1. Drastically cut my muse roster down. I’m talking down to 5 muses MAX. My current model is unsustainable.
2. However, hoarding is in my genetic makeup so I will in fact probably keep all of my other muses but only on a strict private/by-request-only basis
3. The hope is that by having fewer muses I’ll have more energy/brainspace to dedicate to them and their development rather than trying to keep track of everyone at once
4. I should probably reboot this blog when I decide who I’m keeping bc it’s a HOT MESS lmao

1. Natasha Romanoff
2. Yelena Belova
3. MJ Jones
4. Karen Page
5. Grace Howard
6. Charlie DeLacey (IF I manage to do a decent reboot)

1. Maria Castle
2. Amy Bendix
3. Sarah Rogers
4. Max DeLacey
5. Wanda Maximoff

• 😡 - A enemy plotline (i.e. sworn enemies of a conflict, enemies at work/school, old enemies reunited)
• ☠ - A toxic plotline (i.e. romantic relationship, toxic friend, a muse trying to use the other to further their own goals)
• 😄 - A friendship plotline (i.e. becoming friends, old friends reunited, friends breaking up)
• ❤️ - Romantic plotline (i.e. falling in love, falling out of love, not quite ever admitting feelings, unlikely partners)
• 💚 - Queer Platonic Relationship plotline (i.e. becoming QPR partners, falling out of a QPR, living together)
• 🤩 - A plotline based around admiration (i.e. one-sided, both admiring each other but hiding it, muse and their role model/mentor)
• 💰 - A plotline based on monetary gain (i.e. business partners, partners in crime, coworkers)
• 🤐- A blackmailing plotline (i.e. via information, hostage situation, object of value)
• ⛓ - An imprisoned plotline (i.e. imprisoned together, one muse imprisoning the other, escapees on the run)
• 📃- A plot where the muses are stuck together for a reason above their power (i.e. classmates who are in a group project together, coworkers who get assigned to each other, mentorship, survival situation)
• 💼 - A plot where our muses share a goal and are working to achieve it together (i.e. starting a business, inventing something new)

from the injured.

• " i didn't know where else to go... "
• " whatever you've been told about me, whatever you've heard or seen or listened to... none of it's true. "
• " at least i have you to look after me, eh? "
• " would you believe me if i said i got all these injuries by slipping in the rain? "
• " i'm sorry... i know this isn't what you signed up for. "
• " you're the only one i can trust. "
• " do you believe what they're saying about me? "
• " aren't you going to say i told you so? "
• " i am grateful, you know. for everything you've ever done for me... i notice. and i see you. and i've never thanked you properly before, so... thank you. "
• " i know i must be the last person you expected to see tonight, but... i'm afraid i have nowhere else to turn to. "
• " thank you for not asking questions. "
• " i know you have no reason to believe me, much less to trust me, but... i promise you. i swear to you, i am being set up. "
• " you know, you'd make a nice profit if you turned this place into a safehouse. "
• " why are you helping me? "
• " why the hell did you open your door for me if you're so angry at me?! "

to the injured.

• " quickly, get in before anyone sees you... "
• " you came to the right place. hurry, get in... "
• " what the hell happened to you!? "
• " are you going to tell me what happened to you tonight? "
• " i assume that the rumors surrounding you are all false and unrelated to why you're bleeding out on my sofa? "
• " do you honestly expect me to just forget about the past so i can bandage you up? "
• " you don't need to thank me. you'd fix me up if i came to your door with this much trouble, too. "
• " regardless of everything you've said and done in the past, there isn't a single part of me that wouldn't open the door when you're knocking on it. "
• " we can talk in the morning. for now, you need to rest. "
• " i found you unconscious on my doorstep. "
• " oh, i get it. i can stitch you up and let you get blood all over my bed sheets until the cows come home, but heaven forbid i start to ask questions about why you're bleeding in the first place. "
• " things must be really bad if you're trying to say i was your best chance at being helped. "
• " don't be stupid. you're not going anywhere. come on, back into bed... "
• " i called in sick. we have the whole day to figure out what your next moves are going to be. "
• " good! you're awake. i was beginning to worry... "
• " you're not allowed to die in my bedroom. the rumours would never stop... "
• " perhaps we ought to let bygones be bygones. until i'm confident that you're not going to die on my sofa, that is. "
• " it's a bit late to worry about dragging me into your mess, don't you think? "
• " you know why i opened that door... "

ACTIONS.

• [ BANDAGE ]: sender gently begins to bandage receiver's wounds.
• [ BED ]: sender guides receiver into bed, tucking them in and taking a seat by their bedside.
• [ FEVER ]: having noticed the receiver beginning to spike a fever, sender presses a cool cloth to their forehead to try and bring it down.
• [ CLOTHES ]: after tending to the receiver's wounds, sender brings them fresh clean clothes to change into.
• [ FOOD ]: after ensuring the receiver is safe and stable, sender brings them out a plate of food.
• [ BATH ]: sender runs the recently-cared-for receiver a hot bath.
• [ WAIT ]: aftering tending to the receiver's injuries, sender takes a seat across for them, and patiently waits for them to start explaining what happened.
• [ CATCH ]: noticing the receiver beginning to collapse on their doorstep, sender hastily catches them and brings them inside.
• [ KISS ]: sender, after being cared for by the receiver, breaks the tension that's been building since they walked through the door, and pulls them in for a kiss.
• [ HOLD ]: having been bandaged and cared for by the receiver, sender unexpectedly reaches out to take their hand and hold it in a quiet, sincere gesture of gratitude.