My OC Cydney is a villain because being super heroes are boring. End of story.
What are his abilities? Cydney is not best for close combat but rather be useful for aiding his teammates.
He has the ability to do Sonic Scream that’ll damage and also push enemies away from him. If lucky his opponent might be dizzy for one turn. He plays terrible annoying music from his Iphone for his opponent to avoid him or his allies at all cost. Songs last at least about one or two turns. He also increase atk for motivational songs like “AMERICA F*CK YE-” you know what I mean… He sings his allies for an extra turn Inspiration from Azura who’s from Fire Emblem… His ultimate power is RAVE WUB DANCE PARTY. Making enemies and environments to get destroyed BY DUBSTEP!
I’m such a South Park trash. So what are your thoughts of him?
It occurs to me that one possible reason why I find fairies of the Fair Folk Beautiful and Terrible Kings and Queens Blah Blah boring and vaguely distasteful is that when you strip down all the glamour, they’re basically bored irresponsible rich kids randomly fucking with average people for their amusement just because they can. Like I get that Spring Storms Made Flesh and Lords of the Secret World but if Kellyaghnn from PE invited you to a Victorian-themed party complete with 1000$-a-piece tiny hats at her sixteen-room mansion with all her immaculately spray-tanned friends who giggle about What Fools These Working Classes Be, and then when you ate a single raisin promptly told you that now you have to stay in her house and work as her servant for free for the rest of your life to pay it off, possibly while dressed as a farm animal, you wouldn’t respond by sighing dreamily about how she’s Beyond Good and Evil.
the princess stayed in the tower and read books about better girls, where their hands learned how to hold swords, where they rode in on horses. i gave her books as often as i could. she devoured them.
her princes saw her and pretended to be scared off by dragons. got too lost in the thicket. didn’t want to handle it.
“tell me what it’s like, out there,” she whispers to me for the millionth time. i take her from The Throne into her bed, tucking her in and making sure her feet are covered.
“boring without you” i say as always, “but i did bring back a great story.”
i tell her about how the stars change beyond the equator. how there are places it looks like there are twin suns. how the desert crawls into you but so does snow. i talk about the taste of fruit and promise to bring her back some. she falls asleep while i murmur about rivers, and then in the morning i bring her from bed to Throne, even though she can do it on her own. sometimes she likes help, is all, and i’m happy to give it.
she doesn’t want help getting dressed. the men come for me, blindfold masters i have almost befriended. the path we take away from her is always different, carefully manufactured so i don’t know exactly where she’s located. after all, a lady might get ideas about things.
they let me go in the queen’s room. i report findings, ask for fruit in the next week’s supplies, am told not to spoil the princess, that she must be kind and waifish and wanting when the prince comes. i spend an hour suggesting that fruit might turn the blood sweeter and am allowed six oranges.
in the next week, she marvels over them. turns them in her calloused hands. smells them. holds them until she can’t control her curiosity, devours them. i bring her books about rivers. i bring her books about deserts.
“when is our birthday?” she asks me tonight. i’m knitting her a scarf for it.
“soon,” i tell her, “i’ll come by.”
she rolls onto one side, looks up at me in the dimming light. “I’m glad they chose you to be mine,” she says, and i drop a stitch. my heart sings against the inside of my wrists. i blow out a candle so she can’t see the blush and i can’t see her lips. i know what she means, i say. i know what she means.
it’s twenty-three for both of us. i bring her a cake we both eat, her on her throne and me on the floor. i am in the middle of laughing when she falls silent in the still night. “nobody else ever comes for me,” she whispers. i say nothing.
we have more cake, we go to sleep. i don’t know if she knows i’m awake, but i hear her crying.
the men come, the men take me. the one that smells like cedar always laughs at my jokes. the queen half-hates me because i remind her of “that nasty thing” they forced on their daughter.
“the left wheel needs oil,” i mention, “she’s having trouble turning again.”
the queen’s nose goes up. she never reacts when i mention her daughter’s wheelchair by name - doesn’t find it funny we call it a throne, thinks it’s well enough to leave alone.
“well, she’ll have a prince in this next month coming for her,” says the queen, “i’ve arranged it all,” says the queen, “he’s … had the situation explained to him first this time. i thought it would be best,” says the queen. “we’re paying him…. quite a lot for his effort,” says the queen.
situation. she means that her daughter can’t walk very far. she means the situation of towers. i excuse myself. i find my girl books about turning down marriage. i’m not sure why. it’s all she’s ever wanted.
they blindfold me and take me. cedar laughs at my jokes. the sawdust one is here this time, even he chuckles at a few. we ride horses through places i’ll never see clearly.
“so according to the queen this is the last time i’m needed, huh?” i ask them as they walk me blindly up too many stairs for my girl to make it down, “i’m sorry i never made your acquaintance.”
cedar laughs. he takes off my blindfold and for a second, lets me see his face. “it’s been an honor,” he says, shaking my hand, “you’ve been a perfect lady.”
i spend the day with my princess pretending i am not peeling apart from my bones. i just want her to be happy. to get to come home.
it’s late. “do you think in a past life i was a mermaid?” she asks.
“almost definitely,” i tell her.
it’s quiet for a while after. “what if,” she whispers, “i don’t want to leave?”
i sit up and look at her from across the room.
“it’s just,” she says, “i have you here and all the books i need and nobody makes me walk too long and i don’t feel like… like i’m wrong here.”
i want to tell her she’s never been wrong. that she’s always fit into my heart like a puzzle piece. that, more importantly, the leadership i see in her glows like a fire - that, no matter her body, she’s always been kind and gentle and smart and sweet. a princess that could bring a nation to her feet and do so lovingly.
“it will be okay,” i say, “there’s more fruit to discover.”
she doesn’t say anything. i think i’ve ruined something by accident, but i don’t know what. i don’t really sleep. i don’t say anything when the men come take me.
the world outside without her is boring. no mermaids. i put my hand in a river once a day, just thinking about her.
two weeks later i am awoken by my name, and a voice i recognize perfectly. cedar stands above me in the darkness. “i know two things in this world,” he says to me, “and one of them is about love.”
this time we make the trip without blindfolds. i see the squalor they keep her in. i see the waste surrounding her castle, the terrible place she’s in. rage fuels my footsteps even when they start flagging.
the prince is already there. he has dropped her twice, cedar tells me. i am already running up the stairs even though i can barely breathe. i hear her crying through the door and i don’t need to get ready - the fire that starts in me burns so brightly.
i roar inside. turn dragon and beat back prince with girl made rage. the bruises on her body turn me into giant snake. i eat the man alive, or at least i chase him from the place, never to be seen again. later i will hear a rumor about a demon that stole the princess from him.
she cries into my arms. i take her down every single stair. i hear her murmur her thanks into my hair and then i kiss her, because i can’t handle it, because i have places to show her and she has my heart to lead.
my house isn’t much but it’s near a river. she likes putting her hands into it. i take her places when she is able, and otherwise i bring the places back. we read books together. cedar no longer works for the queen, but he’d rather live with the man of sawdust making tiny wooden figurines.
i lie in bed next to her, stroking her soft hair. “do you think i was a centaur in a past life?” she asks.
“definitely,” i tell her, and kiss her, gently. she holds my face and pulls herself closer to me.
“will i be a good queen? i mean, in this life?”
“i’m certain of it,” i reply. i can hear the truth ring in it. the bone-deep certainty.
she’s quiet for a moment. “you saved me,” she whispers, “and usually we’d end up married. but…”
i don’t know how to answer that. i feel ice down my spine suddenly.
“i’m not demanding, is all,” her voice shakes, “i’m asking this time. for you to choose me. for me to be yours, i mean. and for you to be mine. permanently.”
the next birthday we celebrate, we are both queens.
I had a seminar on intertextuality today and the class got talking about whether fan-created content can be considered part of the text.
I pointed out that fan-created content is often BETTER than the canon that producers give us, using the example of “the boring white man the Supergirl writers are trying to push down our throats as Kara’s love interest”
To which my 40 year-old, straight, male lecturer said “Mon-El? Oh yeah, he’s terrible. There’s clearly more chemistry between Lena Luthor and Kara.
As a kid, I knew that something wasn’t quite right with the events that unfolded at the time. Even though it was never brought up again under any circumstances by either one of my parents, it’s something that always stuck with me. I can’t say it’s a memory that I tried to suppress seeing as it was always there at the back of my mind, bothering me like an itch that wouldn’t go away unless properly scratched.
To all the writers who have ever felt lost, alone, and completely confused during the labyrinthine journey that is writing anything, and felt like screaming this at your story …
There’s a light at the end of that darn tunnel. First, let me describe how I used to fight my way out of these periods of confusion and hopelessness.
Usually, I would try to force myself to get back into the groove of the story. I would reread it, and be yelling at myself in my head, “Remember why you love it! LOVE your book again! Keep reading and FALL IN LOVE, damn it!” I’d go over descriptions, bits of dialogue, banter between the characters. I’d go over settings and imagery, and try to make myself remember how much they’d once excited me. I’d read things that had made me laugh when I typed them, sentences that I was particularly proud of, paragraphs that made me feel particularly clever. But the thing was, it didn’t work.
I didn’t care.
What was the problem? The problem was some of those descriptions, settings, images, and witty episodes of bantering had no Story Reason to be there. They were just there because they amused me. Just because I found the imagery beautiful. Just because I found a sentence or joke really clever and wanted to share my wit with the world. But the world didn’t care about my wit. Because the world (the people reading my book) knew subconsciously that there was no story to give that so-called witty sentence substance and meaning. I could create the most breath-taking images, I could make the most well-rounded living and breathing character, I could make a setting that you wanted to run away from home and live inside … and it didn’t matter. If the thing didn’t have a purpose for being there within the narrative, nobody cared. And I didn’t either.
So what is a Story Reason?
Everything in a story exists to support one of three things.
1. The A-story: The surface plot, the quest of the main character to achieve a specific tangible goal. What the story is about on the surface.
2. The B-Story: The love story, or relationship of the thing. Usually this relationship is instrumental in causing the third element, which is …
3. The Character Arc. The theme of the story, the purpose, the piece of truth the story seeks to prove to the main character and the audience.
If something in a story doesn’t contribute to the progress of these three, there’s no reason we should care about it. It has no point. Because in the end, all we care about is the story!
When it comes to scenes, story reason means continuity. It means the way the story unfolds logically. If every scene is there for a darn good reason, the scenes after and before will make total sense, they’ll connect seamlessly, a steady progression of events. Every scene’s turn triggers the next scene.
And to do this, every scene must be able to be linked with three words:Because of that.
Because of the turn of one scene …
The next scene happens.
And because of the turn of that scene the next scene happens.
To illustrate how this works, let’s look at a small movie you might have heard about called Zootopia. (Thanks to @inked-withlove for the movie suggestion!)
So let’s start at this point, the turn of the scene with Clawhauser and Judy searching the file on Emmitt Otterton.
Turn: “I have a lead."
Because of that …
Judy has to get Nick to tell her what he knows about Otterton.
Turn: It all goes poorly, and now Nick and Judy are stuck together by an incriminating adorable carrot recorder. (The B Story, the relationship, has intertwined with the A Story.)
Because of that …
Nick takes Judy to the place he saw Otterton go, a place he thinks will cause her to give up.
Turn: She doesn’t quit, she marches right in. (B Story: Nick sounds surprised, and a little impressed, that she didn’t back down.)
Because of that …
She has to question a rude yoga-performing elephant.
Turn: Though the elephant is absolutely no help, the seemingly addled yak is more than helpful – he even remembers the license plate number of the car Emmitt left in.
Because of that …
Nick thinks his part in this endeavor is complete. But Judy remembers that she’s not in the system yet, and thus can’t run a plate. Nick, however, can. And he’s going to, or else.
Turn: It just so happens that he has a pal at the DMV.
Because of that …
Sloths. He takes her to a DMV run by sloths and wastes as much of her precious dwindling time as he can.
Turn: “It’s night?!”
Because of that …
Legitimate Enterprise Car Service (at least that’s what it’s called in the screenplay) is closed. Judy doesn’t have a warrant and Nick is enjoying her suffering tremendously. After a spat, she tosses the carrot over the fence instead of handing it to him.
Turn: Because she has now seen a shifty low-life climbing the fence, she has probable cause, and doesn’t need a warrant. She can go in. (B Story: Nick is looking at her with more respect.)
Because of that …
They find the car and begin investigating. The car is a crime scene; claw marks everywhere, the missing otter’s wallet … and a cocktail glass etched with a "B”.
Turn: And it all adds up for Nick. This car belongs to Mr Big, a notorious crime boss. And his polar bear henchman are right outside. They grab Judy and Nick and yank them off screen.
Because of that …
Judy and Nick are wedged between the bear henchman, on their way to face Mr Big.
Turn: Nick sold him a very expensive rug that happened to be made from the fur of a skunk’s butt. Or in other words, Mr Big really doesn’t like Nick.
Because of that …
They wait fearfully for Mr Big to appear, and even when he’s revealed to be a tiny shrew, Nick still launches into obsequious and panicked mode. He tries talking his way out of it, but Mr Big really REALLY doesn’t like him. And when Judy shouts at him that she’s a cop and she has evidence on him –
Turn: “Ice ‘em.”
Because of that …
“No icing anyone at my wedding!” Fru Fru Shrew is not a happy camper. Father and daughter bicker about his promise of no murder on her wedding day, and the fact that “I have to, baby. Daddy has to.” Until –
Turn: “She’s the bunny who saved my life yesterday. From that giant doughnut!” Well, Judy is now in Mr Big’s good books. He’s going to pay her kindness forward. Nick is floored.
I’m gonna stop there.
SO! After going through that analysis of how the scenes are linked together, let’s abandon the “everything needs a story reason to be in there” rule, and see what happens.
After the scene where Judy and Nick reluctantly join forces, we could add a scene where Nick is trying to remember the name of the place, and where it is. Then we could have them asking around, searching the city, refusing to ask for directions, lots of banter. THEN we can finally get to The Mystic Springs Oasis.
And after they get the plate number, maybe Nick grabs the carrot pen and makes a run for it. Then we can have a chase scene, but he gets away. Then we can have Judy trying to run the plate on her own, before realizing she isn’t in the system, and failing. Then we can have a scene where she has to track down Nick again. Then a scene where she figures out how to blackmail him into it. THEN they finally get to the DMV.
And you know what would have happened then?
Zootopia would have made everyone bored.
All of these inserted scenes are unnecessary. Sure, they might add conflict, add complications to Judy’s quest, but they’re ultimately just filler. They’re just there for the sake of bulking out the story. This is why that tip I hear so often in writing circles always perplexes me: “Figure out the worst possible thing that can happen to your character, then do that.” If people went with this rule, they’d just keep throwing terrible things at the characters for no apparent reason, one after another, and the reader or audience would be expected to be entertained by it (but wouldn’t be). It would be like cartoons before Mickey Mouse came along and applied story to animation: before, cartoons were just gag after gag, slapstick situations mashed together like a funny video compilation. Except with books and movies, it would just be conflict-heavy situations strung together, taking an inordinate amount of time to make any actual progress.
Once you make sure everything has a purpose within the narrative, things get so much better. And I find, when I reread my work I don’t have to scream at myself to “love your book or else” if everything has a reason for being there. And instead of feeling like yelling at my story like an angry overworked crab, I feel a lot more like this gif.
Better be known I got the throne like I don’t know that there’s a king
Never grew up around a family because I’m not a human being
And anyone under my level that’s coming in my spot, for the top
Let ‘em have it, cause when I leave, the whole world drops
“I’m a big snack person, and I have a terrible sweet tooth, I’d rather work a bit harder in the gym and be able to eat what I want, and I like having things to munch on throughout the day. When we’re shooting, I’ll snack on fruit and healthier things, but I definitely have hidden candies. I’m always at craft services getting cookies, too. I’m like the Cookie Monster—that’s my go-to snack. If I had to choose one thing to have on a desert island, it would be a lot of cookies. There are so many different types that you could never get bored.”
RADICAL 🤘 MAGICAL ✨ LIBERAL 🆓ART 🎨 GENDER IS A CONSTRUCT 🚫👫🚫TEAR IT APART🖕WEARABLE 👕ART 🎨AND TERRIBLE ART 👎🎨 THIS MOTHERFUCKING WORLD 🌎 IS UNBEARABLE 😩 ART 🎨THIS ART 🎨 THIS IS FOR US 👨🎨👩🎨 DON’T NEED A MUSEUM 🏢🖼 THIS CLUB 🎉IS ENOUGH FOR REVOLUTION ✊️WITH THE BEST INTENTIONS 🤝BEAUTY 👩WITH A TWIST ➰👱OR SOME INTERVENTIONS 💖 YES MA’AM I’LL TAKE THAT DOLLAR 💵 DOESN’T EVEN MATTER I’M A FULBRIGHT SCHOLAR 👩🎓 I’D RATHER BE MODEST, BUT I NEED TO SHOW IT 😎 THERE’S A LOT OF PRETTY GIRLS 💁💁 BUT A QUEEN 👸👑BETTER KNOW SHIT 📚📝 FEMMES 👯,REBELS👨🎤👩🎤 MEDDLE WITH GENDER 🚻 REALNESS 💯BORES ME 😴 I’M A BETTER PRETENDER 🎭 BROOKLYN 🗽WITCHES REVOLUTIONARY, COME UP WITH A READ 👓THAT’S 👏BETTER👏 THAN👏 HAIRY👏
So I've been very lazy with my studying toward witch craft and therefore I'm going back to the beginning~ lol. Any advice for a little witch?
Some Advice for Getting Started:
*Start with things that interest you!*
I know i get terribly bored very quickly (gemini curse lmao) so i find that if i dive into stuff i’m interested in learning about, that it will tend to hold my attention longer and help me get back into the swing of things! So in my example one of my first things i researched when i was starting out was about Crystals and their properties/uses in magic! From there i was able to use that as a sort of base jumping off point for my magical practice! And if you find something you were learning about doesn’t seem like it fits you/your style/ your practice then drop it and move on to the next thing!
No Questions Are Stupid Questions
No Questions Are Stupid Questions
No Questions Are Stupid Questions!!!! Questions mean you care enough to try and learn more about something! I’m pretty much always here and will try my best to answer as best as i am able And if I can’t i will do my best to help direct you to someone more knowledgeable!
*TAKE YOUR TIME!*
This one is important because most of the time i feel like i see baby/beginner witches try really REALLY hard to “reach the same level” as other witches as quickly as possible when in reality that just hurts THEIR path in the long run. Your path is your own, take it at your own pace. Enjoy the little bumps along the way and find the “Roses of your Path” (the things that make you want to stop and appreciate them: the satisfaction of calling your first Storm, the chill of the night air when you set out your first Full Moon Water, the spark when you find that one crystal.) Enjoy it. Enjoy your path, Enjoy your Craft.
*Use the Things you Already Own!*
Another thing i see beginners getting hung up on (myself included, i was/am extremely guilty of this lol) is wanting to go out and buy a ton of supplies. try looking around your house for things that can be re purposed. Old Spaghetti Sauce Jars can be cleaned and used as spell jars, deity altars/shrines, or ingredient storage! Take pictures from old magazines and make a collage Altar on paper! Use a composition notebook as your Book Of Shadows! Your old broken glasses case can be used as a case for your portable altar! Dig around and see if there are extra candles you haven’t used in a while! Wash out and save those eggshells from your cooking to use as spell ingredients! It takes some creative thinking but you can reclaim pretty much anything for your craft!
*Look for Bargains!* For one thing prices can be outrageous for actual craft materials: like Crystals and Gems? Truly truly truly outrageous. So keep your eyes peeled for bargains and deals! Some of the best places to look for things on the cheap would be Dollar Stores, Flea Markets, Thrift Shops, Garage/Estate Sales! Most of the time in those places you can try haggling to get things at a cheaper price (or get more for less.) It really just depends on the place but you can find the most interesting assortments of things! Keep your eyes peeled in your general day to day life as well see if there are sales at your local grocery store for seed packets, seasonal items/holiday items (look for the sales afterwords to really save haha) The internet is a great place to look, i know Ebay has sellers who sell raw crystals/ crystal chunks by the pound. There’s also places to buy spices in bulk too .
*Don’t Compare Your Path to Others!* Your Path is Your Path, Their Path is Their Path. Being online and part of the witchy community in tumblr means that there are a lot of ideas being shared from people’s paths and their views on how they think magic should be practiced. What works for them might not work for you and vice versa. Only YOU can decide what is best for you and your path. and on that note:
*Figure Out What YOU Want Out of Your Path!* When you get some time, sit down and write out all the things you want to get from your path and think critically about how you want magic to work in your daily life. Do you want it to be Super Formal or more casual? perhaps a mix of the two? Test the waters! Try things once and if you don’t like it then you know and can move on to the things that work better for your lifestyle/craft/path! Some examples from my list that i can think of right now would be: -Better knowledge of Crystals/ Crystal remedies and their healing properties -Daily research -aka tumblr- -Appreciating Nature more (Whenever i go on walks with my dog i try to pick up some litter if/when i see it) -Daily Deity appreciation -aka deity aesthetic reblogs to @theemeraldgod & Pintrest-
Can we talk about Finn for a minute? I keep reading that Finn gets described as “flat” or “boring” by some in the Star Wars fandom. Obviously everyone’s entitled to their opinion. But I’ll tell you, from my perspective? He’s one of the most unique, charismatic Star Wars characters out there.
1. Finn humanized stormtroopers. Made us experience panic and terror at the terrible choices they have to make. Stormtroopers, who were practically a joke in the other movies - white plastic statutes that existed just to get shot and clatter into a pile.
2. Finn’s flight with Poe Dameron is an explosion of emotion. That scene blew me away. Both of them had so much fun with it, and you can see Finn feel the real impact of having a name, rather than being a number.
3. Finn is profoundly empathetic and protective. Hell, I swear he cares about BB8 when he has to describe the plane crash, and Poe’s “death”, to the droid.
4. Finn shows tremendous range in this movie. Traumatized (stormtrooper battle), jocular (”you got a boyfriend?”), joyous (”that’s one hell of a pilot”), wistful (”Take care of yourself. Please.”), angry (ligthsaber battle), I could go on. I like Luke Skywalker as much as the next fan, but I think Finn shows more range in this one film than Luke did in all three.
5. Finn’s story arc is powerful, subversive, and inspiring. Going from a number to a name. Finding a family after being taken from his home as a child. Turning his back on the First Order and then realizing he needs to go further, and embrace the cause of the Resistance.
6. Finn’s relationship with Rey. I’m gonna get choked up about this, so I’ll just say John Boyega is an amazing actor, and I loved every scene he had with Daisy Ridley.
Anyway that’s my fangirling contribution. To me, Finn’s amazing.
Lance’s birthday is on July 28, so he’s a Leo, a fire sign. So essentially he’s a fire lion. The Red Lion’s element is fire. AND it seems like Lance is going to pilot Red, the fire lion, for at least a time… I’m telling you, they had it planned since the beginning
I always imagine Draco gardening, (idk because he gardened with his mom when he was little maybe?) anyway, now I've imagined Harry coming to see Draco, spotting him with dirt on his cheek and knees scuffed from the ground. I can't decide how Harry would react though. Would he think it's cute? Out of character? Weird?
As Harry walks down the stone steps into Draco’s garden, he can’t help but feel as if he is trespassing upon a scene he isn’t meant to see.
He’d known he wasn’t due at Draco’s til half past noon but he’d been bored and restless at his flat alone, and if truth be told he’d missed Draco something terrible after a week away on assignment. So on a whim he’d tried to use the floo a few hours early and had been pleasantly surprised to find Draco had left the connection open for him.
Except when he’d stepped out into the lounge he’d not seen Draco anywhere. He’d called out for him, and poked around his house, but there was no sign of him anywhere. Harry had almost started to worry that something might be wrong until he’d noticed the kitchen door ajar which had led him out into the dewy, sunlit garden.
It was unusually warm for this time of year and Harry had only expected to find Draco enjoying the sunshine. He mostly definitely hadn’t expected to find Draco on his knees amongst a bed of flowers; his sleeves rolled up and grass stains on his knees. But what Harry found most startling was the sight of Draco bent over on his hands and knees, a line of sweat dripping down his neck and his long, elegant fingers digging into the dark, rich soil.
Harry wasn’t sure why he found it so shocking, he’d known Draco liked to take care of his own flowers. He’d told him as much on their third date, mentioning how he used to tend to the flowers in the garden with his mother as a child. He’d said it casually enough at the time as if it was nothing, but Harry had known then it was Draco’s way of revealing something very intimate about himself to Harry. The significance of that small comment had not been lost on him.
However there was a big difference between knowing Draco liked to garden and seeing him work the earth with his bare hands. Harry wasn’t sure what it was exactly, all he knew was that the sight before him made his clothes feel too small and his heart feel too big.
And so when Draco abruptly stands a moment later, embarrassed and rubbing his hands on his pants Harry nearly sprints across the garden, pressing Draco back against the stone wall and tangling his fingers into Draco’s and holding on as if trying to anchor himself. There is something different about this kiss, something raw and desperate and Harry dimly wonders if Draco feels as exposed as he does.
“If I’d have known you liked to see me dirty I might’ve invited you over to watch me garden a long time ago,” Draco teases when they finally stop kissing, his eyes locked on Harry with a gentle fondness that makes his chest ache.
“I love you,” Harry whispers quite suddenly.
Draco doesn’t say anything at first, just blinks a few times and Harry’s stomach drops immediately, wondering if he’s misread the moment. But then its Draco’s turn to nearly slam Harry back against the wall, kissing him as if his life depends upon it.
Draco doesn’t say anything, doesn’t say the words back, but his hands tremble as he hold’s onto Harry, pressing messy kisses to his neck and face and just about anywhere he can reach.
And Harry smiles, because Draco hasn’t said the words out loud, but its in his eyes and his touch and his smile, and he knows that Draco is saying it back in his own way. So Harry closes his eyes, letting Draco’s touches wash over him as he inhales the smell of grass and dirt, memorizing every moment and relishing in the overwhelming sensation of being loved.
honestly at this point i hope su fans who still 100% see nothing wrong with the show are starting to get it like…
su has been baiting us from day one. they baited us with bismuth and made it look like everything was gonna be cool and she was gonna be a new crystal gem
they baited us with the diamond arc promos, promising answers but giving none
they baited us with kindergarten kid and gem harvest
they’ve always fucking been baiting us. at this point i don’t know how anyone can ignore it. that’s like gritting your teeth as you eat terribly cooked, frozen food and pretending like it’s fine
steven universe has been shit since the third season. the third and fourth season were mostly filler, the art has gotten progressively worse and terrible on the eyes, and the storyboarders straight up don’t give a shit anymore. the new episodes honestly feel like they were written up when the crew was drunk. they’re boring and don’t make any sense in concern to the actual plot, which we haven’t had in years it seems
we’ve been forced to sympathize with colonizers, watch peridot yell at a monster for eleven minutes, lapis tell connie to suck it up when she pointed out that she literally tried to drown her
we’ve had to sit through a fucking 22-minute piece of shit episode about being nice to fucking racists because they’re your family or some bullshit, while the gem that actually gives a shit about other people is left to fucking rot in a goddamn bubble
where do y’all draw the fucking line? hasn’t it been enough? two seasons of complete shit and you’re still breaking your necks tryna defend the poor crewnibabies? at this point i’m done hearing whiny su fans cry over su criticism lmao. when will y’all wake the fuck up