𝙰𝚁𝙳𝙾𝚁𝙰𝙳𝙾𝚁— An unaffiliated, mutual private, & selective writing blog for ᴄᴀʀᴍᴇʟᴏ ꜱᴀɴᴀᴄᴏʀᴇ ‘ᴀʀᴅᴏʀ’ an original character & empath mutant set in the X-Men universe. 21+. Follow backs from @fevvor
✦ ʙɪᴏ ✦ ᴘʀᴏᴍᴘᴛꜱ ✦ ʀᴜʟᴇꜱ ✦ ʜᴄ ✦
almost home

roma★
Sweet Seals For You, Always

Love Begins
taylor price

bliss lane
noise dept.
Noah Kahan
Lint Roller? I Barely Know Her
TVSTRANGERTHINGS

if i look back, i am lost
untitled
2025 on Tumblr: Trends That Defined the Year
Cosimo Galluzzi
Today's Document

Origami Around
Stranger Things

pixel skylines
h

@theartofmadeline

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@ardorador
𝙰𝚁𝙳𝙾𝚁𝙰𝙳𝙾𝚁— An unaffiliated, mutual private, & selective writing blog for ᴄᴀʀᴍᴇʟᴏ ꜱᴀɴᴀᴄᴏʀᴇ ‘ᴀʀᴅᴏʀ’ an original character & empath mutant set in the X-Men universe. 21+. Follow backs from @fevvor
✦ ʙɪᴏ ✦ ᴘʀᴏᴍᴘᴛꜱ ✦ ʀᴜʟᴇꜱ ✦ ʜᴄ ✦
Who did your graphics?
Oops! I usually have that in my pinned— thank you for pointing that out! I’m still working on getting this blog set up. It’s updated now, but buffystudios over on twitter did this account! I think it was about 20 US dollars for the whole layout? I’m having them redo it once I get enough commission fanart done, as I don’t like to use FCs when I can help it. :) YViESOURCES on twitter have done all my other account graphics. Both are very sweet and good!
@bootscooted
God forbid he hadn’t taken every last wrong turn. Dusk dusts the mountains mauve, and the willows weep a wedding across a slow slinking lake. Two trees intertwine across the brook in a way that makes them look like they're embracing, branch caressing branch—kissing—and Carmelo does not know why, but it feels far more like an intrusion for him to keep watching than any moment he's toed into between the living. He likes the south. It is not so much like home, but it is not entirely unlike it either. The forest seems alive, but vast and quiet in a way that leaves his head and heart blissfully empty. He's not ran into any humans, save for a boy on a sun bleached lawn, splashing about in a blue blow up pool. He likes kids too, the clarity of their feeling. This is the best it gets, the boys heart reads, and Carmelo wants to tell him he's probably right.
So he'd been drunk on the easy reprieve of the afternoon, cicadas chirping a mantra, but he knows what maliciousness feels like when it comes. The shifting discs of the heavy, drunk moon cast a shadow over their faces. They are magic, and so they think he must be too. He does not know what he is, but their craft burns in his blood until it feels too thick to press through his veins. The relief of the dampener collar, an intriguing charm, might have been something if it weren't for how nauseous it made him, a barrage of pain stacking behind his eyes.
Until claimed or dead, he remembers the stipulation of the oath. He does not know what it means, but having been carted off in what feels like a bureaucratic auction, now standing before the man, king, they had called him, he doesn't think he's the sort to kill him. Maybe. He can't tell what the other feels—what he is. He can't even tell what he himself feels. Instead he follows a melody, a not so distant song carried over on the wind and perks up.
"Ah," the orange of his eyes, settled low against his lashes like a setting sun blink steadily at the other. "I like those feelings best," he means the song, some long dead singer, immortalized in static. "They're always at the beginning. Eternally devoted, no?"
He does not like to talk, the grimace clear on his face at each word he has to slot out, resistant as metal on metal. But it's not like he has much choice. Despite it, his voice is a bloom of warmth, lulls and lifts over vowels like a steady breeze. It's clotted together, just a touch at the edges, the influence of his time in New York, but still predominantly foreign.
"Am I your ward, King?" he muses, nose wrinkling like he does find the entire thing a bit amusing. It's only in his eyes, a slight distress, having not been so used to being around this many people in such a short time.
✱˚。⋆ ↪ 𝐂𝐔𝐋𝐓 𝐂𝐋𝐀𝐒𝐒𝐈𝐂𝐒 . ( a collection of horror - based dialogue prompts . adjust phrasing as necessary . mature themes present . )
you'll never get what you want .
we need to stay together . no 'splitting up' bullshit .
nobody ever prepared me for this .
so you've just been lying to me this entire time ?
there's too much blood , i can't stop it .
this is over when i say it's over .
[ name ] , be careful . i've already lost enough people that i care about .
i never should have trusted you .
this is getting really out of hand , okay ?
i feel like we're not alone .
revenge is the best medicine !
put your head on straight , this isn't over yet .
maybe we should ... y'know , check it out ?
run . run and don't stop .
i thought i saw something ... i - i must be going crazy .
you couldn't pay me to go down there .
the cops are on their way .
would you rather stay here and die ?!
there's no such thing as [ ghosts / demons ] . it's made-up .
you aren't going anywhere .
i'm putting you out of your misery .
i know you think you're untouchable , but they will kill us .
you shouldn't have touched that .
we aren't going to make it out of here , are we ?
why are you following me ?
there has to be a medical kit here , somewhere .
i'll go with you . strength in numbers , right ?
don't move ... a fucking muscle .
fuck , the door is locked from the other side .
don't get ... dead , okay ?
that was the only [ bullet / round / flare ] we had .
did you really think it would be that easy ?
we've come too far , we can't turn around now .
put down the [ weapon ] . please .
come on , help me barricade the door .
[ name ] , is that ... blood ?
haven't you seen a horror movie ? the blonde always dies .
it was you ? YOU did this ?!
you are gonna fucking pay .
i'm going to give you ten seconds . nine , eight ...
i want you to admit what you did .
hey , look at me -- it's not real . it's not real .
do you think they're watching us right now ?
we're in this together . no one gets left behind .
let them go ... please , just let them go .
oh my god , what the hell was that ?!
you know i'm capable of this .
i had to ... i had no choice .
you don't have the guts .
this is fucked up , this is so fucked up .
what we're dealing with isn't even human .
you need to hide . find somewhere & don't come out .
stop ! don't touch that . we don't know what it is .
i've done bad things to good people .
if they catch us , they will kill us .
why are you covered in blood ?
i can't ... i can't feel my -
[ name ] is dead . i saw it happen .
what , you're gonna kill me ? i don't believe you .
there is an evil in you . i see it .
this shit only happens to people in horror movies .
forget about me , just save them .
what's one reason i shouldn't kill you right now ?
you aren't supposed to be here .
please don't . i'm begging you .
are you scared ?
whatever happens , don't let go of my hand .
[ name ] , this isn't you .
well , what the fuck are we supposed to do ?!
get out of my house before i call the cops .
you're going to regret that .
there's that smile ... i'm glad it's the last thing i'll see .
if we make it out of here , tonight will haunt me forever .
take one
Was talking to Dani and for the record, Melo is not a super efficient fighter? He was raised in a bloodline of pedigree, and so he’s likely proficiently trained in…. fencing and such, maybe basic boxing but not to the degree where he’d be able to hold his own against someone who specialises in combat….. anyway this is permission to either teach him to fight or beat his ass.
"I dare you to try."
Prompts Prompts Prompts!
Carmelo muzzles the sound around him, tidies the light in his peripheral until the fluid thrum of Manuel’s heart sinks into clarity. It’s a large heart, though swollen on feeling, or maybe the absence of it. Too little feeling, too much technique. He wonders if it’s as overworked as his own. It does seem to bristle at the invasion. Huh. He’d expect him to be more curious. Melo is— pulls himself into the personal space of the man, like he’s trying to scent some truth on him. Manuel is clotted with feeling, other people’s feelings, that is. He tries to sense where it breaks through, but Manuel seems to have a personal offense about him. Does nothing ever get in? Only out?
I dare you to try. It’s a threat, not play, the tone being obvious. But as the poets say, feeling is first, who pays attention to the syntax of things? So Carmelo smiles as though it is a game, a slow, cat like sprawl of his lips, glinting his teeth at him. The yolk of his eyes blinks slow at the man, a curious tilt of his head, cheshire. It is not without warmth, the opposite, maybe too sincere for the tension between them.
Dare me to what? Make you feel? I wouldn’t dream of it.
He’s not made a habit of assuming most people sign, too busy for what they deem to be a clumsy slide of hands. But Carmelo likes the time it takes, room enough to slow his thoughts, his feelings. He’s not lying, not exactly. He’s doing nothing untoward with the man’s feeling, simply projecting his own into something akin to speech. He was born into a certain pedigree, and although incensed into strangeness by his mutation, he is not without manners. A soft shake of his head, turning his palms up at him in surrender, almost charming.
That is… unless you’d like me to.
FOR THE “YOU CAN KILL ME BUT DON’T YOU DARE TOUCH THEM” DYNAMICS
❝ i only want you. ❞
❝ i don’t need anyone else. i just…you. you’re all i need. ❞
❝ listen, i’ve lost a lot of people in my life. i learned how to deal with it but…you’re different. i can’t take it if it’s you. ❞
❝ i think about anything happening to you and i— i just. i fucking lose it. ❞
❝ you don’t understand. i need you safe. not because i don’t think you can handle yourself but because i can’t focus on anything else if there’s even the smallest possibility you’re in danger. ❞
❝ no one is ever gonna get near you again, you hear me? ❞
❝ i won’t let you get hurt. i promise. and i don’t make empty promises. ❞
❝ turn around. you don’t need to see this part. ❞
❝ just give the word and i’ll kill every one of them. ❞
❝ you can’t get all worked up every time something happens to me. that’s just life. you’re not always gonna be able to protect me from it. ❞
❝ no one else understands me. but you do. you always do. ❞
❝ i don’t think i’m the best person for you, i don’t. but i do know i’m the one that can keep you safe ❞
❝ hey— look at me. it’s over. it’s done. we’re okay. ❞
❝ who the fuck made you cry i’ll fucking rip their head off. ❞
❝ i know you’ve always got my back. ❞
❝ please, let me take care of you this time. you’re always protecting me but it tears me up inside every time you get hurt because of it. ❞
❝ can you make everyone else just go away? i know they mean well but i just want to be alone— alone with you i mean. ❞
❝ i know when you’re here, the real monsters can’t touch me. ❞
❝ oh, i am one of the monsters. but that just means i can keep all the other monsters from ever hurting you again. ❞
❝ if you’re gonna keep risking your life for me than you’re also gonna let me patch you up without a single complaint. ❞
❝ we keep each other safe. it’s my turn to protect you. ❞
❝ i killed them for you. i know you could’ve done it yourself, but you shouldn’t have to. ❞
❝ i love you because i know how capable you are. and i show that love by making sure you don’t have to be the one to always do the hard things. ❞
❝ i’m gonna make them regret ever even thinking about laying a hand on you. ❞
❝ tell me what you want me to do. i’ll do it. whatever you want. ❞
❝ i love you just like this. i love you when you touch me gently like no one else ever has. and i love you when your hands are bloody and your knuckles are bruised. ❞
❝ please, just let me protect you. ❞
❝ are you hurt? did they hurt you? ❞
❝ wait, stop you’re bleeding. ❞
❝ did you just wince? where are you hurt? ❞
❝ i need you in my life. i’m not used to that— needing people. but i do need you. ❞
❝ you make me feel things i’m not used to feeling. ❞
❝ why do you let me close when you’re always driving everyone else away? ❞
❝ you’re mine. and i protect what’s mine. ❞
❝ thank you for always being here for me. ❞
❝ you see things in me that i didn’t even know where there. ❞
❝ that’s enough. let’s go home. ❞
❝ i’m okay now. i’m safe. you don’t have to be angry anymore. ❞
❝ please stop— this is scaring me. ❞
❝ you don’t have to do this for me. ❞
❝ hey stop— stop! look at me. they’re dead now. you can stop. ❞
❝ i have to make an example outta them so no one else tries to hurt you again. ❞
❝ killing for you is easy. it’s right. it feels natural. ❞
❝ let me do this for you. ❞
SCENARIOS
[ ONE ] for sender to take a bullet for receiver.
[ TWO ] for receiver to take a bullet for sender.
[ THREE ] for sender to protect receiver and then carry them to safety.
[ FOUR ] for receiver to protect sender and then carry them to safety.
[ FIVE ] for sender to witness receiver get hurt which sends them into a violent rage.
[ SIX ] for receiver to witness sender get hurt which sends them into a violent rage.
[ SEVEN ] for sender to be hurt trying to protect receiver which makes them bloodthirsty for revenge.
[ EIGHT ] for receiver to be hurt trying to protect sender which makes them bloodthirsty for revenge.
[ NINE ] for sender to have violently protected receiver, so receiver kisses them to calm them down.
[ TEN ] for receiver to have violently protected sender, so sender kisses them to calm them down.
[ ELEVEN ] for sender to carefully approach receiver in the aftermath, gently touching them to try and bring them back to themselves.
[ TWELVE ] for receiver to carefully approach sender in the aftermath, gently touching them to try and bring them back to themselves.
[ THIRTEEN ] sender was kidnapped, receiver shows up to save them.
[ FOURTEEN ] receiver was kidnapped, sender shows up to save them.
[ FIFTEEN ] sender executes a third party in front of receiver because that person hurt them.
[ SIXTEEN ] receiver executes a third party in front of sender because that person hurt them.
[ SEVENTEEN ] sender thinks they’re alone but receiver comes out of nowhere to rescue them from someone who intends to do harm/making them uncomfortable.
[ EIGHTEEN ] receiver thinks they’re alone but sender comes out of nowhere to rescue them from someone who intends to do harm/making them uncomfortable.
[ NINETEEN ] sender has been devastated by something. receiver holds them until they calm down so they don’t do anything drastic.
[ TWENTY ] receiver has been devastated by something. sender holds them until they calm down so they don’t do anything drastic.
[ TWENTY-ONE ] sender thought receiver died so they set out to get revenge. receiver shows up in time to stand in front of them before they go too far.
[ TWENTY-TWO ] receiver thought sender died so they set out to get revenge. sender shows up in time to stand in front of them before they go too far.
[ TWENTY-THREE ] sender is in a vengeful rage because of something that happened to receiver. receiver gently approaches to calm them down saying this isn’t what they want.
[ TWENTY-FOUR ] receiver is in a vengeful rage because of something that happened to sender. sender gently approaches to calm them down saying this isn’t what they want.
[ TWENTY-FIVE ] for sender to have receiver stand by somewhere safe where they can watch sender kill on their behalf.
[ TWENTY-SIX ] for receiver to have sender stand by somewhere safe where they can watch receiver kill on their behalf.
༘⋆。 where it hurts starters.
caretaker.
i'll stay until you fall asleep.
you're not a burden. not to me.
you don't have to act tough with me.
let me help.
if you need to cry, i'll look the other way.
you don't have to talk.
let me handle it, just for a minute.
rest, i'll watch over you.
i don't care if you think you're fine. i'm staying.
deep breaths.
just lean on me.
you're safe now, okay? just breathe.
i know it hurts. i'll sit here as long as it takes.
i'm not leaving until i know you're okay.
you don't need to hide.
let me take care of you this time.
shh. i'm right here.
you don't have to put on a smile for me.
i don't think less of you.
i'll be here when you wake up.
you're allowed to lean on me. that's what i'm here for.
you don't have to be okay.
scoot over, i'm not letting you sleep alone.
your hair's a mess. let me brush it.
don't apologize.
cared for.
i'm tired, that's all.
please don't go.
i don't know what i need.
you didn't need to come.
you shouldn't have to see me like this.
i hate feeling like this.
i was trying to push through. i think i made it worse.
this is so embarrassing.
can you just... stay a little longer?
i didn't think anyone would notice...
i'm not safe in my own head right now.
why are you being so gentle with me?
i don't want you to fix me.
today's just... one of the harder days.
i didn't know i needed to hear that.
can you stay? after i fall asleep?
sorry. i didn't mean to flinch.
i don't always know what's going to help.
this is the nicest anyone’s been to me all week.
i'm sorry. i know i'm a lot.
i don't even know why i'm crying...
i think i'm broken.
you didn't have to do all this for me.
i don't want to be a burden.
i didn't think anyone would stay.
ᴍᴏʙɪʟᴇ ꜰʀɪᴇɴᴅʟʏ ʀᴜʟᴇꜱ—
1. ʜᴇʟʟᴏ! ɪ'ᴍ ʙʀᴏᴏᴋꜱ (ʙᴇʟʟᴀᴍʏ!) 27, ᴀɴʏ ᴘʀᴏɴᴏᴜɴꜱ. ᴛʜɪꜱ ʙʟᴏɢ ɪꜱ ᴀ ʜɪɢʜʟʏ ꜱᴇʟᴇᴄᴛɪᴠᴇ ᴡʀɪᴛɪɴɢ ʙʟᴏɢꜱ ꜰᴏʀ ᴍʏ x-ᴍᴇɴ ᴏʀɪɢɪɴᴀʟ ᴄʜᴀʀᴀᴄᴛᴇʀ ᴄᴀʀᴍᴇʟᴏ ꜱᴀɴᴀᴄᴏʀᴇ. ᴘʟᴇᴀꜱᴇ ɢʟᴀɴᴄᴇ ᴀᴛ ᴍʏ ʀᴜʟᴇꜱ ᴀɴᴅ ᴄʜᴀʀᴀᴄᴛᴇʀ ʙɪᴏ ʙᴇꜰᴏʀᴇ ꜰᴏʟʟᴏᴡɪɴɢ! ɪ'ᴠᴇ ʙᴇᴇɴ ꜰᴏʀᴛᴜɴᴀᴛᴇ ᴇɴᴏᴜɢʜ ᴛᴏ ɴᴏᴛ ʜᴀᴠᴇ ᴍᴀɴʏ ɪꜱꜱᴜᴇꜱ ɪɴ ʀᴇᴄᴇɴᴛ ʏᴇᴀʀꜱ ᴏɴ ʜᴇʀᴇ, ꜱᴏ ꜰᴏʀ ᴛʜᴇ ᴍᴏꜱᴛ ᴘᴀʀᴛ, ɢᴇɴᴇʀᴀʟ ʀᴜʟᴇꜱ ᴀɴᴅ ᴄᴏᴍᴍᴏɴ ꜱᴇɴꜱᴇ ᴀᴘᴘʟʏ ʙᴜᴛ ʜᴇʀᴇ ᴀʀᴇ ᴀ ꜰᴇᴡ ᴀᴅᴅɪᴛɪᴏɴꜱ ᴛᴏ ᴍᴀᴋᴇ ꜱᴜʀᴇ ᴡᴇ'ʀᴇ ꜱᴛᴀʀᴛɪɴɢ ᴏꜰꜰ ɢᴏᴏᴅ.
2. ɪ ᴀᴍ ᴍᴜᴛᴜᴀʟꜱ ᴏɴʟʏ ᴀɴᴅ ɢʀᴏᴡɪɴɢ ᴍᴏʀᴇ ꜱᴇʟᴇᴄᴛɪᴠᴇ ᴡɪᴛʜ ᴛɪᴍᴇ. ɪ'ᴅ ʟɪᴋᴇ ᴛᴏ ᴛʜɪɴᴋ ɪ'ᴍ ᴀ ɴɪᴄᴇ ᴀᴅᴍɪɴ, ʙᴜᴛ ᴛʜᴇ ꜰᴀᴄᴛ ᴏꜰ ᴛʜᴇ ᴍᴀᴛᴛᴇʀ ɪꜱ ɪ ᴄᴀɴ ʙᴇ ᴠᴇʀʏ ꜱʟᴏᴡ. ʜᴀᴠɪɴɢ ꜰʟᴜᴄᴛᴜᴀᴛɪɴɢ ʟᴇᴠᴇʟꜱ ᴏꜰ ᴀᴠᴀɪʟᴀʙɪʟɪᴛʏ. ᴛᴏ ʀᴇʟɪᴇᴠᴇ ᴍʏꜱᴇʟꜰ ᴏꜰ ꜱᴛʀᴇꜱꜱ, ɪ ᴡᴀɴᴛ ᴛᴏ ᴋᴇᴇᴘ ᴀ ꜰᴀɪʀʟʏ ꜱᴍᴀʟʟ ʙʟᴏɢ ᴍᴏᴠɪɴɢ ꜰᴏʀᴡᴀʀᴅ ᴡɪᴛʜ ᴀᴅᴍɪɴꜱ ɪ ᴛᴀʟᴋ ᴛᴏ ʙᴏᴛʜ ɪɴ ᴀɴᴅ ᴏᴜᴛ ᴏꜰ ᴄʜᴀʀᴀᴄᴛᴇʀ. ᴡᴇ ᴅᴏɴ'ᴛ ʜᴀᴠᴇ ᴛᴏ ʙᴇ ʙᴇꜱᴛ ꜰʀɪᴇɴᴅꜱ ʙʏ ᴀɴʏ ᴍᴇᴀɴꜱ, ʙᴜᴛ ɪ ᴇɴᴊᴏʏ ᴡʀɪᴛɪɴɢ ᴍᴏʀᴇ ᴡʜᴇɴ ɪ ʜᴀᴠᴇ ᴀ ᴡᴏʀᴋɪɴɢ ʀᴇʟᴀᴛɪᴏɴꜱʜɪᴘ ᴡɪᴛʜ ᴛʜᴇ ᴡʀɪᴛᴇʀ. ɪ ᴡᴀɴᴛ ᴍᴜᴛᴜᴀʟꜱ ᴡʜᴏ ɪɴᴛᴇʀᴀᴄᴛ ᴡɪᴛʜ ᴍʏ ɪᴄ ᴀɴᴅ ᴏᴏᴄ ᴘᴏꜱᴛꜱ, ᴀɴᴅ ɪ ᴡɪʟʟ ᴅᴏ ᴛʜᴇ ꜱᴀᴍᴇ ɪɴ ᴛᴜʀɴ. ɪ ᴍʏꜱᴇʟꜰ ᴀᴍ ᴀ ꜱᴘᴏʀᴀᴅɪᴄ ᴀᴄᴛɪᴠɪᴛʏ ᴡʀɪᴛᴇʀ, ᴀɴᴅ ᴡʜɪʟᴇ ᴛʜᴇʀᴇ ᴡɪʟʟ ɴᴇᴠᴇʀ ʙᴇ ᴀɴʏ ᴘʀᴇꜱꜱᴜʀᴇ ꜰʀᴏᴍ ᴍᴇ ꜰᴏʀ ʀᴇᴘʟɪᴇꜱ, ᴀɴᴅ ɪ ᴇꜱᴘᴇᴄɪᴀʟʟʏ ᴜɴᴅᴇʀꜱᴛᴀɴᴅ ꜰʟᴜᴄᴛᴜᴀᴛɪɴɢ ᴍᴜꜱᴇꜱ ɪꜰ ʏᴏᴜ'ʀᴇ ᴀ ᴍᴜʟᴛɪ, ɪꜰ ɪ'ᴍ ɴᴏᴛ ʀᴇᴄᴇɪᴠɪɴɢ ᴀɴʏ ᴇꜰꜰᴏʀᴛ ɪɴ ʀᴇᴛᴜʀɴ ꜰᴏʀ ɪɴᴛᴇʀᴀᴄᴛɪᴏɴꜱ ᴀɴᴅ ᴏʀ ꜱᴛᴀʀᴛᴇʀꜱ ᴏʀ ᴛʜʀᴇᴀᴅꜱ ɢᴏ ꜱᴇᴠᴇʀᴀʟ ᴍᴏɴᴛʜꜱ ᴜɴᴀɴꜱᴡᴇʀᴇᴅ ᴏɴ ᴀɴ ᴏᴛʜᴇʀᴡɪꜱᴇ ᴀᴄᴛɪᴠᴇ ʙʟᴏɢ, ɪ ᴍɪɢʜᴛ ꜱᴏꜰᴛʙʟᴏᴄᴋ. ᴛʜɪꜱ ɪꜱ ɴᴏᴛʜɪɴɢ ᴘᴇʀꜱᴏɴᴀʟ, ɪ ᴊᴜꜱᴛ ᴡᴀɴᴛ ᴛᴏ ᴋᴇᴇᴘ ᴀ ꜱᴍᴀʟʟ ʙᴜᴛ ᴀᴄᴛɪᴠᴇ ᴅᴀꜱʜ, ᴀɴᴅ ɪ ᴀᴍ ᴄᴏᴍɪɴɢ ᴛᴏ ʀᴇᴀʟɪᴢᴇ ᴛʜᴀᴛ ɪ ᴘᴜᴛ ᴀ ʟᴏᴛ ᴏꜰ ᴘʀᴇꜱꜱᴜʀᴇ ᴏɴ ᴍʏꜱᴇʟꜰ ᴛᴏ ᴋᴇᴇᴘ ᴜᴘ ᴡɪᴛʜ ᴀʟʟ ᴍʏ ᴍᴜᴛᴜᴀʟꜱ. ɪ ᴡɪʟʟ ʀᴇɪᴛᴇʀᴀᴛᴇ ᴀɢᴀɪɴ ᴛʜᴀᴛ ɪ ᴍʏꜱᴇʟꜰ ᴀᴍ ᴠᴇʀʏ ꜱʟᴏᴡ ᴀɴᴅ ᴀʟꜱᴏ ᴀᴛ ᴛɪᴍᴇꜱ ʜᴀᴠᴇ ʜɪɢʜᴇʀ ᴍᴜꜱᴇ ꜰᴏʀ ᴄᴇʀᴛᴀɪɴ ᴛʜʀᴇᴀᴅꜱ. ᴅᴏɴ’ᴛ ꜰᴇᴇʟ ᴀꜱ ᴛʜᴏᴜɢʜ ɪ’ᴍ ʙʀᴇᴀᴛʜɪɴɢ ᴅᴏᴡɴ ʏᴏᴜʀ ɴᴇᴄᴋ ꜰᴏʀ ᴀɴʏᴛʜɪɴɢ! ᴛʜɪꜱ ɪꜱ ᴇxᴄʟᴜꜱɪᴠᴇʟʏ ᴊᴜꜱᴛ ᴀ ʜᴇᴀᴅꜱ ᴜᴘ ᴛʜᴀᴛ ɪ ᴡʀɪᴛᴇ ʙᴇᴛᴛᴇʀ ᴡɪᴛʜ ꜱᴏᴍᴇ ʟᴇᴠᴇʟ ᴏꜰ ᴄᴏɴɴᴇᴄᴛɪᴏɴ. ɪꜰ ɪ ꜱᴏꜰᴛ ʙʟᴏᴄᴋ ᴀɴᴅ ʏᴏᴜ ᴡᴀɴᴛ ᴛᴏ ɢɪᴠᴇ ɪᴛ ᴀɴᴏᴛʜᴇʀ ꜱʜᴏᴛ: ɪ’ᴍ ᴀʟᴡᴀʏꜱ ᴀᴘᴘʀᴏᴀᴄʜᴀʙʟᴇ
3. ᴛᴏᴜᴄʜɪɴɢ ᴏɴ ᴛʜᴇ ʟᴀꜱᴛ ʙɪᴛ, ɪ ᴘʀᴇꜰᴇʀ ɴᴏᴠᴇʟʟᴀ ᴀɴᴅ ᴍᴜʟᴛɪ ᴘᴀʀᴀ ᴛʜʀᴇᴀᴅꜱ. ᴀᴛ ᴛɪᴍᴇꜱ ᴍʏ ᴛʜʀᴇᴀᴅꜱ ᴡɪʟʟ ʀᴜɴ ᴀ ʙɪᴛ ꜱʜᴏʀᴛᴇʀ, ʙᴜᴛ ɪ ᴅᴏɴ'ᴛ ᴛʏᴘɪᴄᴀʟʟʏ ʟɪᴋᴇ ᴛᴏ ᴅᴏ ꜱɪɴɢʟᴇ ʟɪɴᴇ ʙᴀɴᴛᴇʀ ᴛʜʀᴇᴀᴅꜱ. ɪ ᴅᴏɴ'ᴛ ᴍɪɴᴅ ᴀɴᴅ Qᴜɪᴛᴇ ʟɪᴋᴇ ᴡʀɪᴛɪɴɢ ꜱᴛᴀʀᴛᴇʀꜱ ᴛᴏ ɢᴇᴛ ᴜꜱ ꜱᴛᴀʀᴛᴇᴅ, ʙᴜᴛ ʏᴏᴜ ᴀʀᴇ ᴀʟꜱᴏ ᴡᴇʟᴄᴏᴍᴇ ᴛᴏ ꜱᴇɴᴅ ᴘʀᴏᴍᴘᴛꜱ ꜰᴏʀ ɴᴇᴡ ɪɴᴛᴇʀᴀᴄᴛɪᴏɴꜱ ɪꜰ ʏᴏᴜ'ᴅ ᴘʀᴇꜰᴇʀ ᴛᴏ ɢᴇᴛ ᴀ ꜰᴇᴇʟ ꜰᴏʀ ᴛʜᴇ ᴄʜᴀʀᴀᴄᴛᴇʀꜱ ꜰɪʀꜱᴛ.
4. ɪ ᴏꜰᴛᴇɴ ᴇɴᴊᴏʏ ꜱʜɪᴘᴘɪɴɢ. ɪ ᴛʜɪɴᴋ ɪᴛ'ꜱ ᴀɴ ɪɴᴛᴇʀᴇꜱᴛɪɴɢ ᴀɴᴅ ᴇᴀꜱʏ ᴡᴀʏ ᴛᴏ ᴇxᴘʟᴏʀᴇ ᴀɴᴅ ʟᴇᴀʀɴ ɴᴇᴡ ᴛʜɪɴɢꜱ ᴀʙᴏᴜᴛ ᴍʏ ᴍᴜꜱᴇꜱ. ᴛʜᴀᴛ ʙᴇɪɴɢ ꜱᴀɪᴅ, ɪ'ᴍ ɴᴏᴛ ᴏɴʟʏ ʜᴇʀᴇ ᴛᴏ ꜱʜɪᴘ, ᴀɴᴅ ᴄʜᴇᴍɪꜱᴛʀʏ ᴀɴᴅ ᴄᴏɴᴛᴇxᴛ ɪꜱ ᴀ ʜᴇᴀᴠʏ ᴍᴜꜱᴛ. ɪꜰ ʏᴏᴜ'ʀᴇ ᴄᴜʀɪᴏᴜꜱ ᴀʙᴏᴜᴛ ᴀ ꜱʜɪᴘ, ꜰᴇᴇʟ ꜰʀᴇᴇ ᴛᴏ ʀᴇᴀᴄʜ ᴏᴜᴛ. ᴡᴏʀꜱᴛ ᴛʜᴀᴛ ᴄᴀɴ ʜᴀᴘᴘᴇɴ ɪꜱ ɪᴛ ᴅᴏᴇꜱɴ'ᴛ ᴡᴏʀᴋ ᴏᴜᴛ.
5. ɪ ᴀᴍ ꜱᴛɪʟʟ ɴᴀᴠɪɢᴀᴛɪɴɢ ᴍʏ ᴏᴘɪɴɪᴏɴꜱ ᴏɴ ᴇxᴄʟᴜꜱɪᴠᴇꜱ ʙᴜᴛ ꜰᴏʀ ᴛʜᴇ ᴍᴏꜱᴛ ᴘᴀʀᴛ, ɪ ᴅᴏɴ'ᴛ ᴘʀᴀᴄᴛɪᴄᴇ ᴛʜᴇᴍ. ɪ ʜᴀᴠᴇ ᴍᴀɪɴꜱ, ᴀɴᴅ ᴡʜɪʟᴇ ɪ ᴏʀɢᴀɴɪᴄᴀʟʟʏ ᴛᴇɴᴅ ᴛᴏ ꜰᴀᴠᴏʀ ᴍᴜɴꜱ ɪ ɪɴᴛᴇʀᴀᴄᴛ ᴡɪᴛʜ ᴏᴏᴄ ᴀɴᴅ ʜᴀᴠᴇ ᴇꜱᴛᴀʙʟɪꜱʜᴇᴅ ᴅʏɴᴀᴍɪᴄꜱ ᴡɪᴛʜ, ɪ ᴅᴏɴ'ᴛ ᴡᴀɴᴛ ᴛᴏ ᴅᴇꜰɪɴɪᴛɪᴠᴇʟʏ ʀᴜʟᴇ ᴏᴜᴛ ᴛʜᴇ ᴏᴘᴘᴏʀᴛᴜɴɪᴛʏ ᴛᴏ ᴍᴇᴇᴛ ɴᴇᴡ ꜰʀɪᴇɴᴅꜱ ᴀɴᴅ ᴡʀɪᴛɪɴɢ ᴘᴀʀᴛɴᴇʀꜱ. ɪ ᴅᴏ ᴍʏ ʙᴇꜱᴛ ᴛᴏ ʙᴇ ʀᴇꜱᴘᴇᴄᴛꜰᴜʟ ᴏꜰ ᴍʏ ᴄᴜʀʀᴇɴᴛ ᴇꜱᴛᴀʙʟɪꜱʜᴇᴅ ᴅʏɴᴀᴍɪᴄꜱ ᴀɴᴅ ɪ ᴀᴠᴏɪᴅ ᴄᴏʟʟᴇᴄᴛɪɴɢ ᴍᴜꜱᴇꜱ. ᴀɴ ᴇxᴄᴇᴘᴛɪᴏɴ ᴛᴏ ᴛʜɪꜱ ɪꜱ ᴀᴛ ᴛɪᴍᴇꜱ, ᴀʀᴇ ꜱʜɪᴘꜱ, ʙᴜᴛ ɪᴛ ᴅᴇᴘᴇɴᴅꜱ ᴏɴ ʜᴏᴡ ᴇꜱᴛᴀʙʟɪꜱʜᴇᴅ ᴏᴜʀ ᴄʜᴀʀᴀᴄᴛᴇʀꜱ ᴀʀᴇ ᴀɴᴅ ʜᴏᴡ ᴏꜰᴛᴇɴ ᴡᴇ ᴡʀɪᴛᴇ. ᴘʟᴇᴀꜱᴇ ᴀᴘᴘʀᴏᴀᴄʜ ᴍᴇ ɪꜰ ʏᴏᴜ’ᴅ ʟɪᴋᴇ ᴛᴏ ᴅɪꜱᴄᴜꜱꜱ ᴛʜᴀᴛ ꜰᴜʀᴛʜᴇʀ.
6. ɪ ᴀᴍ ᴛᴡᴇɴᴛʏ ꜱᴇᴠᴇɴ, ᴀɴᴅ ᴍʏ ʙʟᴏɢ ɪꜱ ᴛᴡᴇɴᴛʏ ᴏɴᴇ ᴘʟᴜꜱ. ᴛʜɪꜱ ᴀᴄᴄᴏᴜɴᴛ ᴡɪʟʟ ꜰᴀɪʀʟʏ ᴏꜰᴛᴇɴ ᴘᴏꜱᴛ, ʀᴇʙʟᴏɢ, ᴀɴᴅ ʀᴏʟᴇᴘʟᴀʏ ɴꜱꜰᴡ ᴄᴏɴᴛᴇɴᴛ ɪɴᴄʟᴜᴅɪɴɢ ʙᴜᴛ ɴᴏᴛ ʟɪᴍɪᴛᴇᴅ ᴛᴏ, ᴠɪᴏʟᴇɴᴄᴇ, ꜱᴇx, ᴀʙᴜꜱᴇ ɪɴ ᴠᴀʀɪᴏᴜꜱ ꜰᴏʀᴍꜱ, ᴜɴʜᴇᴀʟᴛʜʏ ʀᴇʟᴀᴛɪᴏɴꜱʜɪᴘꜱ ᴀɴᴅ ᴄᴏᴘɪɴɢ ᴍᴇᴄʜᴀɴɪꜱᴍꜱ, ᴀɴᴅ ꜱᴜʙꜱᴛᴀɴᴄᴇ ᴜꜱᴇ. ɴᴇɢᴀᴛɪᴠᴇ ᴄᴏɴᴛᴇɴᴛ ɪꜱ ᴡʀɪᴛᴛᴇɴ ꜰʀᴏᴍ ᴀ ᴄʀɪᴛɪᴄᴀʟ ᴘᴇʀꜱᴘᴇᴄᴛɪᴠᴇ ᴀɴᴅ ᴡɪʟʟ ʙᴇ ᴛʀᴇᴀᴛᴇᴅ ᴀꜱ ꜱᴜᴄʜ, ʙᴜᴛ ɪ ᴀᴍ ᴠᴇʀʏ ᴀɢᴀɪɴꜱᴛ ᴍᴏʀᴀʟɪᴛʏ ꜱɪɢɴᴀʟɪɴɢ ʙʏ ᴏᴠᴇʀ ꜱᴀɴɪᴛɪᴢɪɴɢ ᴡʀɪᴛɪɴɢ ᴏꜰ ᴄᴏᴍᴘʟᴇx ᴏʀ ᴅɪꜰꜰɪᴄᴜʟᴛ ᴛᴏᴘɪᴄꜱ.
7. ɪ ᴅᴏɴ'ᴛ ᴅᴏ ᴀ ʟᴏᴛ ᴏꜰ ʜᴇᴀᴠʏ ᴛᴀɢɢɪɴɢ. ɪ ᴡɪʟʟ ᴡᴀᴛᴄʜ ᴏᴜᴛ ꜰᴏʀ ꜱᴘᴇᴄɪꜰɪᴄ ᴛʀɪɢɢᴇʀꜱ ɪɴ ʏᴏᴜʀ ʀᴜʟᴇꜱ, ʙᴜᴛ ᴀᴛ ᴛʜɪꜱ ᴘᴏɪɴᴛ, ᴍᴏꜱᴛ ᴏꜰ ᴛʜɪꜱ ᴄᴏɴᴛᴇɴᴛ ᴄᴏᴍᴇꜱ ᴡɪᴛʜ ᴛʜᴇ ᴛᴇʀʀɪᴛᴏʀʏ ᴏꜰ ᴛʜᴇ ꜰᴀɴᴅᴏᴍ ɪ'ᴍ ɪɴ. ᴀɴʏᴛʜɪɴɢ ᴏꜰ ᴀ ᴘᴀʀᴛɪᴄᴜʟᴀʀʟʏ ɢʀᴀᴘʜɪᴄ ɴᴀᴛᴜʀᴇ ᴡɪʟʟ ᴏꜰ ᴄᴏᴜʀꜱᴇ ʙᴇ ᴛᴀɢɢᴇᴅ ᴏʀ ᴘᴜᴛ ᴜɴᴅᴇʀ ᴀ ʀᴇᴀᴅ ᴍᴏʀᴇ ᴛᴀʙ.
8. ɪᴄ ᴛʜᴏᴜɢʜᴛꜱ ᴀɴᴅ ᴀᴄᴛɪᴏɴꜱ ᴅᴏɴ'ᴛ ɪɴʜᴇʀᴇɴᴛʟʏ ʀᴇꜰʟᴇᴄᴛ ᴏᴏᴄ ᴛʜᴏᴜɢʜᴛꜱ ᴏʀ ʙᴇʟɪᴇꜰꜱ. ᴛʜᴇʀᴇ ɪꜱ ᴀ ꜱᴍᴀʟʟ ɢʀᴏᴜᴘ ᴏꜰ ᴘᴇᴏᴘʟᴇ ɪ ɪɴᴛᴇʀᴀᴄᴛ ᴡɪᴛʜ ʀᴇɢᴜʟᴀʀʟʏ ʜᴇʀᴇ. ɪ ᴀᴍ ɴᴏᴛ ᴘʀɪᴠʏ ᴛᴏ ᴀʟʟ ᴛʜᴇ ᴅɪꜱᴄᴏᴜʀꜱᴇ ɢᴏɪɴɢ ᴏɴ ɪɴ ᴇᴀᴄʜ ᴄᴏᴍᴍᴜɴɪᴛʏ. ɪꜰ ɪ ᴀᴍ ꜰᴏʟʟᴏᴡɪɴɢ ꜱᴏᴍᴇᴏɴᴇ ᴡʜᴏ ʜᴀꜱ ᴄᴀᴜꜱᴇᴅ ʏᴏᴜ ʀᴇᴀʟ ʜᴀʀᴍ, ɪ'ᴅ ᴘʀᴇꜰᴇʀ ᴀ ᴍᴇꜱꜱᴀɢᴇ ɢɪᴠɪɴɢ ᴍᴇ ᴀɴ ᴏᴘᴘᴏʀᴛᴜɴɪᴛʏ ᴛᴏ ʀᴇᴄᴛɪꜰʏ ᴛʜᴇ ꜱɪᴛᴜᴀᴛɪᴏɴ. ɪ ᴅᴏɴ'ᴛ ᴠᴀɢᴜᴇ ᴘᴏꜱᴛ ᴀɴᴅ ɪ ᴅᴏɴ'ᴛ ᴛᴏʟᴇʀᴀᴛᴇ ꜱᴇᴇɪɴɢ ᴀ ᴛᴏɴ ᴏꜰ ᴠᴀɢᴜᴇ ᴘᴏꜱᴛɪɴɢ. ᴀɴʏ ʙʟᴀᴛᴀɴᴛʟʏ ᴀᴡꜰᴜʟ ʙᴇʜᴀᴠɪᴏʀ ʟɪᴋᴇ ʀᴀᴄɪꜱᴍ, ʙɪɢᴏᴛʀʏ,ᴛʀᴀɴꜱᴘʜᴏʙɪᴀ, ᴀʙʟᴇɪꜱᴍ, ʜᴏᴍᴏᴘʜᴏʙɪᴀ ᴇᴛᴄ ᴡɪʟʟ ɢᴇᴛ ᴀ ʜᴀʀᴅ ʙʟᴏᴄᴋ. ɪ ᴀᴍ ᴀʟꜱᴏ ᴀɴᴛɪ ᴀɪ.
9. ɪ ᴀᴍ ᴀ ᴍᴜʟᴛɪ ᴍᴜʟᴛɪ ꜱʜɪᴘ ᴀᴄᴄᴏᴜɴᴛ. ᴇᴀᴄʜ ʀᴇʟᴀᴛɪᴏɴꜱʜɪᴘ ᴡɪʟʟ ᴇxɪꜱᴛ ɪɴ ᴛʜᴇɪʀ ᴏᴡɴ ᴍᴏɴᴏɢᴀᴍᴏᴜꜱ ᴜɴɪᴠᴇʀꜱᴇ ᴡʜᴇɴ ᴡᴇ ᴀʀᴇ ᴡʀɪᴛɪɴɢ, ᴜɴʟᴇꜱꜱ ᴏᴛᴇʜʀᴡɪꜱᴇ ʀᴇQᴜᴇꜱᴛᴇᴅ ᴏʀ ʀᴇʟᴇᴠᴀɴᴛ ᴛᴏ ᴏᴜʀ ᴘʟᴏᴛꜱ ᴅᴜᴇ ᴛᴏ ᴀᴅᴍɪɴ ᴄʜᴀʀᴀᴄᴛᴇʀɪᴢᴀᴛɪᴏɴ.
SPARRING/TRAINING SESSIONS WITH A DASH OF TENSION. all these sentences and prompts are made about training sessions or sparring partners that can develop into tension, be it antagonistic or sexual. These quotes explore dynamics like rivalry, mentorship, flirtation, intensity, grudges, and emotional undertones. please change pronouns, locations and more as you see fit.
“You’re holding back. Are you afraid of hurting me—or of what happens if you don’t?”
“Every scar on my body started as a lesson. Let’s see what you’ll teach me today.”
“This isn’t dancing. Stop smiling and try to hit me.”
“You fight with your heart. That’s why you lose your breath first.”
“That sword’s too heavy for your pride to carry.”
“If you flinch again, I’ll hit you for real.”
“I’m not your enemy. Not today. But train like I might be tomorrow.”
“Careful. You’re starting to enjoy this a little too much.”
“You think you can beat me? Prove it.”
“You learn fast. But I hit faster.”
“No talking. Just blades.”
“Each strike tells me more about you than your words ever could.”
“Are we sparring or settling something?”
“I said train, not try to kill me.”
“Your stance is perfect. Shame about the hesitation.”
“You’re bleeding. Still want to keep going?”
“This isn’t over. We just paused it.”
“Getting close doesn’t mean winning.”
“The floor loves you today. How many times will you kiss it?”
“Pain is just honesty from your body.”
“Try that move again. Slower. I want to see why it failed.”
“You hide behind form. Real fighters bleed.”
“I’m not impressed by technique. Only survival.”
“Your anger makes you predictable.”
“Don’t flirt with your opponent unless you can block while blushing.”
“Oh, you meant to fall like that?”
“We’re not done until someone can’t stand.”
“Training with you is like dancing on the edge of a blade.”
“Is that a sword or an extension of your ego?”
“You hesitate before every strike. Why?”
“Your hands shake. That fear’s still in you.”
“The closer you get, the less you see. Keep your distance.”
“You’ve improved. But I still see the boy behind the blade.”
“One day, you’ll beat me. Just not today.”
“You strike like you want to be seen. Real warriors strike like shadows.”
"You keep getting this close… is it my blade you’re after, or my breath?"
"You're flushed. Is it the fight, or the way I look at you between strikes?"
"Careful—if you keep pinning me like that, I might start to enjoy losing."
"Every time we touch steel, you shiver. Admit it—you crave this."
"Your grip faltered. Did my voice distract you again?"
"Harder. Or are you saving your strength for something else tonight?"
"I can hear your heartbeat. Fast. Wild. Not from fear, though… is it?"
"You breathe like we’ve already tangled in the dark—and not just with swords."
"Keep whispering in my ear during combat and I might forget which weapon I’m holding."
"If you want me on my knees, just say so. You don’t have to disarm me first."
PROMPTS.
Two rivals are forced to spar alone for the first time since a bitter argument.
One fighter begins to pull punches—until the other calls them a coward.
A training match gets interrupted when one draws real blood on accident... or was it?
The master and student swap roles mid-spar, revealing secrets.
A sarcastic remark mid-fight sparks a dangerous escalation.
They lock swords—too close, breathing fast, tension crackling between them.
One fighter is injured but refuses to stop. The other hesitates.
Training in the rain turns messy, slippery—and harder to resist each other.
During drills, one whispers something distracting, causing a mistake.
The match ends when someone is disarmed and ends up pinned.
After a harsh blow, the silence between them is louder than the impact.
A bet is placed: if one wins, the other must do something embarrassing.
One fighter keeps losing on purpose—for a reason they won’t say.
A bystander watches the match, clearly affecting one fighter's confidence.
The match was meant to be a formality—but neither pulls punches.
One grabs the other’s wrist mid-strike and doesn’t let go.
Training weapons get swapped mid-match—testing adaptability.
They practice close-combat, and the proximity flusters one of them.
A mistake leads to an awkward fall—someone lands on top of the other.
Someone uses an unexpected move that only a specific teacher would have taught.
They mimic each other’s movements, until one gets frustrated.
Sparring becomes a silent argument—no words, just strikes.
A third person comments from the sidelines, stirring jealousy.
A fighter wins with a trick, and the loser storms off—pride wounded.
One fighter keeps using a move the other dislikes—on purpose.
The match is over, but they keep going.
After sparring, neither speaks, but both keep glancing back.
A sudden shift—sparring turns into a real fight.
The tension finally snaps, and a kiss replaces the next blow.
They train late at night, when no one’s watching.
One accuses the other of holding back feelings during sparring.
Their blades clash repeatedly in rhythm—like a dance they’ve done before.
Sweat drips, bruises bloom—but neither yields.
One drops their weapon and dares the other to continue unarmed.
Sparring ends with someone flat on the ground, laughing instead of angry.
DRUNKEN HEAT — SPICY NIGHT ROLEPLAY STARTERS
(blurry rooms, warm breaths, lowered inhibitions, and the kind of closeness people only admit to drunk)
TOO MANY DRINKS - BLURRED LINES
• “Come here—no, closer. I can’t hear you from way over there.” • “You smell really, really good… is that new? Or have I just never been this close?” • “Stop laughing like that, it’s making my head spin faster than the alcohol.” • “If I lean on you, it’s not because I’m drunk. It’s because you’re warm.” • “Your face is doing that thing again… that thing that makes me want to touch it.” • “I should go home but… your hand feels nice. I don’t want to move.” • “I’m drunk, not stupid. I know exactly how I’m looking at you right now.” • “Just—stay. Don’t pull away. Not tonight.”
TOO CLOSE TO THINK - BREATH AGAINST SKIN
• “You’re staring at my mouth… should I ask why, or just let you keep doing it?” • “If you keep leaning in like that, I might forget how to act civilized.” • “You’re warm. Like really warm. How is that fair?” • “Your hand on my thigh—was that intentional, or should I get drunker to pretend it was?” • “Tell me to stop and I will. …You’re not saying anything.” • “I can hear your heartbeat from here. That’s not normal, right?” • “If you touch me again like that, I can’t promise I’ll stay calm.” • “Don’t look at me with that soft expression. It does things to me.”
LOSING BALANCE - FALLING INTO ARMS, LITERALLY
• “Okay—okay, I’m falling. Catch me. No really, catch me!” • “I didn’t mean to fall into your lap, but now that I’m here…” • “Who told you you’re allowed to hold me this gently?” • “I’m not blushing, I’m drunk. Shut up. …Okay maybe I’m blushing too.” • “Your arms feel safer than standing right now.” • “If I sink into you any further, I might never get up.” • “Can you… help me with my jacket? My hands aren’t cooperating.” • “Keep your arms there for a second. I need to remember how solid you feel.”
SLURRED CONFESSIONS - HONESTY SPILLS OUT FIRST
• “Do you know how long I’ve wanted you to look at me like this?” • “You have no idea what you do to me, do you?” • “I shouldn’t say this. But I want you. Badly.” • “If I wasn’t drunk, I’d lie better about how much I want you.” • “You make me feel… something. Something I shouldn’t say out loud.” • “I always pretend I don’t notice you staring. I notice. I like it.” • “Stop being perfect. I’m drunk and vulnerable and it’s unfair.” • “If I kiss you right now, blame the alcohol… even though it isn’t the alcohol.”
IMPOSSIBLY WARM - HANDS WANDERING, HEARTS RACING
• “Your fingers keep brushing mine. That’s not an accident, right?” • “If you want to touch me, just touch me. Don’t tease.” • “Your hand on the back of my neck—don’t stop.” • “God, you’re addictive. Even just the way you’re sitting.” • “If you pull me into your lap like you’re thinking about doing, I won’t complain.” • “The way you’re looking at me… it feels like you’re undressing my thoughts.” • “I want you closer. I don’t care how close.” • “Your hands are trembling a little. Does touching me do that to you?”
THE ROOM SPINS - BUT THE HEAT DOESN'T
• “Everything’s spinning except you… why is that?” • “Sit next to me. No—right here. Press against me.” • “I can’t tell if I’m dizzy because of the alcohol or because of you.” • “If I lay my head on your shoulder… will you stay still?” • “This couch is too small for both of us. …Guess we’ll have to be very close.” • “You keep brushing hair from my face. Do you know what that does to me?” • “My lips are numb… here—feel. Or is that too forward?” • “If I close my eyes, promise you won’t move away.”
THE EDGE OF CONTROL - TENSION TOO THICK TO HIDE
• “Don’t tempt me. I’m barely holding myself together as it is.” • “Say my name again. Just like that.” • “If you pull me any closer, I’m not stopping.” • “I can’t tell if this is a terrible idea or the best mistake I’ll ever make.” • “Tell me what you want. I won’t judge.” • “Your breath on my neck—do you know what that does to me?” • “You’re shaking… or is that me?” • “If you keep touching my waist like that, I’m going to lose my mind.”
THE MOMENT BEFORE - ONE BREATH AWAY FROM TOO MUCH
• “If I kiss you, will you push me away or pull me closer?” • “Tell me not to. Please. Because I really, really want to.” • “You’re looking at my lips again.” • “I can’t tell if this is a bad decision or the one we’ve been waiting on.” • “Come here… slowly.” • “The room’s too quiet. I can hear every inhale you take.” • “My self-control is hanging by a thread. One more touch and it snaps.” • “You’re trembling… is it because of me?”
MORNING RECKONINGS - THE HINT OF AFTERMATH
• “If we remember this tomorrow… please don’t pretend it didn’t happen.” • “If I fall asleep like this, don’t move. I like you too much.” • “Stay tonight. Even if we do nothing. Please.” • “If we cross this line… I’m not going back.” • “Should we talk about what almost happened?” • “I’m not drunk anymore, but I still want you.” • “If you regret this in the morning… just tell me now.” • “Don’t leave. Not when we’re this close.”
Let Me Rest
Exhaustion starters!! because i'm so tired man. im so tired. i slept 12 hours and im still so tired.
"You can barely stand any more."
"You're wobbling on your feet."
"When's the last time you rested?"
"Hey - come on - let me help you to bed."
"I got you a blanket."
"No - stop complaining - you're laying down."
"You're going to destroy yourself at this rate."
"You have to rest sometimes."
"I want you to feel better."
"If you feel like everyone hates you, you need to sleep."
"Okay, you're... not making any sense. Go to bed."
"Sleep isn't a failure."
"Rest is important."
"Shut up. Go to bed."
"The nightmares are... really bad..."
"I don't know when I last slept..."
"I'm gonna... elephant the beam... 'n I'm... uh..."
"I texted my friend "spu auash guahg." what does that mean?"
"If I'm going to bed then you... you... uh..."
"... will you stay with me tonight?"
"It's cold..."
"I wanna, um.. I just... bit longer..."
"Just getting a glass of water."
"Nooo I don't need t'sleep..."
"M'fine. It's... is fine. I'm..."
"I've never been so tired in my whole life."
"I've been laying here for hours and I can't sleep."
"I want to cry. I hate this."
"There's nothing left in me."
"I feel like a jukebox. Juice - juice box. Empty juice box."
` * 𝐧𝐨𝐧-𝐯𝐞𝐫𝐛𝐚𝐥 𝐚𝐜𝐭𝐢𝐨𝐧𝐬 : 𝘴𝘦𝘯𝘥 𝘢 𝘱𝘳𝘰𝘮𝘱𝘵 𝘧𝘳𝘰𝘮 𝘵𝘩𝘦 𝘭𝘪𝘴𝘵 𝘣𝘦𝘭𝘰𝘸 𝘵𝘰 𝘴𝘦𝘦 𝘩𝘰𝘸 𝘮𝘺 𝘮𝘶𝘴𝘦 𝘳𝘦𝘢𝘤𝘵𝘴. 𝘯𝘰 𝘸𝘰𝘳𝘥𝘴 𝘯𝘦𝘦𝘥𝘦𝘥, 𝘫𝘶𝘴𝘵 𝘵𝘰𝘶𝘤𝘩. 𝘴𝘦𝘯𝘥 (+ 𝘳𝘦𝘷𝘦𝘳𝘴𝘦) 𝘧𝘰𝘳 𝘮𝘺 𝘮𝘶𝘴𝘦 𝘵𝘰 𝘥𝘰 𝘵𝘩𝘦 𝘤𝘩𝘰𝘴𝘦𝘯 𝘢𝘤𝘵𝘪𝘰𝘯 𝘵𝘰𝘸𝘢𝘳𝘥𝘴 𝘺𝘰𝘶𝘳 𝘮𝘶𝘴𝘦.
𝐠𝐮𝐢𝐥𝐭 -
01. avoids eye contact or looking at the floor. 02. wringing hands together in silence. 03. fidgeting with the hem of their shirt, unable to stay still. 04. looking at receiver in long silence before looking away. 05. silently leaves a folded note on the table in front of the other. 06. touches the others arm but pulls back out of guilt.
𝐚𝐧𝐠𝐞𝐫 -
01. slams fist onto a table without saying a word. 02. exhaling sharply through their nose and clenching their jaw. 03. throws an object across the room. 04. crossing their arms tightly, digging fingers into their own skin. 05. pacing the room with heavy steps. 06. glares at the other with a clenched fist.
𝐥𝐨𝐯𝐞 -
01. gently pushing stray hair behind the others ear. 02. resting their forehead against the others. 03. cups the others face with both hands. 04. pressing a kiss to the others forehead in silence. 05. lingering touches against the others face. 06. wraps their arms around the other from behind and rests their head on the others shoulder.
𝐬𝐚𝐝𝐧𝐞𝐬𝐬 -
01. wiping their eyes before someone can notice. 02. pressing their face into a pillow to muffle sobs. 03. pulls the other into a desperate hug and wont let go. 04. silently reaching for the others hand, needing comfort. 05. walks into the room with red-rimmed eyes and no words.
𝐡𝐚𝐩𝐩𝐢𝐧𝐞𝐬𝐬 -
01. spins the other around without warning in a hug. 02. links arms with the other and tugs them along happily. 03. provides the other with a handmade gift. 04. tackles the other in a sudden and joyful hug. 05. kisses the others cheek unexpectedly and grins.
𝐟𝐞𝐚𝐫 -
01. backing away slowly and looking for exits. 02. hiding behind the other and peeking around. 03. flinches at sudden movement from the other. 04. presses their back against the wall with eyes darting around the room. 05. jumps at a noise and instinctively grabs the others hand.
𝐜𝐚𝐫𝐢𝐧𝐠
01. tucks a blanket gently around the other person's shoulders. 02. applies a bandage with slow and deliberate care. 03. brings them food and water and watches to ensure they eat. 04. runs fingers through their hair in efforts to soothe. 05. rubs soothing circles on the others back while they cry. 06. stays silently by the others side in support without saying a word.
𝐡𝐚𝐫𝐦𝐢𝐧𝐠
01. raises a hand but hesitates. 02. grips the others arm a bit too tightly. 03. pushes the other away with more force than necessary. 04. turns their back on the other to begin walking away without a word. 05. rips a shared photo in half without a word. 06. steps in closely with cold and narrowed eyes.
♘ — 𝐍𝐄𝐀𝐑 𝐃𝐄𝐀𝐓𝐇 𝐒𝐓𝐀𝐑𝐓𝐄𝐑𝐒 .
an assortment of prompts for muses who are close to death, dying, or think that they may die. mature themes such as death, terminal illness, blood, war, && other related content may be present. adjust as needed! send ' reverse ' to switch the roles of sender && receiver. feel free to combine action + dialogue for the best results!
DIALOGUE
" we can't stay here. "
" there's... there's so much blood. "
" I'm not gonna make it... there's too much blood. "
" leave me here. just leave. I'm slowing you down. "
" quit fighting me! I'm not leaving you here to die! "
" what are you talking about? you'll be fine! "
" open your eyes! come on, dammit! open your eyes! "
" don't you dare leave me! "
" how am I supposed to do this without you? "
" you have to do this without me. "
" will you shut up?! you're not gonna die! "
" I have to lift you, okay? we have to get you out of here. "
" I know, I know it hurts. I know. I'm sorry. "
" I'm sorry... I didn't want to leave you. "
" hey, just... just so you know. I love you. "
" this is the worst time, but I really love you, okay? "
" you know I love you, don't you? you've gotta know. "
" shut up! don't say it now! "
" stop talking like you're saying goodbye! "
" tell me again when we're out of this! "
" you're such an idiot... choosing now of all times. "
" I didn't think I'd be dying here. "
" if it had to be someone... I'm glad it was me. "
" no! no, no! you're okay, you're gonna be okay! "
" you'll get out of this. you'll survive. you have to! "
" I can't... do this without you. "
" please don't leave me. "
" I don't want to be alone. "
" looks like I have to break [ my / our ] promise. "
" you promised! you can't die on me! "
" I thought we'd have more time... "
" please be okay. please, please, please. "
" you don't mean it... they can't be dead. "
" you're lying. "
" I don't believe you. "
ACTIONS
「 CUP 」 : sender in a moment of desperation cups the receivers face in their hands and begs them to stay with them.
「 CRADLE 」 : the sender pulls && cradles a bleeding out receiver close to their body as a means to provide warmth, comfort, or let receiver know sender is there.
「 LIFT 」 : the sender lifts the receiver in an attempt to carry them to safety, to seek medical aid, or to keep going. ( feel free to specify! )
「 REUNION 」 : for our muses to find each other in the middle of a [ battlefield / warzone / specify ] only to find one of our muses has been badly injured.
「 HIT 」 : for the sender to take a hit protecting the receiver, in which the sender is badly hurt. ( feel free to specify where! )
「 ROCK 」 : sender, holding the receiver in their lap, slowly begins to rock && soothe the receiver in an attempt to ease their pain.
「 HIDDEN 」 : for the sender to stumble suddenly, collapsing into the receiver after being seriously injured && hiding it from the receiver.
「 LAST WORD 」 : for sender && receiver, who are enemies, to have one final conversation before one ( or both ) die. ( feel free to specify! )
「 BLOODY 」 : for sender to suddenly cough of copious amounts of blood, splattering the receiver && collapsing to the ground.
「 HUM 」 : sender hums softly to the receiver, soothing them through their final moments as they start to die, though perhaps too as a means to self soothe.
「 HAIR 」 : the sender gently, almost hesitantly, begins to run their fingers through receiver's hair to provide some kind of comfort && grounding.
「 SACRIFICE 」 : for the sender to urge the receiver to keep going, turning back to the threat so that they can make a final stand && allow the receiver to escape.
「 SHOULDER 」 : with the receiver injured && slowing them down, the sender turns back and scoops up the receiver to throw them over their shoulder as a means to hasten their escape.
「 SUPPORT 」 : for the sender to pull receiver's arm over their shoulder and firmly hold receiver's waist, supporting their weight with the sender's own body.
「 CHEEK 」 : for the sender, who is slowly bleeding out from a wound, to reach up and touch the receiver's cheek, offering them a small smile as if trying to reassure receiver.
「 AFTERMATH 」 : for the sender to find the receiver after a serious battle in which they were severely hurt, yet now receiver sits in the ruins of said battle clutching a wound, close to death && bleeding out.
「 DRAFT 」 : for the sender to wrap a [ jacket / blanket / specify ] around the receiver's body && rub their shoulders in a soothing, warming motion.
「 RETURN 」 : receiver believes that the sender has died, that is until the sender shows up at their door / runs into them unexpectedly. ( specify where, or dealer's choice! )
「 GOODBYE 」 : sender has died && receiver finds their body. ( specify details if you'd like! )
› TENSION LINER PROMPTS
"I dare you to try."
"Do you always get close?"
"You’re pushing my limits."
"Stop looking at me like that."
"I’m losing control here."
"You have no idea, do you?"
"I can’t resist you anymore."
"Stay back, or don’t."
"I know what you want."
"This is getting dangerous now."
"You’re too tempting for me."
"I shouldn’t want this, but…"
"I don’t play fair, remember?"
"Careful, you’re testing me."
"You’re just making it worse."
"You’re too close for comfort."
"Do you always push buttons?"
"Stop before I kiss you."
"You’re making it too hard."
"I can’t stop thinking about you."
"I want you too much."
"You know exactly what you’re doing."
"I’m not playing games here."
"You’ve crossed the line now."
"Keep pushing, and you’ll regret it."
"This is dangerous, isn’t it?"
"I’m trying not to care."
"Don’t make me regret this."
"You’re playing with fire."
"You don’t know what’s coming."
"I shouldn’t be this close."
"We’re getting dangerously close now."
"I can feel the heat."
"Don’t test me right now."
"I want you too badly."
"Don’t make me chase you."
"You’re distracting me, you know."
"I won’t fall for this."
"I want you, but…"
"What do you want from me?"
"I’ll never give in."
"I’m trying not to care."
"You’re playing with my patience."
"Don’t make this harder, please."
"I can’t stop this feeling."
"I’m already in too deep."
"You won’t walk away unscathed."
"You’re walking a fine line."
"I’m trying to stay calm."
"What are you doing to me?"
EMOTIONALLY CHARGED SENTENCES STARTERS
❝ i need you. don’t you get that? ❞
❝ i’m right here. i’m always here right in front of you but you never see me! ❞
❝ you’re my person. ❞
❝ no, i don’t wanna have to talk to anyone else right now. i just want you. ❞
❝ i know you’re busy and i don’t want to bother you i just— can i just sit here with you while you work? ❞
❝ are we okay? ❞
❝ honestly, i’m always there. in my head. the scars on my body might’ve healed but i never really walked away from it. ❞
❝ do you want me to make the others leave? or we could go, get some fresh air. ❞
❝ look i’m not coddling you, i’m just trying to help. i wanna take care of you cause i, you know— care about you. ❞
❝ alright, here’s your coffee. are you ready to talk or should i find something to ramble about for a few minutes? ❞
❝ eventually, you just gotta learn to let go of the past. it’s always gonna hurt, but you can choose when to start focusing on something other than the pain. ❞
❝ hey, just breathe. look at me— look at me. in and out. breathe with me okay? ❞
❝ keep your eyes on me— just focus on me. we’re gonna be okay. ❞
❝ no, i’m not okay. nothing is okay. it never is. but that’s just how i function most days. so i’ll be fine. ❞
❝ i’m not gonna pretend anymore. i’m still fucked up from it all and i don’t know when it gets better. ❞
❝ if you keep waiting until you’re done ‘working on yourself’ before you let yourself be with the person you love, you’re never gonna be with them. and they’ll find someone else who is brave enough to give them a chance to love them exactly how they already are. ❞
❝ why do you stick around? what is it you think you see in me? ❞
❝ not everything needs an explanation. i care about you. i don’t have to sit here and figure out why. i just do. so maybe you should try just accepting it too. ❞
❝ i don’t need your permission to fall in love with you. you don’t gotta love me back, but it isn’t gonna stop me from being here when you need someone. ❞
❝ you love me too much. i know how that sounds but— fucking hell. you shouldn’t care that much about someone like me. ❞
❝ i don’t care if loving you hurts me. the world already has enough pain to dole out for no reason, at least i’ll have gotten these scars from something beautiful. ❞
❝ if people can hate for no reason, than i can love for no reason too. ❞
❝ one day you’re gonna need me and i’m not gonna be there to fix it. ❞
❝ no, i can’t fix everything for you this time. it’s your mess. clean it up. ❞
❝ i dunno who taught you that love comes with conditions and limitations, but mine doesn’t. not when it’s you. ❞
❝ i don’t know how to ask for help i just— i’ve never had anyone to ask for help from before. so…this is me trying i guess. i need it and i’m afraid to ask for it. that’s the best i can do. ❞