geshulin of wuthering waves. adored by asa, 30+, he/him. multi-ship, multi-verse. mature, potentially triggering themes. proper roleplay etiquette applies. send a prompt to start interacting.
fighting TDs with : fortuniis.

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@huohai
geshulin of wuthering waves. adored by asa, 30+, he/him. multi-ship, multi-verse. mature, potentially triggering themes. proper roleplay etiquette applies. send a prompt to start interacting.
fighting TDs with : fortuniis.
❥ 𝐍𝐒𝐅𝐖 𝐌𝐔𝐒𝐄 𝐑𝐄𝐀𝐂𝐓𝐈𝐎𝐍 𝐏𝐑𝐎𝐌𝐏𝐓𝐒 .
inspired by devotedecay’s non - sexual acts of dominance meme ! send in one of these for my muse’s reaction to … ( add ❝ reverse ❞ if you’d like to see how my muse would preform the action ! )
[ shower ] your muse joining mine in the shower.
[ choke ] your muse choking mine.
[ kiss + soft ] your muse pulling mine into a tender kiss.
[ kiss + rough ] your muse pulling mine into a rough kiss.
[ pin ] your muse pinning mine down.
[ wrists ] your muse roughly grabbing mine by the wrists.
[ push ] your muse pushing mine into bed.
[ rip + clothing ] your muse tearing a piece of clothing off my muse.
[ spank ] your muse spanking mine.
[ pull ] your muse pulling my muses hair.
[ talk ] your muse talking dirty to mine.
[ eyes ] your muse making mine look them in the eyes during.
[ down ] your muse pulling mine down by their collar / clothes.
[ knees ] your muse telling mine to get on their knees.
[ hips ] your muse pulling mine in close by the hips.
[ denial ] your muse putting mine through orgasm denial.
[ many ] your muse making mine orgasm over and over.
[ tied ] your muse tying my muse down.
[ lazy ] your muse lazily beginning to touch mine.
[ love ] your muse telling mine they love them during.
[ dominance ] your muse taking the lead and dominating mine.
[ submission ] your muse letting mine take the lead and submitting to them.
[ humiliation ] your muse humiliating mine, re: name-calling and verbal abuse.
[ pain ] your muse hurting mine in bed, whether intentionally or not.
[ knife ] your muse using a knife in bed, whether for threat or actually cutting mine.
[ hidden ] your muse having sex with mine somewhere semi-public.
[ public ] your muse having sex with mine in public, whee other people watch.
[ adore ] your muse being near reverent with mine in bed.
[ dress ] your muse having mine dress up in lingerie.
[ eat ] your muse eating mine out.
[ sleep ] your muse touching / beginning to have sex with mine while they’re asleep.
[ gag ] your muse gagging mine, or or making them be quiet.
[ blindfold ] your muse blindfolding mine.
[ praise ] your muse praising mine in bed.
[ good ] your muse calling mine a good boy / girl.
[ want ] your muse telling mine they want them.
[ snarl ] your muse growling and / or baring their teeth at mine during sex.
[ mark ] your muse purposefully marking mine up with bruises, hickies, ect.
[ wall ] your muse shoving mine up against a wall.
( * MISC. PROMPTS.
mixed bag of sentence starters/dialogue prompts. taken from reedsy.
“i love you.”
“do i know you?”
“do you remember?”
“this section is off limits.”
“we’re closing in ten minutes.”
“this isn’t what i signed up for.”
“this is all my fault.”
“that’s not what i meant.”
“have we met before?”
“are you real?”
“i didn’t mean that.”
“i’ve said too much.”
“i didn’t see that one coming.”
“is nobody going to say it?”
“i wish we could stay here forever.”
“it’s all fun and games.”
“i can’t say it.”
“you can’t run forever.”
“we have all the time in the world.”
“you’ve got this.”
“that shouldn’t be there.”
“i think someone’s listening.”
“i think someone’s watching.”
“we’re not alone.”
“i’m free!”
“maybe in another life.”
“rome wasn’t built in a day.”
“it’s the thought that counts.”
“i feel alive.”
“speak now.”
“so, what’s the catch?”
“it’s mine, and you can’t have it!”
“houston, we have a problem.”
“let’s go for a walk.”
“thank you for that.”
“i’ve got a plan.”
“move aside.”
“i’m here to investigate a crime.”
“you didn’t come to the funeral. why?”
“oh my god. don’t say that!”
“quick! act surprised!”
“are you absolutely sure that your plan is foolproof?”
“come here.”
“truth or dare.”
“tell me something i don’t know.”
“is that… is that blood all over you?”
“right, i’m leaving now.”
“when has listening to you EVER worked out well for me?”
“don’t do that.”
“no, you can’t have my number.”
“i’d rather you just tell me.”
“did you also hear a knock on the door?”
“you’re not looking your best today. what happened?”
“[he/she/they] did it first.”
“well, don’t just stand there! do something!”
“run! run now!”
“hey. someone’s on the phone for you.”
“you’ll never know unless you try.”
“thank you, god. thanks an awful lot.”
“this is my worst nightmare.”
“there’s nothing much to do but wait.”
x.
i think some of the harbingers would fit the fractsidus overseers well bc to be one u gotta be a freak
starter call. multis, specify your muse. defaults to wuwa verse unless a different one is requested.
psssst. @qijue
REASONS TO CARRY SOMEONE. ( A PROMPT LIST! )
listen, i'm back home now, i'm thinking about things, and i saw the maxton hall gifset floating around and i was like. yk what. carrying people is elite content, and gdi y'all deserve elite content! as always, DO NOT ADD OR EDIT THIS LIST! and there's a lil spicy addition under the readmore, but i left it there just in case people prefer to have a not-so-spicy version.
[ SLUMBER ]: sender picks up and carries the receiver because they're so sound asleep that they won't easily wake up.
[ INTERCEPT ]: sender picks up and carries the receiver out of the room because they're angry and on the brink of engaging in a fight with someone.
[ ASSIST ]: sender picks up and carries the receiver away for medical attention because they've been injured and can't walk easily.
[ HELP ]: sender picks up and carries the badly wounded receiver as fast as possible to the nearest hospital or the nearest place to administer urgent first-aid.
[ ELATION ]: sender scoops up the receiver and carries them away after a mutual victory, or having just received very good news (or maybe they're both just very happy for some reason!)
[ HOME ]: sender picks up the receiver to carry them over the threshold of their new home.
[ AID ]: sender finds the receiver too weak to move, and scoops them up to carry them to get some help.
[ UP ]: sender finds the receiver and picks them up to carry them a distance after learning they're unable to get up.
[ BAREFOOT ]: the sender picks up the receiver and carries them inside because they're not wearing any shoes.
[ WEARY ]: sender notices the receiver about to fall asleep during a task, and picks them up to carry them to bed so that they can actually sleep properly for once.
[ TWIRL ]: sender catches the receiver in their arms and spins them in a neat twirl just because they want to.
[ HERO ]: sender notices the receiver about to fall from a height, and manages to intervene just in time, catching them before they get hurt.
[ FLASH ]: the sender and receiver are part of a photoshoot, and in order to finish the last of the photos, the sender scoops up the receiver in their arms for the final pose.
[ TRAIN ]: during a training session (for a fight or a performance, dealer's choice!) the sender ends up holding the receiver in their arms during their session together.
[ URGENCY ]: sender carries the receiver away from danger after the receiver is revealed to be unable to move, either due to panic or injury.
[ OUT ]: sender grabs the receiver and lifts them into their arms after noticing them swaying and beginning to lose consciousness.
[ SCREAM ]: sender spots the receiver in a terrified or considerably panicked state, and picks them up to carry them to a less terrifying place to calm down.
[ LAZY ]: sender concedes to receiver's requests for a piggy-back ride home because they don't want to walk anymore, and carries them the rest of the distance home.
[ CAREFUL ]: sender gently lifts the receiver out of their seat and carries them carefully to bed after noticing they fell asleep and not wanting to waken them.
[ HASTE ]: in urgent need of getting to safety as fast as possible, the sender scoops up the receiver and starts running because it's quicker and easier to just carry them than expect them to keep pace.
Looking forward to his arrival.
“You sometimes think you want to disappear, but all you really want is to be found.”
— Kid Cudi
send in " come on! open your eyes! " for the sender to try their best to keep the badly wounded receiver awake (and consequently alive) until they can get some medical aid.
alternatively, send in " i'm so... tired... " for the sender to be the one losing consciousness in front of the receiver after sustaining severe injuries that threaten their life.
༘⋆。 stirring the pot starters
a mix of arguments, tension, manipulation, gossiping, fighting, & general emotional messiness!
you weren't supposed to hear that.
don't look at me like i'm the only one lying.
want to tell them, or should i?
you think i don't know what you did?
i've hit people for less.
oh, i thought you already knew.
that's funny, you didn't say that last night.
say that again. i dare you.
you wanna talk about loyalty?
no offense, but if you're the last to know, that's on you.
go ahead - pretend like it wasn't your idea!
they deserve to know the truth.
you didn't hear this from me, but -
oh, so now you care?
don't flatter yourself. you were just convenient.
you crossed a line.
we had bets on how long it would last.
it's not even a secret anymore.
you don't get to cry about it now.
touch me again and see what happens.
say it again. louder this time.
you really thought nobody would find out?
don't act so innocent.
okay, but am i the villain for laughing?
tell me who else knows. right now.
this whole time, and you didn't say a word?
don't act brave now.
you're really gonna do this here?
it wasn't supposed to get this far!
you can't rewrite history.
oh, i'd never say it to their faces.
it was supposed to stay between us.
we're all thinking it, i just said it.
you're not as untouchable as you act.
do you even feel guilty?
they warned me about you.
go ahead, make it worse.
if you repeat this, i'll deny everything.
the next thing out of your mouth better be an apology.
you're about three seconds away from regretting this.
you keep pushing, and i'll push you back.
they're going to find out.
one more lie, and i walk.
they're lying to you.
you need to back off. now.
you're defending them? after everything?
don't try to hide it.
tell me, was i just a placeholder?
you really think sorry fixes this?
there's nothing left to say.
don't act like you're the one hurting.
i don't owe you any explanation.
whatever helps you sleep at night.
you should've seen this coming.
i hope it was worth it.
i told the truth. just not all of it.
you'll miss me before i miss you.
smile. you're ruining the mood.
i'd watch that tone if i were you.
it's not my fault you believed me.
you have such a talent for pretending you're innocent.
we both know this is over.
i never said i was a good person.
i thought you were different.
HEROIC INTERVENTION. ( A PROMPT LIST! )
so i was writing this headcanon for one of my characters, and it got me thinking about how some characters are absolutely, to their very core, protectors, and even then they still need protecting! so i made this list which is similar to about five other memes i've made. feel free to add a "reverse" if you so wish! DO NOT ADD TO THIS LIST NOR CLAIM IT AS YOUR OWN. THANK YOU.
FROM THE SENDER TO THE THREAT:
[ TO THE THREAT ]: " is there a problem over here? "
[ TO THE THREAT ]: " can i help you with something? "
[ TO THE THREAT ]: " i think it's time you were leaving. "
[ TO THE THREAT ]: " why don't you and i go outside for a sec? "
[ TO THE THREAT ]: " you wanna tell me why you're hassling my friend? "
[ TO THE THREAT ]: " you better start running before i really get pissed. "
[ TO THE THREAT ]: " i'm sure there's a rational explanation behind you upsetting this person? "
[ TO THE THREAT ]: " i hope you're not thinking of staying here a moment longer. "
[ TO THE THREAT ]: " get out. "
[ TO THE THREAT ]: " right, either you leave or i kick you out. your choice. "
[ TO THE THREAT ]: " i think it's fairly obvious my friend doesn't want anything to do with you, don't you? "
[ TO THE THREAT ]: " leave them alone. now. "
[ TO THE THREAT ]: " didn't you hear them? back off! "
[ TO THE THREAT ]: " don't even think of pretending you didn't hear me the first time: leave! "
FROM THE SENDER TO THE RECEIVER:
[ TO THE RECEIVER ]: " hey, are you okay? "
[ TO THE RECEIVER ]: " don't worry. i'll take care of this. "
[ TO THE RECEIVER ]: " why don't you go on out back? i got this, it's okay. "
[ TO THE RECEIVER ]: " here. you go on into the car, alright? i'm right behind you. "
[ TO THE RECEIVER ]: " is this person bothering you? "
[ TO THE RECEIVER ]: " it's okay. hey, hey… look at me. they're gone. "
[ TO THE RECEIVER ]: " hey… what's going on? what's wrong? i… has this person said something to you? "
[ TO THE RECEIVER ]: " it's alright. the others just went out to the car; why don't you join them? i'll handle this. "
[ TO THE RECEIVER ]: " hey, hey… talk to me, huh? what's the matter? you look like you've seen a ghost… who was that? "
[ TO THE RECEIVER ]: " don't be scared. i'm going to take care of this. i promise. "
[ TO THE RECEIVER ]: " you don't need to say anything. just nod if you want me to kick them out, okay? "
[ TO THE RECEIVER ]: " you're alright. i'm right here, don't worry. and they'll be gone before you can blink, that's another promise. "
ACTIONS:
[ HAND ]: sender, having seen the receiver's encounter with the threat, gently takes the receiver's hand to assure them they aren't alone.
[ INTERVENE ]: sender wordlessly steps in between the receiver and the threat, facing the threat while shielding the receiver from them.
[ BLOCK ]: sender steps in between the receiver and the threat, this time facing the receiver while turning their back to the threat and blocking them from the receiver's line of sight.
[ BACK ]: sender places a protective and gentle hand on the receiver's back, preparing to guide them away from the threat.
[ DOOR ]: sender firmly but politely insists that the threat leave the building, and escorts them out of the door.
[ EXIT ]: sender physically catches hold of the threat and drags them away from the receiver, and outside of the building.
[ PUSH ]: sender places a careful hand on the threat to keep them at arm's length, and steps forward again to give the receiver more space between them and the threat.
[ SHOVE ]: sender runs over and forcefully shoves the threat back and away from the receiver.
[ SPACE ]: sender pushes between the receiver and the threat and begins to move forward, invading the threat's personal space as both a means of intimidation and a way of getting them away from the receiver.
[ DIVERT ]: sender arrives behind the threat and gains their attention, distracting them from the receiver so as to give them time to leave the area.
[ CLEAR ]: the sender firmly and clearly tells the threat that they are no longer allowed in the premises nor anywhere near the receiver.
[ ARM ]: sender wraps a protective arm around the receiver and guides them away from the threat and out of the premises.
[ PUNCH ]: the sender, having seen the receiver's reaction to the threat and the threat's lack of consideration, moves forward and punches the threat in the face.
@ekleips. khaos unwittingly arrives on scene when geshulin is being attacked, and to protect him, they kill the assailant. // :3
darkness persists after him, even when he believes to have outrun it. tacet discords follow him into his nightmares. ghosts call out his name. they lunge at him, to pull him deeper into nothingness. most days, these phantoms are there even when he awakens from his dreaded slumber. today, they are far more corporal. had it not been for another's weapon, geshu lin is uncertain if he would have been able to defend himself in such a disoriented state. rather than showcasing his gratitude, the wanderer turns his blade towards them. on the run, he cannot be certain of who to trust. how does he even know that they are real ? could it be a trick ? dull golden hues narrow at their appearance. he hasn't seen anyone like them before. he certainly would remember someone like them .. right ?
" who are you ? "
right place, right time prompts.
so i got watching a ton of new tv shows lately, and it occurred to me that actually i do love it when characters are unexpectedly saved by someone who just happened to be exactly in the right place at precisely the correct moment, yk? and i failed to think of the right name, so the title of this list is entirely thanks to a very dear friend of mine who informed me! so here's a list, i hope you guys love it, DO NOT ADD TO THIS LIST OR EDIT IT!!! i like to edit them over time as new ideas come to me.
[ ALIBI ]: the sender provides a false alibi to protect the receiver from legal issues.
[ HAND ]: the sender suddenly arrives to grab the receiver's hand before they fall to their death
[ CAR ]: the sender arrives on scene as the impromptu getaway driver for the receiver (who hadn't been expecting it).
[ FATAL ]: the sender unwittingly arrives on scene when the receiver is being attacked, and to protect the receiver, they kill the assailant.
[ DISTRACT ]: the sender provides a diversion so the receiver can escape a dangerous situation.
[ OUT COLD ]: the sender knocks out an assailant before they can seriously wound the receiver.
[ DUNNO ]: the sender lies about the location of the receiver in order to protect them from pursuers.
[ FAKE ]: the sender, in a situation where they're forced to kill the receiver, only pretends to kill the receiver and takes their "dead" body away in the car.
[ SACRIFICE]: the sender sacrifices their life to ensure the receiver's survival.
[ BACK-UP ]: the sender arrives just in time to help the receiver in a fight.
[ EXCUSES ]: the sender provides an excuse for the receiver to stay at an event where they shouldn't be.
[ HIDDEN ]: the sender hides the receiver from pursuers.
[ SHELTER ]: the sender finds the unconscious receiver and brings them to a safe place.
[ HERO ]: the sender tackles the receiver out of the way of an attack.
[ RUN! ]: the sender tackles the attacker so the receiver can make a safe get-away.
[ FIGHT ]: the sender fights off the assailants so the receiver can flee to safety.
[ INTERCEPT ]: the sender unexpectedly emerges and stands between the receiver and a threat.
[ MISDIRECTION ]: the sender points a group of pursuers in the opposite direction to buy the receiver some time to hide.
[ SANCTUARY ]: the sender opens the door when the receiver knocks in search of help, and brings them into their home.
[ REPUTATION ]: the sender, being somewhat infamous in the area, arrives when the receiver is being hassled, causing the assailants to flee rather than risk the consequences of crossing them.
[ RECOGNIZE ]: the sender pretends to know the receiver in order to help them avoid unwanted attention.
[ AFAR ]: the sender incapacitates, distracts or kills an assailant from a distance to protect the receiver.
[ FRIENDS ]: the sender, unable to attend directly, sends friends over to protect the receiver when they encounter a threat.
[ NEGOTIATE ]: the sender intervenes in a tense situation and manages to smoothly persuade a potential threat to leave the receiver alone.
[ BRIBE ]: the sender gives a threat a significant amount of money to leave the receiver alone.
[ ANNOUNCE ]: the sender issues a declaration that the receiver is under their protection, assuring all potential attackers that any attempts will result in a brutal retaliation from them.
VERBAL PROMPTS:
" they're with me. "
" i was with them all night. "
" hey! these guys bothering you? "
" i wouldn't do that if i were you. "
" you must've really pissed those guys off, huh? "
" follow my lead... "
" don't worry. you're safe here. i won't let anyone hurt you. "
" you're lucky i found you when i did; those people were right down the street. "
" get in the car! now! "
" i'm gonna buy you as much time as i possibly can. make it count, okay? get out of here. now! "
" you can come out now. they're long gone. "
" nobody's going to hurt you like that again. "
would love for geshu lin to have an ex that he was with before leaving to fight ; he 100% broke up with them in a cold manner, believing it is unlikely he would survive, and he thought it would be easier to hate a ghost if they resented him before he died than mourn a lover.
REASONS TO TACKLE. [ a prompt list! ]
listen. tackling is a language that can convey many many things. and once again, this is a list that may be edited down the line to capture those languages, but in the meantime! we have this! bc i saw One Scene in a film and made it the dashes problem! bon appetit, enjoy! DO NOT ADD TO OR EDIT THIS LIST, NOR CLAIM AS YOUR OWN.
[ ANGER ]: sender tackles the receiver in a fit of rage.
[ DODGE ]: sender tackles the receiver out of the way of an attack.
[ LOVE ]: sender tackles the receiver onto a bed/sofa to give them some attention of a romantic or similarly heated nature.
[ TRAIN ]: sender tackles the receiver as part of a sparring or training exercise.
[ SLEEP ]: sender tackles the receiver on top of a bed in order to insist that they get some sleep.
[ HUG ]: sender tackles the receiver to the ground in their enthusiasm to give them a hug.
[ CALM ]: sender tackles the receiver to the ground in an effort to both restrain and calm them down.
[ STOP ]: sender launches themselves at the receiver and tackles them in order to stop them from doing something.
[ FIGHT ]: sender, in the midst of a physical fight with the receiver, tackles them to try and gain the upper hand.
[ RESTRAIN ]: sender tackles the receiver to try and physically restrain them.
[ HIDE ]: sender tackles the receiver to the ground, out of sight, in order to stop them from being seen.
[ SHIELD ]: sender throws themselves over the receiver's body to shield them from an attack.
[ INTERVENE ]: sender tackles the receiver to prevent them from attacking another person.
[ WHISPER ]: sender tackles the receiver so as to distract on-lookers from seeing them whisper something into the receiver's ear.
[ COLLAPSE ]: sender, weak due to previous conditions, collapses on top of the receiver, inadvertently tackling them to the ground in the process.
[ SLIP ]: sender slips on something and trips, bringing the receiver down with them in their descent.
[ POCKET ]: sender tackles the receiver in order to distract witnesses from seeing them put something into the receiver's pocket.
[ CONVINCE ]: sender tackles the receiver to convince on-lookers that they're enemies.