in public with him than with you! He’s not perfect, but he cares about people, and he’s always there when you need him, and ― and all this stuff you think is embarrassing, who the hell gives a shit?! It’s what he wants to do and it’s not hurting anyone! I’d break my phone before I let my big brother go out with someone like you again! Maybe he keeps striking out with dates, but he’s never going to be that desperate!”

He feels a little bad about what he’s about to do. That feeling is mitigated by the fact that at least his coffee isn’t hot.

“And, you know, I actually am sorry about messing up your drink last time. So here, you can have mine!” Almost before he’s finished speaking, he’s dumped his entire cup over her head.

He doesn’t stick around to deal with the aftermath aside from seeing the look of abject horror on the woman’s face as the coffee makes her bad mascara drip. And even though there’s a little bit of guilt over the fact that he’s leaving his coworkers to deal with her, the fact that Sacchi and Aida are cackling while they gather up napkins eases his mind.

He grabs Karamatsu by the hand and leads him out, tossing his coffee cup on the way. There’s not much choice on Karamatsu’s part, except he doesn’t particularly look as if he minds that.

“You didn’t… have to do that, Totty,” Karamatsu mumbles. When Totty glances over, the second eldest looks more tired than anything. He knows that look; the exhaustion of something not working out, of thinking you had a chance only for it to all go up in smoke.

Totty huffs, marching the two of them in the direction that leads back home. “Of course I did! You weren’t going to do it, so someone had to. God… you’ve gotta stop letting people walk all over you, Karamatsu-nii-chan.”

The shift to the more affectionate honorific suggests to Karamatsu that this is really, truly something Totty cares about. He squeezes his baby brother’s hand with a thoughtful hum. “… If that’s the case, perhaps a romance for me just isn’t in the cards. I… really thought it was going to go somewhere this time.”

At last Totty slows slightly, from an aggressive pace to something a little calmer. He’s still pissed off that someone treated Karamatsu like that, and although he’s a bit upset that Karamatsu sit there and let it happen, he knows what it’s like to want people to like you so much that you’ll put up with nearly anything.

However, that’s also the reason he doesn’t want Karamatsu just putting up with it. He deserves so much better than to have people treat him like dirt. It’s not right to do that to anybody, but… especially not to Totty’s big brother.

“I’m sorry I kind of… tapped into Murder Totty in there,” he sighs. “Did I go overboard?”

Karamatsu shrugs. “Maybe a little. But I wasn’t truly enjoying myself and I didn’t want to go on another date with her. I just… didn’t know how to tell her no. I suppose I really am lucky you were there, too.”

Silence falls between them while they walk, then after a moment, Karamatsu clears his throat. “Totty… did you… mean all those things?”

“Huh? All what things?”

“Those things, you know… you said I was… kind and passionate and reliable.” He lets out a soft laugh. “You… you said you’d rather break your phone than let me go out with her again.”

… Oh. He. Did say that, didn’t he?

He pouts a bit, then squeezes Karamatsu’s hand. “Yeah, I meant it. Of course I meant it.”

Beat.

“But as much as I love you, I’m just glad I don’t have to do that.”

#Osomatsu san #whump #Zaimokumatsu #Karamatsu #Totty #emotional whump #TOTTY TO THE RESCUE!!!!#don't you dare fuck with any of his big brothers ESPECIALLY the most vulnerable of his big brothers #RELEASE THE BABY!!!

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franki-lew-yo · 3 years

Text

I really hate 2d purists. No, not 2d animation. Not 2d animators.

2d purists.

The sad thing is it’s gotten to the point that I really cringe hearing any pro-2D sentiment at all. I hate the arguments I agree with because how often they're misused and weaponized by idiots.

Let me make my stance here clear - 2d is NOT appreciated and 3d is used for everything! The layman Karen-mom who doesn’t have an artistic bone in her body looks at stupidsmooth 3D Grubhub ads and assumes quality cause it “looks more real” (aka ‘rendered’). I know as much is true because I literally have a member of my family who told my sister and I that she thinks 3d is better (and also that she “tolerated THOSE movies for us kids”. Touching words. My sister was taking an animation course by the way). Combined that with the studios either using 2D for cheap stuff or finding good 2d animation too “costly”, I get it and I’m not even any animator. I'm just a worm an illustrator.

but holy HELL -

There’s a backlash from the artistic community that's it's own kind of insufferable and deserve to be addressed.

“(insert2Danimatedfilm) is better BECAUSE it's 2D!”

followed by: "Animation is a visual medium and the quality of the art affects how much the story means !!!!”

Yes. Totally. Animation is a visual medium and the look and style is important. Sadly, people use this excuse to really obnoxious ends, insisting that design being pretty is '' everything ''. When you treat a movie more as a special effects demo I get why you talk about the artistry at hand; but I’m sorry, visuals are not the only thing important and it’s why I’m also getting sick of the sameElsafacesyndrome rants too! There’s this attitude that's reads as "but it LOOKS better fromaproductionimage/teasertrailerwhichapparentlyisindicativeof all themovieactuallyis so it MUST BE better".

-“3D should only be used to make things look realistic!”

I think I know the logic this criticism is made in response to, and that’s the Sony + Illumination films which look just as good in 2D as they do in three dimensions. I know it feels like people are twisting this medium to try and make it like a classic cartoon when by all means people can and would love a classic cartoon being a classic cartoon. That I get- From the unsung 2D animator’s perspective, that’s more than valid !

But it’s a huuuuuuge slap in the face to 3d in saying it should only be used for "realistic animation" because

1: It’s not like realistic animation could age badly or look uncanny in the next few years. It's almost like technology is constantly improving, which I guess 2d animation never did and it was always the same technique and quality as every film that came after it.

2: The industry does treat 3d as a magic-moneymaker for this reason. Just listen to these people call the 2019 LION KING “live action” as if they’re embarrassed to call it animation. It IS animation! It would be impressive if you acknowledged that what it is, but like the CATS, you basically are treating it as just a neato tool to better your live action and not it's own artform - which it is!

3: By this “three-deeonly gud when real liek in da toystories” non-logic I guess 2d should ONLY be for flowyflowy SPACE JAM cartoons and maybe some Disney*. Just that though. You can’t do anything more with 2d. It’s never supposed to be realistic I guess. Good thing Richard Williams only did 'toons' and just toons that’s why we need 3d in the world I guess.

Wait no - that’s stupid.

"I HAVE to see the “Land Before Time 14″ when it comes out! I mean it’s a 2D animated film!"

Lost in the aether that is Youtube comment chains removed from kid's videos is a stream of this very VERY stupid argument supporting the buying of the 14th LAND BEFORE TIME film because it’s supporting 2D. My sister and I can be found on that chain arguing against this stupidity. All you have is my word, but trust me: it really did happen.

I’m sorry but...no.

Unless you have a friend or a family member who worked on these movies there’s no reason to see this and ESPECIALLY no reason to insist it’s a win for the 2D community if you buy up this crap - and I'm not judging if you do like it, but come on! LAND BEFORE TIME 14 isn't where your money should go if you really like this medium.

What’s so infuriating about this argument is you can tell it’s made by nonanimators. Real animators will tell you to support their movies cause they want some respect for their artform which is why there’s such a push from the PRINCESS AND THE FROGcrowd that you SEE and LOVE every 2d thing out there, regardless of how good it is because any recognition for it is k i n d o f what they're after!

Kiddy sequel schlock isn’t even in the same ballpark as KLAUS or WOLFWALKERS; these films DID have very limited theatrical runs (Klaus so it could be nominated; Wolfwalkers in places where theaters opened up after Covid) and should have been supported because they were labors of love made by people who love animation.

As other people have already pointed out, one of the reasons for the lack of interest in 2000sera2D animation is that the only films released alongside critical+financial 3D hits were cheaper 2D films that either coincided with daytime tv shows or should have been just direct-to-video. It’s not to say art couldn’t come out of these flicks, but dayum if it wasn’t abused as much as the texture software that era's CG used... Point being, should the world ever go back to normal: If you hear about an out-of-town showing an acclaimed 2D animated film, make time to trek out and see THAT!

Don’t give your money to see yet another made-for-tv movie on the big screen because all that tells the studio is: “yeah 2d IS cheap and only good for cheap stuff let’s just keep it cheap. Only 3d is important 8D 8D 8D !!!"

“I don’t understand how it works. So it sucks.”

This text is from an ANIMATOR btw.

“I don’t understand how it works” and “it’s just some computer rendering” is the exact same wave of logic the people who prefer cgi use.

The plebian Karen I mentioned earlier? She understands the basics of 2D animation as much as you did from one of those cruddy flash classes you took in middle-school. She 'understands' the basics cuz she watched how it was made on the DVD features or maybe back on the WONDERFUL WORLD OF DISNEY. To her, the illusion is broken and she’s not impressed by 'just some drawings on paper'. You, an animator, know the process is more complicated and is intrigued by knowing how it’s made - not bored or disinterested -

Neither you nor Aunt Karen have really good cg-animation software at your house and unless you ARE a 3D animator you probably DON’T know all the ins-and-outs of how these movies are modeled, rendered, and animated.

Aunt Karen is bedazzled by them cause she doesn’t know how it works and the technical aspect makes her brain hurt so it might as well be magic and she can feel like a cool kid sharing Minion-memes. Aunt Karen is the nonartistic type who just wants to feel safe. You're not. You want to feel challenged.

I get it: you’re pissed off cause you’re in a field no one, including Aunt Karen, appreciates; told to work in cg which it's an artform you didn’t devote your life to and told to learn it cause THIS style sells! 3D is everywhere and is starting to look like 'garbage' even if you don’t animate 3D models yourself you just KNOW, I guess. Besides, you know all there is to know about 2d!! You know all there is to possibly know about this artform and have to fight this 'war' against "r e a l" animation! And I mean even when 3d software is there to use, it's not like you can actually make anything worth while in it, especially not anything that transcends the medium. Right Worthikids?

TL;DR: This argument is basically just " BWAAAAH I’M NOT GONNA USE IT I HAVE STANDARDS (a chip on my shoulder cuz art should be what I deem it to be) "

“PRINCESS AND THE FROG is-”

There’s a reason I can’t say I truly like PRINCESS AND THE FROG even though it's not even a bad movie! Like, stop reading this and watch PATF if you haven't it's good. It's my 'FROZEN', in that; I see a lot of potential in it I just think it needs some serious rewriting and that bugs me. Always have felt that way, tbh.

I dislike this movie because the response from the animation community seems to be it was perfect and the Academy was just Pixar-crazy with UP ((ftr, the Academy IS Pixar’s bitch and I personally advocate a sequel be made to WAKING SLEEPING BEAUTY about Mike Eisner’s sabotage of the 2D department at Disney which is still in place now!- but that’s a story for another day)). I’m sorry but UP was just a better story. So was CORALINE. So was FANTASTIC MR. FOX. Honest to god it feels like poor PATF is brought up as just a talking point and never for it's own worth as a labor of love - which it was! I'd like to honestly know: had PRINCESS AND THE FROG come out now and been cg if it would have even half the defenders for it because now it doesn't "look" like how a Disney movie "should" look...

If you like PatF more than the currant Disney lineup because of it's culture, it's music, it's feminism, it's black representation? Awesome. Great. Those things should be appreciated and I never want that taken away from you. But if you seriously think PatF is better just for how it was animated and looks - I lowkey may hate you.

“ALL OF DISNEY’S LATEST MOVIES SHOULD HAVE BEEN 2D! THEY ALL LOOK AWFUL IN 3D!! ALL OF THEM!”

TANGLED, FROZEN, and MOANA? Yeah. Sure. But um, e x c u s e y o u- WRECK IT RALPH sooooo doesn’t work in 2d! It could have used different between the various worlds but it’s about hopping through different video games. I’m also of the opinion that ZOOTOPIA and BIG HERO 6 are fine the way they are. Their 3d is awesome.

The latest fairy tale Disney films are really big on their place alongside the 2D canon esp in marketing. They keep trying to mimic 2D to varying results though I don't think it works as well as the movie's I'd previously mentioned. Me personally, I would love a mix of 3D and 2D technology, like if the backgrounds in FROZEN still got to be 3D but the characters were handdrawn and shaded ala KLAUS ((sweet sigh)). But even then are they truly unwatchable just based on how they're animated to you?

MOANA would have been incredible in 2D but for the record - I don't think it feels out of place in it's style. It reminds me more of a Pixar movie with the heart of a Disney classic which is it's own just as good.

“2D is the oldest form of animation and it’s being replaced.”

Actually, if we’re talking animation in film, stop motion is the earliest form of animation. The stop motion animated THE ADVENTURES OF PRINCE ACHMED and TALE OF THE FOX predate Disney’s SNOW WHITE. And yes: stop-motion IS still a form of animation even if it’s a serious of pictures taken of real life things and not drawings, so don’t you dare come at me with the "but that's not animated"/"Technically it’s LIVE ACTION" crap or I’ll envoke the spirit of Sandman to get you at night.

“Every animated film would look better in 2D! Even PIXAR would look better in 2D!”

Again, Stop Motion.

No, I mean it.

Lemme ask: Would ISLE OF DOGS or FANTASTIC MR. FOX carry any of the same effect if they were generic 90s toons? I know NIGHTMARE BEFORE CHRISTMAS wouldn’t. Christ, don’t even get me started on Svankmajer!

Sometimes the problem is that a movie is envisioned with a specific artform in mind. Pixar started out with toys and bugs for a reason and that’s cuz they were always gonna be a 3d studio and they needed to first overcome the placisity of the models. Over the years they’ve gotten really good at effects and blending unrealistic proportions with real textures (and also not so much- ONWARD and THE GOOD DINOSAUR really needed some different character designs and yeah, I do think would have looked better with a 2d artstyle, but not the ones they had in their films. THE GOOD DINOSAUR needed more realistic-speculative looking dinos and ONWARD needed a grittier HEAVY METAL/BLACK CAULDRON appeal to its designs.) My point being that the problems with these movies aren’t even inherently the animation as much as it is a problem of style. As someone who runs a group speculating different styles and designs for movies and tv shows I’m all for envisioning a 2D ZOOTOPIA or Bluth-inspired FNAF. That’s amazing!

But that’s also the talk of fan artists and nerds and not the professional artists working on visualizing their stories!!

Since I ate, slept, and breathed NIGHTMARE in my youth I’ll use it as an example: All the concept art ever done for TNBC was on paper and 2D was used in the final film. However, even when Tim Burton was thinking of making it just a tv special it was always going to be stop-motion. NIGHTMARE’s puppet cast do work very well in two dimensions, believe me, but the film was made as a love letter to Rankin/Bass and the art form of stop-motion. Skipping to another Henry Selick-helmed project (haha), JAMES AND THE GIANT PEACH was also always envisioned as a multimedia film to give it a truly dream-like atmosphere. If you know anything about Henry Selick you’ll know he’s 1) a perfectionist, and 2) loves mixed media and different types of animation and puppetry at once. That’s why he was the perfect pick to direct TNBC at the time, why JAMES AND THE GIANT PEACH and CORALINE are so beautiful and why MOONGIRL, his only fully 3d film, doesn’t have the same appeal.

As for what films I couldn’t imagine NOT being 3D? Probably; 9, Padak, Next Gen, Soul, Finding Nemo, the Toy Story films, Wreck-it-Ralph (as previously mentioned), Wall.E, Waltz with Bashir, Robots, Inside Out, Arthur Christmas, The Painting, Happy Feet, Shrek, Enter the Spiderverse, Megamind… just naming a few here.

“I want a traditionally animated film [and by that I mean a 90s-Disney/Don Bluth looking movie] of ‘x'-popular live action/stage thing!”

Okay I’m cheating a bit but it’s my blog and so I’m gonna stick this one in because it’s related.

When I see musings about wanting live-action or CGI shiz to be in 2d again a lot of the time this argument actually boils down to " I want this to look like a 90s Didney movie ". Or, if it’s about animals - " I want it to look like a Don Bluth film! "

Like...there ARE other styles of animation out there...you know that right?

Frack, Disney themselves tried different styles throughout the 90s it’s just that the peak of the Disney renaissance films (LITTLE MERMAID, BEAUTY AND THE BEAST, ALADDIN, THE LION KING) and the many imitators that followed tended to have the same look to them where only film/animation nerds kept watching into the era that was TARZAN, HERCULES, and ATLANTIS along with the kids. Aunt Karen wasn't singing Part of your World in the carride with you every day.

The Don Bluth argument is especially irritating because...what exact feeling do you WANT from a movie if it looked Bluthish? Each of the four ‘quintessential’ Bluth movies (NIMH, AMERICAN TAIL, LBT, and ALL DOGS) have such a different feel to them that’s complimented by that style; SECRET OF NIMH is a drama about wild animals trying to understand humans; LAND BEFORE TIME is even more squarely about an animal’s perspective as there’s literally no humans around; AMERICAN TAIL uses animals stowing away on the ship to tell a story about refugees; and ALL DOGS GO TO HEAVEN is ALL DOGS GO TO HEAVEN.

What the frack are you even asking for with that because I think there’s a certain flavor to the Bluth-styled oeuvre as well as the 90s Disney catalogue that would clash too much stylistically with some films.

Also come on! Like some Bluthian-style 2d would really fix THE SECRET LIFE OF PETS or SCOOB!, bite me.

I think this fixation solely on these two hand drawn styles and nothing else is based on nostalgia goggles, refusing to step outside the norm and discover different films and feelings than Disney and Bluth, and just preference. Goin back to NIGHTMARE there will always be a special place in my heart for Henry Selick’s stop motion, but I couldn’t imagine CHICKEN RUN or ANOMALISA in it's unique style.

Also I’m tired of every time there’s a "lets make an animatic to ‘x’ musical theater song" it’s reliably just Disneyesque or realistic. WHY envision an animated version of the show at all if it doesn’t have A STYLE to it??!?! I’m sorry but 90s-Disney does NOT fit CABARET!

“3D is so CHEAP now! Why can’t they just do 2D again?”

I think - on the cusp of the 2020s and the Grubhub hatedom, there ARE changing times ahead for 3d and 2d. The general public are starting to get tired of the same looking 3d films and wanting some 2d back, but they don’t have the best resources or opinions on animation to know what it is they want. Meanwhile, the animation community + industry is trying to figure out what to do and you have a lot of turmoil between the monopoly that is the industry, the high standards of the artists, and the mixed wants of the animation fanbase deciding what art needs to be.

It’s a tough business. And in the spirit of that tough business - maybe DON’T act like the means of a film’s production is solely your control, that you know best, and know definitively what the artists should have done....cuz you don't. Sorry my fellow criticalfanomanalysist-folks we DON'T and in an age of standom where fans and critics think it's okay to hackle indie animation studios about not getting their pitched cartoon out fast enough - we need to reserve these discussions to our circles and not treat them as gospel.

3d animation and 2d animation have to share this world. Stop acting like they’re either interchangeable in terms of budget, means of production, or artistry or that one has to be superior to the other.

The industry already says one art form is better (spoiler: it’s always live-action), we don’t need anymore of this purist garbage. Just stick to what you like while trying new things on the side. Be critical while also being compassionate. And remember:

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