this was excruciating

tumblr user: *makes a joke*

me: haha that’s pretty funny

five other tumblr users: *explain earnestly and in excruciating detail why the joke is so funny*

me: that post was never funny. fuck you

i invite you to examine the offended dignity in mamoru’s posture. HE HEARD LUNA TALK AND USAGI IS LYING ABOUT IT TO HIS FACE. what the hell else is going on in his head? i mean other than the fact that…    

“she’s a terrible liar and has an awesome secret. it can’t possibly be that she’s not admitting it because i’m wearing a tuxedo in the afternoon – after all, that should be MORE proof that she should be able to tell me, because if i’m the kind of person who wears a tuxedo in the afternoon, then probably nobody’s going to believe me if i go around saying a cat can talk. and besides!! i lowered my voice and everything!! i’m not making a scene about it! SHE is!”    

look at his shoulders getting all hunched up and his arms straightening and his chin jutting out and his eyebrows getting even scowlier.  

“she can’t POSSIBLY be running away and lying because i’m making a scary face, right? my face is not scary, it’s very pretty and even old ladies and other male model hobbyists tell me so. also there is all this blushing. even she blushed!! ugh, people, how do i even people, life is hard and my classy honesty is underappreciated.”   

I believe that hell lives inside people,
it’s the stabbing,
excruciating pain in your chest
that refuses to leave,
The darkness that consumes your every waking moment,
The memories of a haunted past,
following you around everywhere you go
—  charleigh aleyna.
What if we are both the Space Orcs and the Space Hippies of the Galaxy?

I absolutely love the idea that humanity will turn out to be the Space Orcs of the universe with our innate violence and toughness but what if we turn out to be the space hippies as well?

Like every other species that has reached Space fairing status has slaughtered every predator, every dangerous insect, every poisonous plant ….even viruses  and bacteria have been exterminated. Basically everything that can be a threat to them on their planet has been removed and it’s functions in the cycle of the planet have been replicated through scientific means. Sanitizing your Homeworld  like this is considered a mark of progress and civilization. Only barbaric species have natural dangers on their world. In advanced societies only lifeforms which are useful are allowed on your planet

And then we appear on the scene and although we are intimidating and and violent the other species welcome us. And then on our first meeting the alien ambassador notices a beautiful painting of a jellyfish on the Captain’s wall

“What an intriguing creature. Is it native to your planet? What is it function?” asked X’thio of the Kril

“Oh this? Yeah. The Box Jellyfish. Nasty piece of work. It’s poison targets your pain center and you literally spend weeks in excruciating pain. You can die very easily if you don’t get help quickly. My third cousin got stung by one. She said it was so painful it made child birth look like a fun day at the park“

“These things still exist on your world!? How horrifying. We would gladly help you exterminate them if you don’t have the capability”

“Exterminate them!? Mate we are trying to save them. They are severely endangering due all the pollution in the ocean!”

“What!? Why?”

“Well we used to throw out a lot of garbage  in the ocean and….”

“I understand how pollution works. Why would you want to save such a horrid creature?”

“Well  isn’t it obvious? It’s because it’s endangered. Besides they barely killed any people. Now snakes..let me tell you about snakes. There this snake that climbed through toilet and bit my uncle right in the…….”

And that’s when the Ambassador knew that they wouldn’t be leaving their Embassy on Earth

anonymous asked:

Could you list all of the tropes that you consider "feel good violence"?

Okay, “Feel Good Violence” is very simple as a concept. It’s violence that feels good, when you’re reading it, when you’re watching it on screen, because for the perpetrator violence can feel really damn good. However, that is violence when taken outside of context. It is violence without consequences. It is violence for the sake of violence. Violence that serves no purpose but to prove the character or person is tough.

Protagonist Sanctioned Bullying - Bullying in general is a fairly popular method to achieve “Feel Good Violence” because bullying does feel good. The audience sympathizes with the protagonist, so when the protagonist acts they cheer for it. Its not presented as bullying by the narrative, but it is still bullying. Usually it’s a rival or a character set up to “deserve it”, but sometimes not.

Making people afraid makes you feel tough. Many authors will fall prey to the sweet lure of bullying and not even know it because bullying is violence without fear of consequence. Most often, they’ve been the recipients rather than the perpetrators, and acting as the bully is a very different ballgame. It is an emotional and psychological high. You feel big, strong, safe, and untouchable. Powerful. In their worst incarnations, most superheroes become bullies.

Bullying is all about control, protected status, and freedom from consequences. An entirely fictional world creates the opportunity for all these things, with the narrative itself siding with the bully. Bullying is Feel Good Violence writ large in real life. It’ll follow you into the fictional world just as easily. Power is a high you never forget.

This is very common trope for characters who also act as a means of self-insertion by the author. For them, it isn’t bullying. It’s an example of how awesome their character is and how tough they are.

Everything But Dead - When the only morals applied are if someone died, the rest is sanctioned without comment. There are no narrative consequences for the character’s behavior, and everyone cheers them on. Anyone who calls them out is an acceptable target, usually evil, or the protagonist wins them over in the end because their actions are “justified”.

By Any Means Stupid - This is the “by any means necessary“ trope, where the violence really isn’t necessary and the author just wanted an excuse to paint the room red.

Unprovoked Violence Is Always the Solution - This is the one where the protagonist skips all the other steps and goes straight to preemptive violence against a total stranger, for no reason other than it makes them appear tough. Usually not framed by the narrative as bad, but it is. Oh, yes, it is. Worse there usually aren’t any consequences for the hero physically assaulting someone in a room full of witnesses because everyone knows they’re the hero, right?

Random Violence Before Strangers is A-Okay -  The protagonist disembowels a bully in front of their victim in order to protect them and receives effusive thank yous. Nothing comes from this. The bad guy is dead. We all feel good. All is right in the world. Except… violence freaks people out.

Acceptable Targets - These are people designated by the writer as non-entities and targets for violence regardless of narrative context. A very slippery slope that is ever descending. But, you know, it feels good? Sure, so long as you’re not on the receiving end. This kind of dehumanization happens in real life too, just in case you were wondering.

Beating Up My Source - You have a character who collects information from an old standby, they threaten and beat up that standby regularly to show they’re tough. At what point does this seem like a terrible idea? Never! Hey, they’re a bad person so you feel good, right?

Waving My Gun Around - Trigger discipline is just the beginning of this problem. A gun is not a toy. but you’ll find a vast array of narratives who use it that way in order to look tough.

Killing Your Way to the Top - You can’t really destroy organizations like this. Killing the people at the top will just lead to someone else taking their place. Whenever you create a power vacuum someone will fill it. You can’t destroy an organization by killing. It doesn’t work. But, it feels good!

Must Obviously Be Boy - Because female fighters are unicorns and the mooks have never laid eyes on a woman before. Usually part of a larger narrative issue with violence, but acts as a “get out of jail free” card.

Clear the Building - That time the character decided to knock everyone out to prove that they are tough. Weirder when it happens on stealth missions.

I Am Not Gaining Levels - When you’re reading a book and the character is fighting like it’s a video game. They fight everyone like they’re in an RPG chasing XP. Why? We don’t know, but it makes them feel good.

Let Me Shoot Him Twenty Times - We could call this spray and pray, but let’s pretend for a moment the magazine could run dry.

Magic Bullets - The bullets that go where you want, stop when you want, and don’t cause accidental casualties. You know, like the protagonist blind firing through a wall and hitting a four year old playing in the yard across the street.

Body Armor Always Prevents A Blow-through - Nope!

New to Training, Perfect Sparring - That time the main character took on their evil rival (school’s top/better trained student) in a sparring match and won, especially when it was their first day.

Sparring Just In General - The vast majority of Western media doesn’t understand the concept or purpose of sparring. Many authors seem to think its a UFC match where you just beat each other up and the first thing you do during training to “assess your capabilities”.

Queuing for Combat - This is an old Hollywood trick where the burden of a group fight is lifted as the stuntmen wait their turn to fight the protagonist. Particularly egregious in written action sequences where the author doesn’t grasp the concept of teamwork. It also warps the understanding of how many people its possible for a human to fight at once.

Terrible At Torture - Torture is a terrible way to gain information in general because it doesn’t lead to a confession so much as confirmation bias. The subject will tell you whatever you want to hear because they want the pain to stop. It’s even worse when done poorly, which it is 90% of the time. Usually, media uses it for shock value or to prove how tough a protagonist is. Torture is not putting a blowtorch to someone’s foot and hoping for the best. It’s far, far more complicated than that. Neither torturer nor subject come out of the experience whole. Besides, the unimaginative protagonists say, “screw you!” The clever ones lie.

What Is: Dress for Success - How we dress our characters is often necessary for crafting a sense of narrative realism. This comes in often as a reason for why its so difficult to take female action heroes seriously, but it happens to the guys too. Not a bad trope on its own, but often symptomatic of a larger narrative approach to violence that ends with “feel” and “good”.

Beautiful and Badass - This one is a very specific female fantasy, which is that you can meet all the cultural standards and definitions for beauty while being in direct defiance of them. These are the female characters who are never touched by the combat they engage in. They are always graceful, always elegant, always beautiful in motion and the narrative will pause to tell us this often. “She fights like she’s dancing.” For these characters, their supermodel-esque beauty is a natural extension of their being. They don’t work at it. Combat is incidental. It’s a set piece to tell you how awesome the character is. It generally amounts to nothing, serves no real narrative purpose, but by god the author is going to walk us through it in excruciating detail. Combat and character are separate, and consequences are for other people.

My Instincts Performed A Wheel Kick - Your instincts just don’t work that way.

There’s probably more, but that hits most of the major sins.

Keep in mind that many of these tropes are not issues by themselves. They often work when context and consequences are taken into account by their narrative/setting. Generally, this results in characters with no accountability for their behavior and exhibit no responsibility for their actions. The issue, of course, is that responsibility and accountability are what make well-written violence work. Violence often drives the narrative. It’s part and parcel to who the character is, and their decision making. It’s the difference between a character who presents themselves as tough or skilled and one who actually is.

-Michi

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Touches

Summary: After having a nightmare where he couldn’t save you, Bucky takes it upon himself to make sure you’re always safe. Based off a request sent in by @snuggleducky 

Word Count: 1,953

Warnings: None.

A/N: This is fluffy and cute. I hope you all enjoy it!

Originally posted by oursisthefvry


Cold sweat running down his face, Bucky flung the sheets off his body and staggered out of bed. Clutching his chest with his flesh hand, he let his nails dig into his bare skin, anchoring him to the present time. He blinked repeatedly, eyes quickly getting used to the darkness around him, the moon just barely peeking through the blinds.

Heart beating rapidly, he took a deep breath as he padded across the room and made a beeline to the kitchen. It was easy enough to pry open the refrigerator and grab a cold bottle of water. Bucky almost broke it as he tore the lid off and brought it up to his lips, gulping it all down within seconds.

He leaned against the kitchen counter using the heels of his hands, body curving slightly as he stretched, got his body used to being awake after being stuck in deep sleep, in a nightmare.

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anonymous asked:

That 'its lexa' scene killed me, like, clarke looks like she's about to break into pieces....

That scene is as brief as it’s impactful and excruciating. For Clarke, it’s the climax of an emotional journey she had to endure throughout the whole episode and it’s raw to watch and experience and it just leaves me so heartbroken for her.

From the beginning of the episode, we see her being emotionally hammered down again and again and again: Jasper telling her she deserves to die, ALIE!Raven bringing up all her ghosts and making her feel even guiltier about Lexa’s death, Jasper again rejecting her apology. She has her walls up, hasn’t let them down since Lexa’s death, but It’s evident that this all weighs down on her heavily. What makes her especially fragile in this episode is that she has no chance for escapism. Ever since Lexa died, Clarke has kept herself busy/distracted with things she must do, right? First, it’s making sure Aden wins the Conclave and that he honors Lexa’s wish of having Skaikru join the Coalition and being protected. She literally rejects Aden’s offer of having a private moment with Lexa’s body.

She can’t do that, she can’t deal with that pain just yet, it’s too fresh and overwhelming. Having that moment would mean having to process Lexa’s death, having to embrace grief, which she’s not ready to do. Her only option is to ignore it, to hide from it.

After Ontari kills Aden and all the Natblida, Clarke’s focus shifts to making sure Ontari doesn’t become Commander, taking the Flame to Luna and protecting the Flame with her life. It’s her drive throughout 3B. There’s an interesting single-mindedness that characterizes her throughout the rest of the season. She needs to focus on this mission, there is little room for anything else. If she stopped, even for a minute, her feelings would be impossible to avoid. It’s a defense mechanism. She shuts the door on grief and clings to what she has: a distraction (the never-ending list of concerns she has to deal with), a hopeless hope that not everything is lost (the Flame).

But then we get to 311.

It’s a peculiar kind of episode, for most of its runtime taking place in a closed environment. But not only that: in this episode, for a long time the characters are forced to stall. There are few exceptions (Octavia and Monty), but for almost the whole episode we are stuck at Niylah’s trading post with the characters, who are racking their brains as they try to find a solution to save Raven, and waiting. Because there is nowhere to rush to, nothing they can do. Nothing Clarke can do. Even when they devise a plan to try and fry the chip, it’s someone else who has to go out and find what they need to carry out the task, not her. She is, quite simply, stuck. Not only physically, but she is stuck with her thoughts and her feelings. And that has consequences of course.

As I said before, we see Clarke getting progressively closer and closer to her breaking point. She first snaps after the continuous hits at her heart by ALIE!Raven, when she reminds her of all the people that died because of her. That it’s not really Clarke’s fault is irrelevant, Clarke feels that guilt and bears it constantly, and in a moment as tense and delicate as that one, it brings her to lash out. What’s interesting to me is that it’s not an immediate reaction. ALIE!Raven first uses Wells, Charlotte, and Finn and while clearly still affected, Clarke recognizes ALIE!Raven’s strategy and manages to mostly ignore her. But then, she mentions Lexa, and Clarke’s reaction is entirely different. (x)

It’s so different from her previous strained attempts at ignoring what is being said to her that even ALIE notices it, with that head tilt she does when she’s learning something new. Clarke here doesn’t even try to pretend she’s not affected by Lexa’s mention. She directly goes and tells ALIE!Raven to shut up. She looks up the second she hears Lexa’s name, her glare is deadly, her words are seething. She doesn’t wanna hear this, she can’t hear this. Also! This isn’t the first time someone told her she was responsible for Lexa’s death, with Titus telling her he pulled the trigger but it was her fault. You can bet that had a great impact on Clarke and made her only more sensitive to ALIE!Raven’s words.

And the comment about her father’s death is the last straw. So we get her lashing out and literally trying to gag Raven so she doesn’t have to hear this any longer.

The heartbreaking thing is that she pretty much gets no respite. Bellamy takes her place in the room with Raven, but Jasper is immediately there to remind her about Mt Weather and how she killed all those people and Maya. She’s literally on the verge of tears when he rejects her apology and roughly pushes past her.

All this shows she is incredibly close to reaching her limit. All that tension and pain and guilt is like a fire simmering inside her, a fire she has no way to cool down because as I said, she is deprived of almost any distraction. She spends the episode being reminded of what she did and most importantly, of what, who, she lost.

So when Jasper grabs the Flame and is ready to destroy it, Clarke’s walls shatter. Faced with the possibility of losing yet another thing extremely important to her, she has no way of shutting down her pain and grief any longer. (x)

She panics when she realizes what Jasper is about to do. She is frantic in trying to get the Flame back, desperation is written all over her. The possibility of losing the one part of Lexa she has left propels forward that fire of pain and grief. Lexa is gone, this is all she has left of her, and she can’t bear to lose that too. All her restraint, her imposed control over her emotions, is useless in this brief moment. And so…

She doesn’t use logic to try to stop Jasper, it’s her heart here begging him to not take Lexa from her. It’s raw, it’s charged with every emotion ranging from despair to heartbreak, it’s harrowing. For this brief moment, Clarke is stripped down, emotionally bare and vulnerable. She doesn’t avoid her grief, she embraces it. She even arrives to relive details of the moment Lexa died.

Oh, and that “I’m not–” she says immediately after, right before pausing and figuring out how to save Raven. That breaks my heart because I can’t help but wonder what she was going to say. “I’m not making this up… I’m not lying… I’m not crazy.” She needs Jasper to believe her because otherwise, she is going to lose that part of Lexa she still has, however small. The fact that her reaction is so intense and heart-wrenching is only a proof of just how much she loves Lexa and of how much pain and sorrow her death caused to Clarke.

And when eventually Jasper gives the Flame back to her, Clarke treats it like something incredibly precious. She cradles it in her hands, she brings it close to her chest, almost protectively, she keeps her eyes set on it, she is extremely careful in putting it back in the case. She takes her time with everything and if you look at the scene, you can see that from the moment she gets the Flame back to when she places it back in the case, it’s almost like it’s just Clarke and the Flame. She focuses only on that. She’s still got it, she can still hold on to it, to Lexa. And it’s a thin consolation, yes. It’s probably more painful than relieving, because the Flame is at the end of the day a reminder that Lexa is dead and Clarke lost her. 

Clarke is grieving and she should be allowed to go through every stage of her grief, but unfortunately, that is not the case with her. Everything she is feeling is written on her face, every unresolved, painful emotion tied to Lexa’s death. But the moment is gone, and with one last look, she collects herself as best as she can and she goes back to her mission. (x)

To me, this is one of the things that make this entire scene even more devastating. We get a glimpse at the enormity of the pain that Clarke is feeling, we see every visceral emotion she is hiding behind her mask of stoicism, but she isn’t allowed to properly deal with it, and thus, to heal.

Anyway, I made myself sad. To cut it short, the main point of all this is that Clarke loved Lexa immensely and this scene proves it.

magic touch bond au
  • i keep thinking of a magical au where jack and bitty wake up
  • like after a party or something and they’re both in excruciating pain
  • and so all the guys are freaking out and they sort of piece together that jack and bitty are being affected by the same thing
  • so holster hauls a screaming bitty into jack’s room and dumps him on the bed next to jack and the moment they touch everything…stops
  • why yes, it’s our old friend, the Forced to Be Touching At All Times Trope

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“Paying Guests” (Part 1)

Pairing: Steve x Reader x Bucky

Summary: When a need arises, Steve and Bucky on a whim lie about their sexuality to you. Unbeknownst of their purpose you let them stay with you, in your apartment. But what happens when they start falling for you? And what will be the outcome of their harmless tall tale?

Word Count: 3341

Genre: Pure floof, throughout the series

Warning: none

Author’s Note: enjoy! 

Next Part 

(not my photo*)

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Wizard Spells: From 4e to 5e

LEVEL 1

Arc Lightning

1st Level Evocation

Casting Time: 1 bonus action
Range: 100 feet
Components: V, S
Duration: Instantaneous

Lightning leaps from y our outstretched hand, weaving safely through your allies to slam into your foes.

You may use an action to cause lightning to arc out from you, strike a number of creatures equal to your Intelligence Modifier (Minimum of 1).

The Target must make a Dexterity Saving Throw (DC 11) or suffer 1d6 + your Intelligence Modifier in Lightning Damage. On a Successful Save, the Target takes half damage.


Chilling Cloud

1st Level Evocation

Casting Time: 1 action
Components: V, S
Duration: Instantaneous

A lingering swarm of ice crystals chills foes to the bone.

You create a 20-foot-radius circle of serrated, needle-like ice shards. Any enemy who attempts to move closer to you takes Your Intelligence Modifier in Cold Damage.

Additionally, until the end of your next turn, any enemy in a 20ft Radius takes Disadvantage to attack rolls.


Dread Presence

1st Level Necromancy

Casting Time: 1 bonus action
Range: Self
Components: V
Duration:  Concentration, up to 1 minute

Your shadow lengthens and grows, looming over your enemies and overcoming them with dread.

Each Target of Your choice that is within Line of Sight and aware of you must succeed on a DC 12 Wisdom saving throw or take 1d10 + Your Intelligence Modifier in Necrotic Damage, and the target is slowed until the end of your next turn.

Additionally, on each of your turns for the duration, you can use your bonus action to deal Necrotic Damage equal to your Wisdom Modifier to any Target already effected by the Spell.


Erupting Flare

1st Level Evocation

Casting Time: 1 bonus action
Range: Touch
Components: V
Duration: Concentration, up to 1 minute

You kindle a massive, sudden flame within your enemy. The fires burn your foe and spill out to singe any who are near it.

The Target takes 1d10 + Your Intelligence Modifier in Fire Damage, and any Creature that ends its turn adjacent to the Target before the end of the Target’s next turn takes Fire Damage equal to Your Intelligence Modifier.


Fountain of flame

1st Level Evocation

Casting Time: 1 action
Range: 50 feet 
Components: V, S
Duration: Concentration, up to 1 minute

You weave a fiery pillar that spins like a top. With each revolution, it douses your enemies with searing heat.

A burst of fire creates a 20ft. Radius zone that lasts until the end of the encounter. 

Any creature within the Radius of the burst must make a Dexterity Saving Throw (DC 13) or take 3d8 + Your Intelligence Modifier in Fire Damage.

Any enemy that enters the zone or ends its turn there takes 5 fire damage. An enemy can take this damage only once per turn.


Grasping shadows

1st Level Illusion

Casting Time: 1 action
Range: 50 feet
Components: V, S

At your command, shadows reach out, grab hold of your foes, and wreathe the area in darkness. 

A burst of darkness creates a 15ft. Radius zone of writhing shadows that lasts until the end of your next turn. 

Any creature within the Radius of the burst must make a Dexterity Saving Throw (DC 13) or take 1d8 + Your Intelligence Modifier in Psychic Damage, and be Slowed until the end of your next turn.

Each creature that enters the zone takes psychic damage equal to Your Intelligence Modifier and is Slowed until the end of its next turn. A creature can take this damage only once per turn. 


Illusory Ambush 

1st Level Illusion

Casting Time: 1 action
Range: 15 feet
Components: V, S

You create an illusion of swirling spectral assailants that swarm over your enemy.

You choose One Target within Range, the Target is then swarmed by swirling spectral shadows. 

The Target takes 1d6 Psychic Damage and the Target takes Disadvantage to Attack Rolls until the end of your next turn.


Rotting Doom

1st Level Necromancy

Casting Time: 1 action
Range: 50 feet
Components: V, S

You hold up your hand, palm out, and release pale wisps to infect your foes with horrid decay.

You choose a Single Target in Range. The Target must make a DC 13 Constitution Saving Throw. On a Failure, the Target takes 1d8 + Your Intelligence Modifier in Necrotic Damage, and the Target cannot regain hit points until the end of your next turn.

On a Success the Target takes half Damage.


Scare

1st Level Necromancy

Casting Time: 1 action
Range: 15 feet
Components: V, S

You blast an area, drawing resolve from your foes until they shrink back in abject terror.

You send out a blast with a 15ft. radius, centered on yourself, in all directions. Each Creature caught in the blast must make a DC 12 Wisdom Saving Throw or take 1d8 + Your Intelligence Modifier in Psychic Damage, or half as much on a Successful Save.

Additionally, any Creature which fails its Saving Throw cannot make opportunity attacks against you until the end of your next turn.


Staffstrike corrosion

1st Level Evocation

Casting Time: 1 action
Range: 50 feet
Components: V, S

You tap your staff on the ground, and Acid boils up to envelop your Target in a caustic haze.

You choose a Single Target in Range. The Target must make a DC 13 Dexterity Saving Throw or be enveloped by the boiling Acid at their feet.

On a Failure, the Target takes 1d6 + Your Intelligence Modifier in Acid Damage. Until the end of your next turn, Creatures more than 25ft away from the Target have Half Cover against it.


Stone Blood

1st Level Transmutation

Casting Time: 1 action
Range: 50 feet
Components: V, S
Duration: Concentration, up to 1 minute

Your enemy’s blood hardens, slowing its movement and causing excruciating pain.

You send out a blast with a 20ft. radius, centered on yourself, in all directions. Each Creature caught in the blast must make a DC 12 Constitution Saving Throw or take 1d6 + Your Intelligence Modifier in Damage, or half as much on a Successful Save. 

On a Failure, the Target is slowed until the end of your next turn.


Storm Pillar

1st Level Conjuration

Casting Time: 1 action
Range: 50 feet
Components: V, S

A crackling column of lightning appears amid your enemies, lashing out at any who move near it.

You conjure a pillar of crackling energy in an unoccupied square within range. 

The pillar occupies 1 Square and lasts until the end of your next turn.

Each enemy that moves into a square adjacent to the pillar takes 1d6 + your Intelligence Modifier in Lightning Damage. 


Unraveling Dart 

1st Level Necromancy

Casting Time: 1 action
Range: 50 feet
Components: V, S

Grey, smokey darts fly from your fingertips to strike at your foes where they are weakest.

You create two grey, smoking darts made of darkness and shadow. 

Each dart hits a creature of your choice that you can see within range.

A dart deals 1d4 + Your Intelligence Modifier in Piercing Damage. 

If the target has vulnerability to any damage types, the damage is of those types. 

If the target has no vulnerabilities, you gain a power bonus to the damage roll equal to Your Wisdom modifier. 

Little Jealous There, Sarge? {Part Two}

{Part One}

Summary: There’s nothing wrong with not being the most experienced person in the bedroom. In fact, some people find it rather attractive, particularly James Buchanan Barnes. Although you express how much you want him, Bucky remains distant; he doesn’t want to do anything to hurt you. So what do you do? You elicit Sam’s help.

Warnings: jealous!Bucky x inexperienced!Reader, fluff, smut, biting kink, light bondage, metal arm kink, Winter Soldier kink (mentioned only), forced orgasm, toys

A/N: Inspired after spending some quality time with @mermanbuckybarnes and learning just how jealous Bucky can get.

Originally posted by stuckwithbuck

“You’ve been naughty, (Y/N),” Bucky whispered in your ear as he slid his hands around your waist. “And you’re going to get punished.”

“Y-Yes, sir.” You arched your back off the bed to allow Bucky more access to your zipper. “You’re in charge, Sarge.”

“Good girl.” He chuckled in your ear as he stripped you of your dress. “Oh, so beautiful, kitten.” He stood and admired your unique undergarments. 

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Dreams Cum True (One-shot)

Summary: You thought giving Hal Carter a cold glass of lemonade would be a friendly gesture as he works in the shed of your farm until you find him doing something unexpected.
Pairing: Hal Carter x Reader
Word Count: 1875
Warnings: Blowjob, language, dirty talking, NSFW gifs 
A/N: Based on this post.  Feedback is welcomed 💜 


Part 2

He came into town, hitch-hiking cars along the way with just a duffle bag in hand. He made his way around with using his charm and charisma. He seemed like a trouble maker, eyeing the girls who passed by him and flashing a toothy grin to any woman or man who watched at him with distaste. Women wanted him and men wanted to be him. He was the true definition of a manly man. He wasn’t afraid to do anything. Wrestle a snake so it didn’t bother an elderly couple’s dog. Fix the plumbing of the Elementary School down near the water well so that the kids were able to have cool, drinkable water. He had become the town’s handyman. Whenever you needed him he would be there, with that illuminating smile.

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