now the problem is how i avoid reading them all now

On The Adventure Zone Graphic Novel, Blue Taako, and Representation

 Yesterday, we revealed some pages for our graphic novel adaptation of the first Adventure Zone arc, and received some criticism of the direction we went with for Taako’s coloring. This artwork reveal came some months after the first reveal of some of our characters, for which we also received criticism of our three leads, all of whom were white in these initial designs. Us and the graphic novel team realized that, yes, that is extremely bad, went back to the drawing board, and had several long discussions about how to best rectify this situation, resulting in the artwork revealed yesterday.

More or less all of the criticism we’ve received centers on Taako, whose skin is a pale blue color in these designs. What we’ve heard most is disappointment that Taako is not realized in these pages as a person of color — or, to be more specific, a Latinx or explicitly Mexican character. There was concern we had failed to follow through on an opportunity to get better representation for Latinx listeners, instead opting to take a safe route, and make Taako a fantasy color without any kind of real-world connection. Much of the criticism also focuses on how that color (or, to be more specific, green skin) has anti-semitic connotations.

This conversation was happening in certain corners of our fandom long before the graphic novel art reveal took place yesterday. We’ve heard criticism from some folks over our policy of not having canonical visual representations of any of our characters — a policy that has resulted in a genuinely humbling ocean of fan art, but also some instances of in-fighting between members of the community who take umbrage with one another’s disparate interpretations of these characters. Another criticism of that policy is that it inherently does not foster good representation, and in fact represents a noncommittal way of handling racial representation on this show.

Here’s the truth of the matter: I think all of this comes from this underlying friction between where The Adventure Zone and us, its creators, were when we started doing the podcast, and where we, the show, and you, the community, are at now. 

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Unfucking Dungeons & Dragons

The concept of some humanoid or near-humanoid species being naturally inclined to evil is a racist one, and, unfortunately, a prevalent one in Dungeons & Dragons, exacerbated by the fact that these “evil species” are frequently the “ugly” ones. Drow are a particularly glaring example - “made black because of their ‘evil’”?! Fuck you - but the duergar - “the slaves … learned only to enslave, really makes you think don’t it” - and the orcs - “they feel the CALL to evil in their Gruumshy HEARTS” - are also super not good. (There’s also a fair degree of ableism, with “insane” monsters - in such cases, I honestly think “unaligned” would be a better description for “too far gone to understand morality”. Evil implies a choice.)
Honestly, I wouldn’t mind so much if these weren’t supposed to be naturally-occurring species - always evil demons or fey are fine, because they’re made of magic and stories, although care should of course be taken not to make them look like naturally-occurring species - but elves are really just fragile pointy-eared monkeys, and they have excuses.
However, these evil humanoids are also genre staples and often quite aesthetically good. To that end, I offer the Unfucking D&D Guide, which provides what I think are solutions to this problem. (It should be noted that I am whiter than plain yogurt, so my ideas should be taken with a grain of salt and definitely not take precedence over the ideas of non-white folks. If I’ve said something fucked-up in this, please let me know and I’ll fix it.)

  • Duergar. Keep the “enslaved by illithids, made grim & psionic” bit, toss the “learnt evil from them” part. The duergar are joyless, or can appear so - you can play them either as gloomy and fatalistic or as eccentric and unreasonably concerned with “corruption” - but despite whatever mood they possess, make sure that they are thoroughly dedicated to making sure the horrors of the Underdark stay in the Underdark, and are as righteous and honorable as their hill and mountain cousins.
  • Derro. The derro are an “insane” species; I bring them up only because I saw them confused with duergar in one post about racism in D&D. Their lore has not been constant - the current lore is “dwarves enslaved by illithids, tortured into madness, and now they’re eeeeeeeevil”, which is ableist, not racist - but their metatextual origin is among the detrimental robots, or Deros, of pulp author Richard Sharpe Shaver’s stories (or possibly delusions). “Born from the dreams of a mad author” would actually be good lore if you can make that author a tragic sufferer of schizophrenia in a time before it was understood rather than an ~*~eViL mAdMaN~*~, but in any event, change their type to construct, fey, or fiend, and, most importantly, don’t take them seriously. The derro are pulp villains, and their evil is grandiose and nonsensical. They ought not to be seen as realistic; they ought to be seen as Snidely Whiplash, Commander Claw, or Heinz Doofenshmirtz. “Reasons” are for other genres.
  • Drow. Return drow to their mythical roots as trow, nocturnal hunters, tricksters, and magical artisans dwelling in the hollow hills. There’s high and wood elves; dark elves can find a niche. Lolthite culture is good villain fodder, but make sure that you can handle an “evil religion”, and make sure that all types of elves participate.
  • Goblinoids and trolls. Make them fey, and abandon Tolkien for Rossetti and folktale. Goblins make cruel bargains; hobgoblins attend faerie courts; bugbears hide in closets and create electricity from feed on children’s screams; trolls lurk under bridges and love riddles. As fey, they’re not evil, simply alien and lacking in empathy towards mortals.
  • Gnolls. If you use the Volo’s lore, change their type to fiend and be done with it. If you want to have them be natural humanoids, go read Ursula Vernon’s Digger for the best-written hyaena-furries in literature and base gnolls off that once you’re done crying.
  • Kobolds. Kobolds are already draconic cleaner wrasses in lore; there’s no reason that metallic dragons can’t enjoy them as well and influence some populations to good.
  • Illithids. The mind flayers certainly have great potential as villains. However, there is nothing about their psychology that impels them thither. Their biological requirements could easily be met by feeding on those close to death, whom I might imagine would willingly donate their brains as food or tadpole incubators in exchange for a painless death and the surety that their memories would live on in the illithid. Also, create food and water spells exist.
  • Ogres. Ogres are wilderness-dwellers who prefer to maintain their personal territories through fear instead of actual force of arms; the idea of the monstrous, anthropophagous ogre is a deliberate sham. They are actually capable of great heroism, even if they aren’t exactly the sharpest tools in the shed and okay to be honest I started out trying to build up to a Shrek joke but I think I’d take this over canon lore.
  • Orcs. Orcs are an easy fix; all you need to do is remove Gruumsh from the equation and they don’t have a bullshit “call to evil”; in Eberron, without objective gods, the people of the Shadow Marches believe that half-orcs are the proof that orcs and humans are one people, so there’s even in-game precedent for orcs as members of society.
  • Yuan-ti. There are two ways to do this. One is to dump all the lore and just have sexy snake cults, although don’t dress them like Asian or Aztec stereotypes like a lot of the art does. (The 3.5 Monster Manual yuan-ti pureblood looks like she’s constantly accompanied by an inappropriate bamboo flute riff, I swear to Istus.) A sexy snake cult (and I am including malisons, abominations, and anathemas in the term “sexy”, not just purebloods) should be fun for everyone.
    • The other way is to keep their personalities and dump everything else, because if you keep that, you get truly excellent villains. I mean, these fuckers. How dare they drag something as pure as snakes into their Ayn Rand bullshit. Villain yuan-ti should be something transformed from willing or deluded humanoids (histachii raise the sacred snakes and the children of the yuan-ti, who possess their parents’ original race at birth). Couple that with the fact that since snakes very definitely have emotions, yuan-ti logically should as well, which means that they only think they’re above emotions. Now you have Objectivists roped into a magical pyramid scheme, which should offend no-one who doesn’t deserve it. You can mourn for the beings they once were, or just laugh in their dumb faces. Also, the sexy ones all look like Ayn Rand.

I’ve wanted to talk for So Long about the portrayal of anxiety in YOI but I’ve been having so much trouble putting together what I want to say in the most effective manner. I kept trying to come at this in a more analytical fashion, but considering that this is such a personally important topic to me, I’m going to try a more emotional approach. Something I don’t normally do.

So really, to start off, I wanna say that I’m so damn thankful for the way Yuuri is written. Really, seriously. I don’t think I’ve ever had the ability to relate more to character; Yuuri is close to a mirror of my own experiences with anxiety and it’s so fantastic to have a model of development and growth for me and people like me. I found the portrayal to be frighteningly accurate, from types of thoughts, behaviors, mannerisms… I think the episode that stood out to me the most in terms of Yuuri’s anxiety was ep7, aka Yuuri’s on-screen panic attack episode. 

The first thing I noticed was this: 

I can’t tell you how many times I’ve found myself in that exact position. I bounce my legs when I panic, just like Yuuri is doing here. Head in his hands, breathing heavily, bouncing and jostling limbs. This isn’t the Mary-Sue cutesy portrayal of anxiety–this is a real anxiety disorder. It’s not pretty. It’s not easy. It can’t be fixed with a single word or a touch or a person. Quite frankly, it’s ugly and you lose control of your body. 

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he’s the beauty; she’s the beast

so i’m sure the remake of a timeless classic that disney is about to roll out is going to be great and all

but here’s another way we could do things:

he’s the beauty

she’s the beast

for a movie who’s central theme is inner beauty, it doesn’t really do anything to support that, you know? so how about this: adam, our prince turned beast, isn’t an inhospitable monster. because this back story doesn’t make any sense – why is the young prince of this land alone, in a castle, only to be caught unaware by a witch?

so how about this – this is pseudo france, right, so these royals do what their real life counterparts did. they flee. the cruel, greedy king and queen flee and leave their young son behind with their staff. their son who is kind and soft hearted and totally unfit to rule any kingdom (never mind that they’re literally running away from their own people). not only that – they trade their son for their freedom, trade their kingdom for their freedom. to the witch.

so the witch comes, and she doesn’t disguise herself as a crone, goes to him looking as lovely and young as her magic keeps her. but our prince adam has a talent, one many cast-aside, neglected children have developed – the ability to see people for who they really are, and he knows this is no kind young woman in need of his help. he refuses to let her in – and there’s this little twist to the magic, that she can only enter the palace grounds and claim her prize if she’s welcomed in a as a guest, and he, the young master of this castle, won’t let her in.

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3

Let’s Christmas! 🎄☃️

Words: 3166
Warnings: smut

A/N: Request from @lokisgirl5. There is something about having sex in a library. Don’t blame me. Seems like I got a little carried away. ;-)

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Fanfiction reading challenge

I have seen a lot of “book challenge for 2017″ and I thought “Hey, why we don’t have this with fanfiction???” and here we are with 101 points.

High School AU

Hogwarts AU

First Kiss  

First Time

Secret Relationship AU

Roommate AU

More than 30 chapters ff

More than 60 chapters ff

Fake relationship

A is famous, B is a fan  

Both A and B are famous  

Teacher/student AU

Stripper AU

Pure smut ff

Smut with some kinks in it (wink wink)

Jock and Nerd AU

Dancer AU (includes cheerleaders, but not strippers)

Cheating (A with B, not A on B)

Christmas ff

Kiss under mistletoe  

Summer Love  

Bad boy/girl and good student AU

Dating show  

New Years Kiss  

Cuddling  

Making out (the one that does not lead to smut tho)

Slow burn

Sloweeeeeeest burn ever (you will know the difference)

Soulmates AU – colours

Soulmates AU – tattoos/marks/names

Soulmate AU – others  

A has terrible pick up lines, B finds it annoying/adorable

Sexting/phone sex

Birthday Party

Meet Cute  

Drunk Meeting

Drunk!A had a crush on B for a long time and now alcohol is involved  

Vampires or other supernatural AU (except werewolf)

Alpha/Beta/Omega dynamics AU

Alpha/Beta/Omega dynamics – omega is pregnant AU

Coffeeshop AU (it just had to be here, we all know it xD)

‘We were supposed to be just fuckbuddies but feeling happened’ AU

Forced to sleep in one bed

Camping (bonus for sleeping in one tent/sleeping bag, because B forgot his/hers)

A taking care of sick B

Fluff

Fluffiest fluffy fluff that ever fluff (again: you will know the difference)

'Our friends tried to set us up, may give it a go when we are here’  

‘I thought I wasn’t gay, but hello there I may be bi now’

Teasing – like a lot of this one

Wearing each other clothes  

Competing sport teams/schools  

Competing CEO’s

Crossover ff

Blind date AU

Angst  

Heavy angst  

Cheating (not A with B, but A on B)

Break up fic

*Major character Death* - although I would recommend to avoid this one  

Jealousy

Childhood friends  

A is in a toxic relationship/after break up and B helps to heal broken heart  

One of them is a Doctor/Police Officer/Lawyer and that’s how they met  

Crack fic

'I thought feelings are long gone but then I saw you again after years, and yep, its still here’

Assassin/Murderer/Criminal AU

A is a Demon/ghost/vampire and B is not amused  

Disney AU

Song fic

Letters/postcards

Forced to work together

Foster siblings AU

A and B are soldiers and met at war/training  

A is afraid of something (probably storm) and B calms them down

'5 times when… and 1 when…’

Superheroes AU  

Superpowers AU (different than superheroes)

'So you are my best friend’s date? Shit’

'We had sex before and now we are forced to work together/be around each other’

Soulmates AU Angst

Boss/employee situation

'I accidently found/text wrong number and its you and oh we know each other in real life’

Genderswap AU

Best friends to lovers  

Different Era AU  

A has a obvious crush on B and B is clueless

Co-workers AU

Proposal  

Marriage  

Kids – expecting/adopting

Kids – toddlers problems  

Kids – first date and 'what if he will hurt our daughter?!’

Telling to kids how they met  

Coming out to families  

Space AU  

DRAGONS AU (im sorry)

Kings/Queens AU

Fic that had amazing description but is shitty as hell  

Total multifandom fic with this couple in it

A and B are old and together and looking at their past with nostalgia

1. I wasn’t in love with you anymore, but god, this knocked the wind out of me.

2. You were just here.

3. You were just here.

4. Do you remember? The frozen food pressed to your shoulder, the way you shook with the knowledge of a barely avoided death?

5. My mouth. Yours.

6. I had been struggling with my old poems about you. You know, you were the first one I ever wrote. I had some questions for you, Cleveland. I suppose I don’t have them anymore.

7. It isn’t even seeing you kiss her that’s the problem. It’s that you share a table.

8. Maybe “wife” bothers me, too. I know how that word sounds, coming from you. Remember? Those long drives? Perhaps I still exist as your heart when you hit the road.

9. You still exist as mine when I hit the words.

10. I couldn’t read them aloud anymore, the poems. That old pain. It didn’t exist. We had chased it away with chocolate and cherries. Still, you occupy a shelf in the bright. In the cold .

11. You always have been impossibly careless with my heart. With my new lives, all of them.

12. There’s a Smiths song – if you were reading my texts I would send you it – it goes: and I’m not happy / and I’m not sad. I’m not sad, seeing you happy. She looks as full of light as I used to when you kissed me. I am glad for her. I know what you have to give.

13. It’s the loss of our friendship. More a removal. A reopened scar, from the last time. Remember, how we were friends? We’ve been so good at it. I can’t believe you won’t hear from me now. I couldn’t believe you wouldn’t hear from me, then. You know the words. 

14. I just wanted to wish you well. I just. I just wanted to be what I always have been. Yours, in whatever form we decide.

15. Nearly two years since we met and you still find new ways to let me down. I think it impresses me more than it wounds.

16. You told me all about her, remember? We discovered we had both loved ghosts, since the last time you cried on my couch. Do you remember? The things that we allow to haunt us take root in the end. I need to change my sheets.

17. I wonder if I am the ghost now. The woman you never had the courage to keep. Do I haunt you, darling? I can hear your voice saying yes. Feel the reach of your arms as I spin out of them, laughing. Do I echo?

18. You kissed me like you used to, the last time. You will again, the next. You always do.

19. In a poem I never got the chance to read you, I said that you exist suspended in time. In flashes of white sheets. Bathed in orange light on the Golden Gate Bridge. Spinning me around on a cold February evening. One year ago today.

20. One year ago today, you laid next to me. We cried about something that doesn’t matter anymore. It didn’t matter then, either.

21. Do you remember the words? Of that last song at what we thought was the last breakfast. You sat me on your knee.

22. Your hands shook as you held me tight. I put my lips to your ear. Do you remember? The words. Say them with me.

23. In my own sick way / I’ll always stay true to you.

—  Upon Seeing Your New Girlfriend For The First Time. Charlotte Ford.
— aquiver | 01 (m)

aquiver (adj.) [uh-kwiv-er] in a state of trepidation or vibrant agitation; trembling; quivering

pairing— min yoongi x reader
genre/warnings— mature themes, talk of masturbation, smut, language
words— 10,110

:: summary— Yoongi can’t remember the last time he was able to successfully bring himself to the point of orgasm, then Namjoon gives him a business card advertising ‘Healing Hands’, and that’s where he meets you; pretty and innocent looking, who gets paid to provide hand jobs for a living…

note— inspired by the novella ‘The Grownup’ by Gillian Flynn, literally just the main character’s past occupation haha

» 01 :: 02 :: 03 :: 04 :: 05 :: 06 :: 07 :: 08 ✓

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A white guy’s thoughts on “Get Out” and racism

This weekend, I went to see a horror movie. It got stuck in my head, and now I can’t stop thinking about it—but not for any of the reasons you might think.

The movie was Jordan Peele’s new hit Get Out, which has gotten rave reviews from critics—an incredible 99% on Rotten Tomatoes—and has a lot of people talking about its themes.

First of all, I should tell you that I hate horror movies. As a general rule, I stay far, far away from them, but after everything I’d read, I felt like this was an important film for me to see. This trailer might give you some inkling as to why:

Creepy, huh? You might know writer/director Jordan Peele as part of the comedy duo Key & Peele, known for smartly tackling societal issues through sketch comedy. Get Out is a horror movie, but it’s also a film about race in America, and it’s impressively multilayered.

I left the theater feeling deeply disturbed but glad this movie was made. I can’t say any more without revealing spoilers, so if you haven’t seen the movie yet and you don’t want to have the plot spoiled for you, stop reading now and come back later.

Seriously, this is your last chance before I give away what happens.

Okay, you were warned. Here we go.

Our protagonist is Chris Washington, a young black man who has been dating Rose Armitage, a young white woman, for the last four months. She wants him to meet her family, but he’s hesitant. She acknowledges that her dad can be a little awkward on the subject of race, but assures Chris that he means well.

After unnerving encounters with a deer (echoes of The Invitation) and a racist cop, Chris and Rose arrive at the Armitages’ estate. On the surface, the Armitages are very friendly, but the conversation (brilliantly scripted by Peele) includes a lot of the little, everyday, get-under-your-skin moments of racism that people of color have to contend with: Rose’s dad going on about how he voted for Obama, for instance, and asking how long “this thang” has been going on. Chris laughs it off to be polite, though he clearly feels uncomfortable.

There’s a fantastic moment here, by the way, when Rose’s dad offhandedly mentions that they had to close off the basement because of “black mold.” In the midst of the racially charged atmosphere of the conversation, it’s nearly impossible not to take this as a racial remark, and Chris certainly notices, but what could he possibly say about it? Black mold is a real thing; his girlfriend would surely think he was crazy and oversensitive if he said it sounded racist. Chris never reacts to the remark, but that one tiny moment is a reminder to the audience of a real problem people of color often face, when racism can’t be called out without being accused of “playing the race card” or seeing things that aren’t there. (Incidentally, it turns out that the basement is actually used for molding of a different sort.)

There are other reasons for Chris to be unsettled: The only other black people on the estate are two servants, Georgina and Walter (Rose’s dad says he knows how bad it looks, but that it’s not what it seems), and something is clearly “off” about them. Later, more white people show up—and one more black character, and he, too, feels “off.”

By the end of the film, we learn the horrible secret: Rose’s family is kidnapping and luring black people to their estate, where they’re being hypnotized and psychologically trapped inside themselves—Rose’s mom calls it “the sunken place”—so that old or disabled white people’s consciousnesses can be transplanted into their bodies. The white people are then able to move about, controlling their new black bodies, with the black person’s consciousness along for the ride as a mere “passenger.” In a shocking twist, it turns out that even apparently-sweet Rose is in on the plot, and Chris must fight her and the rest of her family to escape.

This isn’t a “white people are evil” film, although it may sound that way at first, but it is a film about racism. I know many of my friends of color will connect with this movie in a way I can’t, so I won’t try to say what I think they’ll get out of it. I do want to say how I connected with it, though, because I think what Jordan Peele has done here is really important for white audiences. 

If you look beyond the surface horror-movie plot, this film actually gives white people a tiny peek at the reality of racism—not the epithet-shouting neo-Nazi kind of racism that white people normally imagine when we hear “racism,” but the “Oh it’s so nice to meet you; I voted for Obama” kind of racism, the subtle othering that expects people of color to smile and get along and adopt white culture as their own whenever they’re around white people.

So many of the moments in Get Out are clearly intended to work on multiple levels. When Chris confronts Georgina about something being wrong and she smiles and says, “No, no no no no no,” with tears streaming down her cheeks, the symbolism is blatant. How often do people of color have to ignore the subtle indignities they face and hide their true emotions in order to avoid coming across as, for example, “the angry black woman/man”? How many times do they find themselves in social situations—even with their closest white friends!—where people make little comments tying them to an “exotic,” supposedly monolithic culture, where they have to respond with a smile and a laugh instead of telling people how stupid and offensive they’re being? 

I can’t tell you the number of these stories I’ve heard from my friends, and I’m quite sure that the stories I’ve heard are only a tiny fraction of the stories that could be told. So there’s something in that moment that speaks volumes about the experiences of people of color in America.

The same is true for so many other moments. The black characters Chris meets at the Armitages’ have all symbolically given up their identities and conformed to white culture; when Chris meets one character, he turns out to be going under a new name, with new clothes and new mannerisms; when Chris offers him a fist bump, he tries to shake Chris’s fist. Again, within the story, there’s an explanation for all this, but every moment here is also about assimilation and culture differences. 

For me as a white audience member, all of these moments did something remarkable: They showed me my own culture—a culture I’m often blissfully unaware of because it’s all around me—as something alien. They reminded me that I, too, have a culture, and that expecting everyone else to assimilate to my culture is just as much an erasing of their identities as it would be to expect me to assimilate to someone else’s culture.

And that’s a big part of what Get Out is about—the erasing of identities, and the power of racism to destroy people. I think it’s really significant that racism is portrayed here very differently from how it’s normally portrayed in movies written by white people. In most Hollywood movies, you know a character is racist because they shout racial epithets or make blatant statements about a certain race’s inferiority. That allows white audiences to say, “I would never do/say that, so I’m not racist!” We really don’t want to think we are.

But notice something important about Get Out’s treatment of racism: This is a film about the literal enslavement of black people—racism doesn’t get more extreme than that—and yet Peele doesn’t go for the obvious by having the white characters admit that they think black people are inferior; instead, they subjugate and dehumanize people by claiming to admire things about them. They turn them into fashion accessories. 

When Chris asks why only black people are being targeted for this procedure, the response is telling: It’s not (supposedly) because the white characters think African Americans are bad, but rather, because they like certain things about them and they want “a change” for themselves. They want to become black—it’s trendy, we’re told!—but without having had any of the actual life experiences or history of African Americans. White people need to see this: to experience the ways in which Chris is othered by people who tell him all the things they like about him—isn’t he strong? Look at those muscles! Does he play golf like Tiger Woods? And he must be well-endowed and have such sexual prowess, right, Rose?

The white people in the audience need to be reminded that just because you’re saying positive things about someone doesn’t mean you’re not being racist, that turning someone into an exotic “other” may not be the same as shouting an epithet, but it’s still taking away someone’s identity and treating them as a commodity.

The film is filled with these kinds of moments. When we realize that Rose’s white grandmother has inhabited the body of Georgina, the fact that she keeps touching her own hair and admiring herself in the mirror takes on a whole new level of significance. (White people, please don’t ask to touch your black friends’ hair.) When Chris connects with a dying deer on the side of the road and later sees a deer head mounted on the wall at the Armitages’ estate, the symbolism is hard to miss. Black people are being turned into trophies in this house. And, oh yeah, they’re being literally auctioned off—as they were in real life in the not-too-distant past.

One day, I’d like to see the film again to pick up on all the ways things read differently the second time through. I noticed several things in retrospect that gain new significance once you know the ending, and I’m sure there’s a lot I didn’t notice. For example, Rose’s dad says he hired Walter and Georgina to care for his parents, and when his parents died, “I couldn’t bear to let them go.” The first time you see the film, it sounds like the “them” is Walter and Georgina. But in retrospect, it’s clear the “them” he couldn’t bear to let go was his parents, so he sacrificed Walter and Georgina for them. Which, again, is an example of how the supposed care of the white characters for the black characters (his care for Walter and Georgina, Rose’s care for Chris) is really all about caring for themselves and treating the black characters as completely interchangeable objects.

The message of the film isn’t simply that the black characters are “good” and the white characters are “bad.” There are presumably—hopefully—many good white people in the world of this film, and many others who wouldn’t do what the Armitages are doing but also probably wouldn’t believe Chris or make the effort to stop it. Peele’s mother and wife are both white, so he’s clearly not trying to paint all white people as villains. 

But I admit, as a white guy, I really, really wanted Rose to be good. I’ve been the white person in an interracial relationship introducing my black boyfriend to my family. I’ve been that. So I related to Rose, and I really wanted to believe that she was well-intentioned and just oblivious; even though she misses the mark on several occasions, there are times that she seems like she gets it and she really does listen to Chris. When a cop asks to see Chris’s ID early in the film even though he wasn’t driving, Rose stands up against the obvious racism, showing us all what it looks like for white people to do the right thing. “That was hot,” Chris says to her later, and I thought, yeah, that’s who I want to be.

So I have to admit, it was really upsetting to me to see Rose, the only good white character left in the film, turn out to be evil. But I realized that part of that is that I really wanted her to represent me, and that’s really the point. Just think how often horror films have only one black character who dies early on, and how many films of all genres have no significant black characters for audience members to look up to or identify with. I think it’s really important for white audiences to experience that.

As I’ve reflected on the film, it seems to me like there are three kinds of popular movies about people of color. There are those that feature POC characters that are essentially indistinguishable from the white characters—as if they just decided to cast Morgan Freeman instead of Tom Hanks without giving any thought to the character’s race. Then there are the movies that deal with racism, but in a way that allows white people to feel good about ourselves, because we’re not like the characters in the film. (This is especially true for movies about racism in the past; some of them are very important films, like Hidden Figures, which I loved, but we need to be aware that it’s still easy for white America to treat it as a feel-good film and think that we’re off the hook because we no longer have separate restrooms.) And finally, there are movies that focus more directly on the lives of people of color but tend to draw largely audiences of color; not many white people go see them, because we think they’re not “for us” (even though we assume films about white people are for everyone).

Get Out isn’t any of those. It’s drawing a broad audience but it’s not afraid to make white people uncomfortable. And if you can give me, a white guy, a chance to have even a momentary fraction of an experience of the real-life, modern-day, casual racism facing people of color in America, I think that’s a very good thing.

It Ain’t Me: Part 9

Jungkook x Reader ft. Yoongi

Request: Can you make a fake text about how bf hears a rumor about y/n and decides to break up without even knowing the true facts

Words: 2.2 K

Genre: Angst

Part 8 | Part 10 (I)

Check out my Masterlist!



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How to Keep Your Readers EMOTIONALLY Involved

Why is it that sometimes a book or movie can make you THIS emotionally invested  … 

And sometimes it’s more like this? 

My stories used to inspire a reaction similar to Hermione’s in my readers. And in me.  At some points I’d be reading my work, and a little honest voice buried somewhere in my head would say “I wouldn’t care if this character was hit by a bus right now.” Then I’d heap some denial atop the voice, silence her unwanted mutterings, and go back to trying to enjoy my story. Problem was, my readers appeared to have this little honest voice as well. And if she told them “Cartoon bus. Hitting this character. Wouldn’t that be funny?” they had a tendency to listen to her.

What was the problem? My scenes didn’t connect to my reader’s emotions. They didn’t change those emotions throughout the scene. They started out sad and they ended just as sad or even more so. And what came after that? Well, another scene that began with the main character feeling horrible, which ended with him just as downtrodden as before. Or worse: The scene began positive and just got better. The next one would start out absolutely giddy and ended effervescent. And this kept going until the characters were almost singing with joy. (Okay, maybe I’m being slightly snarky about my past self.) But after that, I’d follow it up with a long sequence of sadsadsad scenes. 

So what happened? My readers had only two emotions while enduring this: frustration and impatience. 

The scenes weren’t keeping my readers emotionally engaged. The scenes weren’t changing emotionally. And that is what needs to happen: The emotional charge of the scene has to change. Switch between negative and positive. The flow of the reader’s emotions has to be taken into account, and consciously adjusted. It’s that simple. 

How can this be accomplished? 

1) Determine what’s at stake in the scene. To the characters, something important is being threatened, something emotional or primal. Love? Safety? Friendship? Justice? Make sure the scene means something for the characters. (If it’s not emotionally significant to them, connected to the A Story, B Story, or Character Arc, it’s not a scene and the reader won’t care.) And since the readers are emotionally connected to the characters, the readers care about what’s at stake, and are conscious of what it means. 

2) Beats. The exchanges of action and reaction between characters and forces of opposition in pursuit of the goal … these carry that emotion, these are how emotions shift within the scene, gradually taking it from one to another. 

3) Emotional Charge. If the scene starts with what’s at stake in positive way, then it’ll switch to negative by the end. If if starts negative, the scene will change to positive. 

Anyway! How does this work?  

To illustrate it, because I’m having a lot of fun reading the screenplay, here are five scenes from Zootopia. 

Let’s start with the scene right after this happens: Manchas has gone savage, and Judy and Nick are running for it.

Scene 1 

What’s at stake? Life

Opening Charge: Negative (They’re being chased by a jaguar who is about ten times bigger than either of them, and who seems quite keen to tear them apart. To the characters, this scene opens with a 95% likelihood of imminent brutal death. To the audience, this scene opens with two characters we’ve come to care about in this dangerous situation.)

Closing Charge: Positive (They manage to call backup. Judy manages to handcuff Manchas. Nick stays to help Judy, rather than hop on the gondola to safety. They fall but manage to survive. They fall again, but are caught by a vine just before impact. Bogo and the rest arrive, and Judy is full of confidence about her discovery in the Otterton case, and eager to show them. Everything in this scene ended in Judy and Nick’s favor.)

How has what’s at stake changed? They lived.

Scene 2

What’s at stake? Judy’s lifelong dream, the goal she’s worked towards since she was a child. 

Opening Charge: Negative (Judy tells Bogo that this is way bigger than a missing mammal case – Otterton and Manchas went savage. He scoffs at her. In response, Judy confidently sweeps back the leaves to reveal the wild jaguar … and he’s gone. With her proof nowhere in sight, what she’s told Bogo sounds insane and ridiculous. Which provokes him into demanding her badge.) 

Closing Charge: Positive (Nick stops Bogo from taking Judy’s badge. Nick also bluntly tells him that he’s been an unfair little jerk to Judy, they have time to solve the case, and they have much more important things to be doing than standing around dealing with these idiots. He even calls her “Officer Hopps” instead of Carrots. They’re back on the case.) 

How has what’s at stake changed? She still has a chance to achieve that lifelong goal. And Nick was the one to buy her more time. 

Scene 3
What’s at stake? Truth

Opening Charge: Positive (Judy, and the audience, are feeling thankful and closer to Nick.)

Closing Charge: Negative (But even though we are in a good place, Nick looks far away … he starts thinking back … and we can sense that this memory lane doesn’t end anywhere pleasant.)

How has what’s at stake changed? He’s about to share something significant.

Scene 4
What’s at stake? Innocence

Opening Charge: Positive (We see little Nick! Looking happy and excited. All he wanted to do was join the Junior Ranger Scouts, and his mother scraped together money to buy him a uniform. She’s even adjusting his tie for him, lovingly.)

Closing Charge: Negative (Nick, who had been so happy at the beginning of this scene, is now hiding from the evil kids,  struggling to pull the muzzle off, panicked, crying like his heart’s broken.) 

How has what’s at stake changed? Traumatized

Scene 5
What’s at stake? Closeness

Opening Charge: Negative (Well that was a horrifying story. And now Nick is avoiding eye contact, while revealing the takeaways he got from that childhood episode, which have shaped his decisions from then on. Suddenly Judy, and the audience, understand Nick a lot more. We empathize and sympathize with him.)

Closing Charge: Positive (The traffic cameras would have caught whatever happened to Manchas! And Judy has a friend that can help them access those cameras. They’re back on the case.) 

How has what’s at stake changed? Nick dodges out of further vulnerability BUT they’re back on the case – this time, together. 

So!

As you can see, the emotional charges of these scenes fluctuate smoothly, from a scene’s opening to its closing, from one scene to the next. In every moment, in every beat, we’re feeling something. And when the scene turns, we (and the characters) are feeling the opposite of what we were at the beginning of the scene. Our curiosity and minds are linked to the story by the question “What’s going to happen next?”; our emotions are connected to the story by the conduits Judy and Nick, these two characters we care about, as every emotional change pushes us closer towards the answer to the question “What’s going to happen to these two? Is everything going to end up alright for them?" 

Now, let’s see what happens when you stop paying attention to the emotional changes of your scenes. 

Scene 1: Manchas is gone. Bogo is berating Judy. Nick stands there and watches. Judy ends up handing over her badge. The real cops leave, and Judy stays behind, figuring she might as well try and complete the case anyway. All Nick wants is that carrot pen, so he tags along.

Scene 2: Judy has nothing to feel thankful about, and certainly doesn’t feel closer to Nick. He’s thinking back on his childhood, but doesn’t share anything with Judy… 

Scene 3: Instead of the flashback opening on a happy Nick, it opens on him getting beaten up by the evil children, and ends on him weeping with the muzzle strapped to his face. 

Scene 4: We snap back to the present. Judy staring, beyond tears at this point. Nick looking traumatized and bitter. He remembers he needs the pen. He thinks about the reward money if they had found all those missing mammals. He has the traffic camera revelation! He drags a dejected Judy into his scheme, which she doesn’t care about, but why the heck not? 

In this horrible alternate universe version of Zootopia, this sequence of scenes is negative from beginning to end. And what would have happened to the audience if the scenes had played out in this depressing way? 

They would have emotionally checked out.

The connection between emotions and story would have snapped.

We would have forced our emotions to abandon the story, and watched the rest of the movie feeling betrayed and cheated. 

Because in the end, all we care about are these characters. All we care about is story, and character is story. It’s no coincidence that removing the emotional changes of the scenes equated to removing Judy and Nick’s relationship in the scenes; that relationship, that B Story, or Love Story, function (oddly enough) as the heart of the movie: it keeps the story alive, it keeps us connected and invested in the narrative, it keeps the scenes emotionally turning. Before Nick showed up, and we had two characters to care about, what kept us emotionally involved in the story was our relationship with Judy, this plucky bunny that we really wanted to see succeed. Establishing that connection is a subject for another post, but in regards to scenes, this manipulation of the audience’s emotions is how you keep that connection going strong.

I just said to manipulate someone’s emotions. How villainous.

anonymous asked:

I have a lesbian who is hunted by a monster for much of my book, and I've been avoiding it (she only barely escapes at first) but I think she needs to die. How do I do it tactfully? She's not the only lgbt main char but I want to do her justice

The Bury Your Gays Breakdown, from a Super Mysterious Assistant

Alright!  First, in case it’s helpful for anyone reading, I’m going to go into “should she die?”  It sounds like you’re pretty settled on that, but bear with me for a minute here.

So you want to kill your lesbian (or otherwise not-staight-and-cis) character!

The first thing you should consider is, does she have to die?  If so, why?  Is it the logical conclusion of her character arc to die?  Is there no other possible way the plot could be resolved?  If you can’t answer “yes” to one or both of those, you might want to reconsider killing her.  (If the answer to “why does she need to die?” is “so her girlfriend is single again and can be paired with another character” then you really want to reconsider, because it will not look good and there will be backlash.)

The second thing to consider is, do you have other living representation?  This is pretty simple: if you only have one lesbian character, killing her is more of a problem, because then you’re killing 100% of your lesbian characters.  If you have five lesbian characters, killing one-who is now 20% of your lesbian characters-isn’t as big an issue.  Keep in mind, you also want to consider how significant these other characters are: if you kill off a major lesbian character, you need other major lesbian characters to balance it out; minor characters who have two lines in the entire book don’t count, even if they’re lesbians.  (Whether other LGBT characters count is a bit of a gray area.  If you have one lesbian character who dies, but a bisexual, a transgender, a gay, and an ace character that live, it’s not quite as good as having several living lesbian characters, but it’s better than only having living straight-and-cis characters.)

So you’ve decided you have a good reason to kill your lesbian character, and your story won’t be bereft of any living representation when you do?  Let’s talk about how to kill her well!

The first rule is, however your character dies, it should not have to do with her being a lesbian.  She should not be seduced by a woman who turns out to be an assassin (or vampire) and murders her.  She should not run into Zeus, who kills her for refusing him.  She should, probably, not be shot and killed by a stray bullet, although five years from now that one might be okay.  What kills her should be just as likely (historically, in both media and real life, as well as logically) to kill anyone else.

The second rule is, her death has to be the result of her choice.  She shouldn’t die because someone else decided to kill her, and she didn’t have enough plot armor to stop them.  She should die because she made a decision-maybe not rational, maybe not fully aware of the risks, but her own decision-and that decision directly resulted in her death.  She stepped in front of the charging mook to protect the hero while he finished the spell that will save the world, or she decided to cross the canyon on the rickety bridge as a shortcut, and it broke when she was halfway across.

The third rule is, her death has to matter to the plot.  This one is a little hard to pin down, because “the plot” is such a variable thing, but the general idea is: imagine if, instead of dying, your lesbian character got exasperated with these idiots she’s been hanging around with, bought a bus ticket to California, and lived out the rest of her life in happy plot-free-land.  Would the rest of your story go the same way, minor details (such as a mention of her) aside?  Then there is a problem.  If, however, whatever she does while or because she’s dying, or what she does that results in her death, changes the direction of the plot, then her death matters.

Now, one last thing: if you do all this, your reader, or listeners, or watchers, will still be upset.  But if they’re upset because a favorite character of theirs died, rather than because another lesbian was killed for no purpose but sensationalism, then you’ve done your job well.

All For Show Part 3

Pair : Steve Rogers x Reader

8. You ask your best friend to pretend to be your boyfriend for your sisters couples dinner party. Requested by anon.

Warning : Language?
Word Count : 956

A/N : Want to be tagged? Let me know before the tagging group closes!! 

Read Part One - Part Two

Originally posted by sincerelysaraahh

“H-Hey. Hi–”

“You’re probably wondering why I’m here.” Riley chuckled, cutting Steve off.

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Body Language (One Shot)

A/N: This was a request from @ihavetwobuckystomyname a very long time ago, and I’m super sorry that this took so long to write, hun! I hope you enjoy it! There’s a song that goes to this as well and it’s right here if you wanna listen!

Body Language - Reader and Bucky have been in a relationship for a while, and she’s ready to take the relationship to the next level. But Reader has a small problem: she’s deaf. 

Pairing: Bucky Barnes x Deaf Reader 

Warnings: Smut. Language. Slight mentions of past neglect. Bucky being adorable. NSFW!

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His Royal Fury

Originally posted by tomhiddleston-gifs

Pairing: Loki x Reader (ft. Tony, Steve, Thor, and Natasha)

Content/Warnings: angst; fluff; implied rape

Words: 1570

A/N: This turned out a lot longer than I expected it to, but… it turned out pretty well. I went a little away from the anon request but it basically follows what was asked:

a Loki x reader imagine where reader is basically getting harassed and she doesn’t tell Loki, and when he finds out he’s furious? Something with the prompt “did he touch you?” and it ends with the guy who harassed reader getting caught by a very angry Loki and lots of cuddling and fluff

Enjoy, guys!


You hadn’t been sure about Loki at first. When he had first moved into Stark Tower - or Avengers Tower, as it was now referred to - you made an effort to avoid the younger Asgardian prince as much as possible. He couldn’t be trusted, and it was as simple as that. At least, you thought it was.

The two of you had bonded late one night, when everyone else was asleep. You had a nightmare, and had taken to wandering the tower, stumbling upon Loki in the library. The two of you had bonded over your mutual love for books, and an uneasy friendship had formed. And from that uneasy friendship, over the course of a rocky few weeks which turned slowly into a smoother few months, something beautiful bloomed between you and Loki. Yes, he still had issues, but you helped him through them. You helped him realize that there were better ways to solve problems then through violence.

You helped him learn how to love again.

Loki was a perfect gentleman, and all that a person could ask for in a boyfriend. Despite his reputation, he was sweet and loving. He cared about you, you were his love and his redemption, and he’d be damned before he let anything happen to you. And if he found out someone was hurting you, well… he’d make them wish for something as sweet as pain.

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little things that can help you if you have bpd (part 2)

Here is the link for part one.

  • Learn how to tolerate the distress; Usually, people with BPD suffer from suffocating situations on their daily life, due to mood swings, constant anxiety, dissociation symptoms, etc. If you want to get help with that, self-soothing techquines are commonly used on DBT. Okay, but how can I learn how to self-soothe?
  1. First, control your breath; If you look into the part one, I gave some tips about it, but here are some new things: breathe through your nose for three seconds. Hold your breath for five seconds and let the air out of your nose for three seconds. Take the air out of your diaphragm (stomach region) and not just out of your chest. After controlling your breath, release the tension on your shoulders, slowly rotating them to the back for three/four times. Then, rotate them forward. Repeat as necessary. After all of this, if you can, please take a rest, just close your eyes and lay in your bed or in a comfortable place.
  2. Look for something that distracts you; I talked about having a list about what makes you happy in the part one, so if you could use it for this, that would be great, but if you can’t, that’s okay too, there are other distraction options. Please remember that you need HEALTHY distractions, so please stay away from junk food, drugs, self-harm and others. For some people, it helps to count numbers till 100, but not everyone has patience or can really get distracted when they do it, so here are some activities that may help you: cleaning your house (a suggestion by a lot of therapists to people who suffer from anxiety or depression, it’s not just some “neurotypical useless advice”, it really helps and some studies and people can prove it). Read a book or write something; usually, we get distracted in our daily life by daydreaming about things, so when you actually need to stop paying too much attention to the world around you, it’s great to bring your creative part if you can. Reading a book and writing can help you to create images in your head, you can even write or draw about what is bothering you, so your violent thoughts will be on a paper, not on your actions. (also, there is nothing wrong about having violent thoughts, since you don’t act like them, you can’t control your feelings or your mind and that’s okay). Look at what is around you and challenge yourself to small games; sometimes when I go out, I like to count how many red/blue/green cars I can see, or what combinations I can create with their plates, for example, a plate with letters and numbers: what word can I remember with every letter? or call a friend or someone in your family and try to talk with them, if you think it will distract you.
  3. Accept the reality and your current problem; Even unconsciously, people with BPD tend to escape the reality during a stressful situation, specially by dissociating, that’s okay if you do it sometimes to distract, but doing it often can affect your everyday life. Instead of freaking about a problem, sit down and try to think about it rationally, for example, if your friend is not replying you, you can stop for a moment and think “Okay. They’re not replying right now, but maybe x thing is happening and I can deal with it.”. When you accept the reality, in that case, that your friend is not replying to you, you avoid paranoid thoughts. “Okay, my friend told me to meet them right now, they’re a little bit late. That’s it and it’s okay, I’ll deal with it.”. Encourage yourself by your thoughts telling yourself you will deal with the situation, it will give you more confidence. Also, accept that not everything is perfect, I know that’s VERY hard, because people with BPD tend to overeact to every minor incovinience, but it doesn’t mean it’s impossible. Study your current situation and see the negative points, talk to other people about it, research about people that went through the same things. Everything has negative and positive points.
  • Practice mindfullness; There are some videos online, but it’s better if you look for a professional. It makes it easy to develop a wise mind, but you have big problems with dissociation, please research about it, because I’ve seen that it may cause problems.
  • Pay attention to your relationships; People with BPD have a lot of troubles with relationships, which is something that affects our mental health. The fact is that relationships are very important to everyone, since we are social animals and if you pay attention on how you act with people and how they act with you, you can have a better regulation on your emotions. First, identify what are your triggers, for example, self-harm, when someone ignores you, abuse… Tell the other person about it, so they’ll avoid these things. ALWAYS talk about something the other person did that hurt you, don’t keep things to yourself, it’s more likely to create problems if you don’t talk than if you talk. If the person really cares about you, they will cope. In the end, you will have a better knowledge about what makes you happy and what makes you feel bad.
  • Try to find a hobby; I know that is one of the main things someone you will tell if you say you have a disorder, but this is really important, specially for people with BPD and I’ll tell you why. This is something I’ve been discussing with my therapist and the thing is: if you don’t keep your mind busy during a time (not all the time, that’s not healthy) it will create a sensation of void and BPD makes us feel empty sometimes. BPD never let us feel things slightly, so a simply feeling of boredom can become a sensation of completely void. Keeping your mind busy will help you to entertain you and avoid those empty feelings. If you don’t like anything, please try new things, there are a billion of things out there to try.

please leave a comment if it was helpful, check the part one and i’m sorry if my grammar wasn’t very correct, english is not my native language.

remember that everything here is theoretical and it’s hard to apply these tips in your life, things will not suddenly change. but i believe in you and things take time, so don’t give up on getting better.

Under the mistletoe (~900 words)

Cas isn’t too versed in human customs, but it isn’t for a lack of trying. So they indulge him when it’s Christmas, buying every single thing he sees in the store (yes, even the horrible Santa Claus who’s dancing, or more like wiggling his butt when you press a button) and drive back with a bunch of stuff even Dean and Sam have never heard of because Christmas for them was never this big.

The thing is, the fact that Cas really doesn’t know much about these customs becomes a problem. Or well, it becomes a problem for Dean, not necessarily for anyone else, but that was to be expected because Dean always has his special problems with Cas.

By request of Cas, of course they also have to put up a mistletoe because he insists that it’s a Christmas tradition, and it sends Dean’s heart into overdrive. But that’s not the worst thing by far. While Dean is already figuring out twenty different scenarios how he’s going to avoid the kitchen doorway for the next few weeks, Cas and Sam put the thing up, and then… then –

Then Cas kisses Sam.

Because that’s what you do when you’re under a mistletoe together, right, and of course you can’t expect Cas to know. He loves them all, and it’s not – it’s not even a real kiss, nothing breathtaking, nothing proper, he just – puts his lips on Sam for a millisecond and then steps back.

To be fair, Sam’s only reaction is to look at Cas and then laugh, like it’s just a funny misstep which it is, except for Dean of course. So while it’s already over for them, Dean’s mouth is still snapping open and shut again, muttering “hey, hey, hey” for the next few minutes.

Cas looks at him confused, and Dean scrambles to come up with an explanation why you just don’t do this. It doesn’t help that Sam just shrugs, saying “come on, that’s what’s a mistletoe is for” and even worse “do you really want to take it down?” which, no, Jesus.

The thing is Sam kind of does hit a nerve because well, putting down the mistletoe would suck because he wants to kiss Cas, and it’s kind of difficult to explain to Cas what he did wrong when all he can think of is getting a sneaky kiss for himself.

(Which is embarrassing in itself, that this half second of touching Cas’ lips is something he’s jealous of.)

So if he explained, really explained why you just don’t do this – because you have to be in love with someone, not just love them – then every hope of that would be shattered, right, so he just throws his arms up in defeat, muttering something about not being in the Christmas spirit and do the rest of this shit yourself, and vanishes into the hallway to bury himself in his blankets.

After that he both becomes a master in avoiding Cas and stalking him, trying to work up the courage to get his kiss while simultaneously talking himself out of it. Sam continues to laugh, both at him and Cas who’s still completely engrossed in every Christmas tradition from all over the world, and he probably really does look stupid enough to be laughed at but he doesn’t know what to do.

The mistletoe hangs over the kitchen door, looming and menacing, causing him to order food more often than not, and it’s that way until Christmas’ Eve when he’s finally alone with Cas because Sam has to make one last round of shopping for Christmas presents.

In this moment Dean decides that if he’s ever going to be stupid it has to be today, because it’s now or never, and if Cas rejects him then at least Sam won’t know (somewhere inside him, a tiny voice screams noooo, and also: you’re always stupid what the fuck are you talking about which – true).

“We could make something to eat for him while he’s away,” he suggests to Cas and Cas agrees. And why shouldn’t he, because it’s reasonable, really, except all Dean wants is to pull Cas under the mistletoe, of course charming and smooth as fuck like the womanizer he likes to pretend to be.

Suffice to say, it’s not charming as he all but pulls Cas’ arm and leads him into the kitchen because the thing is, Cas actually thinks they are making food and he steps over the doorway, determined to get to the fridge so he has to pull him back, right back under the mistletoe and now they’re standing here and it’s stupid and what the fuck was he thinking and the voice inside his head grows louder and louder as it chants fuck fuck fuck rhythmically and –

Then Cas kisses Dean. And this time it’s not a shy, timid copy of a tradition he read about ages ago, but a proper kiss. One that’s breathtaking and deep and making his heart stand still and flutter at the same time.

“Hey, hey, hey,” he says when they finally pull apart, both their cheeks flushed.

“Is this what you wanted to do?” Cas asks, suddenly looking fidgety. And of course it was, except he was supposed to be the one who’s smooth and cool and just kissing him, but hey, he got all of that and even more, so he’s not trying to complain and just nods.

“Good,” Cas says and kisses him again.

“She should cut her nails” - Bruce Wayne x Reader

Summary : The men of the Justice League tease Batman about the scratches on his back, and the love bites on his chest…Bruce is not amused.

Just a silly fic cause why not. Wrote it in literally fifteen minutes because I was bored, and didn’t proofread (as usual really) so it’s quite meh, hope you’ll still like it though :

(My masterlist blog here : https://ella-ravenwood-archives.tumblr.com)

I wrote some sort of part two to this, it’s here if you’re interested : “Bruce…sucks !”

__________________________________________________

Bruce could feel their gaze on his back. He knew they were smiling like idiots behind him, and he heard them giggle a few times, like goddamned teenagers.

He finally turned around to face his fellow Justice League members, that had been staring at him for the past hour. They were in the men shower room of the headquarter, and the fact that they were all half-dressed made them look even more ridiculous, with their idiotic smile on their faces.

Hell, even J’onn was snickering with them ! Bruce would expect from Clark, Oliver, Barry and maybe Arthur to laugh like nitwits, but J’onn ? He thought he was better than this.

And yet, here he was, grinning at the Batman like a moron.

-What ?

Bruce asked a bit coldly, even though he already knew what was going on.

Clark answered, a sly smile on his stupid handsome face :

-We were just wondering…When did you got those scratches on your back ? Like, which villain inflicted you such terrible wounds ?

Bruce rolled his eyes. By now, Barry and Oliver couldn’t hold their laughter, though the look the Bat gave them stopped them cold in their track. Damn that man could be intimidating, even for them…Bruce, glaring at them, went on :

-Are you guys fifteen ?

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They take a shortcut through a kind of run down neighborhood, meaning that the streets are narrow and the roads are all bumpy. It’s one broken segment of pavement after another. The driver apologizes but says the route is ten minutes shorter and traffic-free, despite the conditions. Harry tells him not to worry about it.

“S’alright, mate.”

Y/N first worries briefly, if it is alright because from where Fionn’s got his arm around Y/N’s waist he digs his fingers into her skin through her clothing and it triggers something carnal inside of her. Her thoughts drift to ones that verge inappropriate, nearly have her cheeks heating. It would all be fine if she wasn’t intimately in Fionn’s lap and his grip wasn’t verging possessive.

And then YN worries, again, because she realizes these thoughts triggered by Fionn’s tight grip are mutual. There is an undoubtedly existent bulge budging against Y/N’s bum from Fionn pants.

She swallows and looks at Harry, instinctively, almost, and because she’s a bit overwhelmed, frozen because she doesn’t know how to proceed with this information.

or, Y/N’s a film student working on the set of Dunkirk and Harry’s her sugar daddy who likes to watch her have sex with Fionn.

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Delta (Bucky Barnes x Reader) A/B/O Part 2!

A/N: Hey guys! Part 2 is finally here and it gets wild as heck lol. I had too much fun while writing this! I’m sorry for the super long update and I’ll be posting more stuff later! I’m on a roll today! I hope you guys like it! ENJOY! - Delilah ❤️

 Warnings: Angst. Mentions of sex. Everyone pretty much goes bonkers. 

Series Masterlist



“Ms. Y/L/N,” Friday chimed.

With a small groan, you forced your eyes open. It was supposed to be your day off, meaning you could sleep as much as you wanted for as long as you wanted. Why was she calling you now?

“Yes, Friday?” you murmured. She always found a way to bother you, especially during nap time. Delta’s needed more rest than everyone else, but of course, nobody knew that but you. You hadn’t told anyone about your true status yet.

“Mr. Stark requests your presence in the common room.”

With a tired groan, you threw the covers from your body and sat up.

What could possibly be going on this time? Did Tony blow up another suit again? It took weeks to get the oil out of your nails, much less your skin. Did Peter run out of webs mid swing again? You loved the kid almost like a little brother, but the kid needed some kind of rockets in his shoes for safety. You made sure to scold Tony on that; he wasn’t exactly a responsible crime fighter. You understood now what Pepper went through.

You slipped on the nearest form of clothing you could find before making your way towards the common room.

The sounds of hushed whispering rung throughout your ears. Your eyebrows furrowed in confusion. Was Tony having guests over? Why didn’t Friday mention that to you? Looking down at your clothes, you felt a blush break out on your cheeks. You were nowhere near dressed for guests. It wasn’t anything near provocative, just an oversized sweater and leggings, but still. You didn’t like drawing attention to yourself and you strongly disliked strangers.

Entering the room, you spotted the entire Avengers assembly. Literally.

You recognized Thor, who stood taller than everyone else, speaking with Bruce Banner quietly. You spotted Vision and …were that Scarlett Witch? Jesus, she was even prettier in person. You may or may not have read her file religiously.

You saw Hawkeye standing next to the redheaded assassin herself, Black Widow. Immediately, you felt your instincts kick in slightly. She was a suitable alpha, no doubt. Her red hair made her pale skin seem almost vibrant and those eyes…god she was so perfect. With a subtle shake of your head, you pulled your mind out of the gutter. As nice as she was, you were still wary of the woman. She was extremely intimidating.

In the corner of the room, you spotted Falcon and Ant Man standing side by side. You could tell how nervous the two looked about the whole situation. You couldn’t blame them, from what you heard about the whole airport thing that happened in Germany, you’d be a bit nervous, too.

You smiled when you spotted Peter standing by himself, his hands in his tucked into his pockets casually. At least you knew him. Even though Peter was a newly legal Beta, he still remained one of your closest friends. He didn’t know about your whole…status problem yet, but he something told you he knew there was more to you than what you were telling him. But being the polite person he was, he decided not to push it, to your relief.

When Tony entered the room, everyone instantly got quiet. You had a feeling you’d be receiving some really bad news this evening.

“Alright, I’m sure you’re all wondering why I called you here,” he began, clapping his hands together. You could spot the subtle sweat beading across his forehead. Why was he so nervous? “I can assure you right now, I’m not dying!”

Everyone seemed to relax a little bit at the news. Jesus, he had a way of being the biggest drama kind on this earth.

As Tony continued, you felt someone’s eyes on you. Ignoring it, you kept your gaze on Tony.

“Why are we here, Tony?” Rhodey asked, crossing his arms over his chest. A cliché alpha mannerism. You snorted softly at the realization that your instincts hadn’t kicked in at the sight of him. Maybe he wasn’t as alpha as he thought he was. Alphas were so fragile underneath the whole macho exterior.

Again, you could feel someone’s eyes on you. And it was honestly irking the life out of you. You couldn’t possibly focus on Tony while whoever it was stared at you like that. With a causal turn of your head, you caught sight of Natasha glancing over at you. Her blue eyes were set on your body, trailing them up and down. Suddenly, you felt so small.

You felt the arousal slowly growing between your legs, making you blush. Before she could look back into your eyes, you looked away quickly. That wasn’t a very practical idea after all.

“We’re here because I’ve decided that I was a little bit hard on Rogers,” he admitted, avoiding everyone’s gaze. But when he looked up at everyone’s smirks, he sighed.

“Okay, maybe I was a bit dramatic about it.”

Someone let out a snort.

“What I’m trying to say is, I was wrong. Incredibly wrong about the entire situation. Rogers, although he can be a little shit sometimes, is a strong asset to this team. And without him, we’ve pretty much got nothing going for us.”

Everyone nodded in agreement, much to his dismay.

“Hey! I did pretty well those couple of ti- anyways,” he cleared his throat. “I’ve decided to try and make things right; for the sake of the team. I offered Cap a place back on the team.”

Everyone let out small approvals at the news. You even cracked a smile. This was so mature for Tony, you were so proud of him.

“He agreed to come back on one condition.” Everyone practically leaned in with anticipation. Peter even stood on the couch to get a better view.

“He’ll come back, but only if Barnes gets a place, too.”

You felt like one of those cartoon characters. Your jaw practically dropped straight to the floor. Peter instantly looked down at me with wide eyes. But Rhodey, though…he was not having it at all.

“Are you high?!” he shouted, clenching his fists in fury.

“I wish I was,” Tony said under his breath with a sigh. “No Rhodey, I’m just trying to fix things for once.”

“And by fixing, you mean letting the man who killed your parents live under your roof?”

That’s when shit hit the fan.

“Hey, Barnes was brainwashed!” Scott shouted. “He didn’t mean any of that!”  

“Oh yeah? Well, why didn’t he just walk away?” Rhodey retorted. “He could’ve at any point. He’s a damn master assassin!”

You glanced over at Peter, feeling a bit fearful. He gave you a reassuring smile, patting your shoulder gently. You absolutely hated confrontation. Especially when it involved your work.

“Tony!” Rhodey exclaimed. “At least think about this for a couple days!”

“Yeah, about that,” Tony said, glancing at his wristwatch. “I kinda already agreed to it. They should be here any minute.”

Your eyes nearly flew out of your head. You weren’t too sure about this. You knew Steve was a trustworthy man, but this Bucky guy…you were a bit wary of this. The only thing you knew about him was that he murdered a lot of innocent people, including Tony’s parents. Tony told you the entire thing personally after he’d nearly drank himself to death one night.

“Mr. Stark,” Friday chimed again. You all instantly went quiet. “Mr. Rogers and Mr. Barnes have arrived.”

“Oh, cool,” he sighed. “Send them in, I guess.”

The elevator chimed mechanically, opening swiftly.

That’s when you felt it.

Your vision instantly blurred, creating kaleidoscope like patterns. You placed a hand on whoever was near you for support. Whoever the person was, they placed their hands on your shoulders, steadying you. The next thing you know, you’re on the ground surrounded by everyone. You feel hands cupping your face, forcing you to look up. Natasha stared back at you, her blue eyes widened with worry.

The heat between your legs was unlike anything else you’ve ever felt. It was almost unbearable. You felt a wave of arousal hit you at full force, preventing you from thinking straight.

Natasha leaned in far too close, inhaling deeply. Her eyes snapped open, her eyes completely dilated.

“Delta.” She whispered, licking her lips hungrily.

“Delta.” Peter repeated, his eyes dilating as well.

“Delta!” Wanda gasped, prowling closer to you with matching dilated eyes.

“Delta.” Sam followed behind her, his nostrils flaring.

You looked over at the elevator, past all the people slowly crowding around you.

Bucky’s eyes were completely dilated, his breaths coming out in short puffs. He was the one. He was the perfect mate and you wanted his knot and you wanted it now. You didn’t care if everyone watched; you needed him more than anything. You didn’t care who was in the way of your alpha.

“WAIT WHAT?” Tony practically squeaked, staring at you with wide eyes. “What do you guys mean delta? She’s not…oh no.” he inhaled, catching your scent of wild berries and pine trees. Of course you were a delta. Jesus, he was so stupid not to notice. You had no scent up until now.

Natasha dipped her nose into your neck, inhaling harshly. You let out a small whine, gently trying to push yourself away from her. It was no use. She was an alpha, far too strong for you.

Bucky let out a growl, snapping everyone’s eyes from you to him. The gears in his metal arm shifted threateningly as he clenched his fist harder. Your eyes instantly went to his, begging silently for him to take you away.

Before anyone was able to touch you, Tony scurried past everyone and snatched you away from Natasha. Well, he tried to.

Natasha grabbed ahold of your legs as tight as she could, planting her feet onto the ground to prevent him from leaving. “God damn it, Romanoff!” he spat. “Get your shit together before I make Fury fire you!”

In a flash, Thor scooped the redheaded woman up from the ground and threw her over his shoulder despite her angry shouts.

“Ah, I remember my first encounter with a delta!” he laughed, snatching a kicking and screaming Wanda up as well with his other arm.

Tony began dragging you away as fast as he could, trying to dodge the crazed people that darted towards you.

Peter had managed to grab onto your arm, only to be snatched up by Clint and thrown into one of the coat closets. “Jesus,” Clint sighed, placing a chair in front of the door. “You guys are so embarrassing.”

You caught a glimpse of Bruce running out of the building, his body shifting inhumanly large. Oh god, he was hulking out. Vision and Sam were practically rolling on the floor as the android gathered the man into a headlock. “Let me go, you fucker!” Sam spat, wiggling in his grasp.

Suddenly, you felt a cold, metal arm grab onto your ankle, tearing you away from Tony’s grasp. You cried out with glee at the sight of Bucky practically dragging you through the hall, ignoring Tony’s shouts from afar. You jumped into his arms, wrapping your legs around his waist as he carried you away. Bucky raced down the hallway, zooming through the halls for any empty rooms. He didn’t care if it was a janitor closet, as long as he could get his knot inside you and fast.

You dipped your head into his neck, pressing small kisses along the warm flesh. He let out a growl, kneading the flesh of your behind. You let out a small squeak at his actions. Bucky smelled like heaven. His scent was a mixture of cinnamon and the ocean, your favorite two things combined into the perfect alpha. You tangled your fingers through his hair, breathing in his scent as if it were oxygen.

“Rogers!” Tony’s voice echoed from down the hall. “Get your friend before he impregnates my successor!”

Suddenly, you and Bucky were on the ground. Steve’s shield rattled against the ground beside the two of you. Bucky let out a string of curses as he stood. Before he could get to you, he was tackled to the ground by Steve. The two men wrestled on the ground, throwing punch after punch.

Not knowing what else to do, you crawled towards the men and pounced onto Steve’s back.

“What the hell? Get off Y/N!” he shouted, stumbling backwards. Before Bucky could get to his feet once again, you were snatched from Steve’s back and hauled away from him.

“What the hell is wrong with you two? You’re like rabid bunnies on Viagra!” Tony exclaimed, dragging you away with all his might.

You cried out as you got farther and farther away from Bucky. Your heat slowly became more and more intense the farther you were apart. You watched helplessly as Steve planted his shield on his friend’s back and sat on it, preventing him from following this time.

You reached out and grabbed onto one of the door handles and tried to pull yourself away from Tony, only to have him swat your hands away. Turning the corner, the last thing you saw was Bucky lying helplessly beneath Steve.


Tony practically threw you into the first bedroom he found.

Unfortunately, you completely missed the bed and landed on the floor with a loud thud. You picked yourself up and cradled your bruised arm, snarling at Tony. The older man let out a sigh of relief, plopping down onto the bed. It was a spare bedroom, but it would do for now. He just needed to rest a bit. He really did need to get back in shape soon. Gosh, Pepper would be cackling at him right now.

“You are such a handful, you know that?” he sighed, watching you intently.

You glared up at him, your eyes still dilated completely black. You were still in heat. Great.

Tony let out a small chuckle, staring out the small window. You let out a small growl.

“You know, I remember these days when I was a kid.” He recalled, watching the birds fly past the building. Your eyes widened. What was he talking about?

“You see,” he said softly. “My mom was a delta, too.”


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