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#(also in his defense i have the stream knowledge to know that he sorta needed 1.20 stuff before he could do level four)
theminecraftbee · 10 months
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i love how tango spent most of that video doing a pretty much unnecessary overhaul of the front door of decked out and then was like. don't worry the light's at the end of the tunnel we're about ready to start level four. like. king. do you know how the light at the end of the tunnel might get here faster,
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majtholdt · 5 years
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This is something I wrote last year of André. Here’s him and Asher, @namarikonda‘s character!
It was a medium size young dragon. White and red, the color contours on its hide mixing with a steady stream of blood, considerably darker than the markings. It was blind. Three arrows poked from one eye, two from the other. At least twenty from other parts of the creature. Some of them had snapped, and André thought of how tiresome it would be to replace them. But at least some of them survived. Blood dribbed from the creature's nostrils. It had uprooted two trees after losing its sight, but now it was slowly calming down. André stood still next to a large boulder, and let his eyes wander off from the dying dragon. Asher had exited the battle after André took off its eyes, knowing that the fight was as good as over at that very moment. He was nowhere to be seen, but the steady warmth over the ex-templar's heart told that he wasn't far. He usually didn't stick around to watch André finish off the dragons. The dragon was exhausted, but stood in a defensive pose and turned its head in different directions, trying to locate the human by hearing. André waited. He let himself relax and close his eyes. When he opened his eyes, the dragon had decided to lie down. He wasn't trying to be quiet when he walked closer to the mortally wounded animal. The dragon's nostrils flared and it almost stood up, but then decided against it. It was a familiar dance. André stopped next to its head and readied his bow. It was a quiet movement, just enough to make the dragon sniff curiously at him. It swallowed before it put its tongue slightly out of its mouth to lick a taste of this deceptively warm and safe being. A friend. An arrow plunged deep into its brains through the eye, and the dragon convulsed. André stepped back quickly and waited. After several minutes, the dragon lied completely still. The evil was dead. The man pulled as many arrows out of the dragon as he could manage, and wiped them off against the grass on spots it wasn't bathed in blood. He put them into his quiver and walked away from the lifeless corpse that still had its tongue slightly out of its mouth. Asher was sitting with his back against a tree, and André pretended not to notice how red his eyes were. "We should make camp. We need to make more arrows, might as well use some real materials. The talons were sorta crooked to be used, but it had pretty small teeth", he explained. André was mostly talking to himself, but he was also partially hoping that his friend would be pulled out from his mood. "Sure", Asher answered quietly, but didn't move. After standing there for a moment, André muttered that he'd go get them some water. The flask was still half full, but there was a mountain cave nearby with a spring. Some space would be good now, and he could wash the blood off his armor while he was there. The water was punishingly cold, and even though André's whole body was thrumming with the knowledge that he did the right thing, there was something comforting in the cold pain. The sun was going down, so his bright idea to dip himself into the water completely was starting to feel more and more foolish by the second. But still he lingered, scrubbing his hair from imaginary blood for around three times as long as would have been reasonable. His finger became numb, but in the end he was clean, his armor was clean (and wet - he'd have to ask Asher to dry it for him) and the flask was full. Luckily he had filled it before tarnishing the water with dragon blood. It was almost dark when he walked home. Um, camp. Asher. There was a fire going and his companion was clearly working on some kind of soup thing. Or tea. Both sounded really nice. "That was a long trip for water", Asher commented, eyes on the older man but partially blind for the shadows after tending to the fire. André laughed and started to take off his armor again. "Got cleaned up. Would you have enough energy to dry my armor? It's sorta sopping wet." Asher got up and went to help with taking off the damp heavy piece of chest armor, but the moment his fingers touched the dragon scale armor's surface he hissed. "It's freezing cold. Did you throw the whole armor into the pool or what?" "...Threw myself into it would be more accurate, actually", André laughed again, this time more quietly. A warm hand pressed against his cold cheek, and André continued before Asher could flip. "I won't get sick, just thought I'd take care of my hygiene while I could. It's fine." "...Get that fucking armor off and come sit by the fire before you get pneumonia", Asher hissed, trying to sound annoyed but mostly just sounding worried. André did as told, and went as far as to even change the clothes under his armor into dry ones. He was still cold, but instead of sitting right next to the fire, he tapped Asher's shoulder. The younger man was leaning in a tree, a few meters from the fire. He had a blanket on his shoulders. Asher moved his legs farther apart and moved the blanket from the way on his lap. Soon he had a cold back pressed against his chest, but luckily the old blanket was warm and big enough to easily accommodate two people under it. André didn't let himself tremble from the cold, and just focused on the warm arms wrapped around himself. Some of his damp hair fell over his eyes uncomfortably, but he didn't want to ask Asher to let go so that he'd be able to brush them to the side. So instead, he closed his eyes. They were quiet for a while, before Asher talked. "I made tea." "Mmm." "Want some?" "Yeah. Not yet though." "Okay." They sat in silence, silent and unmoving. Too much in mind. The first thing to become warm again was the skin over the dragonslayer's heart. When the rest of his body caught up, the templar tattoo still simmered with warmth in a way a real fire could never rival.
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miss-m-calling · 5 years
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Yuletide 2019 letter
Requests:
Jack Irish (TV) -- Simone Bendtsen, Jack Irish
The Marvelous Mrs. Maisel (TV) -- Lenny Bruce, Miriam “Midge” Maisel, Susie Myerson
Starred Up (2013 movie) -- Oliver Baumer, Eric Love
Dear writer,
Hello and thank you for writing for me. I’m very excited to read whatever you come up with. I hope whatever I put down sparks your creativity, and feel free to reach out through the mods if you have any questions! My likes and DNWs are all the way on the bottom of the letter.
Without further ado…
Requests:
Jack Irish (TV)
Simone Bendtsen, Jack Irish
What is this canon: Australian TV show comprising three 90-minute episodes (with individual titles, like TV movies) in the first season, followed by two seasons of six hour-long episodes each. Guy Pearce plays the titular character, a hotshot Melbourne lawyer whose life goes down the drain when his wife is murdered, he quits his job, starts drinking and working as a debt collector. Despite not being a licensed PI, he keeps investigating suspicious disappearances, deaths, thefts, you name it, and getting into loads of trouble along the way. One of his sidekicks is Simone, played by Kate Atkinson, a fast-talking, snarky computer whiz and all-around odd duck, whose very existence on the show delights me endlessly. If you are in Oz, you can probably track this down easily, and if you’re in the US, the whole show streams on Acorn TV and the first two seasons are also available on DVD.
I enjoyed this show a lot: how often and unexpectedly funny it was, how absorbing the mysteries were even when I didn’t buy every plot twist, how the canon treated complicated adult relationships as complicated and adult, how everyone wound up in a better place by the end of every season than they’d been at the start but this didn’t always (or almost ever, really) mean a conventional HEA. I liked the intricate plots and all the Australian details of the setting, but I loved especially the character interactions and the ensemble cast, and these two reminded me of couples from old screwball comedies in how they played off each other.
Jack: dryly funny, always deadpan, tragic backstory but not overburdened with it, bit of a lone wolf but also with a lot of very different, good people in his life, sometimes his own worst enemy, not an alpha male at all and that’s just fine by him. And Simone, oh I loved Simone: smart, snarky, motor-mouthed, independent but also wanting to be taken care of a bit, somewhat socially awkward, hypercompetent, self-deprecating. I started shipping them right at the start (the “do you always talk this fast?” “do you always listen this slow?” exchange), loved how they keep needling and bantering easily, how during the time skip between seasons they become super close and rely on each other as both coworkers and friends. If you prefer to keep it platonic between them, I am also 100% on board for a really-close-friends version of their canon dynamic of mutual snarky respect! I have various, low degrees of tolerance for their canon relationships, so feel free to ignore or handwave those (in fact, please do ignore or handwave those!), and anyway: despite being clueless about pop culture, Jack knows Simone well enough to buy her a vintage Han Solo figurine in original packaging as a wedding present – and then promptly gets mistaken for her new husband!
Prompts:
-Casefic! Between Simone’s investigative skills and Jack’s willingness to get beaten up a lot and his sorta action skills, there’s no mystery they can’t solve. Possibly one or both go undercover in a dodgy company, or a dodgy government office, or at an ethnic wedding, or in another tight-knit subculture like the ones we see at the race track and the Prince of Prussia. Plus Simone in her ninja costume breaking into a medical research facility with a blasé Jack and a nonplussed Cam delighted me. Or how about an adventure which also includes Cam, Harry, Cynthia, Gus, Stanley and his Cherry Blossom…
-Jack brings Simone along (or Simone invites herself along) on a stakeout or a road-trip to run down money Harry’s owed. There’s banter. Lots of banter. And possibly falling asleep in the car.
-Simone gets to interact more with Cam and Harry, or with the old codgers at Jack’s local. Whether she and Jack are together or not, everyone can see it.
-Show me them growing close during the time between seasons: how they went from him calling her always “Miss Bendtsen” and teasing her about her dating profile handle to her wanting him at her wedding.
-Canon divergence: Jack goes to Manila to investigate the Holman-Dang Bank and brings Simone along, or calls/Skypes her for snarky consultations and finally asks her to fly out and help him. Danger, thrills, bringing down an international crime syndicate, and possibly sex ensue. Bonus points if they work together with Marek/Orton, he of the dry wit and the extensive local knowledge. Or Jack and Simone take part in some handwavy local ritual and wake up married.
-Takeout and movie night. Jack’s cluelessness about pop culture gets an airing, as do Simone’s definitive opinions on the merits of various movies and TV shows. There is banter, of course. All the banter. And probably some whiskey too.
-Instead of the council forcing Jack to move his horse out of his yard, he enlists Simone in helping him smuggle the horse (to a paddock on Melbourne’s outskirts, or another temporary shelter as ill-suited as Jack’s yard had been) in the middle of the night. If one or both of them end up riding the horse, all the better.
-Simone spends so much time and energy trying to be “normal” (get married, hold down an office job, be happy happy shiny happy), even as her true self keeps shining through, I would love to see her embrace herself for the square peg she is and just run with it, and with Jack trying to keep up, as he tends to do when she really goes off.
-Their first time. Especially if it’s a little awkward, and a little funny, and maybe they had a few drinks to psyche themselves up, and maybe they’re still figuring out whether they’re better as friends or they have real potential as a couple – and it ends up being enjoyable despite their hang-ups and insecurities. Then the morning after is its own special kind of awkward and defensive, but things still shake out alright.
The Marvelous Mrs. Maisel (TV)
Lenny Bruce, Miriam “Midge” Maisel, Susie Myerson
What is this canon: Dramedy about Midge Maisel (played by Rachel Brosnahan), a young 1950s Jewish housewife from New York whose husband has delusions of talent as a standup comedian. When he abruptly leaves her for his secretary, Midge gets drunk and performs a hilarious off-the-cuff set at hubby’s favorite Greenwich Village dive, attracting the attention of Susie (Alex Borstein), the perpetually over-it club manager who offers to be Midge’s agent and help her build a career as a professional standup comedian. Also in the mix is Lenny Bruce (Luke Kirby), yes that Lenny Bruce, already an established comic and a sort of mentor (and bail buddy -- it makes sense in context) to Midge. Much fast-talking hilarity ensues, as does some family and relationship drama with Midge’s parents and husband, which IMO isn’t nearly as interesting as Midge building her career and interacting with Susie and Lenny. This is an Amazon Prime original show, so you can stream it there. Right now, it’s two seasons of 18 episodes in total; a third seasons drops in early December, and you absolutely do not need to watch that if you are writing me a fic for this canon! In fact, I would prefer it if you didn’t, as I may not have time to watch the new episodes before the Yuletide collection is revealed. Just use seasons 1 and 2, easy peasy.
I’m here for Midge’s adventures in the intoxicating, foul-mouthed, and often-frustrating world of comedy, so her dynamic with Susie and Lenny is where it’s at. Shippy or platonic, I just love the interactions between these three, and between every pair combination among them: Midge and Susie bantering and swearing and tits-upping even when they irritate each other, Midge and Lenny bringing the pathos as well as the humor, and Lenny and Susie both being hardened old pros with still a little glimmer of starry eyes. I am good with L/M/S or L&M&S or L/M & M/S – so, if you go the shippy route, either a V-shaped triad or hey, Susie (whom I absolutely read as gay) might find a way to be good with a full-on triangle… If you want to keep it platonic, True Companions all the way, always there for each other, even when they want to strangle each other. And as much as I like the comedy inherent in the characters, I also love that they’re all three, each in their own way, messed up people and dysfunctional to various degrees. So yeah, I just want Midge to hand the kids over to her parents, ditch Joel once and for all, marry (interpret that as literally or as loosely as you want) both Susie and Lenny, and for the three of them to ride off into the sunset to make comedy history.
Prompts:
-Does Susie manage them both? Does Midge open for Lenny on tour? Does he open for her??? Or they become equal stars on the comedy circuit?
-Maybe Lenny joins Shy Baldwin’s six-month tour, or they run into him while touring Europe or the US, and they all tool around, and yes I would love as much period detail and geography porn as you can throw at me. And while Lenny and Midge have seen the world, Susie hasn’t – her reaction to different foods, languages, customs, landscapes would be spectacular to witness. Especially if “different” is someplace as close to New York as Jersey or Connecticut, or someplace as far away and different as, say, Japan.
-If they do go to Europe, somehow or other they also tour the Soviet Bloc. Cue culture clashes, getting followed (or thinking they’re being followed) by the secret police, getting hammered on vodka and herring and pickles, and then when they get back to the States, the Feds grill them. It’s all dead serious, and Midge and Lenny refuse to take it as seriously as they should, while Susie is trying but the whole thing is really pissing her off…
-Lenny’s burned out, and Midge is just getting started. This dissonance may or may not find some sort of resolution. One thing’s for sure: Susie has limited patience for both Lenny’s depression and Midge’s need to make everything pretty.
-Instead of going to Joel for a no-way-is-that-closure fling after the Steve Allen Show taping, Midge goes to have a drink or seven with the two people who have, in their own ways, always been there for her and never let her down.
-Midge goes on TV again, this time as the star: longer set, prime time slot, dressing room, the works. She’s dying of nerves. Lenny and Susie coach her through it.
-Midge and Susie head out west to make it big and stay with Lenny once they’re in Los Angeles, and it’s marvelous (ha ha) and disastrous in equal measure.
-They all three get drunk, maybe with a hint of sadness if it’s the holidays (you can ignore my DNW about holidays, but please let that be just the background, not the lynchpin of the story) or someone’s birthday, and there’s a bar fight, running from the cops, eating greasy food at ass o’clock, and possibly kissing, not necessarily in that order.
-One or two or all three of them get arrested/have court appearances all over America and have to bail each other out, or find someone to bail them all out, or secure legal counsel – you get the drift. Or all three of them are trying to explain to a single lawyer what happened, talking over each other, the two pros not being able to resist landing zingers and Susie not being far behind, and the lawyer just getting more and more confused.
-They get in trouble some other way – offended patrons, surly management, shitty hotels, tour bus breaks down in the middle of Wyoming – and have to have each other’s backs because no one else will.
-Three-person road trip or tour, and only Susie knows how to drive. So Midge decides to learn, right then and there. And Lenny… Lenny may or may not be too lazy/hungover/lying about not knowing how. There’s supposed to be a rotation so everyone gets to stretch out on the back seat for equal lengths of time, but you know the system doesn’t work too well in practice. Also, they play games in the car to while away the time, and they do it their own way of course: I spy, cows on my side, yellow car, never have I ever, 20 questions, or riffing on whatever’s playing on the radio…
-They sit down to watch the moon landing (you can move it up a bit so it’s not happening a whole decade after S2) – by which I mean, Midge is all gung-ho about the moon landing, and Lenny and Susie are like whatever – and things don’t quite go to plan, but a good time is eventually had by all.
-It’s Yom Kippur again, and Midge wants to do the whole production: synagogue, breaking fast, the lot. Lenny and Susie would rather eat glass. Midge gets her way, of course. Does she decide to bring Susie and Lenny home to meet – or meet properly – her parents??? I bet Abe and Rose’s reactions would be something to see. (This too is an exception to my DNW about holiday settings – I just want stuff to get as crazy as it did the two times we saw Yom Kippur celebrated on the show, and for everything to still somehow turn out relatively OK.)
-Midge and Lenny have cheered each other up when the going got extra rough. I want for Susie to be especially down in the dumps – maybe her boozehound of a mother died, maybe some asshole told her she’s a shit manager and got her right in her insecurities – and Midge to rope Lenny into trying to cheer her up. And for Susie to fight them every step of the way but still be glad they care enough to try.
-Inspired by Susie’s brother looking just like her, by which I mean she and he and their sister look nothing alike, and by Lenny’s “she’s my mother” quip about Midge at the TV studio – Midge, Susie, and Lenny pretend to all be blood relatives, or mafiosi, or spies, or something else they’re not, while out in public, say in a restaurant. Just to be assholes and see how long they can keep it going before they break character or people figure them out, or call the cops, or something. There’s totally a bet on who corpses and breaks character first.
-Lenny and Midge do a (comeback) tour of the Borscht Belt, and all the Steiner Mountain Resort guests (especially the gossipy old hens from the beauty salon) and staff go to see them – and heckle.
-Stuff happens and they end up performing at some hole in the wall place where no one knows who they are (or no one believes it’s really those people they’ve seen on TV) – tough crowd, but a good workout for the two comics, and if Susie gets to threaten to rip off someone’s head, all the better.
-Lenny and Midge honing their routines – and maybe developing a double act – and Susie being all “oh my fucking god, what the fuck!!! … They’re actually good. I’m so proud.”
-Sharing a bed with two other people is an ongoing project: who sleeps (or refuses to sleep) in the middle? Who gets up during the night and why? Who starfishes across most of the bed? Who snores, and how does this get handled? If alcohol or pot have happened, how does that affect the sleeping arrangements? Also, Susie and Lenny witness and react to Midge’s beauty routine, ‘nuff said. Or, for various reasons one person after another ends up decamping to another room/bed/couch, but it doesn’t help them get much sleep or even stay there very long (this is inspired by my love of Shirley Jackson and her short story/humorous essay “The Night We All Had Grippe”). If you prefer to keep it platonic, most of this would work if they’re just sharing a double bedroom on tour (I leave the reason for why Lenny is bunking with the women up to you).
Canon-specific DNWs: S3 spoilers, explicit sex, and pairing any two as a / couple with the third as a & hanger-on. I’m here for equality in this three-way dynamic and the banter and the surprise!feels and the companionship. And of course all the comedy, situational or stand-up. Oh, and Lenny can still be his RL messed-up, drugged-up self – albeit the gentler version the show gives us – but it would be good if he didn’t kick the bucket a handful of years down the line.
Starred Up (2013 movie)
Oliver Baumer, Eric Love
What is this canon:
Gritty British prison drama about Eric (Jack O’Connell), a violent young offender who gets “starred up” (sent to an adult prison before he is legally an adult) and quickly gets into conflict with several other prisoners as well as guards and staff. He also gets roped into participating in a therapy group run by Oliver (Rupert Friend), a well-meaning if sometimes out-of-his-depth “posh boy” who sees Eric as something more than just an incorrigible thug. Not helping matters is the entire prison system, as well as the fact that Eric’s own father is doing a life sentence in the same prison and has very narrow views on how Eric should be behaving -- and talking about his feelings is not a part of it. The free-flowing conversations in the group therapy scenes are easily the film’s highlight, for me, as is the complicated dynamic between Eric and Oliver. So far as I can tell, this movie isn’t available to stream (well, not legally), but it is available on DVD.
More about this canon and these characters: Yes I do ship it, I do, I do!
Ahem. Don’t get me wrong, I liked what the movie did with the father-son relationship and its influence on both men’s character development – but I really wish they hadn’t got Oliver out of the action before the story’s climax (not like that!). The final denouement with Love father and Love son was great, as was the hint at the end that Eric learned something in anger-management group and has a support network that will help him a lot. But. I would have wanted to see more of the intriguing dynamic between Eric the intelligent, semi-feral, yet not-incorrigible, young thug and Oliver the educated, dedicated, kind yet aware of his own potential for violence (what was he on about with “I need to be here”?), slightly older counselor. They had me at Oliver’s “I want him” and Eric later telling his father that Oliver’s a better man than Love Sr. Also the not-flirting and the push-pull in the scene when Oliver picks up Eric from his cell - yowza!
Prompts:
-I would love to see Oliver return to holding his group in prison, so the two of them can interact more, either in the movie’s immediate aftermath or years down the line, as it’s implied that Eric will be serving a long sentence. Give me more scenes from anger management or the ribald, honest, free-flowing conversations in group, either with the other men present (I liked Hassan and Tyrone especially, among the group members) or a one-on-one session.
-An oblique or open-but-undramatic admission/declaration that they both know there’s something there, even if they don’t know what to do with it. Or, one or both of them knows exactly what to do with it, and the push-pull that would result from that.
-Dirty talk: used for arousal, as a defense mechanism, as a form of flirtation. Eric using slurs to assert dominance, and Oliver not letting him hide behind profanity, when he can use colorful language to express emotion and/or sexual interest. There could definitely be some verbal taunting/flirting about who wants/is eager to do what or is good at doing something. There may be some sniping comments about logistics and (lack of) condoms and barebacking and what men get up to in prison. There probably wouldn’t be deep discussions about sexual identity.
-An emergency in the prison requires a lock-down, so Oliver gets temporarily stuck in Eric’s cell or another room with only Eric for company. Things get porny and/or emotional.
-Eric is eventually released (you can handwave this so it happens soon after the movie or have it happen years later) and crashes with Oliver while he adjusts to the outside world. You guessed it: things get porny and/or emotional.
-How do they get to the point where both can cross that line from friends/whatever the hell they are and become, to lovers? (There’s Eric’s personal history and general discomfort with vulnerability, plus all the ways prison sex can be or make things complicated, and if it helps, I headcanon Oliver as either gay or bi and at least somewhat closeted, at work especially.) Who initiates and “directs traffic”? How does their always-contentious dynamic shift during and after sex? Is the sex an isolated (series of) occasion(s), or a progression/escalation over multiple encounters (how would I love especially an escalating series of encounters, let me count the ways)? Eric might seem like the logical initiator and/or dominant partner as well as using the possibility of sex to manipulate and exert control, but then Oliver might (or might not!) surprise him and is definitely the one more in touch with himself as well as aware of his custodial duty toward the men in the group.
-At some point in their intimate relationship (probably not right at the start, and probably not in prison, though if you can make it happen in prison, more power to you!), Oliver decides he’s going to take his sweet time and make Eric fall absolutely apart with pleasure, while using dirty talk to both arouse and empower Eric to own his desires – by that point, Eric is in a place where he can let that happen and enjoy it, even if he still talks tough.
-Role reversal: Oliver as the con (jittery, shut off, sticking out like a sore thumb in prison with all his fancy learning, yet no pushover) and Eric as the newbie counselor (kid from the wrong side of the tracks made good? Youthful hoodlum turned around his life, now trying to help others via tough love and lots of swearing and maybe a bit of manipulation when called for?)
 Likes:
I love pre-canon, canon, post-canon, canon-divergent, and missing-scene stories. I love character-driven and plot-driven stories equally, and I love fics which mix humor and angst/serious business when appropriate for the canon.
I love stories about characters at work and play, group dynamics, family dynamics (including constructed families), professional partnerships, friendships, alliances, rivalries, intimate couples (new lovers/first times as well as long-term/established couples), UST-ridden couples who are not just UST-ridden but connected in other ways too, etc.
I love irony, snark, humor as well as angst arising from the characters rather than the plot crowbaring it in, linear, non-linear, and 5+1 stories, hopeful endings, happy endings, bittersweet endings, worldbuilding, spiky characters who keep their jagged edges and spikiness in adversity as well as when their lives are going well, square-peg-in-round-hole characters, characters who are their own worst enemies as well as those who can get over themselves when the occasion calls for it, characters with conflicting values which may or may not be reconciled/resolved, characters who treat each other with respect and as equals even if they hate/annoy/can’t stand/love to dislike each other.
I especially love workplace stories (this can mean anything from an actual workplace/casefic/procedural setting to anything that revolves around the canon world in which the characters live) in which the characters are competent and dedicated to the job, and while they may not be exactly friends and they may well irritate one another, they still manage to rub along to get the job done and maybe even grow to care about one another (much to their surprise and sometimes reluctance/discomfort). Or, if they can’t get along, show me why not and what’s preventing them from finding common ground.
In terms of ship dynamics, I love (where it fits the characters) banter, competitiveness or antagonism shading into attraction (this tension need not be resolved), oh-god-why-did-it-have-to-be-you-what-did-I-do-to-deserve-this, bickering yet loving couples, characters who are serious about their romantic interests, characters who think they are much better at flirtation than they actually are, characters forced to work together only to prove much more compatible than they initially assumed, fics which mix an exploration of characters’ professional and everyday lives with shipping. A dynamic I cannot resist is shipping a couple who are incompatible in some important way (they are ideological enemies, cop and criminal, spies from opposite sides, one betrayed the other or they betrayed each other), and while they love and want each other they’re also not willing to change sides or surrender/compromise their identity for the other’s benefit, and how they might (or not) make their relationship work anyway.
I don’t have any very specific likes for smut, other than smut fitting the characters – show me how their canon dynamics spill over into the bedroom (or other place of congress). I also like sexual scenarios that subvert expectations a little and surprise the characters themselves (e.g., the person who’s usually quiet or more passive taking charge, the more aggressive person goes with it possibly snarking or commenting on it as long as they can). And I like sexual scenarios that contain an element of competition, antagonism, oh-god-this-is-a-bad-idea-but-we’re-going-for-it-hammer-and-tongs, not wanting to admit feelings or show vulnerability except oops it happens anyway, whether the characters acknowledge it or not, or just people getting way more into it or being more affected by it than they thought they would. When it fits the characters and their canon dynamic, you also can’t go wrong with we-both-wanted-this-for-forever-and-now-we-both-know-it-so-here-we-go-diving-in-headfirst. For het and/or slash, oral, vaginal, anal incl. pegging, manual (ifyouknowwhatImean) – it’s all good. You can go as veiled or as explicit as you like, but please avoid excessive medical jargon – I don’t find a lot of mention of “penis” or “clit” sexy.
 DNWs:
MPREG, A/B/O, knotting, D/s, kinks, incest, underage, genderswap/genderbent characters, xeno, non-/dub-con, torture and abuse (this and non-/dub-con can be mentioned if the story needs it, but please don’t dwell on it in loving detail or subject any of my requested characters to it), dwelling on bodily fluids (mentions of gore/blood and come are fine), toilet humor, character bashing, issuefic, gender/sexuality/race/ethnicity/religion/ability/identity headcanons, unrequested ships, soulmates and soul marks, major character death, serious illness or injury, pregnancy and children, holiday or wedding setting/theme, secondary characters shipping the main pair like it’s their job, reference to RL current events, 1st/2nd person POV, unrequested crossovers or fusions, AUs which have nothing to do with canon
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