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#da moots
sirius-bus1ness · 11 months
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:eyes: im cool?? omg tym i hoep u hhave the bestest day ever <3
YEAH YOU ARE. YOU WORK SO HARD AND YOURE LIEK. SAKFNJKASDFJKASJCFA!!!!!. WORDS HARD BUT I ADMIRE U V MUCH!!!!!
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all-hallows-evie · 2 years
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🌟🌟🌟ITS A WILD BRIT!!!!🌟🌟🌟🥳🥳🥳🥳🥳🥳🥳🥳🥳🥳!!!!
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LOVE YOOOOU!!!
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nalidreams · 2 months
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tbh. let those men have thicc locs 🫶
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potatosonnet · 10 months
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520
(In Mandarin it’s a pun of I love you so have some of my dysfunctional ships)
(There’s I love you but maybe no love wink wink)
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🪿🪿🪿🪿Dove! 🤌👏🫰 ayoooo
I’m here for the followes event —
I’d like to yhhh request prompt #3 with Jade :] 🔪
It can be fluffy/hurt/comfort honestly whichever you’re feeling (I know sometimes the writing does what it wants once you get into it lol)
Backup prompt: #4
Backup characters: Malleus, Riddle
Thankfuho you (I just wokeu p and can’t type to spell but whatever I’m just leaving it ❤️)
Discovering Old Secrets; Jade Leech
Content; Fluff, gender-neutral reader, implied romantic relationship
Word Count; 700+
Author's Note; I originally had something else in mind that used the knife emoji but my brain wasn't braining. But this, this is so much better and fluffier than I had planned /positive.
As a reminder, do not put my work — or others for that matter — into AI as it steals. Link to Masterlist
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You were down in the basement, lantern in hand illuminating the way. The power had gone out, and of course, the fuse box was in the basement of all places. Sevens forbid the person who built the cottage you were staying in actually put it in an easy-to-access spot. Nope! They had to put it in the creepy, old, basement. And since Jade was out getting groceries, that left you to fix it yourself. So, lantern in hand, you started fiddling with the fuse box, trying to find the one that had blown. At least you had some prior experience, what, living in Ramshackle and all; you had become well acquainted with getting stubborn fuses to work for you, even jokingly calling it your unique magic. 
“Come on, work for me baby,” you muttered, and all of the lights flickered to life once again. “Ha ha! Me? One! Fuse box? Zero!” You dusted yourself off and looked around the basement, now that you could see everything.
Apparently the people who rented this place out didn’t take out all of the old owners’ boxes, and they were just laying there collecting dust and cobwebs. There couldn’t be any harm in just taking a tiny peak, never know what you could find.
As you were gently looking through the boxes — hey, they’re probably old and you didn’t want to accidentally break anything — you heard the front door open and close. Jade was back which meant you had been digging for a bit. Sighing, you stretched, and made your way to the kitchen with its bright yellow cupboards. 
Jade hummed you a greeting and chuckled a bit at seeing the dust. “What did you get into while I was away, dear,” his voice was teasing, but he was genuinely curious.
“Welllll,” you drawled, “the power went out so I had a little fight with the fuse box, I won by the way, and discovered some old boxes down in the basement and was seeing if they held anything interesting.” A loud sneeze escaped from you, a result of all of the dust. “But all I found was a tonne of dust, way too many spiders for my liking, and,” you fished around in your pocket, “this key.”
Jade set the groceries down and came over to inspect it. “Well that’s rather interesting…” he murmured. “May I?”
You handed him the key, curious about what he seemed so interested in. Sure it was pretty, made from silver and inlaid with abalone and pearls, which were now weathered with time. There must have been a good reason why it peaked his interest.
Jade wandered into the living room, and started running his hand under the shelves of the large bookcase which was built in the wall. And then he stopped, a proud and large smile gracing his face. He placed the key into a divot in the bookcase, and it swung inwards, revealing stone steps leading down. “Looks like you just helped discover an old secret, my dear,” he chuckled, beckoning you to follow him down the stairs.
Slowly, you followed him, the light from the cottage helping to illuminate the way, as well as a pale blue glow from below. And then you stopped, having reached the bottom. In front of you was what looked like an underwater sea cave, with a shallow beach. And light gently filtered from a small hole at the top, causing the blue glow that you saw.
You looked over to Jade, hoping for an explanation, but you found him looking at you instead, expression soft.
“What did you mean by old secrets,” you whispered, not wanting for something louder to break the serene scene.
Jade took your hands in his and led you to the water, just deep enough where the water lapped against your calves. “The key you found, this place,” he briefly broke eye contact so he could observe the cavern before they travelled back to you. “It opens a secret meeting place, where land and sea can live together… it was forged by the love of a human and a merfolk.”
Just like us. 
Jade continued moving deeper until you were chest deep in the water, and he dived under, changing into his merform before coming back up. “And is only discovered by those curious enough to pursue it.”
~~~~~~~
Tags; @aqua-beam @azulashengrottospiano @eynnwwyjth @hisui-dreamer @identity-theft-101 @krenenbaker @officialdaydreamer00 @savanaclaw1996 @silvers-numberonefan @twistwonderlanddevotee @xxoomiii
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earthly-apples · 1 year
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Валерьянка=Valerian=a kind of sedative that according to Wikipedia seems to have no clinical significance but I’m not a pharmacist or a doctor I don’t know
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dove-da-birb · 7 months
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Send to 10 other bloggers you think are wonderful. Keep this going to make someone smile. ☆♥
Also got a few others;
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This automatically applies to ALL of my mutuals. But thank you!!!
@twistwonderlanddevotee @xxoomiii @eynnwwyjth @krenenbaker @azulashengrottospiano @i-like-forgs @ithseem @identity-theft-101 @inkybloom-luv @aqua-beam @officialdaydreamer00 @hydra-sea @leonistic @silvers-numberonefan @vioisgoinginsane @vivislosingitagain @red-viewe @ryker-writes @busycloudy @duskymrel @hisui-dreamer
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sheriffopossum · 6 months
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last art trade for a lil while! cute debediah here belongs to @za0mbie on instagram/twitter! <3<3
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comfortzonelol · 1 year
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Can you post more pics of your bush? Its so perfect
👀👀👀👀...
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Ok so....
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rosquinn · 5 months
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being into so many classic lit is fantastic because every day i wake up and i have 27 book tags to choose what i want to look at today depending on my mood. feeling lonely? go into the dracula tag and rb 60 fanart of the polycule. look at the bond they share. feeling emo? it's okay you can always spam like another 60 posts calling holden caulfield babygirl. thirsty for blood and tragedies? the iliad and hamlet got ya. feeling sad in summer? pretty sure that hapenned to my buddy rodion raskolnikov from dostoyevski's crime and punishment once. i should look at posts about him
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artistheworld · 2 months
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nav-ix · 2 years
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Queerness and Hierarchies of Power in The Locked Tomb
I wrote this essay for my sci-fi class and a few people expressed interest in reading it, so I’m posting it! Bear in mind the initial audience I wrote it for isn’t familiar with the series (I cut out some of the straight-up summarizing because if you’re here I’m assuming you’ve read the books, but if the tone seems weird or like its explaining things that are obvious, that’s why). I do use the term “queer” throughout the essay as an umbrella term for LGBTQ experiences, as well as to refer more broadly to non-normative interactions with gender/ gender-like hierarchies. Also, this has spoilers for Gideon the Ninth, Harrow the Ninth AND for the first chapter of Nona the Ninth, so watch out for that. Essay below the cut :)
     Though there has been an increase in LGBTQ representation in popular sci-fi and fantasy, representation that ends at same-sex attraction fails to actually explore queerness as an experience or identity, or, most importantly, as a lens through which to see the world. Tamsyn Muir’s The Locked Tomb series, however, is impossible to read without exploring that lens, and as such it is able to explore queerness on more than one level. I intend to analyze those explorations through the lens of queer theory and apply that analysis to how we imagine normative power hierarchies as a whole.
     The queerness of the series is overt and unmistakable by the beginning of the first book. The protagonist, Gideon, is a butch lesbian. This is a characterization that makes this series distinct from many others of the genre;  LGBTQ representation often takes the form of attraction and relationships between characters of the same gender, but does little to explore other nuances of queer identity and experience. From the beginning of Gideon the Ninth, however, Gideon’s queerness is clear by her personality alone, outside of any relationship. She is gender-nonconforming both as a woman and as a cavalier; she is muscular, her narration is blunt and often crass, she resents the elaborate sacramental face paint that she is required to wear, and her attraction to women is shameless and unmistakable. Swordsmanship is what she excels at, but rather than the delicate rapiers that cavaliers traditionally use, she prefers to fight with a huge two-handed sword. Even outside of Gideon, there is an overt queerness to the setting and many of its characters. Of the first book’s ten central female characters, at least six are attracted to other women in some capacity. Not only this, but their attraction to one another is framed as normal and assumed; there is no circumstance where anyone needs to come out.
      In this setting, traditional and patriarchal gender roles take less precedence in the power dynamics between the characters. But that does not mean that other parallel or allegorical hierarchies are absent. Though the series has checked more than enough boxes for queer representation, it continues to explore queerness by a broader definition, by establishing new normative hierarchies of gender and power and exploring the ways in which they are subverted. In the absence of traditional patriarchal heterosexuality, the characters in the book exist within the dynamic of necromancer and cavalier. Initially, we will explore how Gideon and her necromancer exist within this dynamic, and the degree to which her treatment of the dynamic is non-normative.
      Gideon was not trained as a cavalier, but when there is no one else to fill the role, she has to hastily learn those traditions and behaviors. Already, she is in the position that many queer people find themselves in—she must learn to successfully imitate conformity to a role she doesn’t identify with. In order to do this, she must learn to fight with the delicate rapier, as opposed to her heavy, military-grade two-hander. She has to learn to apply daily the sacramental face paint of the Ninth House, which it is made clear that she hates wearing. She pretends to have taken a vow of silence, as her crass jokes and mannerisms would make the ruse immediately obvious. All of this she does at the command of her necromancer, Harrowhark, who is the heir of the Ninth House, who conforms fully and perfectly to the standards of a necromancer, and whom Gideon hates. When Gideon does conform to these standards, she performs exaggerated caricatures of devotion to Harrowhark in ways that highlight her nonconformity, such as saying things like “I am your creature, gloom mistress, I serve you with fidelity as big as a mountain, penumbral lady…I am your sworn sword, night boss.” (GtN 151). She pairs exaggerated, ironic declarations of loyalty with nicknames that make fun of Harrowhark’s necromantic pretentiousness. This reaction is a familiar one—for many people forced to embody gender roles that they don’t identify with, irony is the most comfortable solution.
      No power hierarchy, least of all a patriarchal hierarchy, is simple. Hierarchies that deal with both power and identity are at risk of being oversimplified into a win-or-lose model, but I think that that is a misrepresentation. To imagine patriarchy as a game in which men oppress women for their own gain assumes that men are the winners in the dynamic. In reality, I would argue that there is no winner. I think the most helpful way to imagine patriarchy is as a hierarchy, but not one with men at the top. In fact, I would argue that no one is at the top, except for, perhaps, patriarchy itself. In a patriarchal model, women are trapped as the objects of desire; their bodies exist to be exploited and consumed. The objective ideal of patriarchal femininity is characterized by smallness, by the ways in which women are available recipients of power or sexual desire. Men, however, are trapped too. They are trapped as the desirers, divorced from emotion and intimacy, except in those instances where they are desiring women or engaging in violence with other men. The objective ideal of patriarchal masculinity is characterized by the ways in which men exert physical and sexual power over both women and other men, with varying degrees of associated violence. Both men and women are rewarded for the ways in which they conform to these ideals and punished for the ways in which they fail. Critically, however, those objective ideals cannot be reached. Judith Butler, in Performative Acts and Gender Constitution, describes gender as “a performance with clearly punitive consequences…” explaining that “those who fail to do their gender right are regularly punished.” Butler continues, arguing that “there is neither an ‘essence’ that gender expresses or externalizes nor an objective ideal to which gender aspires; because gender is not a fact…” (Butler 552). There is no way to successfully embody normative masculinity in ways that will not cause oneself harm, just as there is no way to successfully embody normative femininity, because both of these standards exist somewhat divorced from the complexities of real personhood. Though queerness, by nature, defies definition, I am defining it in part as the instances in which people fail to conform to these hierarchies, and how, in doing so, they construct and embody non-normative models of gender.
     In the power dynamic between necromancer and cavalier, even the most normative, conforming participants find themselves punished by the ways in which they have failed to conform perfectly, often by the inevitable incompatibility of that perfection/ideal and their personhood. The hatred between Harrowhark and Gideon is mutual and codependent, and is perhaps one of the only ways in which Harrowhark fails to conform to her role. This power dynamic continues to function as an allegory for patriarchy, in which Harrowhark benefits from the power she holds over Gideon, but nevertheless is both trapped and harmed by her role in it. Because Harrowhark’s existence as a necromancer depends on her exploiting people like Gideon, she is consumed by and beholden to the guilt of her position. She resents it, and because she has no one except for Gideon, she has hated her for her entire life. Likewise, men benefit from their position in a patriarchy, but nevertheless are trapped within it, and harmed by the roles they are asked to embody.
     Even the first Lyctors, who worked alongside God since The Great Resurrection, who created the framework and thus should conform to it perfectly, are hurt endlessly by it. The first Lyctors are characterized as bitter and hateful in general and toward one another. Though many of the details of their history and origins are vague, we know that the love they had for their cavaliers has taken the form of ten-thousand-year-old grief, even as their necromantic power continues to feed on those souls. One of the Lyctors says, referring to another, “I never saw her cry except once…the day after…When she became a Lyctor. I said There was no alternative. She said…We had the choice to stop.” (HtN 121).
     How else are these dynamics complicated in the other houses, and within Lyctorhood? We see several examples throughout both Gideon the Ninth and its sequel, Harrow the Ninth, but some stand out more than others. Putting Gideon and Harrowhark’s Lyctorhood aside (for they do, tragically, achieve it), there are several other characters that stand out and complicate our understanding of the dynamic. The characters that most clearly subvert the dynamic of necromancer and cavalier are the pair from the Sixth House: Palamedes and Camilla. Throughout the first book, they are depicted much more as equals than many of the other duos. They are lifelong friends, and though there is no romance between them, they are close and familiar in a way that makes Gideon uncomfortable to see, as her own necromancer-cavalier relationship is so fraught. In the first book, the characters face a series of tests which introduce many of the component parts of Lyctorhood. In several of these tests, the necromancer is not yet asked to kill their cavalier but is required to use their body or soul in some way, and the cavalier is required to submit to that process. Palamedes is one of the first necromancers to realize what Lyctorhood will eventually require, and refuses to engage with any test that has the potential to harm Camilla. When she does come to harm, he cares for her wounds. At the end of the first book, he sacrifices himself to save several of the other characters, Camilla among them. In all of these instances, he refuses to conform to a dynamic which would put him in a position to hurt her. Though neither of these characters are explicitly queer in the traditional sense, the way that they subvert the dynamic of Lyctorhood functions as a queer-ing of the normative hierarchy.
     Their dynamic exists in contrast to that of the Third House. Long before it is necessary, the necromancer Ianthe uses the body of her cavalier, Naberius, as fuel for her necromancy. “At one point [Ianthe] beckoned Naberius forward and, in a feat that nearly brought up Gideon’s dinner…ate him: she bit off a hunk of his hair, she chewed off a nail, she brought her incisors down on the heel of his hand. He submitted to all this without noise.” (GtN 188). Ianthe is the only one of the necromancers who willingly and intentionally becomes a lyctor. Her relationship with her cavalier is antagonistic, but both of them know their roles; she treats him almost like an annoying pet—dismissing him, mocking him, nicknaming him “Babs”. This hardly matches the loyalty and devotion we see in the other pairs, but as a result, Ianthe is the perfect candidate for Lyctorhood. She was consuming her cavalier before she was even aware of what Lyctorhood would entail. However, though she is rewarded for conforming to and embodying that hierarchy, she does not escape the harm entirely. She has a twin sister, Coronabeth, who is neither necromancer nor cavalier, but who trained in the ways of a cavalier in the desperate hope that her sister would choose her instead of Naberius. When the others find that Ianthe has killed Naberius, they also find Coronabeth, “eyes swollen from crying,” sobbing and “utterly destroyed.” She tells them, “She took Babs,” seeming in every way as if she is mourning the death of Naberius. But then she continues, “And who even cares about Babs? Babs! She could have taken me.” (GtN 394). In the second book, Coronabeth offers her life again to a different necromancer, one who she has loved since childhood. She says, “Save me…bind me to you, or who knows where I will go? What throne will I mount, if you don’t bind me down?” (HtN 551). Again, she is refused because the necromancer in question loves her. Coronabeth is heartbroken by the refusal to take her life because, as someone in the position of a cavalier, the only way she knows how to love someone is through literal self-sacrifice. Ianthe loves her sister more than anything else, but she is divided from her by her refusal to kill her. Even Ianthe, who embodies the power hierarchy perfectly, is harmed by the structure of Lyctorhood and its incompatibility with the complex love she feels for her sister.
The Locked Tomb deals with two notions of queerness: the first is the representation of LGBTQ characters whose identities don’t conform to traditional, patriarchal ideas of gender, and the second is the subversions of the normative power hierarchies that are unique to the story’s setting. These two levels of exploration don’t occur completely separately, however. In fact, as the story develops, we begin to see the interaction between these two kinds of queerness literally embodied in certain characters. In the third book of the series, Nona the Ninth (I will reference only the first chapter, as the full text has yet to be released), there are at least two characters whose Lyctorhood has been performed incorrectly in some way. Palamedes, the Sixth House necromancer who sacrificed himself in the first book, used necromancy to prevent his soul from truly dying. When we encounter him again in Nona the Ninth, his soul is living in his cavalier’s body, alongside Camilla’s own. Again, in normal Lyctorhood, the cavalier’s body is killed, and their soul is consumed by the necromancer, effectively killing the cavalier outright. But in the instance of the Sixth House pair, it was the necromancer’s body that died, and both their souls live in the cavalier’s body, neither consumed by the other. In every way, this pair subverts and outright reverses the standard operation of Lyctorhood. 
     Likewise, there is another Lyctor who failed to completely consume the soul of his cavalier. When the soul of that necromancer was killed, his cavalier’s soul, named Pyrrha, surfaced and now lives in his body. Palamedes lives in the body of his cavalier, who is a woman, and Pyrrha lives in a body that previously belonged to her male necromancer. Pyrrha is very much a woman whose body would be traditionally thought of as male, and Muir doesn’t shy away from describing her as such. In the first chapter of Nona the Ninth, for example, she is described as “wearing pyjama pants and a string vest and no shirt, so the orange glow of the hot plate ring lit up all the scars on her wiry arms.” Later in that same scene, she shaves her face. In the case of Palamedes and especially Pyrrha, their subversion of the Lyctorhood dynamic results in bodies that embody gender in non-normative ways.
(note: that bit was kind of hellish to write, because my audience is unfamiliar with the series and I’m already cutting out so much of the convoluted plot, so I just did my best to leave out the fact that two essential characters have the exact same name lmao. In any case, that is why I did not name G1deon here.) 
     The phrase that repeats throughout the series is “one flesh, one end.” It refers to the bond between a cavalier and a necromancer, and it is the oath they make to each other. As Gideon sees cavaliers and necromancers who care for one another deeply and as equals, it is implied that this phrase refers to the epitome of devotion to one another, a dynamic in which the cavalier and the necromancer are equals. However, as the true process of Lyctorhood is revealed, the phrase’s meaning turns dark, referring instead to a process in which the necromancer’s body and power is both the flesh and the end. However, though Lyctorhood grimly recontextualizes this phrase, it doesn’t change the interactions that Gideon sees between many of the cavaliers and necromancers. At one point, the Fourth House cavalier asks Gideon if she and Harrowhark have been paired for a long time. Before she answers, Gideon sees Palamedes bandaging Camilla’s wounds, and sees the necromancer from the Fourth House braiding his cavalier’s hair, and she “contemplate[s] the sight of the growing braid, and the sight of Palamedes squeezing the noxious contents of a blue dropper into Camilla’s wound… [as] Harrowhark lurked next to them, pointedly not looking at Gideon…[Gideon] still didn’t understand what she was meant to do or think or say: what duty really meant, between a cavalier and a necromancer, between a necromancer and a cavalier.” (GtN 275-6). Though the dynamic between the two is modeled after a relationship built around harm and unequal power, the relationships that occur within that framework do not always emulate that harm or imbalance. This reflects a real phenomenon, in which the ways that we might define gender within a patriarchal framework are disproven by many of the people embodying those identities.
     In some ways, the dynamics of gender do exist as a result of the framework of patriarchy; that the ways by which we define femininity or masculinity revolve around their roles within heterosexuality. As with any categorization of identity, however, there are always people whose performance and engagement with the category defy the bounds of its definition. Likewise, though the normative necromancer-cavalier relationship is epitomized by the self-sacrificial, grief-filled, exploitative model of Lyctorhood, there are versions of that dynamic that defy that definition, that subvert it or refuse the harm that is seemingly inherent to it. The pairs that seem to embody the initial understanding (and not the later, darker meaning) of “one flesh, one end” most strongly are pairs such as Palamedes and Camilla, who would refuse to ascend to Lyctorhood once they know the cost.
     In deconstructing the patriarchal framework that defines femininity and masculinity, I often feel that the question is: what is salvageable here? Is anything? The Locked Tomb series argues, in part, that we are shaped by our broken cultures, and that to accept the rewards of such hierarchies is to inevitably hurt one another. There is a cynical way of looking at it, and that cynicism is characterized in Harrow the Ninth by a letter left by an enemy commander, a character who hates everything that the nine houses stand for. She says, “The only thing our civilization can ever learn from yours is that when our backs are to the wall and our towers are falling all around us and we are watching ourselves burn, we rarely become heroes.” (HtN 403). This commander, however, is characterized almost entirely by her hatred, and though her letter sums up this argument well, I believe that it is only half of what the series is saying. The Locked Tomb says that there are things here that are salvageable; even if we are shaped by our broken cultures, even with our backs against the wall, there are ways to reject that harm without leaving ourselves and our identities behind. It argues that the nature of humanness is that we, as people, will always love one another in ways that fail those hierarchies. Though the hierarchies of identity, gender, and power only ever give us options to love in ways that hurt one another, our personhood is complex in ways that makes queerness and queer love inevitable.
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worm-entity · 2 years
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This is a multifandom blog now hi yurileth nation did u know ur the best fe ship
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mydiluc · 9 days
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I HEAR MAFIA AND IM LIKE WOAH!?!!? 🎤
oughhh Zen! mafia au with Wriothesley who works as Neuvillette’s right hand man, muscle, and hitman !!
meeting him as an innocent citizen accidentally caught in the middle of a fight with some rivals, grabbing you at the waist to pull you to safety. he didn’t have to do that, didn’t need to either, Wriothesley wasn’t thinking in that moment - only to survive and for his men and you to live. afterwards he’s making sure you know he cant trust you, even with your doe eyes looking up at him as you thank him for saving you, so soft and unblemished by crime and the dangerous world of his.
and yet, he can’t seem to stop keeping an eye on you after that…what with his connections and such. hearing from his men about the cafe you visited, it’s his favorite one to go to, too. maybe he’ll meet you there.
and don’t forget that he’s also an underground boxer too.
becoming a mafia criminals object of affection doesn’t sound too bad maybe?
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vixensajntz · 7 months
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UMMMM HELLLOOO?? THANK YOU SO MUCHHH FOR 400!! never thought i would make it this far when i only started my account like 3 months ago🥹🥹🥹 but TYSMMM everyone againn fr fr
XOXO MWA MWAAAA
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inkybloom-luv · 8 months
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MASTERPOST
Hello hello! I go by Inky, I am Genderfae and use she/they/it pronouns! Welcome to my gremlin Chaos! This post will contain a moot-list, my fandoms and tags for easy navigation! This blog is mostly occasional art and sillies so knock yourself out, dear user!
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Requests!
Status; Open!
Please read the rules below before requesting anything!
Do not plagiarise my work in any way, shape or form, reblogs are alright but do not claim it as your own or you will be blocked!!
Rules!!
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Moots!
@dove-da-birb ! 🕊️ |Such a lovely little bird, generally rlly ajwbsisbsisb, my no.1 enabler
@azulashengrottospiano ! 🐙|Azul kisser and also an enabler to my rising otome obsession
@ohlookitsmorgan ! Pick an emoji boo |Love y'all v much even tho we're both bad at socialising, you're still 2 cool 4 me
@adarkenedforest ! Pick an emoji boo |You're me slightly to the left wisbwjjsj, you're fruity lmao
@cupids-chamber ! Pick an emoji boo |you're still so cool and you're so fruity too
@achy-boo ! 🌹|Your ocs are top tier and you got such good taste,,, mwah
@leonistic ! 🍞|Somehow you're singlehandedly feeding my Leona thirst ausnwjsbb<3
@cy-inky ! 😏|The alliance is formed, the pact is sealed, be a menace >:3
@krenenbaker ! 🌾 |You make me so happy when I write and you just understand susbsudbdjsjb <3
@escaaaaaanyeh ! 🃏 |The only irl I would ever allow on my page, hello ;3
@az-flaming-sword ! 🔥 |My best friend whom I love very much and deserves the world, thank you for getting me into twst <33333
@twistwonderlanddevotee ! 🪷 |The wallpaper genius ever!! So happy to have you as a moot sdsdfggf
@savanaclaw1996 ! 🦁 |I don't know you very well but I look forward to chatting with you!!
@midnightmah07 ! 💙 |Daggie creator and literally so cool hshdhshs
@viilpstick ! 🫖 |Met you through mah and you're so lovely too hdbshdhsbzh
♪~~~~~~~~~~~~~~~~~~~~~~~~♪
Fandoms!
Twisted Wonderland
Ikemen Vampire/Prince
Stardew Valley
Zelda
Alice Madness Returns
Black Butler
Moriarty The Patriot
Identity V
Hollowknight
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Words Unsaid
Part 1 Part 2 Part 3 Part 4 Part 5
Part 6 Part 7 Part 8 Part 9 Part 10
Part 11 Part 12 Part 13
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