#[ this is like. so fucking perfect to encapsulate them. but also how i feel about you. ]

[justsayyes1]

The red light

(TW: extremely adult themes such as prostitution, bambi sleep triggers, and other adult content)

The red light district, desire encapsulated in a simple colour.

So many Bambis get lost there. Some have been known to visit and never be seen again. There’s something about the lights' glow, dancing off the glass, drawing them in, like a moth to a flame.

Good, BIMBO DOLL.

There’s something they envy about the women, too. Their pretty little cock pillows, LIPS LOCK. Their perfect bimbo titties, TITS LOCK. Even their demeanour, how they allure with a simple seductive aura. POSTURE LOCK.

I can see why it attracts even the strongest-willed Bambis. These girls get to dress in the perfect little uniforms for their jobs. Bambi would love nothing more than to be UNIFORM LOCKED for her jobs. Adorning outfits that emphasis every curve, showing off the soft fragility of her femininity but also her power.

It would be impossible for Bambi to hide the leaking. Thighs slick and shining under those pretty lights that draw her closer and closer.

Her mind lives its wildest fantasy there. Being an object in a window, desired by men, showing off for men, pleasing men.

Is Bambi jealous of these pretty little BIMBO DOLLS? Getting to use their bodies to pleasure cocks. Getting to DROP FOR COCK, as many times as is required. They are the perfect little GOOD GIRLS.

Feeling the POP of the cock from their lips just POPPING away a little more of their resistance. A little more of their memories. Each POP from every cock just making them more. And more blank, docile and obedient.

And Bambi wants to be just like them. Don't you, Bambi?

No more pressures, no more expectations, just kneel and suck and fuck. Such an easy, vapid existence. So pure and simple. Just giggling with a happy empty head, as you milk the pleasure from as many cocks Bambi can take.

Each cock taking more and more of Bambi’s mind away with it. Dripping and dropping you down. And down. Turning you into the perfect toy for pleasure. That’s what you envy really isn’t it, Bambi?

All these girls, such perfect toys for pleasure. They are desired, they are sexy and happy. You want to be just like them.

Can you feel it, like a subtle whisper, the soft glow of the red light, beckoning you in?

BAMBI SLEEP

Feel every step closer to that booth, you become more and more the toy you were meant to be.

The glow so mesmerising. The idea of being a doll on display so infantilising. Filling you with such nervous excitement. Each step is made with a tremor of fear and anticipation. As you step further and further away from your old self, your old life, as it becomes almost unrecognisable.

With each step you can hear the click of your 6-inch heels, you can feel swaying of your perfect bimbo titties. As you arch your back in perfect posture, presenting them as they should be.

Your body melting now, dripping from every hole. Your sex throbbing with lust and desire. Knowing Bambi’s every last fantasy is coming true.

As you bathe in the glow of the red light.

Consuming you completely.

You are changed, you are Bambi. So perfect and pretty. Pretty little sex doll.

Your oldself is simply a fragment or dream of someone who looks nothing like you.

BAMBI IS BAMBI now.

You take a seat, dripping, so vapid and empty and happy. Waiting to please, ready to serve.

A perfect little Bambi BIMBO DOLL in the window now, begging for men to desire her. Begging for men to use her.

[a-moth-called-mof]

No actually I'm going to say. I honestly think that was such a satisfying and fitting epilogue for something as unqiue as the dream smp. Maybe its vague about certain things and maybe it wasn't a picture perfect happy ending but it felt so satisfying, not just because of the original shit nuke ending and the way the server originally just slowly faded (although that contributes) but also, because it's a representation of the dream smp itself saying goodbye to its fans. Jack being the point of the view character is so fitting because he's been there since the early days and it makes it so that for once, we get to see C! Tommy from someone else's point of view without his own perspective offered. And that's so fucking impactful. When C! Tommy asked Jack where he'd been and that he hadn't seen him in a long time, he was talking to C! Jack sure but he was also talking to the viewers themselves by extension. The image of C! Tommy silently standing there and treating Jack, the point of view character of the viewers, like an old friend is so haunting and comforting in a way words can't express.

And then there's just the entire theme of grief and moving on that's present throughout the entire thing? C! Jack and Tommy both reminisce about how much the SMP impacted both of them. They look on at C! TECHNO'S HOUSE as they talk about how despite all the shit it put them through, a part of them misses it and longs to be back there again because there were things there that were fun and that meant something to them. It's so fitting on a metatextual levels. The characters are reminiscing about the SMP's old days "before everyone left" and so are the content creators through the characters but also, so is the audience. The viewers. The old fans who clung on. The fans who who didn't. The fans who, despite everything the server put them through, still wanted to tune into a livestream for even a chance of seeing it again.

I just feel like the stream represented so many of us. When C! Jack says he didn't like the person he was back then but that doesnt mean he was bad, I just feel like that encapsulates so many of us during the pandemic. Like many (I think?), I used the dream smp as escapism. I was in a really bad place and I was avoiding most of my irl friends. I hate who I became during those times. But also. I had so much fun. I would tune into streams every day and scroll tumblr and the fandom made me feel so happy and included and I loved the inside jokes and I loved the characters and I loved the streams and I loved everything and a part of me still misses that. I was avoiding everything in my life and I was so isolated but I was so full of excitement and bliss and fun when I would tune into those streams. I've kinda spent the past 2 years lowkey hating who I was. But this stream, C! Jack's line and reflection specifically, genuinely made me realise that maybe I shouldn't idk view my old self so negative and that he (who I was) was probably just trying his best during a tough time even if his choices weren't always the most functional. That I've improved and that that's okay and good even. And that maybe just because I like who I am now doesn't mean he was bad.

Idk there's also something about C! Tommy telling C! Jack he might never see him again and C! Jack telling him that that's okay (also again image of C! Tommy looking at the viewer's point of view and telling them he'll probably never see them again...). There's just something about growing up and how you kind of lose contact with some people and how that's normal and it's okay and it happens and how that ties back into some of the dream smp's themes about growing up. But also there's a bit of grief there and that's okay. Idk there's something so visceral about the last piece of media about the dream smp literally being about grief and moving on and about how the characters literally say goodbye to eachother after everything but also about how that's okay. Idk I wonder how many people feel similarly

To conclude this, I feel like the moment in the stream that hit me the most was CC! Jack being happy he let go of the manishroom (and the server by extension) and that he's moving on but then later saying "I didn't like letting go of the mushroom. Felt like I wanted to cling onto it forever" and something about that just hits. Idk there's something how the characters both feel such a unique pain and longing for the old times in universe and how that reflects how the audience and streamers themselves feel and there's something about how I genuinely don't think something that wasn't as accidental and beautiful and messy and painful and earnest and flawed and unique as the dream smp could ever capture that feeling. And I think I love it for that. And I think I love the epilogue for representing that. And I think the dream smp said I love you and goodbye to its viewers with that epilogue and I think I said it back.

[perpetuallyexhaustedlibrarian]

What’s your favorite Wind Breaker arc?

This is such a good question! And a hard one. After some thinking, I've decided that my favorite is the Shishitoren arc! Yes, the very first one.

When I first started watching Wind Breaker, I was super skeptical. I did not expect it to be any good! I mean, how many times has 'delinquents with a heart of gold' been done in anime? I was expecting something generic - fun to watch, but ultimately forgettable. And then we meet Sakura, Mr. Blushy himself:

He's so pure and sweet. He feels ostracized by society, but it hasn't made him cruel. And he's fighty because he's been hurt by society but is compensating for it. Our first hint that there's more than meets the eye to this story.

Next, we meet Shishitoren. At first they seem like they will be the straight-up irredeemable villains who are the vehicle to show us how strong and good Bofurin is. Togame is fucking terrifying in his first appearance! He fucking smashes a bottle over a guy's head! That's evil behavior right there.

But then Bofurin starts fighting in the 'Ori tournament arc,' and we realize all of these characters have depth, even the 'side characters.' Even the 'villain' Shishitorens. Sako, Choji, and Togame especially, but even Kanuma and Arima! All the characters have history with each other.

Every time you think the story is going to zig, it zags. It never takes the easy way out, or does the predictable thing. It respects its characters, and treats their problems with the gravity and subtlety they deserve.

We first see in the Shishitoren arc how therapy-jutsu and emotional intelligence are what actually solve problems in Wind Breaker, not so much the fighting - Togame has depression! So does Choji. And the fights/dialogue with Sakura and Umemiya help them realize that they fucked up!

The Shishitoren arc is the perfect encapsulation of what Wind Breaker is about. It's not just a fighting manga. There's story here, and character depth. Subtlety. A masterwork of storytelling. It also sets up things that have a big payoff later. This arc is the first hint that there is more here than we might initially have thought. That's why it's my favorite.

Sorry, I know I rambled a bit here. Thanks for the ask! And if anyone has any others, send them on!

[kier-with-a-k]

SOLITAIRE - N. S.

Photographer! Nick x Artist! Oliver(oc)

A/N: this one... It is special to me!!! Probably my longest fic yet... Lmao! This is how Oliver and Nick met! Happy reading!!!

Warning: nothing really!!! But this is quite long... So strap in!

Real.

If I ever fall in love, it’d have to be with someone real. Not perfect. Not polished. Just—real.

Someone who doesn’t fake being nice.

Someone who doesn’t pretend to be likable just so people orbit them like flies to sugar.

Someone who doesn’t twist themselves into a performance just so the world claps a little louder.

And this guy?

This blonde-haired, smiling-at-eight-in-the-morning, sunshine incarnate guy?

Yeah. He’s faking it. For sure.

He’s standing at the front of the classroom, practically radiating eagerness like a Labrador at a park.

“Hi! I’m Nick Sturniolo! I do gymnastics, and I’m also a triplet!”

A chorus of half-interested chuckles ripples through the room. My eyes stay deadpan. I drum my fingers against the desk like a ticking bomb. He squints, scanning for a seat. His smile falters—barely—but I catch it.

Good. Let it crack a little.

And then, of course—of course—he starts walking toward me.

No.

He keeps walking. Backpack swinging. Shoes squeaking.

Fuck.

He flops down beside me like this is some sitcom and I’m the sarcastic side character about to be changed by the golden-hearted protagonist.

Spoiler alert: I’m not.

He glances over, that smile still firmly affixed, like he doesn’t notice the black hole of irritation radiating off me.

“Hey,” he says, and it’s annoyingly soft. “You mind if I sit here?”

“You’re already sitting,” I mutter, not looking at him.

Instead of taking the hint, he laughs—like I made a joke. God. He’s one of those people.

“Cool,” he says. “What’s your name?”

I look at him now, finally. Let him see the unimpressed. Let him see the walls.

“Does it matter?”

He blinks. For just a second, he looks taken aback. And then, like a stubborn lightbulb, the grin comes back even warmer.

“I guess it does if I plan on talking to you again,” he says.

I raise an eyebrow. “You planning on that?”

He shrugs, unbothered. “Maybe.”

Bold move, Gymnastics Barbie.

I turn away, biting the inside of my cheek—but not before I catch something flicker across his face.

Something not polished. Not perfect. Not rehearsed.

Something... real.

Shit.

---

He’s quiet for a beat.

I think I’ve finally won. One-word answers are usually enough to send people packing.

But then he says, “Okay. If you won’t tell me, I’ll guess.”

I blink. “Are you twelve?”

“Mentally? Yeah, maybe.” He grins like this is fun. Like I’m fun. “You look like a... Jonah. No, wait—Ben. Or Oliver. You’ve got Oliver energy.”

I stiffen.

His face lights up. “Is it Oliver?”

Goddamn it.

I sigh through my nose and stare ahead, refusing to answer. My heart feels weirdly loud, like it wants to be noticed. Like he noticed it.

He lets out a little victorious “yes” under his breath. And for the first time in forever, I don’t feel like bolting out of my own skin.

Not yet.

---

Third period.

He’s already at the table when I walk into Chemistry. His eyes catch mine like it’s nothing, like we’ve been doing this for years. He waves. Actually waves. Like we’re friends.

I sit next to him again.

I don’t mean to. But every other chair feels wrong.

“You again,” I mutter, flipping open my notebook.

He leans in. “Fate.”

I roll my eyes, but... my lips twitch. Just slightly. He sees it. I know he does. Because he doesn’t point it out. Doesn’t gloat. He just smiles softer.

Like he’s saving it. Like it means something.

I pull out my book. Solitaire. A book that, in my opinion, perfectly encapsulates my life. Boredom. Walls. Tori Spring. That’s all me.

He notices. Of course he does.

He leans in. “Hey, I’ve heard of that book! Haven’t read it. Is it good?”

He knows about the book? And for a moment... I really look at him.

His blonde hair shifting slightly in the breeze.

His eyes—piercing blue.

“Is the book good?” he asks again.

“O-oh, y-yeah. I’ve read it a couple times.” God, I hate it when I stutter.

“Yeah? I should totally read it, then,” he says, smiling again.

Why does he have to do that?

And just like that, silence resumes.

---

Three weeks later.

I know his laugh by heart now.

I know he hums when he’s concentrating and twirls a pencil between his fingers when he’s nervous.

I know he talks to his mom on the phone every night at the bus stop and drinks strawberry milk like it’s sacred.

I know he sees me.

Really sees me.

And it scares the hell out of me.

Because the closer he gets, the more the mask I wear starts to slip.

And I’ve worn it so long, I don’t know what’s underneath anymore.

But he looks at me like he already knows. Like it doesn’t scare him at all.

---

It’s late. We’re on the rooftop of the gym.

He found the way up. Of course he did.

The sky is navy and bruised. The world is quiet. Just us and a city that never learned how to listen.

“I don’t think I’m built for people,” I whisper. “They want too much. Or they don’t want anything real.”

Nick doesn’t say anything for a while. Then:

“Maybe they’re not your people.”

I turn. He’s lying back, arms behind his head, eyes tracing constellations like they belong to him.

“I don’t want anything fake from you,” he says. “I just want you. However that looks.”

I swallow.

The wind picks up. My fingers twitch with the urge to reach for his. I don’t. But I think about it.

God, I think about it.

And in that moment, I realize—

I want him to know who I am.

Even if it wrecks me. Even if it ruins everything. Because maybe—just maybe—he’d still stay.

“I read the book, by the way,” he says, cutting into my spiraling thoughts.

He read the book?

“The Solitaire book?” I chuckle. “You haven’t. Don’t lie.”

“No, I actually did!” he laughs. “It’s pretty good!”

I hate this.

He listens.

I hate that I can’t just hate him.

He makes it so hard.

---

Friday. After school. Gym hallway.

I find him outside the locker room, still in his practice clothes. Sweat on his neck. Hair a beautiful mess.

He spots me immediately. His smile flickers into place like muscle memory.

But I don’t smile back.

“Hey,” he says cautiously. He feels it.

“Hey,” I echo, leaning against the wall. “Got a minute?”

“Yeah, of course. What’s up?”

I study him. His stupid, hopeful face. That sincere voice. That look in his eyes like he’s trying to memorize every second I give him.

It makes me want to scream.

“You’ve got to stop,” I say, cold.

He blinks. “Stop… what?”

“This. The trying. The being nice. Acting like you see something in me worth seeing.”

His brows furrow. “I’m not acting, Oliver.”

I laugh. Hollow. Sharp around the edges. “Yeah? Then you’re just stupid.”

He stiffens.

“Seriously,” I say. Arms crossed. Walls rising. “You keep saying you want the real me. That you don’t care how messed up I am. But you don’t know me. You know the version of me that lets you in a little, then slams the door.”

“I know more than you think.” His voice is low now. No smiles. No sunshine.

I step closer. “Then tell me what happens when you see all of it? When I stop being sad in a way that’s safe, and start being difficult. Angry. Mean. Because that’s in there too. That’s me.”

“I won’t leave.”

“You will. Everyone does. They get tired. They stop looking. They say they want the truth, but the second it gets ugly, they run.”

Nick flinches like I hit him.

But then—God, then—he steps closer.

“Maybe you want me to run,” he says quietly. “So you don’t have to deal with someone who actually stays.”

Silence.

My chest burns. Not from hate. Not from anger.

From hope. That awful, vulnerable thing.

I turn away. My hands shake.

“I didn’t ask you to stay.”

“I know,” he says. “But I’m here anyway.”

And I hate him for it.

I hate how much I want to believe him.

I hate that he might actually mean it.

---

The hallway is quiet now. Most people have gone home. Just the buzzing of old lights and the weight of what I just said hanging between us.

I’m facing the lockers, fists clenched, staring at my reflection in the dull metal.

I feel him step closer. Not touching. Just there.

“I didn’t ask you to stay,” I say again, voice shaking now.

“Why would you? I don’t make it easy. I don’t even try to.”

“I know,” he says. “But you don’t have to.”

His voice is calm. Steady. He’s the eye of a storm I didn’t know I built around myself.

And suddenly, I can’t hold it in anymore.

“You don’t know me!” I snap, spinning around. My voice cracks—God, it cracks—and I want to disappear.

“You see pieces, Nick. You see the way I flinch at kindness and you think that’s depth. You see my silence and mistake it for mystery. But it’s not. It’s just fear.”

I’m breathing hard now. The words tumble out.

“I don’t know how to let people care about me. I never have. Because they either want to fix me, or they want to leave. And if I let them see it—if I show them what it’s really like in here—”

I press a fist to my chest. “They look at me different. Like I’m broken.”

Nick doesn’t look away. He steps forward.

“I won’t look at you like that.”

“You will,” I whisper. “Eventually.”

He shakes his head. “No. Because I already see you. All of it. The sarcasm. The anger. The way you pretend not to care when you care so much it eats you alive. I see it, Oliver.”

His voice breaks. Just a little.

“And I still think you’re worth it.”

My knees give out. I slide down the wall, curling in on myself before I can stop it. I don’t cry. Not really. But my breath hitches. My eyes sting. And for once, I stop trying to hold it all in.

Nick kneels beside me. He doesn’t speak. Doesn’t push.

He just reaches out—slowly—and rests his hand near mine. Not touching. Just close.

“I don’t need you to be easy,” he says softly. “I just need you to let me stay.”

And I think—I think—this is what it feels like to be seen. Not the pretty parts. Not the version of me I polish up and hand out to the world.

Just me. Messy. Angry. Afraid.

And still—he stays.

"One person person can change everything... And you... Oliver Maddox... Changed everything for me" he whispered... So low I thought I wouldn't hear it. But I did.

I look up at him. He's quoting it... He's quoting solitaire. He actually read the book- of course he did he's Nicolas Sturniolo why wouldn't he?

He smiles like he already knew.

"You actually read the book?" I say giggling a bit. A hint of smile playing on my lips.

"Well what can I say Tori Spring... I guess I am your Michael Holden." He says fully smirking at me.

---

A/N: MY LOVE FOR SOLITAIRE WILL FOREVER BE UNMATCHED!!! that book just... I love it guys! And I love when people quote books especially romantic ones! It's so sweet!!!

Also I know this isn't really like my other Nick and Ollie fic but trust the more blurb-y style will come back lmao. I just had this idea and I really liked it!

TAGLIST: @sturnsblogs @thenickgirl @bambisturns @sturns-mermaid @sarahsturnn @jacksonsturniolo @certifiednickboy @nickssidewitch @fentiesturns @oopsiedaisydeer @messi10-fcb @nickscoconutwater @ed1tssturnn

Comment if you wanna be added to my taglist you can comment or send me an ask about it!!!😘

[lutethebodies]

The Misunderstood Blunt Instrument

Two Minthara posts from yesterday (this one about the glorious new wallpapers and this one about her weapons and armor) got me thinking about The Mace as her weapon of choice. If I recall correctly the fandom has touched on bits of it already, so I won't go too long on this (and forgive me if it's been mentioned already), but other than the two cited above my brief searches haven't yielded anything new. And what I got thinking about was how ditching the maces upon recruitment is almost essential.

Personally I never retain them as her melee weapons, for both mechanical and RP reasons. For the first it's because I routinely respec her to a Dex-based build and of course maces are Str-based. The second reason is because (and forgive me if I’m late to the party here) that as a paladin she’s a blunt instrument for whatever deity she’s sworn to: Lolth, the Absolute, etc. And once she’s free of both, she’s free to choose how to defend herself and/or her friends/lovers among the companions.

As noted here, the mace itself may be two fun call-backs in one—both to her EA version as a cleric and, as dual-wielded by an exile, to Drizzt's "draa velve" fighting style (and I'll take their word for it because I may be the only over-40 D&D fan who hasn't read Salvatore's books). But representing this with maces feels specifically like a reductive and more brutish or ugly choice—and the perfect encapsulation for what she's become while enthralled.

The Absolute (and/or the three Chosen) has sanded down all the complexities of Minthara's character into the "mad dog" epithet Ketheric dumps on her during her trial. I'd add (based on much better arguments by much smarter fans) that for the casual BG3 player this is all she is and all she'll ever be, especially (as she notes after Orin's death) that if Tav/Durge had killed her, that would indeed be her fate.

The mace is also a symbol of Minthara's pre-tadpoled hubris of privilege, arrogance, and elitism in that it's the deadweight of how her life up to that point had sculpted her to precisely this outcome. A symbol of her trauma. "How the mighty have fallen" is a cliché, sure, but it's a cliché precisely because it's true and happens so often. The schadenfreude that fellow envious Lolth-sworn might feel when encountering this manic, raving caricature of their own culture! The shock that anyone who knew her from her previous life might feel about how she's changed for the worse! She says as much when candidly later admitting that pride is one of her sins.

The mace is a great choice for an enthralled Minthara, but that makes it (for me) necessary to abandon when she's a companion. The mace helps further that convenient, simplistic, reactive, and reductive way of writing her off as just another male-hating Drow dominatrix. It helps any player confirm lazy priors about her, which might be why she's both blithely dismissed by some and jealously policed by others.

So that's why I always ditch those weapons and re-arm her with Phalar Aluve. It may be just as reductive, but I think it fits, because 1) it's a fab finesse weapon for Dex-based builds, 2) fuck you Lolth, this is a weapon of Eilistraee and Minthara will wield it at you if you come for her and anyone she loves, and 3) fuck you Absolute, she is not your blunt instrument anymore, and she will smite you with something entirely different and with extreme prejudice.

[darthgloris]

2AM THOUGHTS #6: Anakin confesses to Y/N on accident

"Okay, what the fuck was that for?" Anakin demanded as he closed the door behind them.

"What do mean? I was protecting you!" She defended.

"And I was protecting you! You nearly died!" He yelled, running a hand through his hair in frustration.

"I don't need you to protect me, Anakin! I'm not a child!" She snapped, crossing her arms. "It was for the sake of the mission, all right? If I have to die for the cause, then so be it."

Those words seemed to make something click inside him. The fact that she would even think that some mission was more meaningful than her own life made his blood boil. He sauntered over to her, a flash of anger in his eyes that had never been directed at her scared her a little, and she walked backwards until her back hit the wall. "Don't you dare say anything of the sort ever again."

The small tinge of fear in her eyes as he looked down at her made his face soften and guilt took over him. The last thing he ever wanted was to make her fear him, and he felt disappointed in himself for treating her like this. He'd die for her, they both knew that.

He shook his head and sighed, stepping away from her. "Look, you're not less valuable than the Order. And you're certainly not going to try and protect me again."

"I'm always going to try to save you. There's nothing you can do to stop me. If you didn't do so many reckless things, maybe I wouldn't have to!" She replied, hands on her hips as she looked at him sternly.

"Then I'm not going to stop trying to protect you!"

"Why?! You're a Jedi, you're a General now, there are so much more important things at stake than my life right now!"

"Well, I’m sorry I fell in love with you, okay?! But it happened and I can’t do shit about it!" He yelled and the words reverberated in the room as he froze. Y/N also paused, her breath shaking as the words sunk in.

"You… what?" She breathed out, shocked.

"I- I- uh... I didn't mean to say that..." he stuttered out, terrified of her reaction. If she left him, he wouldn't be able to live with himself, and Ahsoka... Maker, he couldn't even imagine how heartbroken she'd be.

"Is it not true?" She asked, her brain barely registering his words.

"No, no, it is, I just..." he sighed mid-sentence, burying his face in his hands to avoid looking at her. "I didn't want you to find out like this."

"Oh, stars..." she sighed, leaning on the table for stability. "How... when..?"

"Does it really matter?" He asked, tentatively stepping closer.

"I... wow. I mean, you..." she could barely put a sentence together. "Anakin Skywalker... with me?"

"Of course I am. You're amazing," he said, tipping her chin to make her meet his eyes. "You're smart as a whip, you're kind, you're caring, you're beautiful, and, Maker, you're so great with Ahsoka that she almost loves you more than me, heh. I mean, how can anyone not want you?"

"Oh, Anakin..." she said, her heart swelling at his words. "You're so sweet. No man has ever treated me as well as you do."

"Really..?" He asked. His brain failed to comprehend how anyone could ever treat her with anything but love and respect.

"Yes. You're just so thoughtful, you remember the little things about me, and Maker, you melted my heart when I bled through my robes and you gave me your cloak to cover it up. I mean, every other guy just got grossed out and walked away." She recalled, cupping his cheek and nuzzling her nose with his.

He sighed shakily as he felt her breath fanning over his face. He was dangerously close to her, and he knew that he didn't have enough self-control to resist kissing her. "Um... may I?"

"Please." She whispered. He gave her a soft, gentle kiss on the lips that encapsulated all the pent-up feelings he harboured for her. When they pulled away, he rested his forehead on hers, slowly opening his eyes to look at her with lovestruck eyes.

"Was that okay?" He asked, caressing her face.

"It was perfect, Ani." She said and pulled his lips back to hers. He squeaked adorably in surprise and helped her hop onto the table, sliding between her thighs as he wrapped his arms around her waist to pull her closer.

She couldn't get enough of him, and he certainly could never get enough of her.

Ahsoka was going to be thrilled.

[possiblyunhinged]

I feel like if I don’t write about this, I’m going to lose my fucking mind.

Seeing how quickly the presumed narrative spun when people found out the prick in Liverpool who drove into a crowd was white is the perfect encapsulation of what we are failing to deal with in this country—because the noise is growing. The second it didn’t match the fantasy of who they wanted it to be, everything quietened down. Not because they care any less—but because it’s no longer useful to the narrative.

We have managed to create an environment where we can barely focus on tragedy and feel for the victims and their families without also bracing for what’s going to happen next—how it’ll be weaponised to justify more violence, racism, division.

It’s fucking exhausting.

Now, am I saying context doesn’t matter? Of course not. There’s always context. But we’ve created a culture where people are so desperate to feel something—so obsessed with reactive emotion—that they stop asking the only question that matters: why the fuck are these things happening?

And the truth is, a lot of people don’t actually want answers. They want a target. They want noise. They want to scream and perform rage because it’s the only time they feel anything other than doom. And that’s not just depressing—it’s dangerous.

What terrifies me most is how tribal it all becomes. You see people go quiet the second they realise the person responsible is white. Then comes the pivot. The reframing. The desperate scramble to make the facts fit the fantasy. And what’s left? A bunch of flag-shagging weirdos talking about how “if it was a Muslim, they’d be protecting his identity.” No. They released it swiftly because you’re so fucking malleable to vertically challenged fascists that the moment someone feeds you false information, you’re in One Stop grabbing tinnies to go throw bricks at a library. And you dare call yourself logical?

What makes me want to scream is that the people who stoke this hatred—the ones who profit off the misery shoved onto working-class communities—aren’t even working class. They’re rich pricks who failed at being Tories, failed at being liked, failed at being wealthy enough to blend into the world they want to rule. So instead, they turn to the people hurting most and offer them a villain. They speak to anger, fear, loneliness. They offer connection, even if it’s just in hate. And yeah, it fucking works.

Does it suck that the left isn’t adequately challenging this? Absolutely. There’s an emotional void being filled by people like Farage and Robinson because the left has, for years, treated working-class culture with disdain. Until working-class people are no longer treated like collateral damage in the rich’s little game of “aspiration,” this will keep happening. Anything that feeds into widespread conspiracy, even for a second, becomes a weapon. And we’re the ones getting stabbed with it.

And they have the audacity to frame it all as patriotism? Fuck off.

Yes, the left has a long and present history of shunning patriotism, of mocking people who feel tied to their culture or communities. And no, calling white working-class people “uncultured” or saying “England has no culture” doesn’t help. It alienates people who already feel shut out of the conversation. It creates a vacuum—and right-wing opportunists know exactly how to fill it.

Look, as unpopular as this might be among lefties like myself—I fucking love England. I hate huge parts of our history. I find it miserable how illiterate and biased we are about it—the effect colonialism still has on the world. I hate our government. Our political system is rancid. I hate what it’s done to people like us.

I’m also a fucking loser who wants to believe we can still fight for something better—for our own sake. And also because, frankly, life without hope is quite literally meaningless.

And you know what I fucking love? Rain. Grumpy old people at bus stops. Men kissing their mates on the head in pubs. Conversations about petty gripes that end in laughter. The way we mangle old English idioms into daily speech. Not having to explain jokes. Arsehole pigeons. The fact that you can play with how you talk to people here—because irony and sarcasm are the bedrock of how we connect. Yeah, tall poppy syndrome is real, but when we see someone getting picked on, we switch and defend them in a second. Robbie Williams. Robbie Williams. Robbie fucking Williams. 

I want to live in a country that doesn’t bend to the will of rich people. That doesn’t treat community like it’s embarrassing. That doesn’t turn working-class grief into clickbait for fascists. That doesn't make you feel like a mug for caring, or for wanting something softer than this.

British culture used to pride itself on wit—on not being emotionally erratic clowns. Might be time we got a bit of that back.

[felassan]

Video from IGN with Alix Wilton Regan: 'Perfect Dark Star Breaks Down Her Iconic Characters - Mass Effect, Dragon Age, Cyberpunk and More!'

Some notes under cut due to length:

Dragon Age: Origins was Alix Wilton Regan's first major audition

Romancing Sera over the cookies was a favorite moment for her

Inquisitor's romance scenes with Iron Bull are still burned into her brain

"Could one thing in this fucking world just stay fixed?!" - AWR loves this line as it's so her. When she said this line she really meant and felt it. It's one of her favorite lines that she has ever recorded

She loves Sam Traynor. Her grandfather taught her chess, so she really liked that Sam likes chess

When AWR was auditioning for Sam, the devs were big on how Sam is a Londoner through and through, and AWR was like "well. That's me"

AWR: "I was confused initially about the toothbrush [in the Citadel DLC] storyline, not gonna lie. It took me a little while to get my head around it"

When AWR did Sam's final romance scene (white picket fence and the two kids) it was really emotional to do. She remembers crying and being really upset. "I think that might have been the first time I'd ever properly cried in the booth in character, it was very moving."

AWR: "The Inquisitor is probably almost certainly 99% not coming back, to state the obvious. I feel sad, even now, just to think about it, because I've, it's not just that I loved the Inquisitor so much. I loved the Inquisitor so much and I loved all the supporting characters that she had in her party. And I made great personal friends on the projects, that are still my friends, that have still carried over to this day. It was sort of the perfect job for me, that character encapsulates who I am, what I love, what I stand for in the world. I feel that the way that they resolved that storyline was done with such tenderness and beauty. And I'm really quite good at speaking Dalish now." [on the reception of DA:TV] "I feel absolutely devastated for BioWare as a studio that they got such mixed reactions to the game. I personally thought it was a really strong game. I thought that it was just BioWare kind've being more BioWare. I also think a lot of people kind've wanted to see it fail, wanted to see them fail, either because they're just really bad people on the internet, of which there are unfortunately many, as we have discovered, but people were attacking the game before it was released. It's ridiculous. How can you judge a game, a film, a TV show, a book, an anything, before it's actually released? You can't. That's an idiotic stance to take. But I only ever want to see the folks from BioWare thrive because I adore them, basically, and whatever they go on to do next, I have no doubt that their talents will be richly rewarded. We're really lucky we'll get more gold from them in the future."

[source]

[waffowo]

I cannot stop thinking about how Metal Gear Solid V: The Phantom Pain ironically fits as the missing link of the Metal Gear Solid franchise by being this ambivalent and spiteful text that could only be possible because it exists after Metal Gear Solid 4: Guns Of The Patriots.

Like think about it. MGS4 is Kojima’s perfect farewell in how it encapsulates his complex relationship towards his own series, his own cynical but still very much hopeful take on The Irishman (2019) if you will. The game simultaneously reveals Kojima’s hope and affection by pulling every known idiosyncracy to a hyperbolic degree but also his exhaustion and suspicion through Snake being not a hero but an old killer and his reflections on his role as a pioneer of the military-stealth genre within the gaming industry. It even seeks to tackle the behemoth of closing at least the majority of the loose narrative threads. As a consequence, any future game is attacked with the question of purpose since Kojima has already said what he needed to say. 

Through this question is how MGSV can even be allowed to exist because it affirms that the question is rhetorical. The game chronologically exists in a liminal space in the middle, neither here nor there. It even narratively exists as a structural ouroboros, a almost completely closed system which begins and ends on a mirror. Kojima elevates this sentiment to an extreme level by denying any kind of player satisfaction (or nostalgia) by still being an encapsulation of a lot of overarching themes now filtered through a lens of condemnation. 

 There is at least this sense of valour found in the main cast of MGS4. There might not be any heroes but you can tell that at the end of the game, there is a sense of dignity. MGSV works completely opposite to that. The central cast of MGSV is so pathetic that the game plays like a tragicomedy as they aimlessly wander about, overdosing on some serious fucking copium that taking revenge will bring peace. A particular venture you know that’s doomed but can’t help but watch. Phantom Paz expresses this so unsubtly yet so perfectly in her final cassette tape. Peace Day is always going to be a mirage and has been even since the Peace Walker days, it’s just that Kojima doesn’t always focus on the other reality that these people are all still terrorists and war criminals. 

People who expected Big Boss instead got a confused, empty and depressed war criminal who can be found roleplaying as a cowboy. His other hobbies include non-stop vaping and managing war criminal spreadsheets. Mission 43 doesn’t feel like a descent into evil because Venom is already kind of evil but instead works by acting in perfect opposition to Chapter 1 where you sort through your digital files to identify patterns and promptly send them to death in the quarantine ward. He’s so high up the military hierarchy that of course he can’t help but have a crisis when he is directly confronted with the physical reality he used to be able to meet with mechanical detachment. 

Venom Snake also serves as a perfect way to comment on the overarching theme of agency. However, there’s no final monologue to tell you to think for yourself, no Raiden throwing away the dog tags, no Naked Snake refusing to shake an official’s hand. Instead all these typical moments are denied in every way possible to the point it’s very funny. Venom is not only a castrated protagonist but is also basically a preprogrammed AI with no hope to break free because he’s narratively doomed. Your actions don’t really matter. Even funnier, the ending is perfect by hitting you with the “you, the player, were the war criminal all along” that heightens the tragicomic beats through recontextualisation. What is more mortifyingly funny than realising that you’ve just been playing as Raiden AGAIN but instead of someone that exists beyond the player you have become canonised as an in-world character complicit in perpetuating imperialism. This works so well with how if you listen to the tapes and mission briefings closely, you realise that there are so many contradictions that no one are bringing up. Everyone is lying to you and everyone is telling the truth but it doesn’t matter. Venom just captures the disorientated position of the player, caught in this Pynchonesque paranoid labyrinth that it leaves you confused and speechless. What other choice do you have but to smoke a fat one, it’s not like you can actually resist the game if you’re completely out of the loop. 

Aside from Venom, there is of course Huey who has descended into full on pathological lying and delusion. Even if he didn’t cause the second outbreak, he’s so overwhelmed by guilt and paranoia by his other crimes he’s most likely guilty of that he’s able to beat the truth serum. When you’re rescuing Huey, he literally blames you for the destruction of the MSF. Like literally as you’re hauling ass to get him out. Even more pathetic is Kaz who makes these grand statements alongside Venom about taking revenge that you know doesn’t mean shit. His monologues are so passionate and are so depressing and yet he is met with awkward silence constantly that it’s depressingly funny. 

There’s this amazing usage of comedic timing, after you rescue Kaz and bring him back to Mother Base, where he monologues and says, “Dogs of war for nine whole years…that ends today. Now you’re not sleeping, and we’re not junkyard hounds. We’re Diamond Dogs.” The swelling of the music at the last moment is instantly followed by Kaz being shut the fuck up by a medic who puts an oxygen mask on him and lies him down. No one responds to the speech. Ocelot merely only talks to stop the medic and allow Kaz to get a few more words in out of pure pity. Likewise, Kaz’s extreme cognitive dissonance as he believes he can return to the good old days is so pitiful and poignant you can’t help but to stare with sympathy. 

The end of Chapter 1 shows how far gone he is with a very clever cut as Venom turns away from a vision of Skullface where Skullface is replaced by Kaz himself. Chapter 2 then logically shows him becoming full on paranoid, going full on 1984 Minister of Truth because what else does he have left if he doesn’t have an object of revenge anymore? I remember a moment, where he’s calling you, with this sense of manic fanaticism as he rambles to Venom that it’s time to dig up dirt on Huey and finally get him out for good. It becomes so absurd that even OCELOT tells him to shut the hell up. 

Ocelot is maybe the only normal person on board but that title means nothing in-universe. He’s thriving because he’s happily going along with War On Terror 2. He’s normal because he flat out embraces this and even goes out with his crush dressed as a cowboy. Of course there won’t be those moments where he’s of central dramatic focus here, he is simply here for the ride, his true goal to win the game of 8D chess for the man he’s down bad for. 

This band of losers are completely devoid of real purpose and are so…beta and it works because of how it both confronts an equally important reality of the characters not usually as overt and how MGS4 already closing off the franchise sets up how MGSV’s narrative and characters are already and should be dead. Peace is only possible in the case of war criminals when they’ve been buried. Evoking dissatisfaction might not always be intentional and is sometimes accidental but it works because there is no real satisfaction in beating a dead horse just to see your faves perform one more song. Especially if they already aren’t good people.

[tacobellabeanburrito]

Hey um, so a few months ago (I think) I made playlists for Phoenix and Miles that I thought were really good and now I made one for Kristoph. (I'm getting to the others, I'm going to try and do Maya and Franziska next)

I know there are so many different playlists for these characters but like, when I listen to them I just don't really think a lot of them really fit with the characters sometimes if you get what I mean.

I'm not that proud of Kristoph's playlists as much as I am for Miles' and Phoenix's mostly because I feel like I get their characters more and there's actually not a lot of songs I know that fit with Kristoph. I also try to not reuse songs for character playlists so that's a also a hurdle.

Anyway, he's Kristoph's playlist. I also wanna talk about some of the songs I put on there.

The playlist kind of takes inspiration from my headcanons on his life, because a lot of my character playlists are character's lives in chronological order if that makes sense)

Anyway! Time to talk about some of the songs.

The Family Jewels is kind of self-explanatory, I'm sure he didn't have the best family growing up and that's kind of why I put this on here.

He Ain't Heavy, He's My Brother is the only song I could find that kind of fit what I think Kristoph's opinion on Klavier is during the time when they kind of have a healthier relationship. I wanted to put more songs but I couldn't find any, and the songs I did find were more akin to Klavier thoughts on Kristoph.

Blood In The Water is one of my favorites, if only because I headcanon Kristoph as a musical theatre nerd, he probably did tech in high school or something. It also fully encapsulated my idea of what I think his thoughts on being a defense attorney mean. Even if they're obviously guilty, you still have to get them off the hook no matter what.

Razzle Dazzle, omg this is also perfect for him. Why do so many musicals have songs to do with law? Guess that I'm not complaining though. This kind of goes with my thoughts on Blood In The Water. I also imagine him telling this to Apollo.

The Room Where It Happens? Come on, this is perfect for him. He got supposedly cheated out of a high-profile case that he wanted just like how Burr got cheated out of a meeting that he wanted and shit.

Choke is his thoughts on Phoenix, enough said.

Zydrate Anatomy and Everybody's Got The Right are his plans to frame Phoenix, moreso Everybody's Got The Right. At the end of the song, Abraham Lincoln gets assassinated (This is from a musical called Assassins which is about the assassinators of US presidents) and I feel like this is kind of how Phoenix got assassinated, you get what I mean? It's also kind of like, everyone in the song is a villain from Ace Attorney who thought they had a right to their dreams, but Phoenix took it away. And Kristoph is the only one who was able to get Phoenix.

A lot of the songs now are mostly his thoughts on Phoenix and all the conflicting feelings he has for the man, and as a lot of you know, I'm sure they had something going on during the 7-year gap. There is no reason for them to have that much tension come on. (Hellfire is a big example of this, as well as Rule 34#) (But also I Can't Decide is so good for him too, cause ya'll know he wants to fucking kill Phoenix but he also can't bring himself too)

Bezos I is basically him. Nuff said. I'm So Humble is too.

You're Gonna Go Far Kid is about Apollo, I also thought that this song could work for Phoenix and Apollo's relationship, and it could, but I think it might work more for Kristoph, especially because I don't have a lot of songs from Krisoph as I do for Phoenix.

Laplace's Angel is sooo good for him. Will Wood was made for him. (Will Wood is just made for villains to be hoenst)

We Both Reached For The Gun is obvious. Nuff said.

Your Obedient Servant is kind of what I think is going through Kristoph's mind during the Borscht Bowl case. Come on, it's so good. PLEASE.

Call Them Brothers, oh, this one hurts. It's so him and Klavier it's kind of insane.

Confrontation. Nuff said.

My Way by Frank Sinatra is actually so good for him and his ending. he mostly accomplished what he meant to accomplish.

Anyway, that's my rant, I really hope you enjoyed. Because yes girl, use. Give us everything and nothing.

[yannaryartside]

CLAIRE'S LOVE VS NARCISSISTIC LOVE

I was reading Tú no eres el problema: Entiéndete y sana tras el vínculo con psicópatas y narcisistas by psicologist de Elizabeth Clapés and some of the descriptions of the love of a narcisistic person sounded very familiar.

I would like to start this by saying that I don't think Claire is a narcissist (she has centered Carmy too much for that to be the case, in my opinion, I could be wrong, but I doesn't feel right).

Yet, this book does a good job of describing manipulative behavior that can seem harmless.

We have discussed the possibility of Claire manipulating Carmy. The fact that she has feelings for him is not a reason to discard the possibility of manipulation; she may be doing all these things because she genuinely thinks she and what she is doing is the best for him. While gaining his affection in the process. For some people, manipulation may be justified by the means. they may not even call it manipulation. The fact that she "loves him" doesn't mean she didn't force the relationship into being, or she may be playing a part in getting what she wants. There may not be malice, but there may be an unhealthy approach to gaining someone's affection. That is what I am getting at.

content warning: discussions of experiences having a narcissistic romantic partner.

Disclaimer: I do not have much to say here, but to list the behaviors listed in this book that could be relevant. I have been influenced by other posts analyzing Claire's behavior; but I understand that this may be assuming the worst from a character we still don't know much about. The author of this book encapsulates narcissism and psychopath behavior to help people identify these tendencies. I am using this list only to indicate the manipulation that can come from someone determined to get a relationship in an unhealthy way. I will be paraphrasing and translating. In the book, the "love interest" of a narcissist is referred to as their "victim," so I will be using that term.

BEHAVIORS OF A NARCISSISTIC WHILE PURSUING A ROMANTIC RELATIONSHIP.

Show only the best of themselves.

Love bombing, creating a perfect castle customized for the victim's wounds. They know what the other person needs and modify themselves to fit their needs.

Only when the narcissist is sure that the other person has developed feelings for them would they start talking about the mistakes they made, but always showcasing the pain that those mistakes caused them and downplaying the consequences it may have for other people involved. (This could be demonstrated by Claire downplaying (IMO) the fact that she almost killed a fucking kid, but made a whole story of how that affected her emotionally). This scene happened after the relationship was established.

Using family members of the victims to get access to them (telephone number, talking about how the Faks would beat him up for rejecting her).

Making the victim feel like they are doing them a favor by being with them. That they are too good for them.

The relationship starts when the victim is going through a really difficult time in their life.

The victims fall in love with the way the narcissist treats them, presenting themselves as the ideal partner.

All this to say, there is a space for discussing the fact that Carmy is a person with highly integrated self-hate and little to no significant social experience or experience creating healthy bonds with people outside his family. Then he falls in love with the "perfect girl" with no needs and is always in the mood to attend to his needs. He is a typical victim of narcissistic people. If Claire had been a man, many more people in the audience would have raised an eyebrow at Claire's tactics to get to Carmy.

Not to mention, the only apparent narcissist in the series is Donna, and the mechanic of love bombing their kids after making mistakes instead of taking accountability is a typical behavior of narcissistic parents. There is also the possibility that Carmy was able to accept Claire's love because he was familiar with the love bombing, but since she told him there was no other shoe (Donna's eventual mood swing), he may think this is the real deal (hence the peace comment).

Anyhow, this may be nothing. But it feels to much of a coincidence indeed to be nothing. If Storer is creating this story based on his experience (he was casted out of his family I understand) he has to be aware of manipulation techniques and the vulnerable position declining mental health puts you in with those individuals. You are telling me they could not engineer another way for Claire to pursue Carmy? Or all those things other blogs have rightfully called red flags, particularly in her profession where she has lives in her hands? Idk.

[gingergofastboatsmojito]

Their whole arc 🎶

I’m trying to move on and analyze other Sydcarmy songs, but I’m still stuck on this one because it´s about both of them, and I love that joined storytelling. I feel like they could sing it in a duet, Carmy playing guitar and singing his part, and Syd only doing vocals, and it would be so perfect! This song is sooooo THEM.

Soooooo much to say about every line 🎶

I have already talked about it here, a few days ago when I was going over my favest scene of the season, which is the best Sydcarmy endgame foreshadowing ever, alongside the preserved cherry on his glass board in S2. More about Lloyd Wright´s ship poem here.

In that 1st post I elaborated on how Syd is home to him and that change of pace in the middle of the season 04x05, that little encapsulated pause where Carmy took his time to envision the house he wanted to grow old in, is EVERYTHING Syd represents to him, that is why he was interested in the kitchen, the table, the light... all things that symbolically represent Syd. But unfortunately, he´s still in his subliminal era, although he´s getting there. The full insight will be S5 material, I´m sure.

So this great song is about their arc together and about each one separately, as well. It´s everything all at once. Such an amazing choice, Sadist!

The part about “eating up my traveling time” is about the fucking clock Computer installed at the restaurant. The countdown.

And also about the whole "every second counts" mantra that is part of the whole DNA of the show across the board. Even when the "every second counts" era ended in 04x01, with the decision to do things differently from then on, the review was followed shortly by Computer's arrival and the tying of them to a new race against time, this time with an ultimatum. It´s like they can´t escape it no matter what.

BUT on the flip deeper side:

It´s also about how it´s really all about the journey, not the destination. And that’s a lesson that Carmy is learning by letting go of his obsession with getting a star for Syd, but also a lesson she has to learn about not getting caught up in the chaos herself and losing her drive. Because, as Carmy said, she’s doing it for all the fucking right reasons, she can’t lose that, like he did. In her case, focusing more on the journey than on the destination is about that; it´s her reminder to take Carmy´s experience as a cautionary tale. Never losing her "traveler" flair in her race against time. Carmy is goal-oriented, and he´s trying to leave all that behind and move on, continue his path to that "city" where the river is so pretty and the air is so fine, and the words "I love you" are told. Be a traveler, leaving all his baggage behind, to get to that place where he can lay over, home. Syd plays a different tune, she´s calm in the storm, she´s got the cool water when the fever runs high.

Carmy was in crazy motion till she calmed him down, it took a little time till she did (4 to 5 seasons = several years). This, of course, is a musical foreshadowing of a beautiful Sydcarmy happy endgame, not just a remark in regards to his panic attacks.

This part that is specifically about walls and walls, and Syd are basically intertwined concepts because everything is about walls with Syd due to her G woman complex, which we could see on full display in S4 in 04x05 and 04x06.

But, if we think about it, it´s actually about both of them and how their walls come down, but at different times, because each is also going through their own individual process, and they make each other better at this but they also have to go through their own journey individually at their own pace.

In the House post that I mentioned above, I said that the part about the words "I love you" is about Carmy, and I still believe that but if I go deeper this comes to mind:

And I know that felt like a bullet for him because he knows by now that "appreciation" doesn´t even to cover what he feels for Syd.

He wants to be her Friend, for starters.

He wants to live in her city.

Also, the river reference in the lyrics reminded me of them both, because this is the place they both go to, to reflect and chill when things become too overwhelming for them.

Bonus track: Even the art in the cover is soooo telling, because that song is foreshadowing what´s behind their masks, and there are stars and chairs in opposed, yet complementary positions that FIT TOGETHER. It´s crazy how well the whole Sydcarmy symbolism fits this song, I´m amazed!

@clairee-5 @hamachibloodmagic you 2 are musical chefs, wanna add something?

[ghost-bxrd]

GIRL CODED JASON !!!!! HI HELLO OMG TUMBLR USER AND AMAZING AO3 WRITER GHOST BIRD YOUR POSTS AND STORIES JUST ACTIVATE BRAINWORMS IN MY HEAD 😭😭😭😭 holy fuck hi I'm too shy to come off anon but I love the discussions you've been having, so just chipping in !!!

I love the many many looks on how people interpret him being girl-coded, exploring his feelings towards domestic violence, towards victims, women etc, extremely good points that you brought up ! And I'd like to bring up that on a more meta level, the way his character is treated by DC and by people in canon as a whole is also so... girl-coded ? Going to try my best to articulate since eng is my 3rd language 😔😔 Sorry if it's not consise 😭😭 I have FEELINGS AAAAAAAAAAAA

I think the core of this "girl-codedness" stems from a few things, two things I can point to currently are how he's treated as a victim and fridging. Fridging is the easier one to see imo, it's something that's usually associated with female characters but fits Jason a lot. It's not about him and his trauma/pain being feminine inherently (nothing can be categorised in that way honestly) but how it's dealt with by people and the narrative.

Let's take a look at its counterpart which is 'Dead Men Defrosting' trope coined by John Barton. Here's the source for that: https://www.lby3.com/wir/r-jbartol2.html, and a quote from the Women in Refridgerators website I feel is really encapsulates this whole situation.

"...women heroes are altered again and never allowed, as male heroes usually are, the chance to return to their original heroic states. And that's where we begin to see the difference."

Sounds familiar, doesn't it? Additionally, the grief that his death bought is made to be even more objectifying than it should have been. It's made to be Bruce's and everyone else's more than it is Jason's. The image of the dead character is, by necessity, distorted and is served as fuel towards a different character. He's reduced to his death and the pain associated with it is milked for like... 16 yearsish??? A perverted memorial, a perverted memory, an altered legacy. He was just 15. A boy. (Still, I wouldn't say Jason was fridged per say, as the term is created in reference to female characters and they have little to no agency in their stories there, but that 'feel' is there. So I understand where the girl-codedness comes from!)

It’s that the way a lot of characters treat him and a lot of the tropes used on him are things that are typically associated with feminine characters. It's also about how he's treated since he's not a perfect victim. Every attempt Jason has made to express his pain and his anger just gets him labelled as emotional, unreasonable and hysterical (which are again, unfortunately terms associated with women.)

There's many different points people have brought up about Jason, such as his bleeding compassion as Robin, the tears at the end of UTRH, and so on. Nonetheless, I think there's a lot of nuance that comes with gender discussions, since these things are deeply personal to people, and there's disagreements to be had. And that's cool !! There's many points loads of other people also being to the table that I love !! Contradictions too !!

Anyhow, so many cool PPL and analysis these days,,, ILY ANON WHO BROUGHT UP TITANS TOWER (anonanonanon pls chip in again and my life will be URS) Also ILY TUMBLR USER MAGIC-CRAZY-AS-THIS FOR PUTTING THE WEDDING DRESS IMAGERY IN MY HEAD, ALSO ILY GHOSTBIRD FOR THAT AMAZING REPLY AND ANALYSIS,, I LOVE THIS LITTLE POCKET OF COMMUNITY U HAVE CREATED this is so beloved 🥺🥺🥺💞💞💞💞

All very good points!

I don’t have much to add here except perhaps the argument with the memorial case. You’re absolutely right. I never realized how similar it is to the classic hero trope of protagonist mourning their dead love interest/family and dedicating their entire life to a memory of them, citing the actions they take to be in honor of the dead person.

On one hand, I tend to enjoy that trope. On the other hand with Jason, it all became horribly twisted so very quickly and lead to a hard downward spiral of Bruce having a real assholish phase.

But yeah that’s a whole other can of worms better left unopened for now ksksks.

I’m very happy you’re enjoying this blog 💚 it’s honestly super rewarding to hear people say that when it was one of the main goals to have this be a safe and harmonious space for everyone 💚💚✨

[woodlaflababab]

So, I like kataang a lot, but I feel like I might have a bit of an unconventional view on them? Like I don't really understand the "Tui and La, Push and Pull" dynamic people will talk about for them, especially when zukaang takes up like, 75% of my brain. (Edit, @chocomd in a reblog explained the push/pull concept to me and its actually great, plz check it out, I was wrong kendjdndn)

One of the things that makes me like kataang so much is they're, to me, not based on a archetype really? Like, they're not opposites, but they're also hardly the same, they're not two puzzle pieces that fit perfectly together, they're each their own shape and their love is purely that, love. Little else, and I've found a song that I think perfectly encapsulates the way I see Kataang.

At My Back by Madds Buckley (Spotify Vers.)

And I want to go over just a few of the lyrics to point out what I mean.

If you're the sun, I don't want to be the moon, the moon's too far away from you, I'd rather envelope you in the bluest of skies

You don't have to be opposites to compliment eachother. There is nothing opposite about the sun and the sky, but they're not matches either, they're just two things that come together to make something beautiful

Don't say opposites attract, I'd rather fight you over things we both like

Katara and Aang like so many of the same things and I think there's something to be said about that kind of connection. Also, we need to appreciate getting to geek out about and debate about shared intrest more? I love the silly fights I have with my dad over atla (a big one being whether suki is a part of the gaang or not) I love talking with friends that have interpreted a scene different and getting to debate it all. I feel like Katara and Aang would get to do these things a lot. They'd be the couple that shares fandoms and ships sksjdjdn

Don't make up for what I lack, I don't need a missing piece, just someone at my back

While I do think kataang do make up for parts the other lacks, their relationship isn't built on that. It's built on the fact that they're ride or die for eachother, that they back eachother up. They're partners in crime. They're so fuckin jwbdjsnf gung ho for eachother fuck I love them so much

And if you're the left shoe, I can't be the right, I'm just another pair that's just a little tight when I get moody

Jsbfjnsnd I fuckin, love this line. They're both their own people, a full pair of shoes on their own, (and they're both so moody when they want to be) and they love eachother at their worst, no matter how moody. They don't expect eachother to be some other half of them, they just love eachother for who they are, as simple as that

Just be my friend, and when the night is cold get close

My favorite thing about them is that they are built on such a strong foundation of friendship. They are best friends first, lovers second, and I think that's how any good relationship should be. Just be friends, and let romance be a part of loving eachother, getting close and sharing in struggles and, of course, cuddles

The rest of the song is also supeerrrr kataang imo, or at least how I see them. It's super sweet and I highly recommend checking it out if you're ever looking for kataang songs.

But yeah, it's like, The Kataang Song for me. I love these two so much, they make me so emotional. So sweet and perfect and just kshdjdndj ugh ugh ugh

[ipostmysimpingstuffanonymously]

Another post? damn

I was on vacation a few weeks back and had no internet so I downloaded all Fanfciton that were Satoru/Shoko tagged and rated them.

Here are the ones I rated 5/5 ... so i guess this is a ff recommendation post lol

The delicate art of flirting

3rdgymbros

Words: 1,960, Satosho, 5/5

This is so good. I love that the first years get brought into the infirmary and they just KNOW ahahahahah. Also it’s just this casual side thing but there something so much deeper that i hurts which i like about this ship

Like a lost shirt

Lua

Words:1,520, Satosho, 5/5

I am a sucker for raw and "practical" relationships. Like this is exactly how I imagine them to grieve for Suguru and I love that so much can be left unsaid but the reader and Satoru and Shoko both just know. What they have isn't healthy but it's the only thing they can have. A happy and healthy relationship with someone else would just simply not work. They are both too fucked up for that.

Sorry about the blood in your mouth (i wish it was mine)

Her_black_tights

Words: 17,761 Sashisu/ Satosho 5/5

So I am biased on this one cuz this is one of my headcanons. That Suguru fucked around with both and that his absence is why Gojo and Shoko are a thing. And I feel like this fic perfectly encapsulates the hurt, the brokenness and the necessity of their relationship. Like this is how they cope and its messy and unhealthy and i love it

Listen I love you joy is coming

Antioedipus

Words:3,938 Satosho 5/5

This one is cute. Nah cute is the wrong word, they are goblins but it’s nice. They are both fucked up which is funny. Also 100% can see that Shoko doesn't have the emotional capacity to console a crying woman but still would do the right thing even if she doesn't think it’s the right thing. 

Work and not run (skip and not fall)

Aminstrel

Words:2,300 Satosho 5/5

Love this! Cute! Exactly how i Imagine them. Also match cut? Peak comedy hahahaha goblin energy.

Catalyst

tiressian

Words:4,170 Satosho 5/5

AYOOOOO first tiressian ff. i remember reading this and having gotten new horizons opened xD Anyway: love it, super nice character interaction. Love it when Gojo is stumbling over his words, a tiressian special! Also love the aftermath, hilarious but sweet.

To my significant (b)other

Tiressian

Words: 6,621 Satosho 5/5

Another banger! Back to back? Spoiled honestly. I love this one just because it makes so much sense that she writes a list. Also Gojo high as balls is hilarious. Then the whole dialogue at the wedding with the chaste touches omg my skin is prickling. Love it.

Warmth

Satoluvs

Words:2,663 Satosho 5/5

I LOVE THIS. Omg adopted Yuji has my heart. Also consoling somebody by not talking it out but taking them in giving them affection to cure the sadness omg. Also also Satoru and Shoko just dating super casually i looooovee it.

Breathing underwater 

Shrimphony

Words:1,848 Sashisu/ Satosho 5/5

This one hurts so much omg. And this could easily be canon. Idk why Gege does not show us Shoko’s grief more…. Like even if it's platonic how can she not find solace in Gojo still being there hmm? And then when Gojo, Nanami and Yaga get ripped from her, that must have destroyed her…

Shore 

Tiressian

Words:7,161 Satosho 5/5

VERY TASTY thank you for the meal. I love their dynamic. Back with the tiressian special. Also Shoko making him do push ups, same girl same i get it. Love the banter, it makes so much sense.

Epoch

Tiressian

Words:6,341 Satosho 5/5

Yum, yes, very nice. Love cheerleader Gojo, he has my heart, that poor dude. No other comments it's perfect

Call it a hunch

Tiressian

Words: 5,560 Satosho 5/5

I think this is one of my favourites hahhaha. I love how panda is trying to convince everybody hahahahah. Also the snowball fight is glorious xD the little yuta/maki you slipped  in there, i see you hehehehe. And the end has me ROLLING HAHAHAHAH

It's the thought that counts 

Tiressian

Words: 2,182 Satosho 5/5

THE CUTEST ahhhh i love them i really really need to draw the three of them uff.

there's lots of 4/5 ones too that I'd recommend but i need to cap the list somewhere xD (the google doc has 12 pages wtf ahahahah) This is up for changes anyway :P but enjoy my recommendations xD

[randomthefox]

The question is, how do I write to Amy? For her to be so cute yet so annoying?

Spose it depends, and at the end of the day it's very subjective. I think the balance is just right in Sonic Battle for example, but a lot of people think that that's a "bad" game for Amy. Even though she is objectively perfect in it. But the fact that you have to write the character as annoying on purpose is inherently going to mean that to some people she'll be TOO annoying and that'll spoil the whole dessert for them. Amy needs to be a perfect blend of sweet and tart, but some people are diabetic lol.

The other characters reactions towards Amy are key, in my opinion. Particularly Sonic, but the other characters are important too. I feel like this is the perfect encapsulation of the ideal reaction that they should be having towards Amy.

A literal translation is "well, it can't be helped" or something along those lines. Windii translated it into the second picture.

Either way I think that perfectly represents the ideal reaction to Amy's antics from the other characters. Nothing we can do about it, no choice but to either go along with it or get out of the way. In her own way she's a force of nature, carried away on her own flights of fancy and devoting herself to a lofty little ambition of her own invention. And she reacts very violently to anybody who challenges her whimsical fantasies.

I think the secret to getting the balance right is to remember that Amy is supposed to be a comedic character. Comedy is also subjective, so that too is going to land badly for some people. But for like 90% of the stories Amy is a part of, she's supposed to be really funny. But then at the end she can get serious. She's like an inside out joke. A regular joke is mostly a serious set up, so that the subversive punchline hits you with the comedy. But for Amy most of the set up is funny, but then she pulls out the emotionally impactful serious moment.

Like in Sonic Adventure 2, the entire joke of her involvement in the story is the boys keep running off and leaving her behind much to her chagrin. And to some people, they don't find that joke funny (even though it is objectively hilarious). But the whole thing works because then we get to the Last Story where Amy has been left behind again, but in being left behind she comes upon Shadow who isn't participating and that gives her the opportunity to emotionally connect with him and remind him of Maria's true final wish which convinces him to change his tune and help out.

She's a funny bitch, practically the butt of the joke, right up until she hammers you in the gut with the emotional highpoint of the entire story.

The best solution would be to make her cute AND annoying AT THE SAME TIME. This is why Sonic Battle is such a good Amy game. Her whole story in that game is she thinks Emerl is like her and Sonic's practice baby. So she goes ALL IN on being Emerl's mother, trying to take care of him but also impart proper social values and moral lessons onto him. Only this is an idea that she's completely invented out of nothing, and everyone else realizes that and none of them want to participate in it with her. Also Amy constantly fails to live up to her own ideals of motherhood.

THAT is peak Amy Rose right there. Absolutely perfect. She's being an annoying dumbass, but she's also ADORABLE. Trying to be Emerl's mom and smack proper manners (and formal Japanese speech etiquette) into him, only to immediately descend into vulgarity and violence when Phi interrupts her is HILARIOUS. Cute as a button, this stupid pink bitch. I just wanna pinch her little cheeks while she pouts and pulls out her hammer to bash my skull in.

Or you could just say fuck all of that and turn her into Sally Acorn I guess. Because that's "fixing" her.

Whatever works for you.