Betty: Doesn’t get mad at Jughead for keeping the fact that his dad’s a Serpent from her.
Betty: Visits Jughead when he’s being interrogated. Tells him she believes him.
Betty: Even after meeting his alcoholic father and realizing he clearly doesn’t have his shit together, she tells Jughead she believes his dad, too.
Betty:Asks Commands FP to come to Jughead’s birthday party because she knows how much it would mean to him.
Betty: Throws Jughead a birthday party because he’s never had one and she thinks he deserves it.
Betty: Doesn’t throw anything intentionally mean or hurtful in Jughead’s face when he goes off on her and delivers some truly low blows for putting him in a position that made him uncomfortable.
Betty: Defends Jughead to her mother and says he’s family to her.
Betty: Runs all around town looking for Jughead when he freaks out and runs away.
Betty: Even though their relationship is in turmoil, still works her ass off to clear FP’s name.
Betty: Writes an article defending FP and the Southside Serpents, even though it puts her in peril.
Betty: Hunts Jughead down at Southside High just to remind him that she cares.
Betty: When Mayor McCoy says it wouldn’t be a good look for the Jubilee to honor Jughead, she uses her speech to call him out as one of the best things Riverdale has to offer.
Betty: Tells Jughead she’s not going to give up on his father.
Betty: Tells Jughead she loves him.
Betty: Tells Jughead she supports him, even though his new alliance with the Serpents makes her a little uneasy.
Betty: Brings housewarming gifts to the Red and Black office.
Betty: Gets up at apparently the crack of dawn so she can trek across town and say good morning to Jughead in person.
Betty: Agrees to work with Toni on the cypher, even though she barely knows her and seems a little put off that Jughead kept the fact that they were hanging out from her, because she wants to support Jughead’s new friendships.
Betty: Only breaks up with Jughead because he will die if she doesn’t.
Betty: Fixes his car, reminds him how to drive it safely, and cheers him on in an illegal street race even though he’s still mad at her.
Betty: Wants the last thing Jughead hears from her, if he dies in said illegal street race, is that she doesn’t think she’ll ever stop loving him.
Some of y’all: Betty needs to learn how to take better care of her man.
This misogynistic way of thinking is the most troubling theme I’ve seen emerge in some parts of this fandom.
It implies that Betty is the only one responsible for keeping this relationship going. It implies that Betty should not be concerned about her own wants and needs, but solely devoted to keeping Jughead satisfied. It implies that even though Betty has been a model friend and partner to Jughead, there’s literally nothing she could do to ~deserve~ his love.
And I can’t speak for the rest of Betty’s fans, but I know that this type of nonsense is why I am so quick to defend her.
The Moon in Aries is a lunar fire storm. Emotions are larger than life, and the individual is directive, curious, and self regulating. Independence accompanies impulsivity and a general recklessness when it comes to matters of the heart. The Moon in Aries have active and reactive emotions, typically extreme, cyclic, and abruptly appearing and disappearing. The lenses can be idealised with this placement, so even the slightest rejection and letdown can be emphasised and internally dramatized. The emotions are so pure in Moon in Aries that they resemble that of a young child, innocent, loyal, and naive. The mother figure can feel non existent so there may be consuming attachments to protective symbols or destructive attempts to be noticed and acknowledged. The individual can have a black and white perspective, often letting her most recent experience completely colour judgement, interactions, and decision making. The daggers of protection are raised highly with an Aries Moon, and the individual displays a devotion, cherishing, and loyalty unmatched.
A temperamental, abandoned child can express through an Aries Moon. The inner warrior feels deserted in the world, dropped in the middle of a storm, slightly wounded and highly defensive. Aries is a primitive sign marked by the development of a fresh personality. The Moon is representative of childhood conditioning, intrinsic rituals, habits, and the person we become when we need our mother. And so twin themes emerge when the Moon is in Aries. There is often a fight for survival, a fanatic charge by a screaming inner child who has been lacerated and left here. Aries is a rudimentary sign, and the child inside requires nurturing. A healthy adult has not yet entered the picture and the reactive nature can be intense. Coping mechanisms are undeveloped, and so the individual may constantly lapse into the emotional or abandoned child when distressed. It may take intense reflection, observation, trial and error, and psychological probing to establish emotional containment and intelligence.
The intuition with Aries Moon is potent, often generating from self emanating direction and purpose. The tendency for self destruction can seem routine, even maddening to onlookers, however the individual is decisive - she must learn, see, and feel for herself. The individual may seem combative in close relationships, constantly seeming to experiment with the boundaries and psychologically understand people through manipulation or emotional testing. Intentions are likely pure, however subtle gaps in emotional development generates curiosities and misunderstandings. A savage guardian of justice, the individual refuses to hesitate when battling on behalf of loved ones or the vulnerable. The emotional reactivity is startling with an Aries Moon. These emotions can be raw, sharp, and control energy distribution. The individual may fall into lust quickly, enjoy the taste of romance, and then become easily bored or discouraged by monotony. There is a crayola box of idealism with the Moon in Aries, dark hollows of the moon are illuminating in seductive scarlet dripping paint, colour drawn outside the line, remnants of temper and pride.
Stories exist for entertainment, certainly, but they also exist as teaching tools. They have been used this way for thousands of years - from religious parables to ancient mythologies, the stories you hear at bedtime and the ones you read in English Lit classes.
Stories deliver a moral message, and they are uniquely suited to it because they activate an empathetic response in our brains. For a little while, these fictional constructs become real people to us, and that allows us to live through them; and that activation of empathy is what makes it possible to internalize the messages and morals of the story in a way that simply being told how to think or behave would not.
Fiction exists as a playground - a place to explore ideas and situations and work through them. They are, to an extent, therapeutic - both for the author and the reader. The author discovers something about him/herself in the process of writing; they identify their own values and insights and experiences in a way that was not clear before writing them down. The reader/viewer discovers connections to the wider world or their own experiences.
These are essential functions of storytelling. This is why storytelling exists.
There are moral messages in all stories. They’re called themes, and the exist in every story whether or not the author intends to put them there. Themes are the imposition of moral logic to events in a narrative.
Themes emerge in the ways that characters are punished or rewarded for their choices. In the things characters struggle against and overcome or are defeated by.
Does the hero kill the bad guy? (then sometimes killing is acceptable, if it’s to prevent greater harm)
Does the villain die by his own devices? (then evil will ultimately destroy itself)
Does the hero let the villain go, only for the villain to die in some ironic or accidental way? (then the world is just, and will balance its own cosmic scales)
Does the bad guy get away without consequences? (then the world is unjust)
Does the bad guy see the error in his ways? (then evil can be redeemed)
You get the picture.
But here’s the thing that’s important: All themes are valid. All of those things above are sometimes true. They are also, sometimes, false. That’s because life is a paradox; it’s full of things that are sometimes true, sometimes false, sometimes both at the same time.
Fiction exists to tease out those inconsistencies. In any given story, one of those themes will be true. In another story, a different theme will be true. Both stories can (and do) describe the reality of the human experience.
Complaining about problematic events or characters may be missing the point. Only themes can be problematic. Characters and plots are just tools for storytelling. The existence of a bad guy is not inherently problematic; what happens to that bad guy and the moral message those events portray may be.
Moreover: The themes of a particular story may or may not directly reflect the morality of the author. Sometimes, you write something with a particular theme simply because you want to see what the world might look like from that perspective. I think, as writers, we may often be drawn to doing precisely that because we have questions: Can evil be redeemed? Is murder ever justified?
We’re asking questions, not making definitive statements.
We’re authors, not oracles. We don’t have the answers to life’s greatest questions. We’re exploring possibilities, trying to figure out how this whole world works.
So don’t malign people for this. Don’t say “Don’t explore these themes” or, god forbid, actively threaten people for exploring themes, even if they’re not themes that you agree with.
Discussing problematic themes is a worthwhile endeavor. Exploring why things are problematic, and how they are portrayed, and the way those things can relate back to the real world and our human experience - all of that is valuable. Discourse and analysis is good! Discussing these themes is how we grow and learn about ourselves and the world we occupy.
Maligning authors - or insisting that certain topics be verboten - only leads to shallow thinking; it punishes soul-searching and critical thought; it gags authors and prevents them from revealing those facets of truth that stories might contain.
After all: If there were no problematic fiction for us to analyze, how would we ever learn so much about our values, our culture, our place in the world?
I was asked to collab in a youtube video about sexism in One Piece and accidentally got upset about it. I did not realise that I would get this worked up about it and I think that’s because when you’re watching the series, there are little moments of sexism that you can ignore. But when you actually research it and think about all the moments that have made you feel uncomfortable, it becomes overwhelmingly clear that One Piece is sexist.
It’s gotten to the point where I’m embarrassed to tell my friends that I watch One Piece, because I know that they’re going to google it to check it out and they’re just going to see boobs. I would never buy a figurine of a female character in One Piece because I wouldn’t even be able to look at it. I’m not saying that large boobs don’t exist in real life but it’s a problem in One Piece because it’s gotten to the point where every young and attractive female character has giant boobs. There is barely any diversity between female characters. And to be honest this isn’t the type of anime I signed up for. The first time I remember feeling uncomfortable when watching the anime was in the Alabasta arc and seeing Miss Doublefinger outfit. I was like wtf, who would dress like that but I could just write it off to her being a crazy villain. But after that moment the boobs grew bigger every One Piece arc, until after the timeskip when in the manga you couldn’t even tell which female character was speaking because they all looked the same.
I unfortunately am in a bit of a bind, and with bills coming up, I need to make a little bit of extra money.
What I’m offering:
Icon Packs for $2 for 20 icons.
Themes starting at $5, more for something more complicated.
Manga coloring starting at $5 and going to $7 for a more complicated piece.
Short stories for $5 for 500 words. $1 per next 100 words.
“I was like you once. Content with wishing I had more in life. Only I wasn’t really, dreams are always there, always waiting for you to pick them back up or dust them off. It’s then you remember this wasn’t what you wanted to do with your life. Only don’t know where to start you put your dreams aside if not one day one day I’ll pick you back up, only one day and never came reality set in and it was just too much for you to do those dreams they’d have to wait. And then one day you wake up and you do it over and over again despite the thing that was stopping you in the beginning being gone, you’ve fallen so much into the routine that you don’t know where to start your dream. All you know is you’re not content with your life. You wanted to get out you want to do things. So where do you start your asking, the same way you start when you’re young and you starting off: the basics. All dreams take work you can’t just start in the middle and expect everything to work out.”
“So you’re saying I can still follow my dreams. Even though I’m nearly Thirty I’m not too old. I don’t believe you dreams are for the Young.”
It was just supposed to be another ordinary day, well as ordinary a day can be when you’re Spiderman and Deadpool. Today though nothing had gone right. From Tony and Loki discovering his relationship with Deadpool, to now fighting six, no make that seven of his archvillians. There was the Green Goblin, who of course had shown up first, the Rhino, Electro, the Vulture, Doc Ock, Kraven, Mysterio, and Sandman had been the last.
He’d thought that Tony and Loki would have at least been able to help him. But no, they were probably still mad at him for dating Wade Wilson, the-merc-with-the-mouth. Funny though, that the man who was no good for him was right beside him fighting to help him out. And just who was Tony to judge anyway? Tony had fallen for someone who was worse then Wade had ever been, Loki the God of mischief.
Of course they were his parents though, adopting him when his parents had passed and there was no one else to take him in. He loved them both, but they were wrong, Wade was just what he needed, yeah he was older then him and wasn’t the most lawful person in the world, but Wade was the one who understood him, could be just as snarky as he was.
“Yo Spidey gotta get your head in the game. The writer has us outnumbered two against seven, and your spacing. Come on.” Deadpool said without having to say the part about brooding getting him killed. He was right though, Spiderman thought as he did a backflip to get out of the way of a pumpkin bomb being thrown at him only to be rammed from behind and sent flying by the Rhino.
This map is one of the reasons why we plan to make the game, as well as being one of the reasons I had to put together some kind of blog. We finished the map weeks ago now so when I see reblogs of the initial designs I’m desperate to point them to the finished room. I can finally do so at last. Phew~
So this map went through a ton of changes and I learnt a lot. Nya taught me a fair bit about how to parallax map - not that I have memorised everything just yet!!! Nya had always been saying things like,
‘I want to see your art in a map’ and ‘Zoe you really need to try mapping’…
WELL SHE WAS RIGHT!
It was tons more fun that I expected. No regrets!!!
The process was more like sending work back and forth since after the initial colouring was done - aka the objects and windows, she moved onto filling the floor and walls as well as the lighting. She also has the fun of programming it all and moving objects to her whim.
when Tony said that spending extra time with your loved ones is the best gif of all, did he really imply that he loves Steve and is happy to be with him here or he just meant that Steve meeting Peggy (even if it was quite painful in the end) is a good thing after all?
i think the show meant to imply both. i whole-heartedly loved the episode; peggy was electric in every moment she was on screen and the s.tevepeggy chemistry was fantastic but the way steve immediately jumped at the opportunity to go back felt so ?? simplistic. and lazy.
following mcu’s timeline he’s been in the 21st century for about 5 years now, long enough for him to be telling tony only a season ago that he was his best friend and he’d never abandon him to die on another world because (he) the team needs him. the avengers have become his family. it would’ve been nice to hear steve be the one to say ‘as much as i want to go back, the present is where i belong now. the avengers need me, and i need them.’ after four whole seasons of the show itself giving steve and the team all this character development it feels like a huge disservice to throw that all out the window in the name of romance.
and that’s not to say they had to lessen the s.tevepeggy moments in any way, steve’s struggle as The Man Out of Time permeates everything about his character. it’s okay for him to be comfortable where he is in the present and at peace with his life in the modern day, just as it’s okay for him to still long to be back in the past, with peggy, and to still mourn all that lost time.
again, i Loved the episode but i feel like the tony and howard subplot was written with a lot more nuance and subtlety then the steve and peggy parts. we haven’t actually seen aa show a canon couple in an explicitly romantic setting (clint.asha gets the subtle nods and hints which works arguably better than the show outright acknowledging anything) so the lack of experience, possibly?, balancing aa’s current themes + dynamics and the emergence of a previously unexplored but established canon romance is probably the main reason why steve’s character development suffered more than it should have.
but yeah, tony’s line can be taken both ways and it think that was the intention behind it, too. above all, steve stayed. ofc he was never going to travel back in time, but he chose to stay. tony saying ‘ extra time with the people you love ’ with his arm around steve’s shoulder and the final shot being of them staring wistfully into the distance at the new year’s eve celebrations is pretty clearly meant to emphasise the overall importance of steve and tony’s relationship to the show. i’m literally making an edit right now of every aa season finale and steve and tony’s relationship is the heart of all them, because it’s essentially the heart of the show.
also……. the story structure of cartoons is circular. whether it’s an important story theme or dialogue or just a joke, there’s typically always a callback in the last scene to the beginning of the episode. in 4.14: steve asking tony why he isn’t ‘at a party or out on a date’ on new year’s eve….. and tony ending the night with steve, choosing to spend his new year’s with him
The next week is…..fuck, I can’t even. Eric ignores me and is a colossal prick to absolutely everyone. Punishments are thrown around like candy at a parade, and no one is safe. Fortunately, the day I get called out, so do four other people and we make a sorry sight dragging our asses around the track, only after an Erudite girl, Megan, pukes and passes out does he irritably tell us to piss off.
Some psychological observations about Tim McVeigh taken from the book by his former attorney Stephen Jones - Others Unknown: Timothy McVeigh and the Oklahoma City Bombing Conspiracy.
I was also worried-greatly at times-about his mental condition. Back
in October 1995, I remember, he had called the office and said it was
urgent he speak with me. It so happened I was in Washington at the time.
Rob Nigh was with me, and Dick Burr was in Houston. When I finally got
him on the phone, he told me he was “about to lose it.” I assumed he
meant an emotional or mental breakdown, and I managed to get Dr. John
Smith on his emergency number. Dr. Smith immediately went to the prison
and spent a number of hours with Tim, that day and the next. Tim did
calm down-the ground rules the three of us had agreed to specified that
Tim could say whatever he wanted to Dr. Smith and Dr. Smith would never
repeat it to me–but I was sufficiently concerned that I called in a
highly respected Oklahoma City physician, Dr. Michael Crawford, to give
Tim a complete physical. Crawford pronounced him in excellent physical
shape. At various times I’d had Tim examined by other psychiatrists and
psychologists, looking for something that might help us establish a
defense, but none found evidence of incompetence, insanity, or any
mental defect or condition.
One of them, Seymour L. Halleck, M.D.,
of the University of North Carolina’s Department of Psychiatry, did
warn me that I was making a serious mistake letting Tim talk to so many
members of the defense staff. McVeigh was manipulative, he observed, and
would seek to divide us and play one off against the other.
Unfortunately, I didn’t follow his advice, thinking it more important
that he feel the full community involvement of the defense team with
What I did do was ask Ann Bradley, who had already proven her
analytical skills, to review all of Tim’s statements to us and the
memoranda of interviews, in order to determine what psychological themes
emerged and what inconsistencies she could catch-in other words,
whether he was being truthful or deceptive with us as reflected in his
own words. I asked Randy Coyne to help by preparing a detailed
comparison study of what Tim had said about each person whose name he’d
mentioned-another form of cross-checking.
Several weeks later, Ann
delivered her report, which she entitled, “Is He Lying or Isn’t He?” It
was long and, to say the least, highly disquieting, organized into a
series of propositions with examples.
Proposition one: “He has
lied to us in the past, which even he admits.” She quoted Tim, from
early in the case, saying he had decided to cooperate with us and
disclose all because he “felt like a shit yesterday” for lying. The
pattern, however, had been repeated many times.
“The better part of his adult life is predicated upon lies, deceptions
and cons.” Many examples followed, and the observation, “Tim is a
masterful manipulator and con man and he is applying the same techniques
on us that he did on others.”
Proposition three: “His story is
riddled with inconsistencies.” There were many such, but one of the most
disturbing was whether Tim knew there were children in the Murrah
Building. He’d stated that he didn’t know about the nursery, then
clarified that to he hadn’t known about it till three days before the
bombing. (What, I wondered, did he find out three days before the
bombing, and from whom?) On the other hand, he remembered saying to Mike
and Lori Fortier, several months before the bombing, “I told them, you
know, children may die, there may be a pregnant woman working there or
there may be someone walking down the street or someone may have taken
their child to work with them. Do you understand that?” Ann took this as
evidence that he knew full well about the day care center.
and again, in Ann’s analysis, Tim had said and advocated the opposite of
what he truly believed, and even when not completely lying, was prone
to hyperbole and exaggeration. She noted that Tim claimed to have placed
fifty-seventh in the country on the U.S. Marshal’s service exam, and
second out of 70,000 applications for a toll collector’s job on the New
York State Thruway but had been denied these jobs because of affirmative
action! This led to observations about his unshakeable belief in his
own leadership skills, and the difficulty he had acknowledging any other serious players because to do so would diminish his own role and
In the beginning, it’s just a story about a few kids getting ready for an adventure. Because many of its ideas come from another source, it’s surreal, discordant, but above all, lighthearted. At first.
Over time, though, the scope of the story changes. The author relies on his own vision for larger and larger sections of the story. New, more serious themes emerge. By the end, it’s a tough, emotionally draining read. Cathartic, in all the worst ways possible.
Yeah. I think everybody knows what story I’m talking about.
after seeing the lego batman movie (which was deliiightful!), i am now convinced that garrett needs to take dina to see the lego batman movie
it can be their accidental first date that they both insist is not a date so much as simply an answer to the fateful question “what in the name of god is lego batman?”
”you asked,” says garrett whenever something dately happens by accident to their mutual dismay (the cashier assumes garrett will pay for both tickets! dina, of course, takes offense at this and pays for both tickets with a kind of ferocity that leaves the cashier trembling in fright. later, garrett’s hand brushes dina’s over the bucket of popcorn that they decided to share for the purely pragmatic reason that movie popcorn is way too expensive. it’s popped corn, not diamonds). “this whole thing is on you.”
dina grumbles indignantly at said accusations at first. then the magic of lego batman fully casts its spell. when the movie has reached the point where the ‘friends are the family you choose’ theme emerges, she may or may not whisper, bright-eyed, staring rapt at the screen, “and sometimes your family can be birds.”
garrett smiles and then realizes he’s smiling and then pulls out his phone to text jonah the weird thing dina just said about her chosen family consisting of BIRDS – but then she looks over at him and gives him a little smile that’s almost like the smile of an actual human being instead of the fierce sneer of cloud 9′s very own bird lady batman, and so he puts his phone back. no big deal. it’s rude to text in the theatre. everybody knows that.
after this outing, they decide that they can be movie buddies and hookup buddies and there’s nothing weird about that, they’re totally cool, just two colleagues having sex and occasionally going to the movies. no biggity.
(”we on for b-and-the-b tonight?” garrett asks approximately one month later when he sees dina in the break room
“you know it,” dina says. “god, i wish i had a castle full of sentient objects at my command. there’d be no more need for any of you hoodlums around here. the products could sell themselves.”
“yeah they could,” says garrett.
garrett and dina high five, because apparently that’s what they do now. then garrett goes off to slack and dina goes off to give glenn some fresh, terrifying hell.
“so they’re, like, really a couple now,” amy says
“garrett says they’re just hooking up,” jonah says, “but garrett also sent me a selfie of him with her birds. it did not come off as ironically as i think he intended it to. it looked like they had really bonded.”
It might be time for Meredith to consider traveling by train. TVLine has exclusively obtained the flight manifest for Grey’s Anatomy‘s latest airplane emergency-themed episode and Meredith Grey — whose history with air travel is, at best, turbulent — is among the passengers. And she’s not traveling alone. According to the airline’s records — not to mention the exclusive image above — her crush interest Nathan Riggs is on board as well.
As we previously reported, the Chandra Wilson-helmed installment — titled “In the Air Tonight” and slated to air on April 13 — takes place almost entirely on a commercial airliner as a crisis unfolds mid-flight.
As you know, Meredith was involved in an airline disaster at the end of Grey’s Anatomy‘s eighth season. The crash claimed the life of her sister Lexie (Chyler Leigh).
Further details about “In the Air Tonight” — including the nature of the crisis (perhaps it’s a passenger and not the aircraft that’s ailing?) — are being kept under wraps. Other big questions: Why are Meredith and Nathan traveling together? Where exactly are they going? Is there first date taking place on a beach in Mexico?!
Hello my love! I'm really sorry this is a reader insert but I've been waiting to send you this for a while! I would like reaper and Hanzo (separate) with a (preferably fem) s/o and the s/o is insecure about her pale skin. It makes her not want to show any of her skin but unfortunately it's getting warm, so their boyfriend is confused as to why they're wearing long sleeve tops and jeans? And then they reassure them it's fine and lots of fluff?😘 sorry if this is confusing and thank you if you do!
Before his botched resurrection he was
always the first one out sleeveless and in shorts at the first hint
Now he’s glad he has you to be
miserable and bundled up together when everyone else enjoys the
As such for the longest time he doesn’t
even care why you do it. If pressed he’d assume you were doing it
out of consideration for him, but the truth is as long as he’s not
alone wearing his winter clothes for as long as humanly survivable
(and, in his case, beyond that), he’s fine
It takes the annual spring cleaning to
stoke his curiosity. In true spring cleaning tradition you started by
sorting through the old books and photo albums and have spent the
past hour reminiscing about the past, cleaning supplies forgotten by
“Puberty saved your ass.” you say
as you flip through the remarkable transformation that is a
pre-pubescent Gabriel hot on the way to win the World’s Most
Awkward Kid award to the man so beautiful his mirror image fell in
love with him.
“I once got out of a speeding ticket
because the cop thought I was hot.” he says conversationally and
flips the page to show you the incident in question, recorded from
the passenger seat of a car. He taps the photograph and it plays a
short video, showing a cop in an unfamiliar uniform flustered at
Gabriel’s shameless flirting.
“Italy?” you ask.
“Spain. With the ingrate. He filmed.”
You move on, dusting off old memories
instead of the vases that really need it more. Once you’ve gone
through his Life in Pictures, it’s his turn to tease you for every
life choice you ever made that got immortalised on film. Eventually
though a theme starts to emerge.
“Alright, I have to ask. What’s
with the long sleeves?”
He points at a picture taken just a few
years before you met him on a carnival parade in Rio. You’re the
only one with sleeves reaching past your shoulders and the difference
is all the more stark with the scantily clad dancers in front. You
shrug, try to flip to the next page but once something got his
interest there’s little to stop him.
mj/jinjin, thug!jinjin?, cuddling, a maybe toxic relationship
Myungjun looked perfect, freshly showered with a motel towel wrapped around his waist. A moment seldom passed when Jinwoo wasn’t completely and utterly enthralled with him, so it was hardly surprising that Jinwoo’s heart squeezed at the sight of him.
Rubbing the towel against his hair, Myungjun roughly dried his hair. Jinwoo examined Myungjun’s blank body; it contrasted Jinwoo’s sharply. Myungjun had no scars or tattoos, but ink ate up so much of Jinwoo’s skin, filling in the spaces between his ugly, raised scars. Perhaps, their contrast, the impossibility of a Jinwoo and Myungjun or a Myungjun and Jinwoo was precisely what drew them together.
Myungjun blunted Jinwoo’s sharpness; Jinwoo was soft and sweet and caring around Myungjun. He spoiled Myungjun with gifts and sung his praises. His normally violent touch turned into a gentle caress for Myungjun. Filthy words never fell from his lips with Myungjun; Jinwoo’s mouth was only to do good things in Myungjun’s presence.
Dropping onto the bed, Myungjun positioned himself against Jinwoo’s side, resting his cheek on Jinwoo’s chest.
Jinwoo almost wanted to protest. This place, this room, this bed was not good enough for Myungjun. Myungjun deserved only the best things that the world had to offer. He deserved better than Jinwoo, but Jinwoo’s selfishness knew no end. At this point, Myungjun belonged to him, regardless of its toxicity. He once told Myungjun that he should leave if he knew what was good for him, but Myungjun said he could make his own decisions and deal with the repercussions.
It was an unspoken thing, what Jinwoo did and the kinds of people he was involved with. If Myungjun slowly ebbed away at Jinwoo’s harsh facade, then Jinwoo’s mere entanglement in Myungjun’s life blurred his lines of morality. Jinwoo’s poison slowly spilled over into Myungjun’s life, one way or another. Jinwoo appeared at Myungjun’s door, beaten within an inch of his life, covered in someone else’s blood, and that begged questions that Myungjun could not possibly want answered. Jinwoo’s body told a story, and Myungjun silently read it.
Jinwoo traced random patterns on Myungjun’s back, dragging his fingertip across smooth skin. He felt Myungjun’s thumb on a particularly nasty scar on his lower abdomen. He used small, slow, and soft strokes as if to erase its pain with love; the curiosity was palpable. Myungjun didn’t know the story yet, and Jinwoo knew that it bothered him. He took his intrusions into Jinwoo’s past cautiously, asking simple questions and focusing on only one wound at a time, treating Jinwoo as though he were some fragile young thing.
“Let’s run away,” Myungjun exhaled in a low and tentative voice.
Jinwoo didn’t respond. The thought was nice, run away and build a family with two and a half kids and a dog. If Jinwoo was anybody else, he would have said yes in a heartbeat.
But Jinwoo was Jinwoo, and running away wasn’t an option.
hi ducklings, yehetno here with a thingy that is…. a thing? there is some stuff ot unpack and the story changed as i wrote it, so similarly themed stuff may emerge in the future.
it took me forever and a day to title this.
alrightio! have a good whatever the time of day it is when you read this!!