#80s power battle

[miauwenn]

EPIC RAP BATTLES OF HISTORY

[haveamagicalday]

Battle of the Barbies! Round 6: Causal

This is round 6 of the bracket. All other polls in can be found here.

[frostise]

𝐊𝐈𝐋𝐋𝐄𝐑 𝐅𝐑𝐎𝐒𝐓'𝐒 𝐑𝐄𝐃𝐄𝐒𝐈𝐆𝐍

a huge update on KF's uniform: louise will now be wearing a titanium battle suit instead of a leotard! the official name for it is called 'thermo-armour'. it'll be very similar to her arkham uniform, especially the cool blue accents and the jagged, black Y's marking it front to back. due to her ability to skate on ice thanks to the 'clicker ice blades' built underneath the sole of her boots—T.A.B had specifically made her attire be similar to snowboard armour protecting her from hard hitting blows, making up for the fact she's not the most durable operative in their operation. the suit is lightweight enough for KF to remain a nimble and evasive opponent in battle. it functions as a heater as well and amplifies her limited super strength to the point she can easily break someone's bone! the white fur will still be presented around her upper forearm and lower kneecaps ofc. the snowflake emblem/gemstone marked upon the centre of her chest serves to easily identify her character. the inspiration for her redesign will be stored here on pinterest for visual purposes.

thermo-armour: made out of titanium because of its heat resistance properties so it doesn't melt if the user is consuming tremendous amounts of heat and is durable enough to last in close ranged fights. if she ever finds herself suffering from a harsh blow then her armour will take most of the damage. it was designed to be lightweight enough for her to remain a nimble operative in the battle. most of her gear is coated in the navy blue and medium navy streaks from head-to-toe and along with it is a black jagged Y marking the uniform from front-to-back. the armour mimics the appearance of snowboard armour used in competitive sports. it's also covered in breathable pads to ensure proper air circulation. the simplistic snowflake emblem shines like a crystal blue gem stapled against the centre of her chest. there's a heating function system installed within it that serves to regulate her body temperature.

titanium ski goggles: has transparent and thin lenses to maintain visibility. mainly used as a safety precaution when she transverses the city in her fancy figure blades and ice trails at high speeds. it also shields her eyes from potential hazards that could cause injury like debris.

titanium ski helmet: there's shock-absorbing foam inside of the helmet to cushion her falls and ensure her survival. overall a tough shell to break through.

hockey skates: built underneath the sole of her boots. can be used as transversal equipment with her ice surfing and in rare cases lethal weapons to slice against someone's skin with the metallic blades.

[astralprisms]

Wrote a little prompt fic courtesy of @bg3wips flowers prompt list on twt. I can't remember the first time Xa'rok used Dissonant Whispers, and their signature weapon came later, but the first time they used the illithid powers was memorable, relevant, and came with a fun interaction perk, so.

Thistle - the first time they used their signature weapon or spell.

The din of unsheathed weaponry rings around them in a cascade of echoes. Goblins shift on their feet as bowstrings creak with impatient tension. One of the goblins spits, loud and wet, and the glob of it lands just shy of Karlach's fur-lined boot.

“Prick,” she mutters before burying her fist into the abdomen of the troll that towers to her right.

The troll looks caught off guard, either by the attack connecting or the fact that it actually felt the blow, but it doesn't have time to ponder the discrepancy further before Karlach whoops and follows that strike up with another, the air around her fists crackling in her wake.

Xa'rok spares a seconds-long glance at the staggering troll before their eyes fix on the maelstrom of goblins thickly clustered in the center of camp. They are no natural-born tactician, but they are gith. In the end, it amounts to one and the same.

They take stock of their enemies in increments, grouping the threats by severity, weapon, and proximity. They can see the tell-tale regalia of the goblin priesthood peeking out from the doorway of a rampart wall. And the two humans they met in the woods north of the Grove, the ones who first called them True Soul.

The parasite squirms in Xa'rok's skull. Something sparks to life behind their eyes and they blink as the feeling washes over them. Power.

One of the goblins in the cluster at the center of camp shifts on his crouched haunches, the crossbow in his hands aimed with deadly accuracy. Xa'rok takes one feinted step forward and calls upon the pulse of magic in their blood, blurring out of existence at the front steps and re-appearing at the epicenter of the crowd, hand already reaching for their sword.

But by the time they materialize the squirming in their skull has become a buzzing that filters down into their sword arm, and as they bring both hands to their face to shake it free, Xa'rok finds a new course of action: for their vision has gone dark around the edges, blurred as if they are still in between one place and the next. Their feet have left the ground, and the buzzing has become a hum, a wellspring, a gaping hungry maw. The only thing restraining it is their own will.

Once realized, they let it go.

Reality shifts. A blip in their vision. An expulsion of force with the ring of psionic detonation. It tears through their mind and out.

The goblins drop around them like flies. Bryanna and Andrick stare in twin horror until their eyes go blank, and they, too, collapse into the shadow of their rampart hideaway.

A pleased, honeyed voice sluices through Xa'rok's slowly-reconnecting thoughts. Good. Again.

[savage-kult-of-gorthaur]

UP THE SNAGGLETOOTH BATTLE METAL PUNKS -- SUFFER NO WIMPS IN 1980.

PIC INFO: For your "Motörhead Monday" -- Spotlight on a MOTÖRHEAD "Ace of Spades"-themed Snaggletooth illustration, artist unknown, c. early '80s.

Source: California Bummer (blogspot/shop).

[evilhorse]

Taste the power of Grayskull!!

(He-Man and the Masters of the Universe minicomic: Slave City)

[emile-hides]

PALDEAN DEX COMPLETED!!

[swan2swan]

I really do love that Harribel was given a decent arsenal of attacks.

[raidante]

The ref is sitting there,,,, menacingly!

-🌩️☕

IT IS!! honestly tho I do need to redo the full body aspect..it looks so ugly 2 me now... but the headshots are still perfect methinks

its the best ive adapted Kaneko's art into my own style + gotten his hair correct

[thejakeformerlyknownasprince]

@trainzelda​

To me it's the climax of MM2 When they decide not to destroy the meteor. Because the metor would never have hit earth anyway if it weren't for the animorphs interference. So humans were never supposed to exist. They could have put history back on its natural course by destroying it, but they let it hit to ensure their own existence. It's entirely self serving and I might even go so far as to argue it's genocide. That was the most fucked up thing they did to me

That moment is Animorphs as fuck.  It gets me every time that Jake invokes hospitality when he argues with Tobias — that’s such a Classical ethic, that the people who open their home and share their food with you deserve a level of respect greater than friendship.  Jake’s right, and Tobias is kinda right, and every choice is wrong.

in your opinion, what was the most messed up moment in animorphs? either most shocking, weird, gross, horrific....however you want to answer

The scene I've always found most viscerally disturbing is Ax and Marco on the Normandy beach on D-Day (MM3). It's the soldiers rushing the beach in waves, "Like cattle going down the chute to the slaughtering floor. But, of course, cattle don't know what's corning. Humans do... And they still came." It's the way Marco sees every murdered soldier "Like Jake. Cassie and I had sworn to protect him. But there'd never even been a chance." It's Ax being awed by the simple act of the medic being killed "while trying to save a man he must have known was doomed."

The two coldest and most aloof Animorphs are reduced to "crying, sobbing" and "digging in the sand" at their inability to make sense of the battle. It's Ax desperately wanting this to be Visser Four's fault, because surely this can't be the way history is supposed to happen. By the time Rachel is dropping grenades, we understand her sheer desperation to make it stop, regardless of the cost.

That said, maybe I find that one so impactful because it's a real event. My grandfather fought in that war, my distant cousins died in that war. I don't have the same visceral fear of turning into a spider that I get from "Bullets entered organs by neat, round holes and came out in a shredded mess... One second they were scared and brave and alive. The next second they were dead."

Anyway, everyone's mileage may vary, and if someone else has a different contender then toss it out there.

[homunculus-argument]

By the power of ADHD, I am immune to tinnitus. My left ear rings very faintly, and most of the time I can just completely tune it out because the constant invariable note cannot hold my interest for long. I only actually hear it when the other background noise of whatever environment I am in stops all of a sudden, and the ringing is the only one that remains, and then it gradually fades out like the end of an 80s pop song.

Sometimes I can make it fade out faster by trying to focus on listening to it. The more I focus, the more quiet and distant it gets, until I can't hear it anymore. In the battle of Curse of Infinite Whistle versus Can't Hear Shit Disorder, my ability to simply not notice my surroundings is an immovable object, but the inescapable noise is no unstoppable force.

I consider myself a fortunate man for how often my problems somehow manage to cancel each other out.

[a-bad-case-of-the-stephs]

There is an idea that Stephanie Brown was crime fighting as The Spoiler for fun, that she saw it all as a game. This reading isn't out of nowhere, it's supported by the things she and other characters say, especially in War Games (2005). However this understanding of Stephanie Brown's actions doesn't account for the large majority of her time as Spoiler, and oftentimes directly contradicts things she says or does.

This is important because how we understand why Stephanie keeps acting as The Spoiler informs what is true about the character. If she's doing it solely for kicks, it's not exactly unfair to call her a reckless idiot who should have listened when Batman and Robin told her to go home and stop wearing her costume.

So, should she just have listened when she was told to go home over and over again? Did she never take crime fighting seriously? Or was she battling against her father's sins to prove herself worthy? Or is there something else entirely going on? It seems like even Stephanie doesn't know at times:

Robin #40 (1993)

There are points where she makes light of her involvement, likening it to something she's doing for "the fun":

Robin #5, Robin #25 (1993)

And times where she rejects that same premise utterly:

Spoiler/Huntress: Blunt Trauma (1998)

It's very tempting to see this as character progression, she starts her first appearance in a Robin comic calling being Spoiler a "goof" but by the time Cataclysm rolls around, she says she isn't doing it for "the fun of it". However, this idea doesn't align with her first appearance and attitude at all.

I'd like to propose a reading which can account for the multiple reasons stated that she returns time and time again to being the Spoiler: the Spoiler represents Stephanie's agency and serves as a way for her to empower herself.

If we're determining why Stephanie Brown is Spoiler, we have to start where she starts, analyzing the her first appearance, and her motivations for creating the Spoiler mantle.

Stephanie's anger at her father + feelings of helplessness and lack of agency + desire to protect others = The Original Spoiler

I’ll stick to only evidence and panels which refer to or depict her time before becoming the Spoiler, or during her very first Spoiler "mission".

Let’s break it down

1.Stephanie Brown's Anger at her Father

This one's pretty self explanatory. I'll get into how her hatred of her dad has to do with Stephanie's feelings of helplessness and self loathing later. But for now, Stephanie's anger at her dad is pretty clearly one of the main things motivating her very first Spoiler appearance.

Detective #648

2. Stephanie Brown's Lack of Agency

Her father is an abusive piece of shit to Stephanie and her mother. He never stays in jail for long, and now that he's been cured of his clue-leaving psychosis, he might not go back at all.

80 Page Giant: Secret Origins (1998)

Her mom is, as Steph sees it, hopelessly addicted to her pills and drinking, Steph is unable to help, as she states: “talking to her didn’t do any good”

Detective #467 / 80 Page Giant: Secret Origins (1998)

Creating this costume and persona is not only a way to get back at her dad, it’s about her seizing power, it’s a decision to have agency, to no longer be helpless. She is no longer a passive observer in her dad's crimes, she is the force actively 'spoiling' it.

In her first story as Spoiler, we see that culminate to a dark point: she’s so desperate to have some control of her life and by extension, her father who has been robbing her of it for years, that she nearly kills him.

Detective #649

When Stephanie became the Spoiler for the first time, it was about her anger at her dad, and finally having control over his influence over her life.

But most crucially, her first appearance as Spoiler is also largely about her desire to help others.

3. Stephanie’s desire to protect other people

This is established solidly in her first appearance as the Spoiler. She states that she was stalking her father “trying to make sure nobody got hurt”

Detective #468

And later in the same introductory arc, she only jumps into the fight when Batman’s life appears to be in danger:

Detective #469

This applies to her mother too, who she sees herself as responsible for protecting.

Stephanie identifies her father as a trigger for her moms struggle with addiction, and the same shot which shows Stephanie sewing together her first Spoiler costume also features her mother, sleeping next to an empty glass and pill bottles.

80 Page Giant: Secret Origins (1998)

The 80 Page Giant furthers this idea by recontextualizing the scene where she jumps into the fight with her dad in Detective #649 by adding her internal monologue in that moment: clearly reframing her actions through the lens of this protective instinct towards her mother

80 Page Giant: Secret Origins (1998)

I'm sticking to her first appearance backstory stuff primarily, because for now I'm just making a case for her original reason for putting on the costume, but I think it's worth it to mention something Steph says about "one of the first" missions she gave herself as Spoiler.

Steph says she made it one of the very first missions she wanted to achieve as Spoiler to track down the man who nearly sexually assaulted her as a child. Despite the fact that she was severely traumatized by this (unable to stand being alone with men for years afterwards) she didn’t try to do so out of revenge, but specifically because she knew he would go after more young girls.

Robin #111 (1993)

She first becomes the Spoiler in order to stop her dad from hurting her mom, herself, and other people any more than he already had. But why does she keep going? Especially, why does she keep fighting crime after her dad is locked away in prison?

And if she's Spoiler because of her genuine desire to help people, and her anger towards her dad, and her feelings of helplessness, where does the idea that she does it for "fun" come from?

Contextualizing "The Spoiler" as a way for Stephanie to give herself agency is the strongest reading which answers both of those questions.

Much of what we see Spoiler do, is directly paralleled to what Stephanie cannot.

The most obvious example is her stopping The Cluemaster.

Stephanie Brown might be stuck with an abusive, criminal dad who never stays in jail for long, but The Spoiler can make sure he doesn’t hurt anyone else.

80 Page Giant: Secret Origins (1998) / Robin #111 (1993)

But there are more covert examples of this as well.

Stephanie Brown might not be able to make her mom get clean, only able to watch as she seems to succumb to her addiction over and over again, but the Spoiler can confront and potentially stop her gymnastics coach from dealing drugs after one of her classmates overdoses, in a way which is shown in conjunction with Steph's relationship with her mom.

Showcase '95 #5 (1995)

Her rage at being misled by her gymnastic coach, her anger at him for betraying the kids who "looked up to you", mirrors her anger at her mom in this same comic for how her struggle with addiction has affected their relationship. Spoiler attempts to do what Steph wishes she could: fight and defeat addiction, as a proxy for her desire to help her mom, and her frustration that she can't.

Stephanie Brown might be in a relationship with a selfish asshole, but as The Spoiler, she gets the attention of a smart, honest, good guy:

Spoiler/Huntress: Blunt Trauma (1998)/ Robin #80 (1993)

Robin (debatably) is the one who instigates this idea. (Kissing a girl on the mouth, even if i was out of relief for her saving your life, sort of sends mixed signals as to whether or not she has a shot.)

Robin #5 (1993)

Tim himself juggles with the fact that he both feels a responsibility to discourage Stephanie from acting as Spoiler, but doesn't, because he doesn't have an excuse to hang out with Steph, but he can spend time with her when she's Spoiler.

Robin #41 (1993)

Stephanie Brown doesn't get loved, doesn't get understood. Not by Dean, not by her mom, and certainly not by her dad. But Spoiler? Spoiler seems has a real shot.

Steph doesn't really feel like her mom cares, and she knows her dad doesn't. She wants to feel powerful, she wants to feel useful, she wants to protect people, and she really really wants to be loved.

She sees Spoiler as a way to achieve all these things, and that’s how she uses the identity.

Therefore, the Spoiler feels empowering, specifically in contrast to Stephanie Brown and her garbage home life and her helplessness and feelings of inadequacy.

This ties into something I haven't really explored yet, Stephanie Brown's canonical self loathing. This seems to linger in the periphery of her earlier time as Spoiler, but picks up significantly during and after her pregnancy arc.

She's dealt with blaming and hating herself in her past, we get a mention of how she had to overcome believing she was a bad person in the wake of her nearly being sexually assaulted:

Robin #111 (1993)

And she deals with feeling of inadequacy and self hatred again and again in her time as the Spoiler as well.

Steph refers to her boyfriend, who is unable to tell her his real name, share the majority of the stuff going on in his life with her, and who always has to wear a mask around her, as potentially "too good" for her. I don't care how cool and nice you think Tim Drake is, I think this is definitely indicative of at least some self esteem issues.

Robin #57 (1993)

Her self esteem issues become more clear during her teen pregnancy arc. She tells Tim straight up that she would understand it if he had cheated on her/left her.

Robin #59 (1993) / Robin #62 (1993)

This ties into why she acts as the Spoiler as well.

Stephanie blames herself in part for her dad's crimes.

She obviously didn't make Arthur Brown commit his crimes. This is just another instance of Stephanie's self loathing informing how she acts, in this case, being part of her rationale as to why she is Spoiler.

Robin 80 Page Giant (2000)

As Stephanie, she was helpless to stop Cluemaster from abusing her mom, unable to stop how his presence pushes Crystal Brown further into her addiction, unable to stop him from hurting other people and herself with his crime. This lack of agency explored earlier combined with her self blame leads her to believe it's her job as the Spoiler to "make up for" the bad she wasn't able to stop before, a responsibility which is obviously not on her. We see this also in the 80 Page Giant: Secret Origins (1998), where she briefly refers to 'spoiling' his plans as "her job", in a way that indicates a degree of responsibility.

It's no wonder that Stephanie becomes so attached to the Spoiler mantle. As Stephanie Brown, she is helpless and unable to control her environment, and she deals with thinly veiled self hatred and blames herself for this helplessness. But Spoiler gives her the opportunity to take control. That's why she returns to it time and time again, against the wishes of pretty much everyone.

This reading also aligns with the instances we get where Stephanie is portrayed as doing crime fighting for "fun". While I think its clear enough by now Stephanie clearly isn't out there for "the thrill", it's absolutely no surprise to me that Stephanie refers to it as a "rush".

It's, quite frankly, a little bit of a power trip. Of course it feels fucking fantastic to finally have a say, to no longer feel useless and helpless and guilty, to finally get to do something about all the shit that used to crush her. To finally stop feeling helpless and worthless, to have a chance at being loved. It probably feels fucking fantastic!

Why in god's name would she ever want to give that up? For her, I think its a very easy choice, the potential danger of acting as Spoiler brings upon herself doesn't factor in all that much at all.

The Spoiler as a symbol of Stephanie's Agency theory accounts for the multiple different and somewhat contradicting explanations we are given for why Stephanie acts as Spoiler.

I want to emphasize that this is not a bad thing, and also not entirely selfish. Agency means the freedom to go after the guy who she was powerless to meaningfully stop as an 11 year old (telling her asshat of a dad about it only got her yelled at and dismissed), but who might still be out there preying on other young girls. Spoiler means having the agency to protect her mom from her dad. Spoiler means having the agency to protect her neighbors.

But Spoiler also means this 15 year old girl gets to feel strong and loveable and worth something for the first time in a long time.

[snapewife-divorce-lawyer]

counting down the top 10 sexiest droids in star wars.

i’m 100% serious btw. this is based solely on my memory so if i forgot your fav, feel free to comment

#10

this guys from a new hope! now i must somewhat shamefully admit that this is based entirely on looks. but i mean come on look at it. instantly clocked it as a freek

#9

these annoying fuckers from clone wars. this goofy ass attempt to make battledroids more intimidating did at least produce a droid i wouldn’t mind coming home to every night. these guys are huge brats too. excited to see how that plays out in more intimate settings

#8

it’s just something about it. i can’t put my finger on. its so resolute and sinister, and yet it is not unlike a a wild rabbit. it’s delicate hands and big eyes make me want to care for it. i want this thing to call me mommy.

#7

the ferryman from the mandalorian. he is so dutiful. a powerful aura. he looks like he could hold me tight in those big strong arms

#6

i could fix him

#5

look we all knew this was coming. he’s powerful sexual presence it’s simply undeniable. the baddest bitch in star wars just barely beating lando. i’ve chosen the sexiest picture of him that i could find. enjoy.

#4

battle droids but specifically the ones with paint on them. i think these would have the closest analogue to human intimacy of any on this list. and even then, kissing them is an exciting geometric chalenge

#3

sexiest picture in this post by far. oh my god these look inside books. should i be tagging this as nsfw? this diabolical baddie even deploys one of my favorite droids ever. making her the only droid milf that i can think of.

#2

gonk droids. but specifically gonky from the bad batch. i think this one is probably the most indescribable. i can say little details like how he kinda reminds me of 80s computers and i love 80s computers, or how the simplest shape can sometimes be the best, or how cute it is when he kicks his feet in the air while he is being used for weightlifting, but none of it really adds up to how i feel

and the number one sexiest droid in star wars (and it’s not even close) is:

chopper. obviously.

dilf dot com. this guy has such an attractive personality. beyond words how wonderful his design is. one of my favorite star wars characters and one of the best droid designs

[cherryredstars]

hello cherry! i hope you are having a wonderful new year because i know i am.

little info, this is the same slut who requested overstimulated hobie brown. i read it, gorgeous. literally screenshotted it because of how good it was. i need more of it and i am willing to fight with a spear and a shield for it.

so you know like, 70s/80s are when female domination finally was at it's peak? yes so i would like to request a very dominant and MEAN (maybe even older/more experienced though honestly thats up to you) reader. make her mean its hot. not that being rude is hot, but i like women just as much as i like xy beings and i like my women kinda fucked up

thank you🙏

Pairing: Hobie Brown x fem!reader

Warnings: 18+, NSFW, Slight Degradation, Choking, Penetrative Sex, Facesitting, Face Slapping, Hair Pulling, Sub!Hobie

Summary: Power to the woman.

A/N: So glad you loved it! Hope you enjoy this one too!!

Word Count: 1.8K (Not Edited)

The sound of his head hitting the wall is muffled by his moan. 

His hands grab desperately to your sides, his eyes rolling back when you suck hard at his lip piercing, the sting of pain going straight to his cock. Your hands are fisted around the lapels of his leather jacket, pushing him harder against the wall. Your hand falls away from his jacket, going further down until you roughly cup his bulge. He groans, his head leaning back as your mouth starts trailing kisses against his neck. Smudges of dark red lipstick stain his skin, being accompanied by hickeys as you bite and suck on him. His hips buck into hand as you return to kissing his lips. For a second, he tries to gain control, pushing back on you and fighting your tongue with his. 

Your brows furrow, your other hand leaving his jacket and wrapping the front of his neck. You use your entire weight to push back on him, your hand squeezing his neck enough to make breathing slightly harder. He whimpers when he’s forced back against the wall, quickly losing the battle between your tongues. Your tongue invades his mouth triumphantly, exploring his mouth before pulling away. His lips try to follow yours, but the hand around his neck prevents him from getting far. You tsk at him, shaking your head. You press your lower body against his, grinding your front to his bulge. He hisses, his hold on your hips tightening. 

“That wasn’t very nice of you, Hobie.” You sneer, squeezing his neck tighter before letting go. Hobie coughs slightly, his chest heaving as his breathing comes easy. “A pathetic attempt on your part.”

Hobie smirks slightly, tilting his head to the side. “What can I say, love? Y’make me weak.”

Your hand slaps his cheek, his head moving to the slide before you quickly grab his chin and force his face down to yours. You have a disgusted look on your face, and Hobie resists the urge to whine. “Don’t smart mouth me, little boy. Get on the bed.”

He can feel his cock twitch in his pants, his eyes going hazy as he looks down at you. You scoff, pushing away from him. Hobie quickly shrugs off his jacket, grabbing his white beater from behind his neck and pulling it over his head. He throws it to the floor, looking down as his hands rushes to undo the button and pull them down his legs. His underwear goes with the pants, leaving him fully naked as he rushes to the bed. He throws himself onto it, leaning on his elbows as he sits at the edge. You’ve stripped too, leaving yourself in your bra. The rest of your body is bare, exposed to him. Hobie groans as he looks at your body, biting his lip as you straddle his lap. 

His hands fall to your thighs, squeezing them. Your hand goes to the nape of his neck, massaging the base of his head before your hand grabs a fist-full of his wicks. He winces as you pull his head back, forcing him to look up at you. You tilt your head to the side, your other hand coming up to trace the shape of his jaw. He gulps as your thumb presses into his chin, your face leaning down towards his ear. You blow warm air against his neck, causing his body to shiver. 

“Do you want to make me feel good, Hobie?” You whisper into his ear, your voice dripping with sexual appeal. Hobie tries to nod, wincing again when he remembers his hair in your hands. 

“Yes,” he mumbles, his hands rubbing up and down your thighs. 

You smile, licking the shell of his ear before pulling away. Your hands leave his hair and chin, moving to his chest. You push him, making him fall back to his elbows. Your hands fall to either side of his head, your nose almost bumping into his. Hobie’s breath hitches, eyes dropping to your lips before moving back to your eyes. You raise an eyebrow at him, tilting your head again. 

“Good, then be a good little boy and lay on your back at the top of the bed.” You demand, pushing yourself up until you’re kneeling on the bed. 

Hobie is quick to follow your directions, pushing himself backwards and laying his head back on the pillows. You follow him once he’s laid flat on the bed, his eyes glued to your form. Your knees land on either side of his head. Hobie can’t decide where to look, his breath elevated as he looks between your face and your sweet pussy. You smirk, your hand landing on his head to keep his gaze on your cunt. Your other hand slides down your body, two of your fingers spreading your pussy lips apart so he can see the slick dripping from your entrance. Hobie groans at the sight, licking his lips as his mouth goes dry. 

Your hand joins your other on Hobie’s head, tilting it back. You slowly lower yourself, your thighs bouncing the second you’re fully seated on his face. Hobie’s eyes go to your face, half-lidded as his hands come to your thighs. 

“Suck.” You demand, grinding your hips down onto his face. 

He groans as his mouth opens and latches onto your clit, sucking and licking at it. You moan softly, your eyes closing in bliss. You tighten your hold on his hair, a vibration running throughout your body as he moans against your cunt. Your hips buck, his nose rubbing against your clit messily. His breath comes out in sharp exhales from his nose, warming your mound before being smothered with your cunt. His eyes are hazy, hands tightening on your thighs as he laps at your pussy. Wet clicks sound under you, the echoes of his tongue lolling being amplified by the walls. 

“More,” you sigh out, slapping one hand against the wall, the other keeping his head in place as you grind down on his face, “C’mon, Hobie. Tongue fuck me.”

Hobie’s eyes squeeze shut, mumbling against your pussy lips. You moan out when his tongue prods at your entrance, slipping in and licking at your throbbing walls. You curse under your breath, bouncing down on his face slightly to push his tongue in and out of you. The small sounds of skin slapping against skin masks Hobie’s whines, his hands coming up to your hips to glue your cunt to his face. You can tell his tongue is starting to ache by how sloppy it is when he flicks over your clit and tries to find your hole again. Feeling nice, you bring your hand to your clit, pinching at the bud until it triggers your orgasm. 

Hobie laps it up greedily, swallowing it down as he shakes his head to collect every drop. You hiss, getting off his face as your thighs twitch. Hobie pants under you, the lower part of his face shiny with your slick. His tongue peaks from his lips, licking up whatever he can. Even in his dazed state, he forces his eyes to follow you as you go further down his body. He pushes himself up on his elbows just in time to watch you extend your hand, squeezing hard around his tip. He whines, hips jolting as he falls onto his back again. 

You chuckle, letting go of him as you go to straddle his lap. Your hands are planted on his chest, keeping you balanced as you lift your hips. You tease your cunt over his tip, making him breath out shakily. Your hand slides up his chest, slipping around his neck, effectively distracting him before you slam your hips down on his cock. He cries out as his tip hits your cervix, his back arching off the bed before your hand pushes his chest down flat to the bed. One of his hands wraps around the wrist of your hand around his neck as you begin to squeeze, simultaneously lifting your hips and sinking back down on him. He whines at you, eyes rolling to the back of his head as your walls suction around his throbbing cock.

You scoff, lightening your hold around his neck. “I just started fucking you and you’ve already gone stupid.”

“You’re. Acting. Like. A. Virgin.” You grit out, punctuating each word with a hard slam of your hips. Hobie only turns his head to the side, breathing heavily as his cock twitches inside of you. 

You laugh meanly, letting go of his neck. You force his head back to the position it was in before, slapping his cheek before grabbing his neck again. You glare down at him, your hips never slowing as you begin to cut off his air flow. His head is getting fuzzy from the lack of oxygen and from the pleasure coursing through his body, whimpering weakly as he ruts his hips into you. 

“I didn’t tell you to look away.” You scold. “Keep your eyes on me until you cum.”

He nods the best he can, his hands grabbing at your waist and squeezing the skin to help him fuck up into you. You moan, rewarding him by lightening your grip on his neck. He sucks in air greedily, gasping and choking on his moans. You can feel your orgasm fast approaching, making your hips just barely lift as you chase the pleasure. Hobie can feel your walls clench around his cock, causing him to moan and whisper pleas for you to cum around his cock. It sets you off, crying out as you slam your hips down on his one last time before your body twitches with your orgasm. Hobie hisses as he empties soon after, lazily fucking up into you to help the both of your ride out your orgasms. 

You breathe heavily, your eyes closing as your hand falls away from Hobie’s neck. You slowly push yourself off of him, landing beside him on the bed. His head is already turned towards you, a fucked-out look still on his face. You smile at him, turning on your side so you lean on your elbow. Your finger traces his jawline, your thumb dragging down his bottom lip. You give his cheek two quick pats before you push yourself off the bed. 

You grab your panties and pants, pulling them on before grabbing your own tank top and throwing Hobie’s leather jacket over it. You walk to the cracked mirror hanging on Hobie’s wall. You ruffle up your hair, swiping your thumb against the smudge of lipstick near the bottom of your lip as you see Hobie sit up on bed. You turn when you’ve fixed yourself up, walking back to him. You grab him by the chin, pulling him into a deep kiss. He moans against your lips, following after you as you pull away. You push him back onto the bed, walking away and to his door. You turn one last time towards him, giving him a moving wave. 

“Guess you weren’t that much of a loser after all.”

I’d let reader top me.

[fullfriendnerdclutch]

After Wes did his part, it's Adrien's turn now

*knock knock*

"Come in! I don't usually have a visitor at 8.30 PM at summertime, to whom do I owe such pleasure? Oh....Adrien, son, why are you still in the office? Everyone usually left around 6 or 7 PM, except Cathy obviously, she's such a reliable assistant for me. Oh crap, enough with the rambling, what's up, son?" the DILF said cheerfully, unaware of Adrien's malicious intention

"Oh, the pleasure's mine, sir *close the door*. Especially when I will explore that tight hunky body of yours using that beautiful rugged hands and feeling all the raw authoritative strength coursing all over my system," Adrien said grinning as he takes a swig of his vial that he dropped to the floor with almost half of its content still left inside it. He found himself delighted with the mint-like yet more intense sensation from the potion as he tried to make his move

Taken aback with his own employee seemingly in lust with him so openly, he tried to speak a few words to get some sense back to Adrien. After all, this is the star recruit from a local Catholic college, why is he openly admitting to his homosexual desire knowing full well that his own boss is very much a devoted followers of Christ? But, the moment Adrien sprinted like his sole life goal literally placed right in front of his lanky 28 years old self, Mr. Wilson knows that shit will go south quickly, so he readied himself for an impact as he closed his eyes and raised his arm before realizing that 80% of Adrien's body already absorbed into him. Now faced with Adrien's face literally super close with his face, Mr. Wilson realized how fucked his situation at this very moment as Adrien's form seemingly turned slimy and his eyes clearly a little bit wrong

"We're going to be so close, I'm practically going to puppet your body to do whatever I desired," Adrien said with a maniacal grin that Mr. Wilson wouldn't expect coming from the usually-reserved new joiner

Adrien then lunged for a deadly kiss that will seal their fate and despite Mr. Wilson effort to move his arm to stop Adrien and turn his head away, rest of Adrien solid-slimy form still not absorbed by Mr. Wilson's body simply splashed on the surface of the DILF's face and upper part of the suit. The "slime" then moved to enter all possible orifices, be it Mr. Wilson's mouth, nostrils or ears, all entries are utilized and stuffed to the brim by the leftover slime. Mr. Wilson's body then convulsed like a fish taken out of the ocean in his seat, battling for its life as the invader inched closer than ever to take full control. His erratic movement and the spreading sensation of the invasion drawn him to unbutton his shirt and tried to do anything to stop the sensation from taking hold over his entire body. Yet, when the cold, slimy feeling managed to gain access to the veins in his cock and simultaneously reached the back of his head, he knows that he's fucked beyond repair. Eventually, Adrien's invasion overwhelmed the 51 years old muscle tank, which then roared in delight as he finally take a deep, crisp breath of the air-conditioned, sandalwood-scented executive suite from the lung of the one and only Robert Wilson. He chuckled in delight as his control become stronger with every second passed with him inside his DILF of a boss body. The body actually started to feel less and less foreign and it's like as if he's always in control of this 5'7" fit ball of muscle within minutes, so in an abuse of his boss muscle memory, Adrien slid the calloused hand Robert Wilson used to shake hands with high-powered executives and bureaucrats into the exposed muscular chest now under his control.

It instantly electrifies him as Robert's memory revealed a very sensitive nipple that always sent the law firm partner to his knees during all his sexual escapades. Adrien experienced the same knee-buckling sensation as he can sense the growing erection confined by the denim. Add to the fact that Adrien just practically aroused the 51 years old by slipping inside of him, creamy white spunk painting his underwear and the rest of his clothing is simply inevitable. Not even a minute after teasing the perky pink nipples of his own boss, Adrien shot the biggest load out of Mr. Wilson's dick as if he's been blue-balling himself for weeks! Adrien simply chuckled to the mess he created,

"Sloppy guy, don't you? Fuck I don't expect you to be this easy, sir," he said as he savored the taste of now-his cum from his finger, the taste and the deep chuckling just sent his flaccid cock into yet another semi

"Hahahahahah, I can do this shit all night long," he said as he grinned mischievously while ensuring that he cleaned all his fingers

Looking at his disheveled reflection, Adrien decided to at least clean himself up before meeting his boyfriend. Besides, he's been dying to see the inside of the executive bathroom inside Mr. Wilson's office, so he strut himself to the secluded bathroom in his soiled clothing, the shit-eating grin plastered on his face as his eyes caught the plaque of the law firm, Wilson, Thorpe, van Beecker, the idea of walking around the law firm he now basically own and demanding attention from everyone as they all practically worked for him now really drive him close to the edge. But, he calmed himself down and managed to get into the bathroom without another spunk spoiling his pants.

Inside the shower, more memories of Mr. Wilson unlocked for him. A dinner plan with his son tonight, yeah, just gonna call that sport after this whole shower to cancel it, and mostly memories about works from the past few months. The sensation feels calming and right, that all of this feels deeply personal yet very much rightfully his. It's like climbing a mountain, there's more sight and area that his eyes can see from a much higher vantage point the longer he climbed, or in this case, the longer he stayed inside this body. He can direct his focus to a certain memories even from the distant past now, like his wedding day, the day his only son was born, the moment he tearfully admitted to his wife that he fell out of love with her and reconnected with his old homosexual desire, everything becomes more and more accessible which certainly can help him to play the part of Robert Wilson through and through. He did all that with his eyes closed, head backed to the wall without realizing that his hand wandered all over his body, feeling all the muscle and the ridges of his weathered, strong physique and letting out momentary delighted moan and groan with each touches and more memories revealed. When the memories showcased the first memory of Mr. Wilson, the merging eventually completed as he no longer viewed Mr. Wilson as a separate entity and seeing his memories from third-person point of view, he's seeing and experiencing it from Mr. Wilson's perspective. As that moment happened, the climax hit Adrien very hard as 53 years of Mr. Wilson's life finally fused very beautifully with his own set of memories, making all the pain, sorrow, joy, lust, euphoria and all sort of sensation that Mr. Wilson went through crashed into his system and knocked himself off as volleys of cum wildly unloaded from the hard 9 incher monster that's been on the edge for the past couple of minutes

Adrien found himself splayed on the bathroom floor, losing track of times and his body sticky from all the mess he sprayed. But he just simply chuckled as he found himself finally fully at home inside this studly DILF body he can comfortably called his now. He just quickly wiped off the excess, drying cum from his body with the shower still running and finished his shower in no time as he cannot let his boyfriend waited any longer

As he walked back to his office, he found it weird that the door is opened and he can clearly listen someone humming from inside. And that's the voice of his son, Carl! Shit, he thought frantically, thinking of any excuse to explain why he's showering in the office and skipping dinner with his son without informing him. As he tried to keep his cool and walked into the office suite, his son suddenly greeted him first with no shirts on whatsoever

"Hello, dad. Or should I say, Adrien,"

That's when Mr. Wilson's eyes darted to the now-empty vial sitting in his desk. Who is this person and how the fuck he's in control of Carl's body????

[hotwaterandmilk]

I've been scanning the Yami no Purple Eye art book and it got me thinking about why I still feel so strongly about Shinohara Chie's horror-tinged works in particular. They don't have the sweeping settings, period detail or political intrigue of her historical titles, but they're still the works of hers I revisit most often.

I love the way Shinohara captures the physical and psychological horror of being a teenage girl. How truly overwhelming it can be to come into a new physical state and be hit by heightened strengths and fears. All while grappling with how to reconcile this new, hungry state with the "good girl" you were before the change. It's the way she combines this age-old puberty parable with an escalated 80s bent on 40s Hollywood female monstrosity that never fails to linger in my mind.

Let me unpack my rambling thoughts on this a bit and yeah they are pretty rambly I'm sorry I've got that neurological thing going on and it makes being articulate harder than it has ever been before. Forgive me!

Spoilers, bloody images and rambling re: Yami no Purple Eye, Ao no Fuuin, Umi no Yami Tsuki no Kage and Mizu ni Sumu Hana below.

The heroines of Shinohara's longer horror works are all seemingly average girls who are awakened to something horrific within them as teenagers (be it Rinko as panther, Ruka to psychic abilities, or Souko as an oni). Suddenly they're overcome not just by abilities but feelings, appetites, desires. They go from being good, average girls to young women battling forces within them stronger than anything known to science. There's always a boy there to support them through this, but they feel otherwise isolated or dangerous, unable to seek support from anyone else.

Yami no Purple Eye is frequently compared to the 1942 film Cat People and understandably so - in both you have a beautiful young woman descendended from "cat people" whose beastial side can take over when base urges overcome their normally sweet demeanor (though this film is absolutely not the first example of a 'cat person' in speculative fiction). The major difference, I would posit (aside from the more explicitly sexual nature of Cat People's change), is that Irena is an adult and while she also struggles with her identity and powers this battle is not new to her, she is hopeful for a way out but also somewhat resigned to the way things are.

Rinko from Yami no Purple Eye is new to being a panther, she is fearful of her secret getting out but also fearful of herself, of her purple eyes and her "unnatural" urges. While so much of Cat People is a relatively subtle look at female sexuality as a monstrosity in itself, Yami no Purple Eye shows a transformation that at puberty can be harnessed as a form of protection but also remains linked to the animal kingdom and not "enlightened" modern human society.

While Rinko's incredible strength saves her from all sorts of precarious situations, it feels new and out of her control. It isolates her from normal humans and it paints a target on her her back for Kaoruko, the primary antagonist of the series. I think what makes these pubescent power awakenings so alarming for all Shinohara's horror heroines is this lack of control. They didn't willingly trigger their transformation, they don't understand it properly, and they cannot control it. Ultimately each of them goes through a period of feeling incredible isolation from human society, which is common in a lot of speculative texts where the lead finds themselves estranged from society at large.

In Umi no Yami, Tsuki no Kage Ruka has the double-whammy of losing her normal life and her twin sister, Rumi, who has become deranged while coming into her own psychic powers. Although Ruka has the support of love-interest Katsuyuki, it is this love rivalry which put a wedge between her and her sister in the first place. At times, Ruka feels lost with all the destruction triggered by the sisters' transformation, held by Katsuyuki but with a 1000 yard stare in her eyes. Both Ruka and Rumi know deep down that only they can defeat one another, but how do you defeat your identical twin? How do you fight what is essentially your shadow self and your base instincts run riot?

It requires an understanding of the transformation, an acceptance of the change that has taken place, and a peace with what must come next - all of which takes Ruka the better part of 18 volumes to achieve. Mizu ni Sumu Hana takes a shorter route on a similar theme with the two Rikkas and the seeds, giving us another set of two near identical yet drastically different girls fighting for survival.

And being a teenage girl in these stories is very much focused on trying to survive. Another consistency across all these series that underscores the isolation of the heroines is the loss of those around them. Family members and friends are murdered or manipulated indiscriminately. Even if Shinohara's heroines try to seek support from someone other than their love interest, it is very quickly put to a stop by an opposing force. For a young woman in these worlds, struggling to understand her new body and changed mind, there is no option for support outside a male romantic interest.

That in itself is horrifying (though admittedly not as well-examined within text as I'd like, it certainly does feel like a comment) but it becomes a hell of a lot worse if your love interest's goals are at odds with your own. We see this with Souko in Ao no Fuuin who is revealed to be an oni that must survive by consuming humans. Her (false) memories are human and she has only recently learned of her oni nature so understandably she doesn't want to be a predator, yet she must eat people to survive. Akira, her love interest, rather than being a dutiful normal boy like Shin'ya in Yami no Purple Eye, is from an opposing family tasked with destroying her.

Eventually Akira's affection for Souko outweighs his duty to eliminate her and the two work together to try and figure out a way for her to become human and thus no longer require defeating. But initially in Ao no Fuuin, Souko is entirely alone with her growing hunger and power, unable to confide in anyone and unsupported by a romantic interest which proves just as isolating as it sounds. Like Rinko, Souko has gaps in her memory, a sensation that she's done something unnatural but a desperate need to be wrong about it, to be proven human despite all evidence to the contrary. As both heroines have entered their teenage years they have lost all they knew of stability, family and normalcy to have it be replaced by the uncanny, unnatural and unacceptable.

To have the body and mind become unreliable in your teenage years, to feel overwhelmed by forces you didn't know were within you, to feel like you're the only one experiencing such horrors... I mean it's all a big puberty metaphor isn't it? And yeah, to a degree these stories are simply turning the horror dial up to eleven on a cross-cultural feeling of coming into the power and bodily changes of adulthood before your mind can catch up with them (though in the case of Shinohara's stories every lead is shown to be attracted to the opposite sex and not explored as being anything other than cis, so there's definitely a lot left unexplored regarding pubscent queerness in her worlds).

All of Shinohara's long-form horror heroines seem to go through a period of grasping back for the safety and "normalness" of their childhood selves, of who they were before their body and mind betrayed them. Souko repeats to herself countless times that she is human not necessarily because she knows it to be true, but because she wants it to be true. She longs for who she believes she once was and we see similar grief for Rinko and Ruka, now awakened to their new lives as teenage monsters, as they reflect back on the comforting dullness of the recent past with a newfound appreciation and longing.

Ultimately, however, Souko was never a normal teenage girl. Rinko's power was dormant but she was always of panther blood. Rikka was always going to be used as a pawn between black and white dragons. Only Ruka, whose power was awakened after surviving a near-fatal bacterial infection, ever had an entirely normal human childhood and even then she must accept that what she and her sister had in their innocence can never be rediscovered. For some of these heroines there was never a "normal" to go back to and even for those that did have a glimpse at average life, it is ultimately gone from their grasp regardless. Time marches ever onward and for these young women there is no ability to wind back the clock, they must continue forward like all of us, even if their awakening to adulthood is more violent and bloody than most.

While everything I've touched on so far seems absolutely godawful, I think it's important to tie this all together with a bow of hope. Shinohara Chie's long-form horror and suspense stories put all their leads through the wringer, but they are never without hope. There is some degree of happiness out there for all her heroines, victims of circumstance and blood. However, it is not the happiness they had anticipated for themselves as adults and I think that is key to the whole exercise. Shinohara's heroines can at times be passive, clinging desperately to the idea that they can reverse what cannot be reversed. But in the end they must accept and embrace their new bodily powers. Just as we all must accept adulthood even when it doesn't adhere to our childhood hopes and dreams.

Rinko goes through absolute hell to try to get her happy ending and ultimately she doesn't get it, but her daughter Mai does manage to carve out a sense of happiness just by being with the man she loves. Souko can shed her obligation to the Kimon and be with Akira because her previous incarnation's daughter willingly takes on the role of heir for her. Ruka can live on but to do so must kill a willing Rumi and accept that what happened to them will ultimately be forgotten by the greater consciousness. Both Rikkas are revived and can choose their ultimate lifespan as the lost lotus flowers blossom once more.

None of these are your traditional happy ending, but what links them together is a sense of sacrifice. Part of the journey into adulthood, into surviving the horror of having a body as a teenage girl, is accepting the flawed state of adulthood. It comes at considerable sacrifice and it isn't necessarily what you dreamed it would be, but it is yours and you got where you are as an adult through the blood, sweat and tears of your younger self. There's a beauty to that and to Shinohara's flawed heroines and their often patchy narratives. Having a body can be horrific, it can be overwhelming, and it is inherently isolating... but it is essential to experiencing the beauty we do have in this world.

And idk I just think that's neat.

Shinohara isn't an artist to everyone's tastes and I do think there are strengths to her historical tales that perhaps aren't as present in her more horrific works, but her super powered horror stories manage to capture a type of pubescent alarm that a lot of other authors cannot master. While all these works do feel dated to a degree and present a limited scope of gender and sexuality, there's something I find timeless about revisiting the horror and joy of being a girl both cursed and blessed with the burden of a body.

-

Edit 14/10/24: I would like to point out that my use of the term "horror" here relates to consistent thematic elements presented in these series rather than their specific genre labels, roots in other sub-genres or relation to other foundational texts outside of Shinohara's oeuvre.

Shinohara's speculative work is frequently labeled battle/suspense manga (with some shorter works earning a 'suspense horror' description at their most intense) and I am in no way disagreeing with these labels or trying to relabel the above titles as strictly horror. Nor does this post seek to break down the full context of these titles as they fit into the development of 80s/90s/00s shoujo.

This post exclusively reflects my personal thoughts on the bodily perils faced by Shinohara's super-powered heroines in the aforementioned texts through a horror lens (which in turn reflects my area of focus back when I studied film).

Everyone will have their own intrepretations of these texts and these characters and that's what makes hearing people's opinions so interesting - always open to hearing yours if you stumble onto this. ^^