Whimsical-idiot

i crumble completely when you cry

ph! katsuki bakugou x fem! reader summary: this wasn't the way it was supposed to happen, but sometimes mistakes yield the best results contains: proposal!! (for @/pityslash <33), kinda ooc soft bakugou but im blaming it on him getting a concussion, mentions of injury, lots of fluff hehe word count: 1.8k words masterlist

Katsuki awoke to a darkened room with white, tiled speckled ceiling cut into rectangles and an IV in his arm; you were sleeping in the plastic chair at his bedside, head leaning against the wall and your mouth slightly open. It was probably about two or three in the morning, judging by the dimmed light coming from the hospital hallway.

Fuck.

This wasn’t supposed to happen.

He shifted around slightly under the thin sheets, grunting as he tried to move his (apparently broken) right arm to fit in the pocket of his hero costume. A sigh of relief pushed past his lips when he felt the little velvet box still stashed away, thankfully left untouched.

And god– fuck did his head hurt… but this wasn’t how the night was supposed to go.

You were still dressed up — makeup and all, heels sitting next to you on the floor, the pretty black satin dress he watched you show off before you both left for dinner: now bunched up in your lap between your palms as you slept. 

You were definitely going to complain about the crook in your neck when you woke up from the way your head was angled against the wall. You should’ve just gone home and slept properly in bed: but he knew arguing with you would’ve been fruitless — you’d refuse to leave his side like you always did. 

Katsuki let out a small huff as he stared back up at the darkened ceiling.

This was supposed to be your anniversary. He had it all planned out: flowers, dinner, taking a walk through the park near the apartment to get ice cream, proposing in the little ramada he’d gotten Hanta and Eijirou to decorate with fairy lights and flowers. His mother’s old engagement ring was what he’d nervously tucked away into his suit pocket earlier that evening; she’d given it to him the first time you met her — as if she just knew the outcome of your relationship. 

And yet, not even halfway through dinner he’d gotten a call about a villain spiraling out of control. 

He knew his apology was lacking when he pushed himself up from the table, telling you he’d be back as fast as he possibly could; and he could tell how disappointed you were at the fact he was leaving despite how you playfully urged him to hurry before you ate all the dessert without him.

He’d slipped the ring in his costume pocket thinking he would make it back in time for your walk in the park — but that went out the window the second he was caught off guard and blasted through an apartment building.

You shifted slightly, against your spot on the wall. Katsuki almost thought it was because he was thinking too loud.

Your eyes opened after a moment or two, and blinked once or twice at him before realizing his eyes were also open.

“You’re awake?” you asked groggily, scrubbing your eyes before pulling yourself up from the chair. “Let me go get the nurse–”

“S’fine,” he stopped you before you could get out the door, lifting his head off the pillow because he knew you would come over and scold him for it.

Shit he felt dizzy.

“Don’t move right now,” you chastised him — immediately abandoning your mission to rush back to his side and help him lay his head back down on the pillow. “Is that comfortable?”

“Yea,” he sighed, closing his eyes for a moment. “Don’ get the nurse yet… I don’ really want more fuckin’ needles in my arm right now.”

“...fine.” You pressed your lips together, concealing the lecture he knew you wanted to spew: him never being careful when he promised he would be being main point among those you wanted to address — yet you pulled the hard, plastic chair you were sitting in up to the bed and leaned against the mattress.

“...do you feel dizzy?”

“Yeah.”

“You got a concussion from your fall,” you turned your head to look towards the side, and he couldn’t see your expression anymore in the dimmed light from the lamp next to his bedside. “You also broke your arm from landing on it.”

“You saw?”

“It was on the news.”

You sounded on the verge of tears. He needed to apologize. He’d ruined your night.

“M’sorry,” he let his left hand drift over to where yours was laying on the bed next to him, his fingers catching between your own — grabbing you out of your dazed attention — “M’sorry I ruined our night.”

“You didn’t ruin anything Katsuki,” you shook your head, but he could hear the little edge of pain in your voice. “It’s not your fault… I was just worried.”

“I did, though,” he continued. “Tonight was s’posed to be just us walkin’ through the park n’ getting ice cream.”

“You had it all planned out huh?” You finally faced him again, tired eyes and a small, sad smile on your lips. 

“F’course I did, would y’expect anythin’ less from me?” 

“Of course not,” you humored him, bringing his knuckles up to your lips before planting a kiss over a small scab and pressing your cheek against it — staring faraway, somewhere his mind could never find yours.

“Why didn’t you go home?” he rubbed his thumb against yours. “Could’ve changed and been comfortable.”

You let out a small huff — “I couldn’t just leave you here. I didn’t want you to wake up alone.”

“You didn’t have to worry about me, baby. Y’should’ve slept comfortably at home, come and seen me in the morning.”

You didn’t answer; instead, pressed another kiss against his knuckles before letting his hand come back down to the bed.

“If you saw what I did, you wouldn’t be saying that.” — was all you left it at — you tried to get up to get the nurse, but he didn’t let your hand go. “Katsuki–”

“Just let me be a lil’ longer,” he slurred, drowsily. “Come lay down with me.”

“Kats–”

“Please.”

“How could I–”

“Please.” He repeated, and you gave up to the pleading look in his eyes. “Can’t sleep properly without you there.”

He shifted himself over slightly, watching you hold your tongue once again with a little snort, before patting at the spot next to him. You climbed up slowly, carefully, trying to be as light as possible to not let the little hospital bed creak under both your weights — letting yourself melt next to him, your hand resting over his chest. You didn’t say anything, just nestled yourself into his shoulder with a yawn.

Something about the way you were positioned made it feel like you were hesitant to touch him — as he was as fragile as glass. Even with your fingers resting over his abdomen, he barely felt them there.

“What’s got your mind all worked up?” he asked after what felt like hours of silence.

“...nothing.”

“I know when yer overthinkin’ baby.”

You looked up to him, sad eyes and all. “I was really worried.” You sniffed, burrowing yourself back next to him. “I was just sitting in the restaurant finishing my food until I got a notification on my phone about the news — and I clicked it and saw the video of you being blasted through the building. There was so much debris, I almost thought–I don’t know what I thought… It felt like I couldn’t breathe or–or think… I just ran out of there as fast as I could so I could get to the hospital. And then, when you wake up, your first concern is that you ruined the night?” You huff, angrily and under your breath but you didn’t let him see it. “I can’t believe you sometimes…” 

“M’sorry,” he repeated, this time drowsily— despite the disapproving click you let out in response, he wrapped his arm around you: rubbing small circles in your arm to soothe the tension you continued to let off. These situations were the only times you both switched roles; the only time he was the one who had to calm you down when usually it was the opposite.

“Stop saying that.”

“I am though,” he continued anyway. “For making you worry and cry when I should’ve been careful. I got a little reckless tryin’ to get back to you quickly. I just… didn’t wanna leave you stranded there.”

“You didn’t need to do that,” you almost scolded him. “I’m used to it, I understand what your job is like.”

“Told you though, I had it all planned out n’ shit — stupid bastard ruined it all…”

“It’s okay,” you pacified him. “It was just dinner, we can always go out another time.”

“It wasn’t just dinner though…” He stopped himself from continuing, but looking down at your furrowed brow knew that he’d have to give an explanation. 

“We’ve talked about marriage before—” he started again after a moment of silence. A moment to catch his breath, to let his racing thoughts and heart subside slightly. “—about us staying together like this because we couldn’t really ever see ourselves with anyone else.”

You nodded.

“And I thought–I knew that we were both ready… So I was gonna propose.”

You didn’t say anything, and he didn’t dare look down at your face — not when he could feel the heat rushing up to his face like he was about to pass out.

“I uh, had this whole speech planned out n’ everything,” he stared at the ceiling once more. “Even had Ei n’ Hanta set up flowers and candles in the park near that cherry blossom tree we always picnic near.”

You still didn’t say anything.

“M’sorry for just bringing it up now, and spoiling the surprise ‘cause I could’ve just done it later…”

“...are you really apologizing for telling me that you were going to propose?” you spoke after a moment. 

He could hear the slight crack in your voice, and he looked down to see that his suspicions were correct — you were crying.

“Don’ cry,” he tried to wipe them with fail because he could only use one arm. “You know I get sad when you cry.”

“I can’t help it.” 

 “I know that this isn’t where you probably expected to get proposed to, but everything I said is true — I wanna spend the rest of my life with you n’ get those little moments with you. N’ honestly, as long as we have that, I don’t think it matters where this shit happens.” He shifted around slightly, before you could stop him: sitting up to properly face you and pulling a little velvet box out from his pocket. “Marry me?”

“Of course I will,” you tried to wipe away your tears before falling into his embrace — pausing after he let out a hissing sound. “I’m calling the nurse for real now.”

ONE BED !

୨୧ how they are in bed (sfw)

୨୧ cw: fluff???, crack, mild language, gender-neutral reader

୨୧ characters: Katsuki Bakugou, Izuku Midoriya, Shoto Todoroki, Ejiro Kirishima (in order)

୨୧ a/n: ya'll really seem to like my headcanons even tho I hate them, so here it is. Also, I know this is like a really overused idea but do I give a fuck.. no.. and im trying to get out of writers block..

୨୧ credit to @divvision for the divider

Katsuki Bakugou:

bro sweats buckets.. no really, im not joking

he could be wearing nothing but boxers and be burning hot that you literally could cook a three course gourmet meal on his chest

and this motherfucker mid-way of sleeping lays his WHOLE body on you

he's lucky you love him

Izuku Midoriya:

he says the weirdest, out of pocket shit

his head on your shoulder and leg thrown over yours

and he's like "Babe, why the fuck didn't you let the rabbits kill you???" all while he's asleep

you could have a whole conversation with him while's asleep

the reason you know this is because insomnia was hitting like a bitch and he said something and you were like "Why the fuck not?"

And in the morning he's like "Hun, you wouldn't believe what my dream was!" -_-

Also he's the person that kicks in his sleep

Shoto Todoroki:

im convinced this man drools in his sleep.. like idk he just seems like that type of person

insists on not having any blankets.. which who the fuck doesn't sleep with a blanket except during the summer??

and the thing is at first you didn't understand how the fuck you wouldn't die from hypothermia in your sleep

but he gets so fucking warm in his sleep he's like a weighted blanket when he's sleeping your chest

the downside is that you wake up with drool on your shirt..

Ejiro Kirishima:

he's probably the most normal sleeper out of ALL of these

the only thing is that when he went over your place for the first time and you guys slept in the same bed, it was a pretty small amount of space on the bed

and im not saying he's like a giant.. but like he's big, he's buff, he's muscular and it was a one person bed, which you felt stupid about because why the fuck didn't you think of the possibility of a one person bed being too small for TWO people

he probably sleepwalks sometimes idk

I feel like it's when he's especially stressed

୨୧ a/n 2: why the fuck did I add a second author's notes????????????

Next in Line (IF) - Updated Aug 2023

Demo (August 3, 2023) | Discord | Ask Me Anything | Tag List | Kofi | Patreon | TAGS TO BLOCK - TW

Demo Updated: August 3, 2023 (Chapter 2, Part 1)

You're next in line for the throne of Castelon, a fictional country loosely based on different periods of history, such as Ancient Greece, Ancient Rome, and periods of England.

A 10-year war with your country's main adversary, Arandale, recently ended. Then your father, King Percival was assassinated. After his assassination, your twin, Prince James abdicated. Return home after 5 years and decide what kind of Harbinger you will be.

Prepare to step into a story of betrayal, love, and trust. Can you navigate your royal duties, solve your father's murder, and find love (or friendship) at the same time? Or, will the Gods withdraw their blessings from you?

Demo features:

Play as male, female, non-binary;

Prologue, Chapter 1, Chapter 2 Part 1;

Shape your MC's future and some of their past.

Pursue romance and/or friendship with 4 different characters.

Choose 1 of 3 Family Mottos.

Get a taste of "Attributes", which will unlock choices throughout the game. More Attributes will be available in the coming chapters.

Choose a patron god or goddess (optional).

Choose a pet (who you'll meet in chapter 2).

The final game will be rated Mature. The current version is rated 16+. Please note all of the below content is not in the demo but planned for the finished game. NSFW asks are tagged #nsfw so please block if applicable!

CW: suggestive language, references to war and the effects of war, death, references to death, exploration of grief, curse / swear words, possible violence, optional sexual content.

Next in Line features four romance options. View more characters + RO's ArtBreeder images by clicking here.

Sir Constantine Dimas | M, 26 years old, Taurus, #constantine dimas

Constantine is the best friend of your twin brother, James, and a Knight in Castelon's Elite Guard. He is fiercely loyal to your family and fought alongside James in the Arandale War. Like you, he finds amusement in teasing your brother.

"You're not too different from your twin, both reckless royals, so you probably need someone to care for you."

F. Faramund | M or F, 22 years old, Aquarius, #f faramund

Whether F was your first love or your ex-best friend, they broke your trust and disappeared. Now, they're back and seemingly apologetic. Bury the hatchet, rekindle your former relationship, or walk a different path altogether.

"The stars guided me back to you and I will stay as long as you allow."

Felix Faramund | M, 24 years old, Aries, #felix faramund

Felix is F.'s older brother and was someone you once considered a friend. Like, F., he's returned to Castelon. Unlike F., he can be quick to anger and he's not afraid to speak his mind. He can read the room, he just doesn't care. You can romance Felix, even if you loved F.

"Just know, I'll fight for what I want."

Lady Margaret | F, 22 years old, Gemini, #lady margaret

The mysterious Lady Margaret is a noble businesswoman who enjoys observing from the shadows. She's close to your mother, Queen Vivian. Although she is slow to trust others, those who earn her trust will find themselves in the company of a powerful and loyal ally.

"I can think of many ways to consume your time."

---

They say that small towns hide the darkest secrets. At least that’s what your mother always said about this one. You thought she meant how Father Simmons has a well-known drinking problem, how Mrs. Gladstone’s son looks more like his uncle than his father or that the mayor has been in power for 15 years because of voting fraud. Things everyone knows. Human Things.

But now as partially eaten bodies have been left in alarmingly rates all over this small town the world has no record of, you now know she meant something else.

Play as peculiar and disturbed individual surnamed Crown after the very town your ancestor founded, returning after a traumatic event two years prior that landed you in a psychiatric hospital. As your comeback coincides with a rapid increase of disappearances you find yourself in-broiled in a town conspiracy, a past that’s more alive than ever and the ever shifting self interested motives of those who claim to be your allies.

Who can you trust? What’s the truth behind your family? What are things that you see in the dark?

Sometimes it’s hard to tell what shapes monsters come in.

Customize your MC from looks to gender

Reveal your sister’s disappearance

Rely on a group of complimentary polar opposites to find out the mystery and save your life

Befriend or romance a choice of three from enemies to lovers, childhood friends or an eternal admirer

Rating: 18+

Imre Duran

Quintessential good-boy-next-door. The most most-liked teenager in town. As son of the mayor and pageant queen, Imre has an image cultivated by him and maintained through his status which is why his back door activities are his cherished secrets. He is rather eager to help you… isn’t he?

Nia Mir

In the very real and present high school hierarchy Nia would be one of the nobles. As a wannabe doctor with a loathed father and an absent mother her dream is to leave behind this backwater town and all it’s weird phenomena that she doesn’t care to know more of. She liked you, once.

Lorcan Stark

Every town needs its bad boy and so Lorcan has aimed to be as every bit worthy of that title. The shunned son of a murderer and his victim, he is not really thought of as having a future beyond prison and petty crime especially in a town like this. You don’t remember a time when he didn’t hate you.

Salvatore Crown

Your brother. The heir to whatever fortune your family has left and the only one of the family who seems to like you.

Orla Crown

Your sister. No one ever knew what she thinking, a closed box full of unknowns. You knew she kept things, especially from you.

Mayor Duran

Seems like every other politician. Oddly enough no one ever really sees him, an entity watching over the town.

Mother

She never acted like one to any of her children. She’s never sober anymore.

Mrs. Mir

Disappeared years ago without a trance. No one remembers her first name. Was thought to have been clinically insane.

Demo (TBA) | Spotify

---

Body Language: Eyes

So I stumbled across this really useful thing which I use for writing and wanted to share it with you all.

(source: changingminds.org)

The eyes are often called, with some justification, ‘the windows of the soul’ as they can send many different non-verbal signals. For reading body language this is quite useful as looking at people’s eyes are a normal part of communication (whilst gazing at other parts of the body can be seen as rather rude). When a person wears dark glasses, especially indoors, this prevents others from reading their eye signals. It is consequently rather disconcerting, which is why ‘gangsters’ and those seeking to appear powerful sometimes wear them.

Looking Up

When a person looks upwards they are often thinking. In particular they are probably making pictures in their head and thus may well be an indicator of a visual thinker.

When they are delivering a speech or presentation, looking up may be their recalling their prepared words.

Looking upwards and to the left can indicate recalling a memory. Looking upwards and the right can indicate imaginative construction of a picture (which can hence betray a liar). Be careful with this: sometimes the directions are reversed — if in doubt, test the person by asking them to recall known facts or imagine something.

Looking up may also be a signal of boredom as the person examines the surroundings in search of something more interesting.

Head lowered and eyes looking back up at the other person is a coy and suggestive action as it combines the head down of submission with eye contact of attraction. It can also be judgemental, especially when combined with a frown.

Looking Down

Looking at a person can be an act of power and domination. Looking down involves not looking at the other person, which hence may be a sign of submission (‘I am not a threat, really; please do not hurt me. You are so glorious I would be dazzled if I looked at you.’)

Looking down can thus be a signal of submission. It can also indicate that the person is feeling guilty.

A notable way that a lower person looks down at a higher person is by tilting their head back. Even taller people may do this.

Looking down and to the left can indicate that they are talking to themselves (look for slight movement of the lips). Looking down and to the right can indicate that they are attending to internal emotions.

In many cultures where eye contact is a rude or dominant signal, people will look down when talking with others in order to show respect.

Looking Sideways

Much of our field of vision is in the horizontal plane, so when a person looks sideways, they are either looking away from what is in front of them or looking towards something that has taken their interest.

A quick glance sideways can just be checking the source of a distraction to assess for threat or interest. It can also be done to show irritation (‘I didn’t appreciate that comment!’).

Looking to the left can indicate a person recalling a sound. Looking to the right can indicate that they are imagining the sound. As with visual and other movements, this can be reversed and may need checking against known truth and fabrication.

Lateral movement

Eyes moving from side-to-side can indicate shiftiness and lying, as if the person is looking for an escape route in case they are found out.

Lateral movement can also happen when the person is being conspiratorial, as if they are checking that nobody else is listening.

Eyes may also move back and forth sideways (and sometimes up and down) when the person is visualizing a big picture and is literally looking it over.

Gazing

Looking at something shows an interest in it, whether it is a painting, a table or a person. When you look at something, then others who look at your eyes will feel compelled to follow your gaze to see what you are looking at. This is a remarkable skill as we are able to follow a gaze very accurately.

When looking at a person normally, the gaze is usually at eye level or above (see eye contact, below). The gaze can also be a defocused looking at the general person.

Looking at a person’s mouth can indicate that you would like to kiss them. Looking at sexual regions indicates a desire to have sexual relations with them.

Looking up and down at a whole person is usually sizing them up, either as a potential threat or as a sexual partner (notice where the gaze lingers). This can be quite insulting and hence indicate a position of presumed dominance, as the person effectively says ‘I am more powerful than you, your feelings are unimportant to me and you will submit to my gaze’.

Looking at their forehead or not at them indicates disinterest. This may also be shown by defocused eyes where the person is ‘inside their head’ thinking about other things.

The power gaze is a short but intense gaze that is used to impose one’s will on another, showing power without aggression.

It is difficult to conceal a gaze as we are particularly adept at identifying exactly where other people are looking. This is one reason why we have larger eye whites than animals, as it aids complex communication.

People who are lying may look away more often as they feel guilty when looking at others. However, when they know this, they may over-compensate by looking at you for longer than usual. This also helps them watch your body language for signs of detection.

The acceptable duration of a gaze varies with culture and sometimes even a slight glance is unacceptable, such as between genders or by a lower status person.

Non-visual gaze patterns (NVGPs) involve rapid movements (saccades) and fixations while we are ‘inside our heads’, thinking. Rapid movements happen more when we are accessing long-term memory and fixations more when we are accessing working memory. This is useful to detect whether people are thinking about older events or recent events (or old events that are already brought to working memory).

Glancing

Glancing at something can betray a desire for that thing, for example glancing at the door can indicate a desire to leave.

Glancing at a person can indicate a desire to talk with them. It can also indicate a concern for that person’s feeling when something is said that might upset them.

Glancing may indicate a desire to gaze at something or someone where it is forbidden to look for a prolonged period.

Glancing sideways at a person with raised eyebrows can be a sign of attraction. Without the raised eyebrow it is more likely to be disapproval.

Eye Contact

Eye contact between two people is a powerful act of communication and may show interest, affection or dominance.

Doe Eyes

A softening of the eyes, with relaxing of muscles around the eye and a slight defocusing as the person tries to take in the whole person is sometimes called doe eyes, as it often indicates sexual desire, particularly if the gaze is prolonged and the pupils are dilated (see below). The eyes may also appear shiny.

Making Eye Contact

Looking at a person acknowledges them and shows that you are interested in them, particularly if you look in their eyes.

Looking at a person’s eyes also lets you know where they are looking. We are amazingly good at detecting what they are looking at and can detect even a brief glance at parts of our body, for example.

If a person says something when you are looking away and then you make eye contact, then this indicates they have grabbed your attention.

Breaking eye contact

Prolonged eye contact can be threatening, so in conversation we frequently look away and back again.

Breaking eye contact can indicate that something that has just been said that makes the person not want to sustain eye contact, for example that they are insulted, they have been found out, they feel threatened, etc. This can also happen when the person thinks something that causes the same internal discomfort. Of course, a break in eye contact can also be caused by something as simple as dried out contacts or any new stimulus in one’s immediate area, so it’s important to watch for other signals.

Looking at a person, breaking eye contact and then looking immediately back at them is a classic flirting action, particularly with the head held coyly low in suggested submission.

Long eye contact

Eye contact longer than normal can have several different meanings.

Eye contact often increases significantly when we are listening, and especially when we are paying close attention to what the other person is saying. Less eye contact is used when talking, particularly by people who are visual thinkers as they stare into the distance or upwards as they ‘see’ what they are talking about.

We also look more at people we like and like people who look at us more. When done with doe eyes and smiles, it is a sign of attraction. Lovers will stare into each others eyes for a long period. Attraction is also indicated by looking back and forth between the two eyes, as if we are desperately trying to determine if they are interested in us too.

An attraction signal that is more commonly used by women is to hold the other person’s gaze for about three seconds, Then look down for a second or two and then look back up again (to see if they have taken the bait). If the other person is still looking at them, they are rewarded with a coy smile or a slight widening of the eyes (‘Yes, this message is for you!’).

When done without blinking, contracted pupils and an immobile face, this can indicate domination, aggression and use of power. In such circumstances a staring competition can ensue, with the first person to look away admitting defeat.

Prolonged eye contact can be disconcerting. A trick to reduce stress from this is to look at the bridge of their nose. They will think you are still looking in their eyes.

Sometimes liars, knowing that low eye contact is a sign of lying, will over-compensate and look at you for a longer than usual period. Often this is done without blinking as they force themselves into this act. They may smile with the mouth, but not with the eyes as this is more difficult.

Limited eye contact

When a person makes very little eye contact, they may be feeling insecure. They may also be lying and not want to be detected.

In persuasion

Eye contact is very important for persuasion. If you look at the other person and they do not look back at you, then their attention is likely elsewhere. Even if they hear you, the lack of eye contact reduces the personal connection.

If you want to persuade or change minds, then the first step is to gain eye contact and then sustain it with regular reconnection.

Staring

Staring is generally done with eyes wider than usual, prolonged attention to something and with reduced blinking. It generally indicates particular interest in something or someone.

Staring at a person can indicate shock and disbelief, particularly after hearing unexpected news.

When the eyes are defocused, the person’s attention may be inside their head and what they are staring at may be of no significance. (Without care, this can become quite embarrassing for them).

Prolonged eye contact can be aggressive, affectionate or deceptive and is discussed further above. Staring at another’s eyes is usually more associated with aggressive action.

A short stare, with eyes wide open and then back to normal indicates surprise. The correction back to normal implies that the person would like to stare more, but knows it is impolite (this may be accompanied with some apologetic text).

When a person stares at another, then the second person may be embarrassed and look away. If they decide to stare back, then the people ‘lock eyes’ and this may become a competition with the loser being the person who looks away first.

The length of an acceptable stare varies across cultures, as does who is allowed to stare, and at what. Babies and young children stare more, until they have learned the cultural rules.

Following

The eyes will naturally follow movement of any kind. If the person is looking at something of interest then they will naturally keep looking at this. They also follow neutral or feared things in case the movement turns into a threat.

This is used when sales people move something like a pen or finger up and down, guiding where the customer looks, including to eye contact and to parts of the product being sold.

Squinting

Narrowing of a person’s eyes can indicate evaluation, perhaps considering that something told to them is not true (or at least not fully so).

Squinting can also indicate uncertainty (‘I cannot quite see what is meant here.’)

Narrowing eyes has a similar effect to constricted pupils in creating a greater depth of field so you can see more detail. This is used by animals when determining distance to their prey and can have a similar aggressive purpose.

Squinting can be used by liars who do not want the other person to detect their deception.

When a person thinks about something and does not want to look at the internal image, they may involuntarily squint.

Squinting can also happen when lights or the sun are bright.

Lowering of eyelids is not really a squint but can have a similar meaning. It can also indicate tiredness.

Lowering eyelids whilst still looking at the other person can be a part of a romantic and suggestive cluster, and may be accompanied with tossing back the head and slightly puckering the lips in a kiss.

Blinking

Blinking is a neat natural process whereby the eyelids wipe the eyes clean, much as a windscreen wiper on a car.

Blink rate tends to increase when people are thinking more or are feeling stressed. This can be an indication of lying as the liar has to keep thinking about what they are saying. Realizing this, they may also force their eyes open and appear to stare.

Blinking can also indicate rapport, and people who are connected may blink at the same rate. Someone who is listening carefully to you is more likely to blink when you pause (keeping eyes open to watch everything you say).

Beyond natural random blinking, a single blink can signal surprise that the person does not quite believe what they see (‘I’ll wipe my eyes clean to better see’).

Rapid blinking blocks vision and can be an arrogant signal, saying ‘I am so important, I do not need to see you’.

Rapid blinking also flutters the eyelashes and can be a coy romantic invitation.

Reduced blinking increases the power of a stare, whether it is romantic or dominant in purpose.

Winking

Closing one eye in a wink is a deliberate gesture that often suggests conspiratorial (‘You and I both understand, though others do not’).

Winking can also be a slightly suggestive greeting and is reminiscent of a small wave of the hand (‘Hello there, gorgeous!’).

Closing

Closing the eyes shuts out the world. This can mean ‘I do not want to see what is in front of me, it is so terrible’.

Sometimes when people are talking they close their eyes. This is an equivalent to turning away so eye contact can be avoided and any implied request for the other person to speak is effectively ignored.

Visual thinkers may also close their eyes, sometimes when talking, so they can better see the internal images without external distraction.

Damp

The tear ducts provide moisture to the eyes, both for washing them and for tears.

Damp eyes can be suppressed weeping, indicating anxiety, fear or sadness. It can also indicate that the person has been crying recently.

Dampness can also occur when the person is tired (this may be accompanied by redness of the eyes.

Tears

Actual tears that roll down the cheeks are often a symptom of extreme fear or sadness, although paradoxically you can also weep tears of joy.

Weeping can be silent, with little expression other than the tears (indicating a certain amount of control). It also typically involves screwing up of the face and, when emotions are extreme, can be accompanied by uncontrollable, convulsive sobs.

Men in many culture are not expected to cry and learn to suppress this response, not even being able to cry when alone. Even if their eyes feel damp they may turn away.

Tears and sadness may be transformed into anger, which may be direct at whoever is available.

Pupil Size

A subtle signal that is sometimes detected only subconsciously and is seldom realized by the sender is where the pupil gets larger (dilates) or contracts.

Sexual desire is a common cause of pupil dilation, and is sometimes called ‘doe eyes’ or ‘bedroom eyes’ (magazine pictures sometimes have deliberately doctored eyes to make a model look more attractive). When another person’s eyes dilate we may be attracted further to them and our eyes dilate in return. Likewise, when their pupils are small, ours may well contract also.

A fundamental cause of eye dilation is cognitive effort. When we are thinking more, our eyes dilate. This helps explain ‘doe eyes’ as when we like others people, looking at them leads to significant thinking about how we may gain and sustain their attention.

Pupils dilate also when it is darker to let in more light. Perhaps this is why clubs, bars, restaurants and other romantic venues are so dingy.

People with dark irises (the colored circle around the pupil) can look attractive because it is difficult to distinguish the iris from the pupil, with the effect is that their dark pupils look larger than they are. People with light irises make the pupils easier to see, so when their pupils actually do dilate then the signal is clearer to detect, making them more attractive ‘at the right time’.

The reverse of this is that pupils contract when we do not like the other person, perhaps in an echo of squint-like narrowing of the eyes. People with small pupils can hence appear threatening or just unpleasant.

Rubbing

When a person is feeling uncomfortable, the eyes may water a little. To cover this and try to restore an appropriate dryness, they person may rub their eye and maybe even feign tiredness or having something in the eye. This also gives the opportunity to turn the head away.

The rubbing may be with one finger, with a finger and thumb (for two eyes) or with both hands. The more the coverage, the more the person is trying to hide behind the hands.

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kamio sea life stickers

reblog if you wear glasses. too many mutuals don't know they have glasses wearers in their midsts

today is not my birthday

one of the worst adhd things ever is wanting to trick yourself into doing tasks so you make up fake deadlines to give yourself a sense of pressure but then your adhd goes ‘is that a Real deadline with immediate consequences or a fake one to make our life more organized? :/‘ and then you go ‘it’s a fake one to make our life more organized 😔’ and then the task doesn’t get done