#But I still don't want to touch those posts because it's so immature

[inimoose]

Just a little reminder that you are valid and deserve good things :)

DNI if you breathe air. This post isn't for you!

[celibibratty]

i thought reddit were more down to earth, no!, this is not being down to earth, they are just rude...just rude!/jerks!, it-was-only-supposed-to-be a text saying that the pak mei form should have on Nintendo switch.........i have a fucking fuss/fighting magnet for some fuckin reason on this shit💢🔥 anything I say on this shit site appears a bunch of motherfuckers to disagree or complain about something, trying to be the known at alls, don't mess with me, that i don't mess with you, if you gonna bite/come to me with bad heart shitty comments, i will bite you too(and i will bite HARD), don't try me, i not in my best state of spirit🔥💢, you so coward and dumbass that you need a bunch dumbass homies like you to defend your shitty behaviour/comments so you feel right/in power, whata hell, i just do/write things on my own little way if don't like/don't have patient to read it, FUCK YOU!, so you not the person to read this, it makes me feel sad how such a cool game like sifu attract such motherfuckers(come on ana i already know/notice that since the moment that the game released (february 2022), don't get so surprised, gamers/fight game community is shitty), stop, stop, stop with this, i used to thought the same thing with lis2 on 2020/weird diazcest and extremist anti phase, i shouldn't take this things from heart, shitty people will always exist on things that you like(it's not the things fault, don't blame them, Ana)

[hitlikehammers]

feels like home

rating: t ♥️ cw: coming out, softness, recovering from the upside down ♥️ tags: pre-relationship, post-s4, fluff, hurt/comfort, Eddie is having many feelings, the main one being that Steve feels like home, platonic stobbin, supportive platonic soulmates coming out so Eddie feels safe to do the same, injury recovery, still-so-soft

for @steddielovemonth day seventeen: Love is about a hand reaching out to you so you don't get lost (@yournowheregirl)

this definitely takes place chronologically after this one so: have some of these codependent lovebirds as they start to figure their big feelings out ♥️

It’s weird, and probably unhealthy, that his hospital room—like this—feels kinda like home.

But he thinks it’s okay, to be fair, because it’s not like he thinks this place is home; the smell of antiseptic is still pretty sharp in the air even as he’s gotten disconnected from one machine, drip, or monitor every day until he’s largely free to toddle to the bathroom on his own as long as there’s someone to watch and make sure he doesn’t fall. Wayne’s there for that when he can be, which explains the home associations, but: the rest of the time, in fact—kinda more often than it isn’t?

It’s Steve.

And Eddie struck a deal with himself—no digging in to the fluttery-gooey-warm-chest-squeezy feelings while he’s laid up in a bed—but when he walks around even under supervision, it’s…feeling like he’s cheating.

Plus the feelings are getting kinda…kinda loud.

Because Steve is always there, sometimes he ever stays when Wayne comes, at least for a while. He leaves to keep an eye on the Party, leaves to check up on Max, hits the community hub: but it’s…it’s such a blip of time, honestly, in comparison to being here, with Eddie.

And when he’s gone, it doesn’t…it doesn’t feel at all like home, it feels kinda fucking horrible, so.

Eddie doesn’t even actually have to dig in to that train of thought. It’s pretty fucking clear as-is.

He’s surfacing from kind of, like, a light doze, not even a full on nap, and he’s gentle with the coming-to of it because he can kinda, like, feel Steve’s presence at his side and he’s talking really low anyway, even if he couldn’t, so Eddie definitely knows it’s him, and he could have guessed the other visitor pretty easy even if it wasn’t her voice that was the first to bleed through with actual words:

“She’s,” Robin makes a little stifled whine; “you’ve seen her.”

“Not my type but,” Steve’s saying from next to Eddie; “ I see your point, yeah.”

“She’s like a,” Robin’s voice goes kinda hazy, a little dreamy; “like a fairy creature, or! Or like a prairie woman with those, those hats—“

“A prairie woman who likes boobi—“

“Stop!” Robin hisses low, and Eddie can feel her knock his mattress a little, she must lean over like she wants to enforce her will somehow: “stop stop stop—“

“If you can’t say it you probably shouldn’t be touchin—“ Steve’s saying and god, his voice is so bitching, and Eddie think he kinda fucking lov—

Oh. Oh, well. Shit.

“I’m not touching!” Robin moans, but kinda frantic with it; “the problem is I am not touching!”

And Eddie, too, is not touching the thought he just had about those four fucking letters that are, that, that are—

“Also it’s a gross, immature word,” Robin’s going on and…oh.

Oh.

Okay, so like: even if he’s just kinda in that liminal space of awareness, they have to know he’s more awake than not; his two remaining monitors are different even when he’s calm and just resting, but as the words themselves sink in, now? His heartbeat’s betraying the hell out of him for the staccato it’s pinging on the screen as he processes it: Robin’s showing her cards, though Eddie’d always figured she might be a bird of his feather, but, like—

“Is it though?” Steve’s murmuring low and so, so judgmental; “seems more immature to not say it at all,” and he, he fucking tsks at her, then, and, and—

And then—

Then Steve’s saying words that make no sense at all, like: sure they’re words. In English. Eddie’s very sure of it. So that means he should definitely comprehend them. But…

“You should listen to me, Robs, seriously. I do still like boobies, too. I have insights.”

And Eddie—Eddie’s eyes fly open, he thinks out of shock? That makes the most sense, like he’s startled into full-wakefulness, that tracks as he blinks up at the water-stainer ceiling with his heart in his throat as he tries to find sense in those words, fails, tries again, fucking fails, all as the Corsican Twins cackle over word choice, good god, and then—

“Hey.”

Steve’s grabbing his hand at the wrist and covering it so gently, fucking…cradles it and stories his thumb over the insistent tap of his pulse and meets his eyes, so wide and honest and earnest and if Eddie’s heart wasn’t already primed toward racing it sure as shit would have started just with those eyes on him, and that touch on him, and:

“You okay, man?” and it’s so simple, and Eddie doesn’t fucking know what’s happening on his face, what kind of of shock or terror or something deeper still is seeping from his expression but Steve’s studying him, watching for long seconds that stretch for-fucking-everbefore his jaw squares and his head tiles, something resolute shining through in him and he moves so slowly, lifts Eddie’s hand in his so slowly and Eddie doesn’t even wholly clock what’s happening, let alone that it’s real, as Steve fucking pauses their hands by his lips, so Eddie can feel his breath so warm and he watches, then, waits, and Eddie doesn’t think through what it means when he nods, like it’s not actually a legitimate thought, exactly, he just knows that, that—

Whatever’s happening, and however terrified he thinks he is: he can trust Steve.

Because somehow: Steve’s home.

It’s still fucking earth-shattering when Steve does lean, when his lips brush against the heel of Eddie’s palm, still scrape-covered, and then he reaches just as slow again for Eddie’s cheek to cup, to fucking cradle that, too, and Jesus H. Goddamn Christ—

“You’re safe, Eddie,” is all he says and maybe, maybe Eddie’s reading into it way beyond what he should, but like, it doesn’t feel like Steve’s telling him he’s safe maybe from the lingering threads of a nightmare, or that he’s safe from the government, from the cops, or from the Upside Down coming for them because they all know it’s still fucking coming but Eddie has felt scared of it once, yet, not like this, not here, with—

But Steve’s tone doesn’t just hold that: it’s bigger. He means…

They had to know he wasn’t really asleep, and so, Eddie, Eddie thinks Steve means…

Yeah.

Fuck.

“You’re outta water,” Steve’s saying and Eddie didn’t even notice he’d been reading to pour Eddie a glass from the ever-present pitcher at his bedside then he’s standing, his hand leaving and fuck all if Eddie doesn’t lean into it before he can think twice but Steve just smiles, soft, as he walks out the door.

“We talked about it.”

He turns to Robin almost violently, head kinda snapping her direction with the speed and force he moves with.

“We weren’t gonna hide it from you, but like,” she mashes her lips together, Eddie can see she’s trying to find a way forward with the least possible rambling, but the clearest possible throughway so she can get what she needs to say out, before Steve comes back.

“You shouldn’t feel like you have to,” she hums a little; “be that, you know, open? With us, if you don’t want to,” her eyes are so big and sincere, and Eddie’s pulse is steadying if only slowing by a fraction, but she does help put him at ease, even as she trips a little over the rest: “if you had any thing that was, y’know, kinda private or, something,” she nods to herself and plays with the hem of her shirt: “yeah.”

Eddie nods to himself, and…he can’t, he can’t not ask her, not in this window, because she said they’d talked and if this wasn’t part of it she loves Steve fierce and he could be still a little fresh off death’s door, she’ll still tell him to fuck off if she needs to, so at least there’s that, at least he knows, like, he won’t be allowed to step where he’s not welcome, and—

“I’m,” and fuck, his voice is a mess, he does need a fucking drink but in the absence of one at hand, he clears his throat hard and accepts that consequences of it burning like hell; “he, umm,” Eddie bits his lip and gestures toward the empty door, eyes Robin kinda pitifully: “he said—“

Robin, thank fuck: Robin is merciful, has to see where he’s going, here, and she points to the doorway indicative of who isn’t in it, yet:

“Very both,” she says simply, then point to herself: “very…”

“Boobies?” Eddie suggests and Robin, she just groans.

“Not you too,” and…okay, shit, umm, well—

Eddie… maybe Eddie can be brave. Like, in small doses.

“Actually, ah, I,” he stumbled but then he makes himself take a breath, makes himself try:

“No, not me too,” he says in a rush and looks up at her through his lashes, so fucking vulnerable: “like, very specifically not, me too.”

And she smiles at him so warm and…like, almost welcoming, which is weird but feels, nice? And she pats his arm kinda affectionately and, just—

“Did you decide to take me up on my wisdom so we can actually accept she’s almost definitely into you, and move on to planning your wedding?” Steve slides back in and shuts the door behind him, getting to pouring Eddie some water before he even sits the fuck down.

His fingers brush Eddie’s as he passes it off and, it probably shouldn’t make Eddie all tingly, Steve did kinda kiss his hand? Like, a little?

But that don’t mean shit: Eddie’s all pins and needles and, like, sparkles.

“He’s the only help you’ve got here, Buckley,” Eddie screws his courage up one more time because…because Steve needs to know, too; Eddie wouldn’t put Robin in the position of not knowing whether she can tell her platonic soulmate something, make her keep a secret even by implication but so much bigger that that is, are—

All the things he doesn’t want to poke at, or dig up and examine, that he’s dodging on the excuse of convalescence: all those things taken into account: he trusts Steve. He feels…so much for Steve already, and he feels weirdly sure that whatever happens next, those feelings are only gonna find ways to grow, so—

Steve has to know, not just because Eddie thinks he suspects it, but because Eddie tells him—because it’s….’cause it’s Steve.

“Feels like it’d be foolish not to take the man up on the offer when he’s definitely the expert in the room,” Eddie pushes on, awkward but determined; “seeing as I don’t, umm, know about,” and his eyes flicker to Robin for a second, before they land on Steve to finish:

“About boobies.”

And Steve does say anything, doesn’t look any way save how he’d looked before: calm, and mostly-relaxed, and right next to Eddie, and Eddie’s eyes drop from Steve’s face and find the collar of his shirt, the peak of hair from in between and, shit, shit, he’s talking about tits and then there’s Steve’s chest hair and holy fucking wow he is staring:

“Umm, I mean,” and fucking fuck, now he’s talking—

“Like, not that kind, at least,” and then he forces his eyes down to the sheets over his lap and considers if it’s possible to dissolve into cotton if it’s startchy and uncomfortable as shit, and you happen to be mortified enough to sink into the fucking threads.

But then; then there’s Steve.

Because of fucking��course there’s Steve.

And Steve?

Steve takes his cup from him when he could easily have leaned to put it down himself, but then Steve replaces the cup in Eddie’s grip with his own warm hand, like a tether, like a lifeline, like a…

Like a promise.

And when the conversation turns toward strategizing Robin’s approach for Vickie, Eddie’s, he, he just…

He’s home, y’know?

tag list (comment to be added): @pearynice @hbyrde36 @slashify @finntheehumaneater @wxrmland @dreamwatch @perseus-notjackson

♥️

divider credit here

[lucky-clover-gazette]

kings rising highlights & annotations

chapter 13

indented text is from the book. some quotes have commentary, some do not. some comments are serious, and some are definitely not. most of them will only make sense to people who have read the series. and, like, there are spoilers. so please read the books first if you're interested!

also: part of the reason i'm doing such a close reading is to study cs pacat's style, especially in terms of how she does romance and erotica. there are "craft notes" that might seem weird, like i'm being redundant or restating something rather than analyzing, but those are more things that i want to remember/take away from the writing!

i'm going to tag these longer posts with "sam reads capri" in case anyone wants to read them all at once.

this is a google doc i wrote with overall content warnings for the captive prince series. it's not perfect, but i do think it's important to include.

The intimacy of last night might have been too much for either or both of them.

sorry you’re not convincing me that scene was like groundbreaking relationship-shifting magical catharsis. but this is ultimately damen’s narration and his perception has never been 1:1 with what’s actually happening, in terms of authorial intent or what i analyze

They were gazing at each other. To Damen’s delight, Laurent reached out to trace a touch down over his body. Laurent was looking at him as if he couldn’t quite believe the fact of him, as if even touch could not quite confirm it. ‘What?’ Damen was smiling. ‘You’re very,’ said Laurent, and then, flushing, ‘attractive.’ ‘Really,’ said Damen, in a rich, warm voice. ‘Yes,’ said Laurent.

this is laurent being soft, but also still being laurent. if that makes sense. the one scene we’ve gotten through his pov has shown that he overthinks every aspect of a situation—the fact that he just awkwardly states that he has observed that damen is hot, in an attempt to ground himself in some kind of objective knowledge, is both adorable and poignant

‘Well,’ Damen owned, turning his head back to Laurent eventually, ‘You are too.’ Laurent dropped his head slightly, on the edge of laughter. He said, with absurd fondness, ‘Most people tell me that right away.’

damen always thought it, but i think laurent appreciates that he didn’t say it then. he really appreciates hearing it now, because damen actually knows him. the compliment has substance and weight and importance that it otherwise wouldn’t. it’s funny bc laurent has used his beauty to manipulate damen before—the baths, verisimilitude, etc.—but i think this is the first time he actually WANTS damen to find him beautiful. maybe even the first time he wants anyone to find him beautiful, for reasons other than strategy (like with torveld)

Sweet and simple in the morning, Laurent’s beauty was heart-stopping.

“you like it simple” my thoughts about that single line of dialogue from chapter 7 is going to continue to be a subject of importance throughout these annotations, as damen ~finally gets what he wants~ from laurent (not using quotation marks bc i don't want to make it look like that's in the text, but i'm being like sarcastic/ironic/whatever)

If there had been a chance for our countries to be—’ Friends.

i like how immature his thought here is, evidenced by the fact that he doesn’t even say it. damen knows it’s silly to think about politics like this, but he’s so attached to laurent as an individual that he’s starting to see vere as a person too. which is both great, bc it shows how much his character has evolved from accepting everything he once believed, but also highlights the way damen can lose himself and his critical thinking in his attachments

'I would have been trailing around tugging on your sleeve, trying to get a look in edgewise.'

cue a bazillion pieces of fanart

After a moment, Laurent said, ‘He would have liked you.’ ‘Even after I started courting his little brother?’ said Damen carefully. He watched Laurent stop, the way that he did when he was taken by surprise, and then lift his eyes to meet Damen’s. ‘Yes,’ said Laurent softly, his cheeks reddened slightly.

this is soooo crazy for them. while i think it does represent legit development, i also think they’re kind of acting the parts of people who are lot more healed and happy than they actually are. like they feel the desire for lightheartedness and vulnerability, and don’t want to deal with the things that make them uncomfortable anymore, so they’re just committing to the bit that they’re fine and seeing where it takes them. see also: the previous sex scene. but they still have big problems (see also: the previous sex scene again) and the book is not over yet

‘No. Listen to me.’ He felt Laurent’s hand firm on the back of his neck. ‘I’m not going to let my uncle hurt you.’ Laurent’s blue gaze was calm and steady, as if he had made a decision and wanted Damen to know it. ‘It’s what I came here last night to say. I’m going to take care of it.’ ‘Promise me,’ Damen heard himself say. ‘Promise me we won’t let him—’ ‘I promise.’

oh he already knows he’s trading himself for damen’s not-son, doesn’t he. which also makes the uncertain and uncomfortable vibes of the previous scene make a lot of sense. it’s kind of a repeat of their sex scene in prince’s gambit, except this time only laurent knows it’s probably the last time (or one of the last times) they’ll ever have together

actually wow yeah, laurent’s insistence here—“listen to me, it’s what i came to say, i promise’—that really nails down the finality and desperation he’s feeling. and damen just Didn’t Get It, and still doesn’t. which is interesting bc he was so pleased in the last scene that laurent was finally being honest, and accepting him for who he was. while laurent was accepting damen finally, and wasn’t even really LYING about his intentions (like right here, he pretty much deadass says it), damen is so distracted and overwhelmed by this romantic victory that he doesn’t notice the tragedy looming

also—“let him” what, exactly? “hurt him?” do you think laurent thinks damen knows what the regent specifically did to him, and could do to his son? bc if i didn’t know that he didn’t know, this line would pretty much indicate that he did. wow that is an incoherent sentence.

Laurent said it seriously, his voice honest; no game playing, just the truth.

damen isn’t actively trying to deceive the reader, but he is definitely incorrect in his certainty a lot of the time. but then again, those words were the truth—laurent is not going to let his uncle hurt damen’s not-kid, and it was the reason he visited last night.

The kissing this time had an echo of last night’s desperation, a need to block out the outside world and stay for a moment longer in this cocoon, Laurent’s arms winding around his neck.

okay what did i just say. we are so fucking back (in terms of actually good analysis)

‘Come in,’ said Laurent, turning his head towards the sound. Damen said, ‘Laurent,’ shocked and on full display as the door swung open. Pallas entered. Laurent greeted him with no self-consciousness at all. ‘Yes?’ Laurent’s voice was matter-of-fact. Pallas’s mouth opened. Damen saw what Pallas saw: Laurent like some dream of a newly fucked virgin, himself unmistakably above him, fully roused. He flushed all over. In Ios, he might have dallied with a lover while a household slave attended to some task in the room, but only because a slave was so far beneath him in status as not to signify. The idea of a soldier watching him make love to Laurent was breaking open his mind. Laurent had never even taken an acknowledged lover before, let alone—

ironic that damen was so overjoyed in the last chapter about this exact situation—that it was LAURENT who he had, being vulnerable and acting like his past submissive partners coughslaves —but when he actually gets spotted in this situation he’s like oohhhhhhh my goddddd nooooo!

like i know i kinda talk shit about akelions a lot, but the persistent theme that it’s inherently some kind of like natural entitlement of the “powerful” (royal, rich etc.) to possess and use people designated beneath them in status just truly reveals how weak and transparent their power actually is. like of course you’re going to look strong, if you only allow yourself to be seen with people you’ve placed in lower stations. some of damen’s shame here must be due in part to his akelion upbringing, but that same upbringing is WHY he got so excited about making someone as powerful and stubborn as laurent submissive and vulnerable to him. in a culture where it’s encouraged to keep it simple, he’s found himself deeply rewarded by the complication of laurent in ways he’d never anticipated, but also afraid of how that complication will come across to his countrymen.

Pallas turned blindly, and made for the door. ‘What is it?’ Laurent looked at Damen, who had detached himself and was sitting with the sheet pulled up to where he had clutched it to cover himself. And then, with the burgeoning delight of discovery, ‘Are you shy?’ ‘In Akielos we don’t,’ said Damen, ‘in front of other people.’ ‘Not even the King?’ ‘Especially not the King,’ said Damen, for whom the King still partly meant his father. ‘But how does the court know if the royal marriage has been consummated?’ ‘The King knows whether or not it has been consummated!’ Horrified. Laurent stared at him. Damen was surprised when Laurent dropped his head, and even more surprised when Laurent’s shoulders started shaking. Around the laughter emerged, ‘You wrestled him without any clothes on.’ ‘That is sports,’ said Damen. He folded his arms, thinking that Veretians lacked any sense of dignity, even as Laurent sitting up and pressing a delighted kiss to his lips had him slightly mollified.

love this lighter shot at the cultural miscommunications here. but MAN is it hard to ignore the giant dark shadow over laurent’s every word and action here. unless you’re damen i guess, but that’s part of why they’ve always worked well together (see other annotations about damen allowing laurent to feel like a person beyond his trauma because he doesn’t really understand it, while still being a fiercely protective and uniquely intuitive partner in romance and life)

Later, ‘The King of Vere really consummates his marriage in front of the court?’ ‘Not in front of the court,’ said Laurent, as if this were unspeakably foolish, ‘in front of the Council.’ ‘Guion is on the Council!’ said Damen.

it is very funny to realize how in vere, sex is basically a form of bureaucracy and political posturing. and it’s like, some people are having fun with it, but others aren’t. as opposed to akielos, where it’s also posturing but sounds like pretty much everyone who is high-class enough to have slaves is very happy to partake. unlike vere, they do it in the privacy of their bedrooms, and people are taught to believe it’s happening and respect it. in vere, if it’s NOT happening in a public forum, no one really gives a shit and it might as well not be happening at all.

basically, sex is a means of political posturing and demonstrating status in both kingdoms, but in distinctly different ways. in akielos, it’s the equivalent of subtly telling everyone at the hedge fund that you have an affluent lifestyle by wearing certain clothes and using advanced technology. you’re perceived and accepted as certified finance bro by tasteful implication. but in vere, it’s more like straight-up driving your third tesla into the office and loudly counting your money during staff meetings (i don’t know if hedge funds have staff meetings) so it’s garishly undeniable to your wealthy peers that you belong

‘I’m sorry Govart is dead. I know you were trying to keep him alive.’

“sorry for your loss, of the man you killed with a chair. we both fuckin hated the guy but he would have made great leverage” they really are rubbing off on each other <3

‘I thought he knew something that I could use against my uncle. It doesn’t matter. We’ll stop him another way.’

and what way would that be. laurent. (also, a surprise tool that will help us later!)

‘It was nothing. There was a knife fight. I got free, and Guion and I came to an arrangement.’

and it was one of the best chapters in the entire series

‘You were taken prisoner, you single-handedly escaped from the cells at Fortaine, and somehow managed to get Guion to switch sides on the way out?’ ‘Well,’ said Laurent, ‘not everyone is as bad at escaping as you are.’

laurent would enjoy tabletop roleplay gaming so much. also i love them

‘When you lost your brother, was there someone to comfort you?’ ‘Yes,’ said Laurent. ‘In a way.’ ‘Then I’m glad,’ said Damen. ‘I’m glad you weren’t alone.’ Laurent pushed himself away, up into a sitting position, and for a moment he sat, without speaking. He pushed his palms into his eye sockets. ‘What is it?’ ‘It’s nothing,’ said Laurent.

ohhhhhh my god (i wonder if mentally laurent is like, ‘well i thought he might have figured it out, but i guess not. how the fu—‘)

‘We should—’ ‘And we will.’ Laurent turned to him, sliding fingers into his hair. ‘But first, we have the morning.’

“and then i will turn myself in to my abusive creep of an uncle as a solution to the problem i’m ignoring. but for now, this is a romance novel, and i’m stepping into your genre for a change”

(which is i think the main thing i missed in my analysis of the previous chapter, by the way. i’ve written so much about damen being forced into laurent’s genre but remaining romantic despite the horrors, but that last scene was a subversion where laurent is forcing himself to ignore the horrors so he can both indulge damen’s perception of them and try to experience it himself as a relief from the imminent tragedy and his past traumas)

After, they talked.

great thing to write after a fade to black sex scene! reminds us what their relationship really is about, beyond the physicality and emotional catharsis. these two fell in love doing battle strategy, remember?

Servants brought a breakfast of fruits, soft cheese, honey and breads on round platters,

glad to see thematically appropriate fruit basket guy is still finding work, even though damen and laurent are un-marrieddivorced

Damen took the seat closest to the wall, affixing the gold pin he had recovered to the cotton at his shoulder. Laurent sat in a relaxed pose, in only pants and a loose shirt, its collar and sleeves still open. Laurent was talking.

i love prince’s gambit

Damen realised that Laurent was letting him in to a part of himself he had never shared before, and he found himself drawn in to the political complexities, even as the experience felt new, and a little revelatory. Laurent never opened his thoughts like this, but always kept his planning intensely private, making his decisions alone.

damen i think you’re underestimating how much laurent showed you in the last book, compared to literally every other person he talks to

‘You are not keeping slaves in your household.’ ‘I can’t imagine why,’ said Damen.

smash cut to the cover of captive prince, a novel by cs pacat

‘You hate the idea of slavery. It turns your stomach.’ Damen said it, a flat statement of truth. ‘If I’d been anyone else, you would have freed me on the first night.’

doing my analysis for me. how far we’ve come

‘When I argued the case for slavery in Arles you didn’t try to change my mind.’ ‘It is not a subject for an exchange of ideas. There is nothing to say.’ ‘There will be slaves in Akielos. We are a slave culture.’

wow, i’m actually kind of surprised damen hasn’t already committed to dismantling the entire practice. i know he gets there eventually, and maybe he wants to at this point—but he’s still like, “well other people are going to do it and that’s their right.” maybe that’s the incomplete part of his development here: he’s decided that it’s wrong for HIM to be doing, as a result of his experiences and tastes, but hasn’t quiet grasped that is a universally wrong practice, even if it’s his friends and allies doing it

Damen said, ‘Are pets and their contracts so different? Did Nicaise have a choice?’ ‘He had the choice of the poor with no other way to survive, the choice of a child powerless to his elders, the choice of a man when his King gives him an order, which is no choice at all, and yet still more than is afforded to a slave.’

yep, i’m a little rusty but i do remember a lot of my laurent character analysis having to do with the fact that he would rather be doing something on purpose even if it isn’t something he wants to do, than given no choice or ability to HAVE thoughts or preferences at all. free will is extremely important to laurent, and the idea of losing it is both terrifying and shameful to him. so even in situations of financial desperation or lack of power due to age or status, laurent still believes that there is more of choice to willing submission than just never being “afforded” the ability to make choices in the first place—even if slaves live under less stressful or overall comfier conditions. even the most desperate, poor, powerless victim still has more personhood and autonomy allowed to them than a slave. and without that foundation of personhood and autonomy, there is no purpose to life.

laurent thrives on having purpose, and suffers without it. and in his big pov chapter we're also told that he often has hope, despite everything, and has to regulate it in order to be realistic. there is no purpose for a slave, and there is no hope for a slave. at least with veretian pets, at least for laurent in the veretian court, he still had purpose, and he still had hope. i think the only time in laurent's life where he did NOT feel purpose/hope was when he was under the regent's thumb, which had only happened because laurent lost hope and purpose due to auguste's death and leaned on the regent for comfort. and that situation had only really changed because the regent stopped being attracted to laurent as result of natural aging, not even because laurent was eventually able to change things due to his own internal strength. that's fucked up, man. but it does explain laurent's perspective.

Damen felt again the shock of hearing Laurent voice his private beliefs. He thought of him, helping Erasmus. He thought of him visiting the girl from the village, teaching her a sleight-of-hand trick. For the first time, he caught a glimmer of what Laurent would be like as a king. He saw him, not as the Regent’s unready nephew, not as Auguste’s younger brother, but as himself, a young man with a collection of talents thrown into leadership too early, and taking it on, because he was given no other choice.

damen, assessing laurent’s situation: he was given no other choice, but he’s still trying his best :(

laurent, miserable and tired but possessing free will: i am MAKING the choice to do this to the very best of my ability, using my compassion and intelligence in a way no one else could. even if it sucks, even if i could do something else (because i absolutely could), i am CHOOSING to be the kind of king my people deserve. having “no choice” would mean lacking the will to choose to do anything but the exact thing i’ve been trained to do, which is how both akielion slaves and princes are groomed to live (re: the latter—consider damen’s musing on his father, the military, and tradition)

I would serve him, he thought, and that itself was like a little revelation.

back in book 1 i highlighted the overall thematic question: can there be honor in submission?

yes. like this. so much has led to this line, subtly and slowly, and we’re finally seeing it said outright. damen would serve laurent because of the person he is, not the royal status that has been put upon him by birth. and he’d be doing so as a person with free will, acknowledging laurent’s complications as well as his own, instead of the imitation of a slave who can’t choose anyway so might as well just go along with it.

in other words, he’s leveling up his commitment to the bit <3

‘I know what you think of my uncle, but he is not—’ Laurent spoke after a pause. ‘Not?’ ‘He won’t hurt the child,’ said Laurent. ‘Whether it is your son or Kastor’s, it is leverage. It is leverage against you, against your armies, and against your men.’ ‘You mean that it hurts me more that my son is alive and whole than it would if he were maimed or dead.’ ‘Yes,’ said Laurent.

laurent: i know that you think my uncle is simply bloodthirsty and evil, and would only think to injure or kill your not-son, but you don’t understand that he would rather sexually abuse a young boy than kill him. because he did that to me. which you haven’t figured out. although you did know about nicaise. but you seem to have a blind spot about the entire topic.

damen: wait, what do YOU think i think of your uncle?

laurent: ignores the question basically, the kid wouldn’t get hurt, because it’s useful to my uncle to keep him intact as leverage against us both. (especially against me, because i know what he would do to that boy, but if i explained that i would have to explain why, so i’m not going to mention it specifically)

damen: so like. he won’t kill the kid because he can torture and manipulate us with it more effectively if it’s alive

laurent: somehow i have told the truth and you do understand it, but there is so much that you still don’t understand

He said it seriously, looking into Damen’s eyes. Damen felt every muscle in his body ache with the effort of not thinking of it. Of not thinking the other, darker thought, the one that at all costs must be avoided. He tried to think instead of a way forward, though it was impossible.

possibilities for “the other thought”:

1) the obvious one, and the most likely in my opinion: the regent would assault the child.

damen has a reason to suspect this, because he is aware of both nicaise and aimeric

in terms of craft and characterization, this a little hint that damen might have considered laurent being abused, but eventually dismissed the notion because it is TOO dark and too upsetting to acknowledge

^^^ active repression is in-line with damen’s overall tendencies

2) the other darker thought is the death or torture of the child, which laurent is explicitly telling him will not happen. damen is accepting that “comfort” uncritically because it doesn’t make him feel as upset or powerless as the alternative. the regent’s abuse of young boys is not being considered at all.

‘My uncle knows you won’t move against him while he holds the child,’ said Laurent. And then, calmly, steadily, ‘So we get him back.’

not going to lie, i’m not the biggest fan of the baby as a plot device. but i get why it’s used, and how it connects a lot of characters, especially like jokaste and kastor who haven’t been present in previous books. i just think it might have been more effective if it was a child that damen and/or laurent actually knew—although i do understand that the baby’s “royal lineage” probably comes into play here. but i also think a big theme of the series is about honor coming from integrity in action, rather than blood or status. but it is just a fuckin baby, and a baby is the ultimate symbol of innocence and helplessness. so maybe it’s just kind of a wash.

also the confusion about the paternity kinda just annoys me. i get that to damen it doesn’t matter, but then like. make it kastor’s baby for sure, then. that would give damen’s integrity and family oriented nature even more of a spotlight.

(maybe it is confirmed to be kastor’s at some point. i didn’t pay that much attention to this plot beat the first time around)

He looked for changes in her, but the cool, untouchable air was the same, as was the particular way that her eyes regarded him. She had the same colouring as Laurent. She had the same mathematical mind. They were like a matched pair, except that her presence was different.

it’s both telling and sweet that damen is so used to having his mind changed by laurent, who ended up so much more honorable and understandable than originally believed, that his first instinct with jokaste is to look for signs of that same potential. as opposed to damen in captive prince chapter one, whose first thought seeing laurent was “he would be an expensive sex slave”

There was a part of Laurent that was always in tension, even when he affected calm. Jokaste’s unassailable composure seemed like serenity, until you knew she was dangerous. A similar core of steel, perhaps, existed in both.

i think you might have just been down bad for jokaste in a specific way, and down bad for laurent in a different way. jokaste definitely isn’t making you feel serene now, is she? and laurent, inversely, is a great comfort to you when you first thought he was unpleasant. another example of the overarching damen nice=/=good and mean=/=bad theme.

She didn’t seem perturbed by her incarceration, or even really to notice it.

like damen in the cell, internally attentive to every little detail. i bet jokaste is too.

He said, ‘Is there a child?’

he wants it to be untrue, so the regent doesn’t have leverage over him. i also think he’s partially asking if it’s HIS, although that’s more of a personal thing that wouldn’t impact his actions in saving the kid

‘I have told you that there is,’ said Jokaste. ‘I wasn’t talking to you,’ said Damen. The attending women seated around Jokaste were of varying ages, from the eldest of perhaps sixty to the youngest, Jokaste’s age, around twenty-four.

he's learning!

‘Let me tell you what is going to happen. You are going to be executed. You are going to be executed whatever you say or do. But I will spare your women, if they agree to answer my questions.’

damen immediately doing what he’s so upset the regent is doing to him and laurent is fascinating. like “oh i have an idea of how i can challenge jokaste into talking! use human lives as leverage! wonder where that came from, anything recently happen…? oh right.”

He said to the soldiers behind him, ‘Take them.’ Jokaste said, ‘This plan of action will mean the death of the child.’ He said, ‘We haven’t established that there is a child.’ She smiled, as if pleased to discover a pet capable of a trick. ‘You’ve never been very good at games. I don’t think you have what it takes to play against me.’ He said, ‘I’ve changed.’

this entire war hinges on schroedinger’s inconvenient baby

also, jokaste was born in the wrong kingdom. i think part of the reason she’s so terrible is that she’s bored in akielos. vere’s political landscape would be enrichment for her and she’d probably thrive in that environment, and feel no desire or need to establish her status by getting pregnant by a prince

okay sorry but like. au where laurent reluctantly teams up with young noblewoman jokaste a year or so after the regent stops assaulting him, and they work together to overthrow him through complicated court political maneuvers. laurent is motivated by obvious reasons, and jokaste is mostly just personally slighted by the regent’s misogynistic court and therefore annoyed, but deep down they both know she cares about him and wants things to be better. and obviously he cares about her bc it’s laurent and he cares about everything, just doesn’t want the world to know it

‘You are the only one protected in your arrangement. These women are going to die. Unless they talk to me.’ She said, ‘You have changed. Or is this the new power behind the throne? Who am I really negotiating with here, I wonder?’

damen wouldn’t. he knows it, jokaste knows it, and laurent DEFINITELY knows it. he would not tell damen or expect damen to do this as anything more than a bluff to assess jokaste’s commitment to the bit

He was already nodding to the nearest soldier. ‘Start with her.’ It wasn’t pleasant. The women resisted, and there was screaming. He watched impassively as soldiers took hold of the women and began to drag them from the room.

wait holy fuck did he do it?? it’s not entirely clear. but i think he fucking did??? is it written vaguely to make the reader have this exact confused reaction?? hold please i’m reading more

EDIT: it's "women" and not "woman." i originally read it as "woman," meaning that the first was specifically resisting and screaming as she died, and then the soldiers seized everyone else. if it's plural women, i think it's safe to say that the first woman did not actually die, the soldiers just mobilized in a way that made kyrina scared enough to tell damen the truth, despite jokaste's warnings

‘No,’ said Jokaste. ‘He will not kill a roomful of women for loyalty to their mistress, Kyrina.’

still not saying outright if he killed the one woman, and i have to wonder WHY, if not to intentionally confuse and stress out the reader. it could go both ways with these carefully chosen words of dialogue—“he will not kill a roomful of women for loyalty.” “roomful” could imply that he already killed one but she thinks he wouldn’t kill multiple (but from what we and jokaste know of damen, that assumption makes very little sense—he’s not really like a utilitarian trolley problem kind of guy, although i guess laurent is). but “for loyalty” implies that she does understand damen, and the assumption that he would not kill for the REASON of loyalty, because it’s something he respects in himself and others. hhhhh

EDIT: see previous annotation

‘There is a child. He was taken to Ios.’ ‘That’s enough,’ said Jokaste. ‘None of us know if the child is yours. She says it is.’ ‘That’s enough, Kyrina,’ said Jokaste. ‘There’s more,’ said Damen. ‘Exalted—’ said Kyrina— —as Jokaste said, ‘No.’ —

turns out when your status is predicated on power earned by force rather than earned respect, the people serving you are going to submit to the strongest person in the room. unfortunately for jokaste, she just stopped being perceived as the strongest person in the room

‘My lady did not trust the Regent of Vere to protect her interests. In the case that there was no other way to save her life, the wet nurse could be instructed to bring the child to you—in exchange for Jokaste’s freedom.’

she’s out-veretianing the regent of vere.

oh ALSO!! it’s neat how based on jokaste’s attendant calling him “regent” and not “king,” jokaste must also casually refer to him as such, not actually respecting him or his false title

Damen sat back in his chair, and lifted his brows slightly at Jokaste.

that’s laurent-brand cuntiness. should have added a lean though

'There is no way to circumvent my conditions.'

that phrase is like catnip to damen and laurent. one time damen ripped a metal grate out of a wall

Jokaste, he thought, believed that it was impossible for him to travel into Ios, and that there was no place where it was safe for him to attempt an exchange. But there was a place where two enemies could meet without fear of ambush.

i like how the kingsmeet is set up for a way for damen and laurent to ensure that the regent doesn’t hurt them, but in a twist it ends up being the regent’s plan to anger damen so much that damen breaks the rules and tries to throw hands

‘But you’re a fool to trust him. He has his own plans.’ ‘He has never pretended otherwise,’ said Damen.

true. and perfect for this exact conversation. this is what‘s really being said, i think—

jokaste: laurent may be giving you good ideas, but it’s stupid to trust him because he’s definitely also keeping some of his manipulations from you

damen: he’s never claimed to be honest, which ironically makes him more honest than you. i know he has secrets and i trust him anyway, because i know him. you never even gave me the chance to know you, for whatever reason, and i was a fool for trusting you and faced the worst consequences imaginable. at least when laurent tortured me, we both thought he was my enemy. you tortured me when you were supposed to be my ally. you have not earned my trust and respect, and laurent has, and ultimately that’s your loss. because i know you appreciated my integrity and honor, two things that you believe that you can not afford to have yourself.

(maybe it’s not that deep. but i think it’s satisfying to consider, with the little we’ve been told about their history)

He looked at her, alone on the low couch. He couldn’t help but remember the day they met. She had been presented to his father, daughter of a minor noble from Aegina, and he had been able to look nowhere else. It was three months of courtship before she was in his arms. He said, ‘You chose a man who was bent on destroying his own country. You chose my brother, and look where it’s left you. You have no position, no friends. Even your own women have turned on you. Don’t you think it’s a shame things had to end this way between us?’

NOPE IT’S THAT DEEP I NAILED IT

“i loved you so deeply and immediately and would have done anything for you. kastor doesn’t give a shit about you or this country. the way this ended between us was your choice, and it was a bad one. your loss.”

‘Yes,’ she said. ‘Kastor should have killed you.’

and we know he’s right, and that he hit a vein, because the woman who pretends to be cool and detached and in control basically just tells him that she can’t handle him being around.

[adinelleggreeo]

So I saw this post about the victims of gaiman and it was..... not very well thought out ngl.

It was basically one of those 'lets not jump to conclusions' type posts and OP listed some known facts and 'facts' about what was up at the time.

Their reblogs were a mess. People weren't happy at all with what they had to say. I think they made another post with more correct info, but that didn't help, because the 'lets not jump to conclusions' vibe was still there.

I think OP was leftist and sorry, not sorry, the American left (online at least) is very immature and hypocritical. This backfires on you in cases like this, because if it were anyone else being accused, most of you would have jumped to crucifying them.

People have been frustrated with the way you've been tiptoeing around gaiman, especially with what he admitted to doing. Even if it's proven that rape wasn't committed, he still slept with young women young enough to be his daughters. That's gross! What business does an old man have sniffing around brand new young adults?

I know you all looked up to him and admired his work, but coming online and making 'lets not jump to conclusions' type posts is not the way to deal with these revelations!

I made an earlier post that said something along the lines of 'waiting patiently to see more posts about this situation' but I take it back if the posts you're making are taking the focus off the victims and potentially excusing horrendous crimes.

One thing OP said that I agree with is that y'all should get off the internet and touch some grass. And probably put down your Good Omens and Coraline for a bit.

And probably delete any iffy posts you made about this situation before it comes back to haunt you in the future.

------

Just in case this attracts the wrong people: I don't argue on the internet. I'm not a debate- type person and I don't enjoy the act of going back and forth with people that don't want to hear you. If you want to argue, do it with the wall.

[tales-of-wocdes]

I’ll be honest, while it make make sense for the MC’s recovery, as an adult reader I’d be pretty uncomfortable reading about a child being put in diapers and/or soiling themself in detail. It’d be a huge turnoff for me and I don’t think I would continue to read. Just in general my personal preference as a reader is to lean away from anything that infantilizes the MC more. On one hand, I recognize that their circumstances would mean they’re not on a typical developmental pathway compared to other 7-8 year olds. On the other hand, I think your writing already does an excellent job of capturing that while still doing justice to the MC’s age. They feel like a traumatized 7-8 year old who’s immature and confused because of what happened to them, not a 3 year old, is what I’m saying. I guess just personally I think a diaper or pacifier would sort of ruin that characterization for me, I’d much rather prefer the MC to gain some agency by learning how to navigate the bathroom on their own via wheelchair or rely on more age-appropriate toys for comfort. That said, these are just all my own thoughts as a single reader. Obviously other readers disagree with these preferences, and ultimately I respect that it’s your choice as the author to have final say about what does/doesn’t go. My point isn’t to try to threaten you with a loss of readership— I just want to express my own perspective and ultimately it’s your choice to make! I am really invested in this story and quite enjoy your writing, so I also trust that you know what’s best for your work.

Thank you for these thoughts. I appreciate it. This is valuable feedback and info about reader preferences, even if it is just one person :D I have a feeling you are hardly alone here.

The long post queue allows me time to think, but I don't really go back and edit my answers which are the immediate thoughts most of the time :D That would take a lot of extra time. This however, I think I will let jump the queue because I did say I would get back to you all on this and I think it is better addressed earlier on. And for me it has been several days.

I am willing to consider all suggestions, and appreciate receiving them (at least so far :D) but ultimately it is up to me to decide what I believe to be appropriate or what fits. I retain the right to always change my mind and thoughts mature over time. And here, I agree with you. A pacifier or diapers is not something I see happening in the story, even as an optional extra. Why? Because as you said, MC is immature and very confused but 7-8 years old.

Something to fiddle with? Yes, that could happen. Some kind of chewing necklace? Perhaps. I have been googling and indeed such things are available for older children and even adults. Sensory necklaces/toys I think they are called. For example in the shape of just a tube, or something that look vaguely like a fang. Age appropriate toys? Absolutely. Cool magical toys? Even better. I would be happy to hear ideas about those.

A "gift" from a totally out of touch "grandpa" that thinks giving a child something like a magical suit of armor is a good thing? That gets confiscated by Havard due to property damage? Absolutely... I wonder if there is a way to write random events... I'll look into it. This is btw, something I came up with just now. It is not something I have planned.

A "bathroom arc"? No. After a brief bit of thinking, I don't really want to write it at all so I won't. And I have a feeling that many people would not like reading it if I did force myself to do that. A comment in passing about odd bathrooms are for MC? Sure, that sounds fine to me, but leaving the gritty grimy reality-checks for something else is probably better.

This is all basically flavor text, which is one of the better aspects of interactive fiction but does not need to have a significant effect on the plot :D I want to accommodate reader preferences and offer up a pretty good level of choice, but there is still an overall direction I want to go.

[rita-repulsa-ke]

jealousy

post-finale, set in the past. Death is a jealous lover, they are both exceedingly petty. They are doing their normal fighting and flirting thing, maybe a bit more fighting. This is probably PG-13.

Going with two headcanons, that Death can’t kill people directly and that Agatha and Death have a deal where Agatha kills for her to keep herself alive, thus the murders.

Also Agatha speaks incredibly anachronistically on purpose, because she should be able to.

In 1780, Agatha takes a woman to bed.

No one who matters, a younger woman she passes on the street, doubles back to compliment the sewing on her dress, and then to compliment the blush on her cheeks. She forces herself listening to the girl's concerns about her upcoming nuptials, plies her with beer and sympathy until finally she gets her bodice off and things proceed from there as they have for the centuries before and will for the centuries after.

Her plaything has run off home when the air currents in the room change and the scent of grave dirt fills the room. Agatha, lying naked on the bed, opens her eyes, her expression twisting to one of malevolent, contemptuous hatred, and looks up at Death.

"Oh," she says. "It's you."

"I want her," Rio says with no precursor, motioning in the vague direction of the door and presumably the girl who had recently exited through it.

"Sure," Agatha says, easing up to sitting, reaching for her clothes, aware of the way she is being stared at, hungry, possessive. "I don't mind if you have my sloppy seconds."

"Agatha," Rio complains, because they both know Agatha is being purposefully uncooperative. "I want her dead." She slices her knife lazily through the air, a slow cut across an invisible throat.

"Do it yourself then," Agatha says, then gasps in mock-shock. "Oh, but that's right, you can't! It isn't her time. That's too bad for you, I'm so sorry."

Rio rolls her eyes. "I'll let you skip the next tithe."

Agatha stops and considers that. It's a good offer. That's time she could use for things other than finding and killing a coven of witches, time for her own personal projects, of which she was many. And it would be easy, she wouldn't even have to watch. There's hair all over her pillow, one of those and the right spell and the woman will sicken and die by morning.

She should say yes. It's just that she's very, very petty.

"Nope. Don't feel like it. She wasn't that bad in bed, honestly. Better than you ever were," she says, hopping into her pants, still shirtless and aware of where Rio's eyes are.

Look all you want, she thinks, you'll never get to touch. It's a stupid, small, petty victory, how much Death wants and can't have her, but such little victories are some of the few joys left to her.

"You're so immature," Rio murmurs and Agatha snorts.

"I'm getting better. Remember when I went through my bad boy phase?"

Rio studies her, head tilted to one side, hip cocked, aggressive and deadly, but Agatha isn't worried. Death can't touch her. There are rules.

And then Rio has her down on the bed, straddling her, the knife against her abdomen and Agatha remembers the fine print of those rules.

Rio can't take her life, but there's nothing stopping her from causing Agatha pain. And that knife is positioned in a way that could cause quite a bit of pain.

"Reconsider," Rio says, looking down at her with unnerving adoration.

"Hey, when we're talking about immature, can we talk about your sudden desire to have me kill the first woman I've had in my bed since—" she stops what she might have said, self-corrects. "In thirty years?"

In answer, Rio trails her fingers over Agatha's neck, down to her collarbone, but no further. Agatha finds herself wishing she had gotten her shirt on before they'd ended up like this. Those warm fingers on her skin evoke memories she could do without.

"Mine," Rio says. "All mine. No one else touches you."

Agatha bursts into snorting laughter, quickly restrained by the blade indenting her skin. "Wow, this is incentive to turn into the biggest slut possible. Feel free to do your creepy lurking, though. Watch all you want." Her hand cups Rio's cheek and with great care, she levers herself up on her elbow. "Miss me, baby?"

"Yes," Rio says, turning lighting-quick, pressing a kiss to Agatha's palm. Agatha jerks her hand back, wipes it on the bed with the expression of someone who squashed a bug barehanded.

"Ew," she complains, and okay, maybe Rio is right and she is petty, but the flicker of real fury in Rio's eyes, behind the more obvious exasperation, is very rewarding.

Then the knife bites in, sends a trickle of blood down her stomach and she hisses in pain. "Do what I want," Rio singsongs. "Or take your medicine."

"How about option C?" Agatha snarls, magic slamming into Rio's chest, throwing her across the room. She scrambles up, snatches her shirt, but has to shield against the next attack before she can put it on. Black tendrils of magic try to find a way around her shields, crawling bits of craft probing for any weakness.

"Still so sloppy," she taunts.

"How so?" Rio asks, not bothering to hide her amusement at Agatha trying to pull a shirt on with one hand while she continues to cast with the other. "And when did you get so modest, anyway?"

"Honey, no one likes to be ogled by their ex," Agatha says. "As for how, you are using so much power for that little exploratory spell, if you didn't have literally endless limits, you'd burn out before—"

She stops abruptly, because this is starting to get fun. She's starting to smile, a wild, exhilarated smile. She's starting to feel the urge to giggle, to experiment with spells, to find out if she can remove the floor from under Rio before she notices and send her plummeting into the room below.

For one breath, one heartbeat, she's forgotten to grieve.

She drops her shields at the same time Rio launches a real attack. It won't kill her, but it will hurt.

That's all right. It should.

Then there is a shape in front of her, only very slightly a woman, the impression of arms spread wide and an all-encompassing, welcoming darkness, the space behind the world.

The spell hits, and then there is only Rio, staggering, holding her side and Agatha's instinct is to reach for her, catch her, offer comfort or more likely, a scolding about not being able to better redirect her own energy—

Instead, she crosses her arms over her chest and watches, impassive, unmoved.

Rio whirls on her, nostrils flared, eyes wide. "What was that—" she stops, looks at Agatha. Snorts without mirth. "Oooh. Ags, if you want it to hurt that badly, you only have to ask." The knife is back in her hand, as much a part of her as any of her limbs. Perhaps more so, who can say what real shape lies under her favored guise? "I've got better ways than magic." She pauses, then adds, softer, more careful, "And that could have really hurt you."

"Can't have your favorite killing machine injured, hmm?" Agatha purrs. "Who'd get you all those bodies you love so much?"

"You know that isn't why," Rio says, colder, unimpressed.

Agatha shrugs, indifferent, resummoning her magic. "So are we going to do this or—"

Rio doesn't answer. She looks away from Agatha, always a bad idea. "…ss me," she murmurs, syllables too soft to be properly made out.

"What was that?"

"Kiss me. And I'll let it go." She still can't make herself look at Agatha.

"Wow," Agatha says, then repeats. "Wooooow. This is a new low, even for you. I know you're obsessed with me," she tosses her hair, preens a little. "And who could blame you. Still, that is really pitiful."

Rio taps her knife against the air, her expression one of grim patience, as though Agatha is a trial she’s trying to will herself through. "You can't beat me."

Agatha snorts. "We'll see about that. But all right, Romeo. Let me skip the next tithe and I'll do it."

Rio nods at once, as easy as that.

Agatha swaggers toward her, places her hand on her former lover's cheek, shockingly warm against her palm. "Close your eyes," she whispers, her voice gone husky. "I'll make it good."

Rio trembles ever-so-slightly and obeys.

Agatha spins her free hand in the air, mouths a silent incantation and the floor drops out from Rio, sends her plummeting into the room below as Agatha cackles with delight and for just a moment, forgets to grieve.

if you haven’t read it, I recommend the mistake.

[valhalla-awaitsfor-us]

Hi! I hope you don't mind I take your reply to my post to talk a little bit about script writing as a scriptwriter.

This is in no way an attack, I just saw an opportunity to explain something as someone who works writing scripts.

At this point I think it's becoming clear that live action only exists because Netflix wants to have its own Game of Thrones, but that they are not going to respect the core of the original series, because their goal is different. Having said this, I want to review why the changes that are being made are incorrect (if the idea is to respect the story and the characters) focusing on the 3 protagonists: Sokka, Katara and Aang.

Let's start with Sokka, whose changes are perhaps the most "controversial."

As I said in my original post, The core of Sokkas character is that he is a boy who grew up trying to be a man since his father left for war. In that attempt, as someone immature and unguided, he had sexist attitudes, only to later mature and become a real man. Great example for young boys.

No, his sexism comments didn't last long, but they changed at a key moment in the plot: When Suki appears. Avatar is a special series because it was one of the first of its time to so explicitly touch on the topic of feminism. Rebelling in every sense of the word is a recurring theme in ATLA. Sexism was literally knocked out of Sokka when he met the Kyoshi warriors. That's why the scene of him wearing the warriors' clothes is so significant and why it's so important that at the end of the season Sokka has learned his lesson, because there is a direct comparison between him and Pakku. Sokka, on his path to becoming a man, was able to deconstruct his misogynistic mentality at his young age and without an adult guidance, while a man of Paku's age, admired and respected, was still rooted in his sexist beliefs.

It was Katara's act of rebelling against Sokka's sexism that freed Aang from the icerberg. Because, again, an act of rebellion, of standing firm in the face of injustice, along with redemption, are the pillars of Avatar. Sokka's journey encompasses all of those topics, and the fact that he is 16 and not 19 is essential to his character arc.

Is not that we want him to be sexist. We want him to be flawed. Because each flaw are unique to each character. It talks about their development and also about the themes of the show.

Also "Toned down" it sounds weird because as a kid I always knew Sokka was an idiot when being sexist. But it wasn't that bad that I was afraid of him or so angry that I hated his character. Because Avatar is a kid shows even if people from all ages can enjoy it. So when they said "toned down" I was really confused. It made me feel that for them, the only way to show him being sexist way to make him do some unredeemable thing.

Katara

So. Im gonna start saying that Im not a fan of Katara. I think her character is written incredibly well, but it just not for me. In fact, i do feel like we needed an scene between Sokka and her where they can clear the air about their mom. The things she said to her brother and to Aang, the only survivor of a genocide, were too hard to not have a talk after that.

NOW, After saying that, Katara is Katara because of her backstory. Seeing her mother die in front of her and being the only waterbender in her tribe lead her to feel the need to take care of everyone, especially her brother, to be overprotective, to be compassionate. To be Katara.

Sokka himself admits that sometimes when he tries to remember his mother he only remembers Katara. While Aang is a boy who must mature faster than normal, Katara is a girl who has already grown faster than normal and her journey not only includes rebelling and protecting others, but also recovering some of that lost childhood.

Katara is the representation of water. Healing and destructive at the same time. Turbulent but benevolent. I feel the live action writers, and even the actors and actresses, do not understand that the feminist message was already perfectly captured in the original material. The creators of Avatar created complex female characters and just because Katara's story is influenced by the concept of motherhood does not mean that she is not a strong character. She is a strong character because her story is influenced by that concept. Not because motherhood in itself makes us women strong, but because motherhood, specifically for her character, puts her at crossroads and forces her to go through an arc of transformation.

Aang

I'm going to be concise and short with Aang. The decision to have so many "distractions" in his mission is because Aang is 12 years old and does not want to face a war. I think it's something so basic that it seems dumb not to understand that a young boy doesn't want the responsibility of saving the world and seeing his friends die again. I think, maybe, just maybe, understanding that is not that hard.

If they wanted to write a story of wars, blood and darkness, they should not have chosen Avatar, whose protagonist is a little boy.

[katebeckets]

the tortured poets department

i have thoughts!! surprising, right?? this is for anyone who cares to read them ¯\_(ツ)_/¯

Before you read, note that this is going to be critical of things, so let me just start by saying I have loved and listened to Taylor since I was 8, so none of it is said lightly or without careful thought (in fact, this took me absurdly long to write). Most of the issues I have are very near to my heart, actually, so I've spent a lot of time thinking about it. If you don't want to read criticism, then just don't read more. DISCLAIMER that I did my best, but not even this fully captures the nuance I feel able my own opinions lol I recognize the other sides and points, I really do. I hold many conflicting opinions.

The short version is I will always love her music and her voice and she is capable of writing absolutely gorgeous lyrics (dare I say poetry?). I don't tend to think too much about the sound of it because if I like the sound, it's all I really care about—maybe it sounds the same as other stuff, but if I like that other stuff, I don't really care about whether she branches out or not. I think it's great and interesting when she (or anyone) does, but I also don't like change so it doesn't matter to me the way I know it matters to some people. That's just me!

What gets more complicated for me is the narrative, themes, and general trends that have been more prominent the last year or so, and that's what the rest of my thoughts are. It's me enjoying the music while also being acutely aware of all the grief tangled up in it because of how much less connected I feel in many ways.

Side note: this got soooo much longer than even I expected and it still just scratches the surface! so if you decide to read, 1. thank you, and 2. I'd love to keep talking to you. 🤍

———————————————————— 💭

I am an overthinker (shocking!) and will for sure be annoyed that I can't think of each and every thing I think about this album, but this is what comes to mind right now. Some things that have stood out to me more and more with each release:

a tendency to write self-aware lyrics that, in trying to be self-aware, betray somewhat of a lack of self-awareness

a frustration with never growing up that she expresses while also not realizing the way she is complicit in that and her own refusal to grow up

considering herself the victim, particularly after "overcoming" the accusations that she always plays the victim

venturing more boldly into the territory of serious mental illness/suicidal ideation/mental health treatment despite demonstrating a fair amount of ignorance regarding those things in the past

fame going to her head (in the sense of her becoming further and further out of touch) and the entitlement in a lot of the more immature attitudes that come across in these songs

self-awareness: for me, the first example that comes to mind is Anti-Hero: "it's me, hi, I'm the problem, it's me." It's a claim at self-awareness because she's poking fun at the fact that she knows people always say "maybe she's the problem." The reason why it feels to me like it exposes a lack of self-awareness is because she explores it mostly as a criticism to overcome and not a valid point of self-reflection. @jakeperalta's tags on her post explain it better than I do. Yes, there's an issue when you reduce every feeling to "well maybe she's the problem," but part of growth is admitting that maybe you are part of the problem and coming to terms with the fact that there is often some inevitable truth to that statement—and being willing to work on it. This example is from Midnights, but I think it ties into the next point.

immaturity/never growing up: I actually think these first two sections are just two parts of one section, but it's easier to read this way anyway. There are lots of references to not growing up on this album, the first that come to mind being "So High School" and "teenage petulance." Maybe it's just me, but as a 34-year-old woman, I wouldn't want to be feeling "so high school." I mean, as a 25-year-old, when I talk about feeling like my high school self, it's usually because I'm recognizing how limited my judgment and self-awareness was in high school (despite all the therapy and my efforts to be self-aware in high school). And I am aware of my own bias here—I absolutely hate the football game days because I didn't even like watching people act like that in high school, but at least they were high schoolers—but I do think part of what we've seen is Travis allowing her to be more immature and take less responsibility because that's also where he is at. Obviously I don’t speak to it with any authority since I don't know what happened in the relationship, but based on her behaviors and what I know about Joe (which is VERY little), I kind of get the feeling that part of what she didn't like about being with Joe is that he pushed her to grow. "Your integrity makes me seem small," etc. etc., but not in an “I want to grow” way, but not liking that feeling because she shouldn't have to feel small just because she wants to be able to only do what makes her happy. Just looking at the difference in her behavior and the fact that it seems like she's stopped trying to learn (Miss Americana-ish), it seems like she very much resents the responsibility that comes with being such a famous person and mainly considers herself a victim of her fame.

victimhood: to an extent, yes, she is a victim of her fame. No one should have that much fame and power, and of course she didn't sign up for it in this way. But wanting to have the kind of influence and reach that most artists desire is intertwined with fame. There isn't a way to separate it (in an ideal world, maybe, but that isn't what we're dealing with) and it's something that, to some degree, artists do sign up for. And I think she resents that she's expected to take any sort of responsibility for anything that she doesn't want to do, in a very, "but that's not fair!," teenage petulance kind of way. She even says in Sweet Nothing that "I'm just too soft for all of it." We're all too soft for all of it, but that doesn't mean we get to ignore it. It bothers me that she doesn't seem to feel any sort of responsibility to use this giant platform to do better. Everyone is aware of her influence, including her. I think that's part of the grief. No, it is not her job to use her platform for good, but I thought that it was something she valued and something she wanted. The other line that really stuck out to me was from Cassandra: "They say what doesn't kill you makes you aware, what happens if it becomes who you are?" You may be a victim of what doesn't kill you, but if it becomes who you are, that's not their fault. It reminds me a bit of the exhaustion of living with mental illness. For me in particular, it affects my relationships in a very fundamental way, and there are days that I sob because I am exhausted of things that are so normal being so, so difficult for me... but even though I didn't ask for it and it's not fair that this happened to me, it's still my responsibility to understand how my issues affect how I show up in relationships. It's still my problem, even though it isn't my fault that it's my problem. And if you're lucky, you find really beautiful people who are willing to help you and see that it's not their responsibility, but they want to make it easier for you—I recognize how lucky I am to have some people like that, but it never makes it anyone else's problem. If they decide one day it's not their problem, the truth is that it isn't (and then there's a more complex conversation about what you want to do to preserve a relationship). This is also very connected to something about Kate Beckett/why I identify with that character, and I can touch on that if anyone wants to know, but I don't really have cohesive thoughts about that prepared (it makes more sense if you already know the character). This also goes to other things, like her being upset that people always focus on who songs are about while ignoring the part she played in feeding that culture (like with secret messages).

mental health: this goes to a bigger discussion of how we turn to celebrities who are HIGHLY unqualified to have opinions on things for guidance (the nuance of the above discussion about using your platform), but the more she ventures into the discussion of mental illness, the more upset I get by some remarks she has made in the past. And yes, people grow, she may not feel this way anymore, but nothing in her behavior gives me any reason to believe that she doesn't still have this attitude. This is one that I know I have to be careful of because of how personal it is for me (I've been placed on a 5150 "danger to self" hold and I am a therapist), but one interview that has always made me so upset is that one where she talks about how she's never been to therapy, then ends it by saying "I feel like we just had a therapy session." She has said multiple times how she has never wanted to go to therapy when she has her mom, who already knows everything about her. And that is highly irritating to me because 1. that's why she's your MOM, not your THERAPIST, and 2. there's already so much stigma and apprehension around therapy and many people feel this way, so to have someone like Taylor Swift validate all the people who say "I'd rather talk to someone who already knows me" or "so and so is my therapist" is unbelievably frustrating. There's a reason it's unethical to treat people you know—that isn't therapy. And I think I wouldn't be so bothered by it if she didn't speak about it with such authority, like she knows what she's talking about when what she's saying shows that she doesn't (edit: this is specifically in regard to therapy, not mental illness. I am highly aware that anyone can be mentally ill). The other thing about this album is that it does seem to be an album about loving people with mental illness, and I've already seen a lot of interpretations that simply feed the narrative that people with mental illness are unlovable and mental illness is the reason people mistreat you (particularly the discussion about her lovers being blue all the time). And the issue with that is it's already a common misconception among people with mental illness, that their mental illness is an excuse or reason why they don't treat people right. It's disrespectful to the people who recognize that they have a mental illness that affects how they interact with others and choose to try to overcome it. I'm all for honest discussions about mental illness, but it's so disheartening when it happens on such a large scale and some of the loudest voices are people who don't know enough to know how to (at least try to) do no harm.

fame: I'm not really going to go into it because this has already turned out way longer than I meant for it to, but also because I feel like it's already been touched on. For me, it's the conversation about her feeling she should be able to just do what she wants. I think we all feel that way, but because of her fame and the fact that she's just about untouchable (as shown in how she came back from being cancelled), she can just tune everyone out. But one example was how uneasy I felt about this album being announced at the grammys. For one thing, it's not a fan-voted award, so even if it should, it doesn't feel the same. And regardless of your take on award shows, I do think it showed a level of insensitivity to the other artists who haven't won a bunch of grammys to decide that she would announce a new album at the grammys. Because even if she had a backup plan and said she didn't plan on it, the truth is that, to decide to have a backup plan, you did have to count on it happening, at least to an extent. You had to feel it was likely enough that you wanted to have a back up plan just in case, but it probably would go the way you wanted. To me, it just felt so... disrespectful. Because for many other artists, it doesn't happen more than once. (not to mention the many other things happening that got completely overshadowed, like Annie Lennox calling for a ceasefire)

So if you read all that... I don't even know what the point is at this point. These are just thoughts that, to me, don't feel right to simply ignore. I know there's an argument that you can enjoy music without enjoying where it came from, and it's true to an extent, but I also think part of the music is where it comes from. So... I don't know. Do with that what you will. And if you are reading this, I love you (I can't believe you're reading this).

[anneapocalypse]

I have really complex feelings about the idea (often implied or tacitly agreed to be true even when it's not stated outright) that realism in sex scenes (and specifically sex scenes in fanfiction because that's what I'm thinking about) is always preferable and desirable. That it's always better to be more realistic, and any kind of unrealistic or fictionalized portrayals of sex are inferior--or in some cases, worthy of contempt and an indication of the inexperience/immaturity/poor writing skills of the author.

I have mixed feelings about it because I do think there's a place for realism. There are things that add realism to sex scenes that I really enjoy. I enjoy watching certain characters communicate their desires and negotiate activities. In some scenarios I like seeing characters employ safer sex practices like barriers. I will always enjoy when an author takes the time to figure out a form of lubrication that's appropriate and believable in the setting! I can even enjoy when a character gets up to pee after sex before returning to bed to cuddle; it's a very human touch to the scene that can itself be comforting and enjoyable to read. I like it when people who have experience with certain types of sex create helpful guides to writing those things, offering details you might not think of or know about if you haven't had that type of sex. It gives authors more to work with! It's a tool. Realism is a tool, and one that can absolutely enrich scenes and make them more interesting and fun to read.

And at the same time, something really does rub me the wrong way when I see posts that express contempt for a realism gap in fanfiction and imply that anyone writing it that way must be a) stupid, b) inexperienced (while kind of implying that writing about sex when you haven't had sex is inherently a problem, which I object to fundamentally), and c) completely unaware that what they're writing isn't realistic, which kind of points back to A. It's less on the nose than it would have been like ten years ago, when a lot more people were willing to just come right out and mock "stupid girls writing stupid fanfic" (and all the assumptions that go along with that) but still... that tone lingers. I won't even get into some of the smug posts that used to circulate about anal sex that ended up coming across as "don't you know anal sex is GROSS" in a way that was kind of lowkey homophobic, intentionally or not. Nor am I going to get into the prevalence of queer people telling other queer people they're doing queerness Wrong (in fanfiction, in original writing, in life in general).

To bring a personal angle to this, I'm a nearly-40-year-old bisexual cis woman, married and monogamous, chronically ill, and with some lifelong undefined sensory issues that I don't have any kind of diagnosis for so I'll just call them that. For me personally, due mostly to sensory issues and some physiological quirks, sex can take a lot of energy. Sometimes it's just a lot of work! That doesn't mean I don't want it or enjoy it, or that my partner is failing in some way; I have an active and fun sex life with a very thoughtful and caring partner (and I am not looking for advice on this post, so let's not get sidetracked). There's just challenges! And sometimes I wish my own body made it easier!

So sometimes, when I'm writing smut which is definitionally for fun and primarily for me and my own enjoyment, I find myself caught between: do I want to make this character's experience of sex very realistic in a way that's relatable to me? or do I just want to indulge in the fantasy of sex being easy and low-effort?

At this very moment I'm having difficulty answering that question about some things! There's pros and cons to both, and I don't think either one is wrong. Because at the end of the day, my own enjoyment is the goal of this piece of fiction. It's self-indulgence either way. No matter what I write, these pixel people I'm writing about are not real and their sex scenes are still a fantasy. It's just a question of what kind of fantasy I want to indulge in.

There was a good post I saw recently about the fact that a lot of problematic tropes are problematic not inherently but by scale--in other words, because their prevalence reinforces ideas and narratives harmful to specific groups. And I will be the first to acknowledge that even in the realm of fanfiction--a sphere with relatively low impact on the culture at large--it can be frustrating to constantly run into the same tropes that we find unrelatable or just plain unenjoyable, whether it's rigid top/bottom roles or easy vaginal orgasms. I don't want to come across as like, scolding anyone for just being annoyed, or venting about that sort of thing. It's fine. Some people's forms of self-indulgence are irritating to me, and my self-indulgence is undoubtedly annoying to someone else. I also want to reiterate that talking about what is and isn't realistic in the context of fiction is fine and good and there's absolutely a place for it, and that I enjoy a lot of elements of realism in fiction. I just also want to leave room for fiction to be fantasy. I think that's okay. And everyone's gauge for just how much realism is enjoyable is going to be different. I think that's fine too.

[winns-stuff]

Two things:

1 a. I don't think kidding someone's feet automatically equals foot fetish. If you have someone a kiss on the shoulder doors that mean you have a shoulder fetish?

1 b. Even if he does, that didn't automatically make him evil or a creep. Kinks and fetishes are not moral indicators and acting like they do is juvenile. It might not be for you, or even make you uncomfortable, and that's okay. Live and let live.

2. I don't think it's fair to call Persephone a homewrecker when:

a. Minthe and Hades were not exclusive. Minthe was sleeping with Thanatos - Hades' adoptive son - and Hades was sleeping with Hera anyway.

b. Minthe was emotionally, verbally, and physically abusive to Hades. I feel like everyone forgets that she literally hit him. He shouldn't have been in that relationship anyways.

Okay first off, I’m sorry if I made it seem like I was kinkshaming at all. I was honestly just joking about that comparison and one of the main reasons why I said that it reminded me of Dan Schneider and that I was repulsed was because of the “creepy” aspect of it being placed in there, it was around the end that the person said that the kink seemed like it was only given to creepy guys. I don’t care about kinks genuinely and trust me I do mind my business when it comes to those things, again my apologies if I did come off immature.

But you’re right, his kink doesn’t make him a creep but the fact that he literally is creepy, manipulative, and an overall messed up person makes him a little bit more warranted for those kinds of comments since that’s literally how he represents himself in the comic. Hades is a slave owning, hypocritical, child neglecting, abusive, and overall tyrant to everyone who’s not kissing his ass and it’s not me exaggerating it’s literally just how he is that’s him as a person overall.

And I do think it is fair to call Persephone a homewrecker based on the very fact that they were seeing each other and breaking a lot of boundaries after Hades and Minthe officially made it official. Mind you, it was Hades who wanted to close the open relationship so yeah now seeing other people and touching them beyond the appropriate interaction between an employee and boss especially is now inappropriate and not something that you can just wave the “we’re not in a closed relationship” card at. Also, by definition Persephone was one of the sole reasons that Minthe and Hades broke up since Minthe started noticing just how overly affectionate they became with each other while working so yes, she is a homewrecker. She broke a home and please don’t comment by saying “there was never a home in the first place” because there was, you can’t just give homewrecking and emotional cheating a pass because you don’t like the character they still had history.

Also, trust me when I say no one forgets that Minthe hits him. Every single time I post about Minthe I make sure to acknowledge the fact that I don’t condone her actions and actually a lot of critics do as well since there’s a lot of people like you (not saying this in a bad way by the way) that do believe that many people are Minthe stans every time you discuss her without stating that fact. But even though yes, it was a fairly toxic relationship on both sides and they should’ve broke up much sooner like I said before there was still a relationship there that they were both in. It’s still emotional cheating and homewrecking on Hades and Persephone’s part, also Persephone doesn’t even know how Minthe treated Hades she just never cared about her feelings to begin with and pursued her boyfriend basically.

Also last thing but do you know what slap everyone does tend to forget a lot? Hecate when she slapped the ever loving shit out of Hades, now I’m not saying since that happened just forget about Minthe’s behavior at all but I am saying that we should all react to that slap the same. We all agree that it’s never okay to put your hands on someone so why should we condone it when it’s not Minthe?

[wolame-o-ccx]

High&Low character dynamics I greatly enjoy

( but canonically they don't exist/have enough screen time/something along those lines )

Had this in my drafts for a while but took a while in getting around to actually posting it.

1 - Rocky + Hyuga

I'm throwing out the fact I ship them away from this analysis so it's like a more general thing.

Vague + indifferent is so interesting and not a popular trope but it works, and it works with them. It's also how they're so different and yet so similar at the same time. Had they become friends, I think they'd both try and sort of uncover things about each other, Hyuga because Rocky is mysterious in general and he isn't usually curious, but he is about Rocky and Rocky because Hyuga is just interesting (crazy) to him. They would have this dynamic where they're sort of mature? Around each other? If that makes sense IDK. They're serious, but casual at the same time.

When they're together, here'd be some kind of warm silence and it's quiet but not because they dont know how to talk to each other, but because they're simply comfortable with each other, like they trust each other.

Rocky accepts Hyuga's insanity (or passion, he calls it) and Hyuga enjoys Rocky's mellow sort of demeanor and finds comfort in him that way.

2 - Cobra + Rocky/Hyuga/Murayama

Cobra has touched all three of their lives some way or another. With Rocky, he was persistent and helped out in fighting against Doubt. Rocky must've gained a large amount of trust in Cobra after that. He even tells Cobra that he appreciated his help, and when does Rocky ever really compliment people, especially men? With Hyuga, I think he would think Cobra is tough and likes how stubborn he is and he respects that. After everything he's seen and experienced, he probably respects Cobra himself on a different level, and maybe even trusts him. And Murayama, we all know the story. Cobra made Murayama question and find himself. In the end, Murayama went to Cobra to talk after deciding that, oh, I'm done with fighting. I'm tired and I need to talk to a friend. I could honestly write a whole novel about them and I can understand why people ship them (though I don't myself). It's also the way all three of these guys were so worried about Cobra when he went missing and how they were looking for him so restlessly. Who needs therapy when you have Cobra?

3 - Hyuga + Murayama

I'm aware of them being a ship, and I somewhat enjoy it because I can see and understand why although I still prefer them platonically.

They're what you expect would be a loud duo, but they're not (not exactly) and it's interesting. Like, they'd totally bicker with one another and have dumb arguments and call each other stupid like siblings, but I also think they'd have those quiet moments where they're genuinely talking about serious stuff. Cobra had changed their perspectives in things they had problems with, Murayama and his immaturity (?) and Hyuga with his thirst for revenge, both ending up moving on from that and changing their views. I can see them casually hanging out and catching up with each other and giving each other life advice (yes, life advice from Hyuga, believe it or not) while simultaneously berating each other. They have a fun dynamic to think about and honestly wished they explored more on them because they're really interesting and equally complex.

4 - Hyuga + Sakyo + Ukyo + Kato

God Daruma makes me so UGH. These four are so silly. They're like.. genuinely such great friends I don't know how else to put it. I want them to have more screen time but I know I'll never get it. I can't put into words just how great of friends they are because they're so perfect, like, they're just.. great friends. They are so extremely loyal to each other and dedicated to each other that they make me want to explode into a million pieces. How even after “exacting their revenge on former Mugen members” mission, they stuck together because they found this sort of family with each other.

5 - Koo + SMG

I've seen the very miniscule part of the fandom somewhere talking about how Koo is like SMG’s mom and I love the idea so much 😭 just Koo taking care of these four guys like they're his kids. I like to think in DTC Rocky and Koo packed the lollipops they ate in the movie as if they were parents packing their kids’ lunch bags. I DONT KNOW ITS SO CUTE. SMG probably causes a lot of trouble for Koo so they'd kill anyone for him and Koo is just naturally protective, but especially for SMG.

[ryuichirou]

Replies

More replies~

Anonymous asked:

Do you watch other adult swim cartons like moral orel or the venture bros?

Not really, sorry :( Nothing against these shows, I guess we just don’t gravitate towards them. Venture Bros was recommended to us though.

Anonymous asked:

"Nooo Ortho wanted to slurp this one" not a problem at all, i don't mind sharing uwu uhuhuhuh sorry for cursing the askbox so soon too XDDD i couldn't help it

Ah it’s so nice when people share… uwu

No worries btw, every single thing in this blog is cursed one way or another, so it really fits xD

Anonymous asked:

No bc the way your fem idia is just insanely body goals

Omg Anon, thank you?? I don’t think if she should be body goals though, she’s kind of too skinny for her height… she just has a high metabolism genetically I guess, I’m pretty sure any other means of achieving her appearance would be unhealthy...

Anonymous asked:

I never thought about ADeuce in the future, but the idea of them being together without really committing to a relationship makes a lot of sense.

I imagine a similar scenario for Ruggie/Leona. They wouldn't even see eachother that frequently, but they still keep in touch and hook up whenever they do meet. They are not just keeping this up because it's beneficial to them, they actually seem to enjoy eachother's company. It's not anything close to dating, and they would never call it love, but I feel like that's the highest level of commitment you can get from either of them. Also Ruggie would probably spend a lot of time working, leaving the Sunset Savanna quite often. If he sees a chance to bag some extra cash he is not going to let a little distance stop him! Meanwhile Leona is just hanging around the royal court. Has he given up on his plan to help the poor people of his country or is he cooking something? Honestly not even Ruggie knows...

(this is related to the 6th reply from this post)

ADeuce really are a bit annoying like that, but I love them for it. Everyone knows you want to be together, guys. You’re just being stubborn for the sake of being stubborn, because you’re too afraid the other party is going to ridicule you for expressing your feelings that both of you are already aware of, because you’ve been sleeping together for years, COME! ON!

Also everything you said about Ruggie/Leona makes sense! Ruggie is too busy and focused on his job(s) to start a family, and Leona is either plotting something or just doing nothing being unmotivated… so whenever they have an opportunity to do so, hooking up sounds logical: why not? It’s definitely not love and not a romantic relationship, but it is a relationship nonetheless… a mutually beneficial one, but also a surprisingly “comfortable” one because both of them are so used to this dynamic that doesn’t require any emotional effort. They’re surprisingly on the same page.

Anonymous asked:

i might have written an OC spanking Riddle once :eyes: usually i just see characters and readers or OCs being spanked by Riddle, but he would be so cute being spanked! teary eyed, confused and flustered, his ass clearly needs attention

(this is related to the 2nd reply from this post)

I know right? For some reason it just works. Maybe it’s because of his backstory and him being so very serious but also so immature, but if you imagine a spanking scenario with Riddle, it’s like… he belongs there lol

Anonymous asked:

About how young was Silver when he and Lilia first started fuckin 🤔 honestly I'm super interested in what those early days would have looked like, and how their first few times would go

Honestly, it depends on whatever route you want to take for any specific post/art/comic/etc, and I feel like with us it’s always a very vague and implied “kind of young”.

We explain it with Lilia having uhh alternative views on parenting, it’s like a mix of him being a fae (turns out, this doesn’t excuse him 😔), him not knowing how children work and him adoring Silver way too much and having too much fun with him. He’s not the best person lol So yeah, Silver was probably way too young to figure out what’s going on, but also this whole thing was a “norm” to him, because it also happened very gradually: the goodnight kisses became more mature, the way they cuddle changed; and with Silver absolutely adoring Lilia, trusting him so much and believing that Lilia only wants what’s best for him, he never had a problem with any of it. Even the first times weren’t too much of a shock to him, especially since Silver considered it to be some special type of training that he really wanted to get good at as soon as possible.

The Zigvolts would’ve been terrified if they found out…….

[thesketchyheartist]

03/20

Neon Genesis Evangelion (EP 8, 16, 24, 26)

I want to start off this post by talking about a new main character Asuka. It took me about 2 episodes to figure out she is Rei's opposite. Appearances: Blue hair and red hair. Long hair and short hair. Eye colors are different. One is soft-spoken, the other is vocal. One talks too little (from what I gather from the assigned episodes, I think Rei is supposed to be Eve or Lilith, but Asuka is like Shinji in that they are some descendants of the Evas or Angels or something that is not totally human, so this explains why she acts so cold), the other talks too much. Also the weird but true observation: one is indifferent to perverted accidents, the other is sensitive to perverted accidents; both may or may not [always] involve Shinji.

Asuka represents the tsundere stereotype, I think. I hear the "Baka, hentai!" comment from her a lot, but I can't tell if it's hormones or if she is actually attracted to Shinji. Shinji is a teenage boy, so I know he gets the classic red hand mark on his face, and it's rarely ever his fault. Those characters who are quick to anger and violence without listening to reason are often redheads, and I know it's a popular trope, but I realize as I am writing this the paradox of it all. Asuka is a young girl, and as a bit of a crazy anime watcher, I do believe violence is not always the answer, but it's wrong to assume violence is not an option. However, if every situation that triggers you is answered or resolved in violence, then it's rarely ever resolved. If Asuka even paused for a moment, she could tell Shinji probably did not even have the guts to pull harassment on any girl. To accuse him would make her the true culprit, not the victim. I know the children did not have parental figures to follow, but I guess their immaturity further proves they are really not qualified at all to be humanity's saviors. On the other hand, it is ironic that Asuka's hits can be overlooked so easily. Think about it, if a young boy suddenly had his p**is touched, accidentally or not, by a girl, he probably would just shove her off because if he hit her face, everyone would call him violent. Children who are used as child weapons are essentially taught that violence via their mecha skills is the ONLY solution to solve humanity's biggest problems, so quietly, it's the only solution for small misunderstandings.

Finally, the last episode was more philosophical than I thought. I didn't watch EP25 which I assume is the final battle because I don't think there is a sequel series. The ending didn't even explain what happened to humanity. But I think it's a good moral story to explain ego and self. The swap to 2D pencil drawings is a good way. Without depth, shadow, and background, a sketch exists limitless. I like how Shinji was always told what to do and how he should live. Even at his crisis, he asks people what he should do and how to live, they are the ones telling him the truth of how he should live. While I know the show is the one telling us the truth, to Shinji, it's still outsiders instructing him, even if they have his well-being in the best care possible. It was Shinji, experiencing the No Angels AU (that got to be an AO3 tag, if not, something like No Eva AU) or Middle/High School AU (love the silly shoujo reference with Rei, bread in mouth, "I'm going to be late on my first day of a school in this new city!", and headbumping ML, but not the accidental peeking), that he realizes the truth people have been trying to tell him this whole time. Funny how even his best friends care more about him than he does himself, and only when he really loves himself unconditionally, Eva or no Eva, even in a world where only he exists, that he can learn to actually love others, even his hated father becomes a person he can accept unconditionally. You realize after hearing all the voices, it's because they were people, not static faces with voices, that Shinji can compare his world and his self-image to everyone he meets in the show to find his true self.

It's such a roundabout way to explain everything. All anyone needs is a famous quote by a powerful warrior, one who transcended the mortal realm for his wisdom, bravery, and sheer popularity:

I never heard about ATLA until COVID-19. Funny because if I had heard of this show when it came out, I would have had a very different childhood.

My favorite post-spring break gift from my professors is an exam (it's not.)

-03/19/24

[squarebracket-trickster]

Make Me Write Tag Game

@forthesanityofstorytellers with this post, and @words-after-midnight with this one...

Well. Well. Well. Your timing is impeccable, both of you. I am taking a break from WIPVII until August 1st and I have three other WIPs I want to work on in the meantime. I guess I'm making a poll to decide which one to work on first!

Rules: Make a 24hr poll listing the titles of every WIP you want to work on. (It’s fine if you only have one, still make a poll for the vote count). Whichever WIP title gets the most votes, write 1 sentence for every vote received.

(if you are unsure if you are doing it right you can refer to this post I made about tag game guidelines in general. Of course, they are just guidelines. You can do your own thing if you want and no one can stop you.)

Ever so delicately tagging: @olivescales3, @tea-and-mercury, @avocado-frog, @avidink, @aziz-reads, @quintonli, and @marzipan-corner, and, you know what? This is a pretty cool idea. I'm gonna leave an open tag for anyone who wants to do it too.

Descriptions of each WIP are under the cut.

WIPXIV (WIP 14) is brand-spanking new. I thought up the idea while researching medieval clothing for WIPVII. I don't really have a plot yet but something... something... puesdo-sciencey time-travel shenanigans but the equipment is telescopes, mirrors, hand-cranked projectors etc. etc. and our main cast are a ragtag group from the 1450s who have to travel to various points in the past and future (including our present-day. sort of. there are dragons in this version of our world) to save it from a yet-to-be-determined impending doom. The most important part of this WIP (according to me) is that I make a point of showing how futuristic Elizabethan ruff-collars and how old-fashioned those 1100s style girdles would feel to these characters. I am tired of pseudo-medieval worlds that act like ruff-collars and butterfly veils and floor-length pigtail braids co-existed at the same time.

WIPXII (WIP 12) was a project I started for NaNo last year. I wrote 25k words and then realized I had no idea where I was going with it so I left it to simmer for a while. It is a magic school story, and it is undeniably a response to a favourite childhood author of mine who turned out to be a bigot. This is a project for me to steal the things I loved from the story I grew up with, but write something that I can actually enjoy without getting an icky feeling. My main character is a fat, Jewish, bisexual trans-girl named Shiri and the themes of this story are anti-capitalist and highly critical of the school system. The story is about the magical subcultures and student-run intellectual and activist clubs who are fighting against censorship, gatekeeping of magical knowledge, and the authoritarian government that has a terrible track record of human rights abuses.

WIPIV (WIP 4 or How to Take Over the World). One of my few WIPs with an official name, HtTOtW is the story of an invisibly disabled 20-something who is sick of being underestimated and feeling like she is immature, undisciplined, and a failure for not being as far along in post-secondary and her career-path as her peers. To shut up the voices in her head (and those of society) once and for all, she plans to do the most impressive thing she can think of: take over the world. I've put this project off for a while because it will require an insane amount of research and RIP my search history. The Canadian Secret Service is gonna have a file on me after this. But I do have some ideas for a character study and the mc is such a self-insert ohmygosh. This is my catharsis project.

[museenkuss]

I don't vape or smoke but stereotyping and speaking down on others who do is incredibly immature (and very unattractive). the whole point of vaping was to help people get off of cigarettes. and on top of that, you don't know if they're vaping cannabis oil for health reasons or if they're using organic eliquid as a safer alternative to quit smoking. romanticizing cigarettes is making kids think smoking is cool again and creating a new generation of nicotine addicts just for the "aesthetic"

We're talking about two different things. I don't really care whether people think I'm unattractive based on my posts (we can never escape the wish to be liked, but I try to keep the inner censor when it comes to that to a minimum), but I do want to make it clear what it meant, since there is a large chunk of background info (aka my broader belief system) missing from that post. I'll try to summarise it as best I can:

firstly: You're right in sending this message. Reading my post back made me very upset, especially the "addicted" part is really gross. I knwo what I meant but reading it back without the context of what I was thinking at the time really made me disgusted with myself, too. So thank you for making me come back to it.

Re: smoking cigarettes as an aesthetic (instead of vaping (=the topic my post was about)). I don't think smoking in any way, shape or form is cool. Growing up in the 2000s, I was influenced heavily both by the last traces of the pro-smokers aesthetics (chic skinny bitches smoke instead of eating, cool rebels smoke to rebel) and the rising anti-smoking movement (smoking will kill you, your loved ones and your pets slowly and painfully). Conclusion: again, I'm anti-smoking (I've been around enough chain-smokers to be), but the last glamour of cigarettes stuck to me, too. So, cigarettes as an aesthetic concept still have an appeal to me. But my opinion of "this is gross and you're childish for thinking it's cool" still applies. I don't agree with a lot of "I'm so sexy for smoking" content on here, but I might still reblog photos etc that involve cigarettes/smoking. Complicated situation, not what the post was about though.

On to what the post was actually about: Vaping is of course a healthier alternative to smoking cigarettes. Of course that's what it was intended for - or at least that's what companies say it's intended for. My personal opinion is that in the wake of the asbeforementioned anti-smoking movement of the 00s, smoking has become increasingly less cool and/or accepted (good.) and companies had to find other ways to make money. Making a device they can sell as healthier alternative is a good move. To then go ahead and make those products extremely appealing to children is also a very smart move. You can get money from people you previously got addicted to cigarettes AND you can groom a new generation of nicotine addicts by selling them blueberry muffin-flavoured vapes. Do I know for sure that that was the plan? No. Do I find it despicable that they make candy-flavoured vapes? Yes.

Re: Nicotine addiction. You didn't touch on that in depth, but I want to, because my post could be read in this way as well: People become addicted to things for a number of reasons, a good number of which is them being in some way, shape or form vulnerable. I know this sounds like I'm saying the opposite of what I said just now but I don't think that addiction is shameful. I know it's rich to say "this post wasn't about people with an addiction", but I was more thinking about the concept of smoking for fun and sex appeal.

As in: What I do look down upon and what I find annoying and gross is that smoking is framed as cool. And that's the thing I look down on, that's the embarrassing part. Vapes being an aesthetic. Vapes being chic or trendy. It's devious marketing on one hand and embarrassing behaviour on the other hand. And again, to make it as clear as possible: this is not about people who are recovering from an addiction to cigarettes. This is about teenagers who think they're sexy or businessmen thinking they're savvy for suckling on automated cancer sticks that smell like banana milkshakes. I also see that those teenagers could very well end up being addicts, too. And I need to reframe my mindset here because those children (or businessmen) also deserve respect and help. It's the starting point of someone thinking "this is a really cool thing to do ;)" that annoys me.

I also think about the switch from cigarettes and their image even at the time when it was considered sexy (harmful, stinking, butts everywhere) to vapes and THEIR image (harmful but not as much, so much healthier! smells so good! cool tech!) in regards to what chicness and coolness means. I could go on about this, but I think it's a broader topic, so I'll try to summarise it like this: The switch to thinking something so incredibly sanitised is cool/chic/rebellious to me seems to be saying something about a broader switch in aesthetics. Everybody is beautiful but no one is horny, you're not punk your clothes are from shein, etc. But again, that's something that could be elaborated on in a different context.

To summarise: I don't think smoking of any kind is sexy, this post was taken out of the broader context of my thought pattern and I see how it could be misinterpreted and I'm genuinely sorry if it made someone who's a nicotine addict, recovering or otherwise, feel bad. That was never my intention and it's my bad for writing the post without putting it in a bigger frame. I do, however, think thinking smoking is cool or sexy is embarrassing. I get it a little more with cigarettes due to my background, but still.