#Derive >> Set of Rules

[vaguely-concerned]

Origins is of course the DA game most closely in conversation with and playing around with Tolkien (right down to the walking talking poetree haha) -- and even more so than most works in the larger western fantasy tradition derived from Tolkien's work that DA:O also hails from and owes a lot of its Stuff to, what makes the game so great to me is that it's doing so very deliberately, and is subverting and deconstructing those tropes and entrenched ideas in some very interesting ways without at all denigrating what it's commenting on. (it doesn't have the almost disdainful undertones of the vein of fantasy that seeks to make the world more 'realistic' ala the more tedious reactions to G.R.R.Martin's work, for example, despite having the darker fantasy bent to it.) among other elements it adopts, what I find the most fascinating is the choice to use the same literary device/conceit Tolkien did in ostensibly only having in-universe biased sources and works to deliver the world through (which I feel is an underappreciated thing about his approach but is part of what makes his world so enduringly compelling and real-feeling -- the feeling of real scholarship devoted/applied to a made-up world. the grounding effect of a good diegetic footnote about source criticism, truly).

many things to be said there, and I'm glad each following game has taken on different perspectives and lenses and traditions to view the world of Thedas through because if you stick with that one too closely for too long I fear we could teeter precariously close to Pratchett's famous and bitingly accurate accusation of most modern fantasy of that era just being about rearranging the furniture in Tolkien's attic lol. and while you could accuse DA2 (my perfect wife who has never done anything wrong in her life to be clear) of many things, that's not one of them, they are pulling on some completely different strings for that one and both the game and DA overall is better for it, to my mind. as so many things in this series: worth staying with and exploring for an installment even if it might get stale if all of it was like this! people are understandably sad about the elements from previous games that they liked which were lost along the way, but that capacity for reinvention is to my mind a huge strength of dragon age as a whole.

(I think Veilguard is coming in as a close second in Tolkien conversation-ness if only in outlining/revealing the worldbuilding that indeed may have been planned since DA:O around the animosity that SHOULD by all rights exist between dwarves and elves in this universe (as per Tolkienesque tradition standards). but doesn't really because you see: politics and the many pitfalls of conservation of knowledge over the ages. our ancestral enmity got semi-intentionally lost between the floorboards of history and you know what. maybe for the best. the humans are already up to so much shit you gotta keep your eyes on them at all times you can't be brawling with each other in the deep roads while they're still around getting up to their nonsense or they'll just pile up even more of it)

[dead-salmon]

thinking ob lb2 again and i'm still so sad that it was messed up so badly when the initial themes were really great

like skadis & odin's (which skadis 2nd interlude elaborates on) selfish love, wanting the world and beings they love to continue living even if it's a cruel existence for them. the way you can compare it to surtrs selfish feelings he has for ophelia, or the love sigurd and brynhild have for one another

skadi & ortlinde being unable to understand their loved ones decisions until it's practically too late. the inability of ophelia, skadi and ortlinde to actually take action until it's much too late. napoleon serving as a symbol of hope in that regard, the rainbow finally spurring ophelia into action.

the from lostbalt manga scene of ophelia admitting that she truly had different wishes in life than where she ended up, apologising for not doing better. skadi grieving over this, over ophelia, as a mother who is in the exact same spot of being unable to leave the duty that was placed on her.

lb2 had potential man, skadi's character has so much potential. it just pisses me off that both the game and fandom reduce her to moe scathach when there's so much that could've been done with her character

[berryblu-arts]

Pt 2!!!

Some glow stage doodles, mainly Nat/firefly + Ara with a lil cat ^^, I was honestly having kind of a bad art day on these hahah, but eh, might as well post em :3

Some Iris sibs ^^, they're actually Akemi's neice and nephew, that family is a disaster lmaoo

[evil-jennifer-hamilton-wb]

Long have we who need to discuss the third derivative of something several times in the same paper been oppressed by an inability to use the god-given terminology. Must one be seen as immature for the maximum acceleration of jerking at 0?

masturbation is evil not for any puritan anti-fun reason but because it has permanently claimed so many verbs

[yameoto]

SUPERNOVA CAITLYN KIRAMMAN

kpop idol caitlyn X her insatiably horny junior

"Noona is so cool!"  You mimic, voice pitching either higher or lower, depending on which of the plethora of comments you pick, at your leisure. "Caitlyn’s a CF goddess. Her talents are seriously wasted. Wah, her visuals are really otherworldly. Unnie looks so good I’m creaming my pants—" Caitlyn fixes you with a flat, unimpressed look, at that last one. “It doesn't say that.” You grin, like the effervescent angel you are. “Yeah. That was just me.”

tw; dom/sub!caitlyn, brat!reader, idolverse, girlcock, semi-public sex, sex in dance practice rooms, mirror sex, handjobs, handjobs during vlives, voyeurism, mild age-gap, age hierarchy dynamics, use of korean honorifics. idol!caitlyn x idol!reader wc; 5.1k. ao3

notes: set in modern day runeterra. ionia encompasses the entire region of asia in league which i personally find stupid but i dont make the rules. fluff/smut/humour. derivative of korean culture (kpop idol au) + pokes a lil fun at stan culture. no prior kpop knowledge is needed (though it would likely help) the sex is filthy regardless. wrote this after finding caitlyn is only a 1/4 white like hallelujah jesus

CAITLYN looks stupidly good. Like stupid, stupidly good. Her grey sweatpants are slung low on her hips, waistband of her briefs peeking out. Sweat-slickened abs glare back at you, from the floor-to-ceiling mirror. The outline of her bulge is visible. These are all observations that you latch into like an IV-drip hooked-up to your wrist, in order to stay alive—lest you die from the fatigue. And boredom.

“Please,” You grumble, head slumped on your knee as your arm drops to the floor, phone abandoned Candy Crush side, up. “Please, please, please, can we go home?” 

“No,” Caitlyn huffs, hands on her hips, looking entirely too good as she takes a momentary (and you mean, momentary) break to swig a sip of water, before she hurls herself right back into it, sweaty and stunning.

The two of you have been trapped in the practice rooms for what feels like eternity. Or, more accurately, Caitlyn has trapped you in the practice rooms for what feels like eternity. You would rather be snuggled up and content in the comfort of your dorms; rather than slogging away in the basement, like you’re still trainees clawing your way up the company ladder inch by inch—rather than the four-time daesang winners, face of Ionia’s girl-groups’, and other innumerable accolades under your belts that seemingly mean nothing to your fearless group leader. At least, at the moment.

You’ve long slunk to the floor, sleepy eyes tracing the way sweat rolls down Caitlyn’s nape as she re-runs the movements for about the zillionth time. Her shoulder-blades flex through the thin fabric of her shirt, sweat dampening into a darkened pool in a way that should be gross, but on her, it just looks sexy. The ache in your muscles has simmered to a low burn, by now. Jeez, your eyelids are slipping. Thank God you have your sweet leader to ogle. The sight of Caitlyn’s bulge peeking through those sweatpants is practically your sole motivator in keeping your eyes open.

“You know,” After what feels like a decade, you pipe up again, because time has begun to melds together. “You’ve got it. Seriously.” The swig of water that sluices down your throat is lukewarm and unsatisfactory. Fuck, you’re thirsty. “The stage is a week away. You’ll be fine.”

Caitlyn’s eyes narrow at you through the mirror, incredulous.

“When in the world has fine ever been good enough?” 

Okay, sure. Caitlyn’s right. But she’s more than fine. Almost-perfect, actually—and come seven days—her dance moves will indubitably be heaven-sent and her ending fairy will probably trend #1 on three different social media platforms, and you will most definitely tug her ear endlessly about it, like the benevolent, supportive junior you are.

Seven days prior, however—and all you are is tired, grouchy, and maybe just a little bit horny. 

“I crave the sanctity of my blankets.” You lament, hand falling over your forehead as you languish on the floor, because the sun has probably set by now and you are seriously contemplating the possibility of dying of old age in this godforsaken practice room. (Not that that would be so bad, if Caitlyn were with you).

“You can go home, you know,” Caitlyn sighs, twisting around to face you, sneakers squeaking on the glossy wooden floors. 

“How am I supposed to sleep without my favourite member as a bolster?”  You pout, snatching on the chance to act a brat, immediately. Caitlyn just rolls her eyes, but her lips twitch upwards, so negligible that if you weren't so tuned in to all-things-Caitlyn, you might’ve missed it.

“Clingy.” She mutters, like she doesn't love it. Loves being your favourite. Not that it matters, because the glimmer of hope that flickers in your chest when Caitlyn crouches down in the direction of her bag—is immediately quashed when she only taps her screen, and the speaker rewinds all the way to the start. 

You’re really starting to hate this song.

“Are you serious? That’s not enough to rouse your cold, dead, heart?” You whine, because usually Caitlyn would've caved to your grabby-hands and doe-eyes by now (especially with the way you look; lips parted and shining with spit, water trickling down your chin down the column of your throat, from the leftover rivulets of your water-bottle.) Not that Caitlyn doesn't notice. She’s just really, really determined to get this right.

Desperate times call for desperate measures.

“You work yourself too hard.”

You stretch to a stand, elongated and cat-like before you slink over and sling yourself dramatically along Caitlyn’s back. Her expression contorts into exasperation. She attempts to turn her head, to face you—to no avail. Not when you’re pushing her up against the mirror and the pinning her down against glass with the power of aggressive spooning on your side. Her hand shoots out to brace against the mirror, as your fingers hook the hem of her sweats, and Caitlyn stiffens under your thumb, lips falling open against her will.

“Darling,” She inhales, in that addictive, throaty accent of hers. Caitlyn sounds almost pained, as she catches your wrists—though she neither takes them in or wrests them away. The both of you have full view of the rising tent in her groin.

“What?” You smirk, teeth grazing the shell of her ear, like the sneaky little bastard you are. “Don’t tell me you’re planning to practice with a boner, unnie. That must hurt.”

Caitlyn’s breath hitches, and her knees almost buckle, if it weren’t for the way your arms tighten around your waist and squeeze the growing problem at her crotch. Your fingers twine with the string of her trackpants, loosening them under slim, deft fingers.

“Honorifics? Really?” Her voice is tight. She’s screwed. You only ever whip those out when you want something, seeing as how you've been speaking informally to your technical senior  since your very first meeting, in trainee days, (an accident she so loves to recount on variety shows. “It’s not my fault you just looked so young and pretty, unnie.” You’d fumble in defense, eyes wide and doling out the extra sparkle for the cameras as they zoomed-in on your frantic apologies, laugh track sure to be edited in. “What was I supposed to think?”

“You’re lucky I was too kind to scold you,” Caitlyn sighs, and—in a dramatic show of theatricality—flips the inky-blue curtains of her hair behind her shoulder, much to the hosts delight. “I can be really mean, baby.” 

That had been a hit. Probably because of the way her drawl had lilted playfully and she’d cupped your jaw in the most egregious display of fan service you’d ever seen. Caitlyn’s always known how to wrap the media around her pretty fingers; and your stammer and ensuing blush had mercilessly crowded your feed for at least two weeks, afterwards.)

That’s in public, though. In private? 

Caitlyn is a puddle to the graze of your fingers along her hipbone, and the glide of your breath up her neck. Dark eyes meet hers, hooded and intent, reflected in the pane of metal in front of you. It’s certainly a sight to behold. The two of you are both dripping in sweat, Caitlyn’s cheeks flushed, bare-faced and glowing—hair tangled up in that loose ponytail that you've always found so much hotter on her, than any amount of hours in the styling chair could ever produce.

“I really need to..” Caitlyn’s protests sound weak even to her own ears. Especially when heat pools in hot, throbbing waves that rush straight to her dick, and she's cut off by her own gasp when you nuzzle in the nook between her shoulder-blades and your hands—beautiful, cunning hands—ghost over her crotch and squeeze. Her entire world lurches into a haze, body spasming upwards.

“Unnie,” You breathe, sweet and soft, like the devil in her ear, “please fuck me.”

Just like that, Caitlyn can’t take it any longer. A low, strangled noise rips from her throat, eyes fogging over and black eclipsing blue. Lithe hands coil around your wrists, and flips your positions entirely—thrusting you right up against the glass.

Her muscles are throbbing, hours of dance practice flaming up her bones; but she pins you down with the strength of a woman possessed, all the same. As far as Caitlyn’s concerned, she’s like a sleeper agent to your bedroom voice, and the fact could never shine with more clarity, than now (other than the time you’d done a Lola Shark impression in an interview and she’d gotten, to her horror, embarrassingly hard underneath the blanket thrown over her lap. She’d had to call in a bathroom break, to take care of it—much to your smug, haunting amusement).

In the mirror, you watch as Caitlyn’s breathing shallows into pants, tongue licking hot up the stretch of your neck to under your jaw. Neither of you miss the brief, smugly satisfied spark to your eyes and glowing hot between your thighs, even as both squeeze shut when you arch up against Caitlyn’s bulge. She grinds down against your ass, and you moan, so brazen she almost can’t believe it.

“Shit. You're so shameless,” Caitlyn mutters, breaths rushing harsh against your shoulder as she fumbles with the knot at your sweats, rutting hopelessly into the coil of your figure. The moment thread slips free, pants pooling to your ankles as you bend over, head thrown back—Caitlyn’s brand-name briefs soak with a splurge of pre so intense she almost thinks she’s come early.

“You want my fingers?” Caitlyn asks, just to be a bitch. Your eyes squint open to glare at her through blurry vision and through an even blurrier visage.

“Don’t joke,” You spit, voice hoarse with want. It's meant to sound demanding, but all it comes out is whiney, and Caitlyn’s laugh sends shivers down your nape.

There’s a millisecond in which your mind empties completely, and it's almost cruel how you can only see the reflection of Caitlyn’s cock curving upwards from her underwear rather than the real deal. 

Caitlyn’s grasp is like steel around your neck. She thrusts you forwards, your flushed cheeks smushing against the cool surface of the mirror as your stuttered breaths puff in grey clouds of condensation. A groan wrangles itself out of your throat from being manhandled like that, knees wobbling the moment you feel something hot, thick and so, so wet press insistently against the backs of your thighs. Arousal has already begun to drip down your legs, running down in rivulets and moistening the floor under your feet. Yours or Caitlyn’s—you don’t have the eyes to know.

“Unnie,” You breathe, shakily, voice raw. Your fingers are slippery against glass, and you whimper when the familiar stretch of two fingers sinks into your cunt. You slide open, just like that, and Caitlyn temporarily wrenches you back so that you can see your fogged-up reflection in all its full, filthy glory. 

“S’not enough,” You pant, back arching and ramming urgently against her digits she’s spreading you wide, with—so eye-wateringly slow. Maybe it’s the fact that you've been working yourself up, blatantly eyeing her down, for hours since your head checked out of training and your brain devolved into its most primitive urges in coping with your mind-numbing boredom. 

“Not enough?” She grins, sharp-toothed and devastating, adoring the upper-hand. “What? You need a third finger, baby?” The noise that tears out of you is almost like a wounded animal, and you'd be embarrassed if you weren't so overcome with need and prolonging this teasing sounds like torture.

So, you answer with the obvious, “Your cock.” You hiss through gritted teeth, because Caitlyn loves it when you beg for her dick and you’re too hare-brained and empty to do anything more than push back, impossibly deeper into her fingers. They sink to her knuckles of entirely your own volition, without her having to do so much as twitch. 

Caitlyn’s laugh is practically a goad in itself. The lush curtain of her lashes are lowered, irises swallowed up by the deep dilation of her pupils. Still, though, she takes her time in playing with you, just a little longer. Revels in the way you thrash around her fingers, fucking yourself back, desperate.

Herself is one thing. Her dick can only take so much, however. The ache becomes too much, too soon, and the second she runs her glossy head against the drenched, hot pulse of your hole—she can’t not shudder, knot in her throat, before her fingers slip out of your pussy and your consequent whimper is interrupted by the plunge of her cock.

“Hah, baby..” Caitlyn whimpers, eyes fluttering back as she fucks you against the mirror, nails dragging up your hips and digging into supple flesh. Never has Caitlyn felt so at home, submerged in the deep, velvet ocean of your cunt.

“Unnie—” You gasp. It’s the one word, echoing over and over, like an all-consuming siren song throughout your head—with each gasp that comes with every thrust of Caitlyn’s hips, motions growing sloppier as the exhaustion of hours of tireless exertion catches up to the both of you. She nips at your ear, then down the curve of your nape, to the unblemished skin of your upper back. Teeth grazing, pads of her fingers leaving scorching trails as she gropes up your body—your mind a jumbled, fuzzy mess. Her cock plunges in and out, still guided, though she never slips out more than mid-way; bodies sticking together like gum. Like she can’t bear to be apart from you for even a moment—even if it is to pummel your cunt until you can hardly take it anymore.

It’s only when the pumps and rolls begin to slow into simple, gentle rocks, to absolutely nothing but a twitch—that your mind clumsily clasps onto a semblance of clarity, hasty and brief, like you know it’ll slip away and out of reach, soon. “Wha..?” You rasp, half-slurred, even if what you really want to whinge is; What’s goin’ on? Why’d you stop? And, please, please, please. Don’t stop. Keep goin’. Fill me up. Please, don’t ever stop— and other half-baked nonsense that you’ll be glad your tongue was too thick and heavy in your mouth to spill.

“I can’t mark you,” Caitlyn grunts, and your eyes sharpen, just a little. Her tongue peeks out from her lips as her expression looks disproportionately distraught, like it’ll be the end of the world if she doesn’t stake some sort of physical claim on you, eyes darting downwards to your unblemished shoulders with a low growl of frustration.

Distantly, that part of you is still clinging onto reality, knows she’s right. That your comeback is in a week’s time and risking a hickey or a bite-mark or worse (because Caitlyn is stronger and sharper and rougher than her delicate figure should ever have been allowed to be), is a bad, bad idea.

But the larger part of you—the part of you that is currently being railed by her unnie’s cock and trying desperately not to squirt cum all over the practice room mirror—rasps out a reckless, ragged, “Who cares?”, and that’s all the permission Caitlyn needs.

Caitlyn pulls out, and slams herself in again, grip on your waist, bruising. Your hands go sliding, uselessly against the steamy surface of the mirror, long fogged-up under the slick tangle of your bodies. She’s mouthing slurred nonsense into your ear, the music speaker knocked over by one of your ankles and emitting distant sounds from where it's rolled, to the other side of the room. Neither of you could give a single fuck. 

Not the least, when Caitlyn’s hand is sliding up your throat and thumbing over your gaping lips. It feels as if a pink-hued fuzziness has descended the room and become a thick veil over everything, and when her fingers slip into the hot, wet gasp of your mouth—it's only right for you to take the digits in your tongue and suck. 

“Ahnngh—Cait—”  

“When did I say you could speak informally to me?” Caitlyn husks, fingers pressing deeper into the roof of your mouth. In your reflection, you can see the razor angle of Caitlyn’s jaw as she nuzzles into your ear. The obscene glisten of your spit, coating her fingers and coasting down your chin as her digits languish between your parted lips. You look every bit like her precious fuckdoll, right now.

“Unnie—”

“Ah-ah.”

“Sunbae.” 

“Mm. That’s better.”

Her free hand skims up your shirt, slipping up the taut lines of your body and flicking idly at one nipple. You whine, garbled around the gag of her hand, and Caitlyn lets out a moan of content when your pussy tightens around her shaft.

“Fuck,” She pants, teeth sinking down into your shoulder and you buck, even though the pain barely registers with how Caitlyn barrels her cock in you, deeper, and your eyes roll back into your skull. Your thighs are shaking. “M’gonna—hfgh—” 

Her hips draw upwards, and Caitlyn cums like a faucet. All of it, inside you. Outside of you. Dripping from your still-leaking cunt and droplets getting fucked out with each, desperate thrust as she moans, guttural. “Take it—fuck—” Caitlyn groans, harsh and insistent as she pounds, your pussy squelching—so wonderfully wet—as your fingers scramble against the glass, her fingers cramming deep inside your mouth.

“Ah-ah—fuck!”

The two of you go crashing down, sliding down against the mirror and onto the floor with a twinning, indecipherable slew of obscenities, a boneless, panting heap, still moving in tandem. 

You both slump, slippery and sticky. The song on the speakers re-starts, yet again, from the other side of the room, though it's the first time it's even pierced your ears in the past forty minutes. Caitlyn groans, pushing her nose into the crook of your neck, arms tightening around your waist. The mirror is splattered in both your cum.

“We’re gonna have to clean this up, aren’t we?”

“..Probably.” You sigh, still leaking around her cock as you angle your head, the two of you slotting together like missing puzzle pieces.

Twenty-four hours and countless Kleenex wipes later (and really, cleaning your own cum from floor-to-ceiling mirrors—with two half-guilty reflections staring right back at you—is an uniquely humbling experience); it was totally worth it to see Caitlyn appropriately red, after the crash of post-nut clarity.

It’s your one, blissfully empty day before comeback promotions launch you all into full-throttle. You intend to enjoy it while it lasts. 

“Your latest Lotte CF went viral,” You pop behind her, totally innocously if weren’t for that familiar, impish glint in your eyes. Caitlyn sighs, not even glancing up from the stove, completely nonplussed. Probably because Caitlyn could record herself taking a piss and it would chart #1 on Melon.

“The seonjiguk is simmering.” She ignores you. You ignore her right back.

“Look at those dimples,” You beam like a little shit as you wave the video in her face. “Maybe you should go into acting. The GP would go crazy.”

“No thanks,” Caitlyn snorts, hand lifting upwards to stifle a brief yawn, sleeves coming up all the way to her knuckles. “been there, done that.” 

“Oh, right. All your Piltovian film connections.” You hum, idly tracing the underneath of Caitlyn’s elbow as you lean over her shoulder to watch her cook. She’s markably improved from her humble beginnings of blackened, bubbling slag (what was once instant Buldak), or the scotchmarks that still hail the kitchen tiles, to this day.

“Mhm. I was almost poached. My mother wanted me to—what was that? Follow in her footsteps.”

“Well, I’m grateful that you didn't,” You hum, into her shoulder. You poke her side, grinning. “Then you wouldn't have met me, and wouldn't that be tragic?”

Caitlyn scoffs, but you feel her sink a little deeper into your embrace, eyes flitting to settle onto the top of your head, as you nudge into her. You both, really are grateful.

You’re pretty sure Ionia is grateful, too. 

Whatever the day, it always feels like Caitlyn’s name has taken up a permanent residence in the nation’s newsites. ICE PRINCESS. AI VISUALS. ATTITUDE PROBLEM. Her quarter Piltovian and subsequent accent injects an ‘attractive exoticism’ (or whatever management had stapled to your files, at the dawn of debut), that had made Caitlyn internationally explosive, too. 

The Kiramman surname certainly helped. Caitlyn’s debut was like, the biggest plot-twist in nepotism, ever. It was like if Nicole Kidman’s kid suddenly became Hatsune Miku. Not to mention the fact the Kirammans are the largest benefactor of Hextech, whose global rollout of leading-edge tech has gone unmatched. Of all careers for the Kiramman’s mysterious, devastatingly attractive daughter to take—this is the one that took the entire globe off-guard. Including the great and glamorous, Cassandra Kiramman.

Of course, the initial shock long lapsed underwater, with the constant roil of the media waves. Caitlyn’s fame, however, has not.

“Noona is so cool!”  You mimic, voice pitching either higher or lower, depending on which of the plethora of comments you pick, at your leisure. “Caitlyn’s a CF goddess. Ah, her talents are seriously wasted. Is she an angel? Her visuals are really otherworldly—”

“Get that away from me.” Caitlyn swats your phone away with a scowl, pretty pink flush glowing on her features.

“Don’t act all coy,” You prod her so-highly-lauded cheekbones as Caitlyn huffs in annoyance, though begrudgingly leans against the touch anyways. You squish. “We all know you’re preening inside.”

“I am not!”

“Ooh, sexy. I love it when your accent comes out like that.”

Caitlyn groans, because you’re impossible, and just twists so that she’s facing you, back against the kitchen counter. You reach behind her to switch off the stove.

She hooks her fingers into the hem of your pyjama shorts, thumbing over familiar cotton. She sighs outwardly, propping her head up on your shoulder and slumping forwards to rest the cold press of her nose into the crook of your shoulder. Her fingers skim up your shirt, absently rubbing circles into the plane of your stomach.

“You know I hate it when you read those.”

“About how you look like an eepy bunny when you’re sleepy? Or that you have moles in the shape of a giraffe on your nape.” You arch a brow, looking past her as you flick through the blurs of text in various degrees of capitalisation, on your phone. A subtle smirk lifts your lips. “Hey. Is that true? Let me check.”

She scowls, and then almost looks offended that you don’t know that already (You do. Caitlyn also has a darkened, heart-shaped birthmark indented in the crook of her inner thigh—but that’s just for you to know, thank you very much).

Your voice raises a pitch. “Unnie looks so good I’m creaming my pants!”

Caitlyn fixes you with a flat, unimpressed look. “It doesn't say that.”

You grin, like the effervescent angel you are. “Yeah. That was just me.”

Oh, now Caitlyn’s cheeks go red. You push valiantly past the triumphant flutter in your heart, in favour of continuing your teasing. Hey—there’s no schedule today, the dorms are all to yourselves—and you’re on a roll. 

“Look. They wanna steal your eyes and put them in a boba drink.”

Thoroughly fed-up with your antics, Caitlyn snatches the phone out of your hand, and you immediately squirm, to lunging for it. Caitlyn’s ridiculous height advantage has the one-up on you, though, and you puff out an aggrieved yelp of protest when she dangles it above your head, like a dickhead.

“Hey, what the fuck?” You complain, like your comeuppance wasn't exactly what you were hoping for. Except you were more aiming for a pin-you-against-the-fridge, fuck-the-insides-out-of-you type of comeuppance. Not a sordid reminder that you need a stool to reach the top of Caitlyn’s head. “Don’t lord your freakish Frankenstein genetics over me!”

Caitlyn laughs, eyes flickering down. “Are you on your tip-toes right now?” 

Your eyes narrow, because you do not appreciate having the tables turned on you. Your hand shoots up to cup her jaw, tilting it upwards. Caitlyn softens, putty in your hands, adorable furrow in her brow melting away along with her pride as she sinks into your palm with a soft sigh, arm falling to her side.

There we go.

“It’s not my fault you avoid socials like the plague. I’m just doing my duty to take care of my leader’s PR. Your fans are starving.”

Caitlyn grumbles, “Well, let them starve.” though it comes out pinched between smushed lips, cheeks squishing like a dumpling. So heartless, like she’s not the industry’s princess and probably makes up a total of 50% of the company’s annual income. You know exactly why, as you cradle her face in her palms and watch as she leans upwards because no matter how disgruntled Caitlyn acts, or how shockingly humble she is under that front of aloof, arrogance–she definitely preens under attention.

Just. Only yours. 

“Hey, you know what? We should go live right now.”

“What—?” Caitlyn stammers, flabbergasted by the sudden change in direction, “Don’t—“

Too late. Within seconds, you’ve swiped your phone back from her limp hands and flipped the vlive on. Recording. Like, now. Damn, you're speedy. 

“Ah..” Caitlyn’s expression smooths over to that charming, impeccably gorgeous grin of hers that shows off the sharp curves of her cheekbones and has won her the hearts of a nation. 

You pull her to the couch, and under the scrutiny of the camera—Caitlyn acquises with little more than a subtle elbow to your ribs, when the both of you go thudding into the cushions with a low oomph.

Then, you flop against her chest, and the stream of hearts that ensue are absolutely incredible, comments rolling in faster than you can read them. There’s a reason why the two of you are the most popular pairing in the group.

“Hm. Is it on?” You muse, faux confusion tugging on your pretty features. Knitted brows and a plush little pout always do the job, especially when you add a sneak of tongue. No doubt to be screenshotted and re-uploaded countless times, within the next hour. “Hello? Can you guys hear us?”

Which is, you know, the perfect time to grab Caitlyn’s dick through her pants.

A choked noise resounds beside you, and you don’t glance over, for you’re too busy fiddling with the phone and the settings and all other kinds of bullshit that is really just an excuse for you to focus your attention on snaking a hand down Caitlyn’s waistband, just out of view of the camera. “Oh! It’s working. Did you miss us?” You beam, as Caitlyn struggles not to either sock you in the stomach or throw her head back and moan.

If anybody notices Caitlyn’s pupils are suspiciously blown, it doesn’t come up. What does come up, is her ever traitorous cock that lilts immediately into your touch. Fuck. Fuck, fuck.

“Aw, little Caity’s missed me, too,” You croon, as your sneaky fucking fingers stroke idly along her girth, underneath the veil of her sweatpants and just over the thin fabric of her underwear. Caitlyn visibly bristles, because, 1. You’re jacking her off. 2. She hates that your coo instigates a flood of love-bombing so intense, that the hearts on the screen almost completely obscure the both of you. 3, and the most important one; you just gave her dick a nickname! 

“Cait.” You tease out, eyes glittering, not even bothering to conceal your amusement as Caitlyn’s hips buck upwards, her fingers pinching against your sides, lips completely shut mum, for fear she’ll let slip a moan on camera. “C’mon. Say something. You missed them too, right?”

Gods. Caitlyn hates you. She really, really hates you. Just—not enough to not shove your hand away when it starts to peel away the waistband of her underwear. If only because the feeling of precum soaking its seat, sticking to her skin, and not because she’s itching for the sweet relief of your hand around her cock.

“..Hi,” Caitlyn forces her winning, boxy grin, and the years of practice make it an admirably unstrained effort. Maybe she really should go into acting. “Mm. Long time no see, hm?” 

“Unnie’s being awkward, today.” You snark, all sly, and Caitlyn shoots you a glare. She’s rewarded by the sudden, fervent warmth of your hand wrapping around her dick, and then the harsh tug of your fist that has her knees jerking upwards and her dastard slit spurting out a shiny, hot glob of precum. She swallows back a low, strangled whine, like a dry pill. Oh, Gods. She’s supposed to say something.

“Ah, just..—we’ve—ah—”

In a rare show of mercy (because apparently, you’re not out to throw both your careers to the dogs), you swipe the phone back with the most cherubic, triumphant grin to adorn your face, literally ever. Catilyn lets slip a barely-audible hiss as your fingers coil, just a little tighter, stroking up and down—thumb running back over the swollen, gloatingly shiny cockhead.

“We just had a long time in the practice rooms for our comeback, yeah? So we’re pretty tired. Right, unnie?” 

Oh, you're really pushing it, now. 

“Mm. We’ve been—working. Really hard.” She has to lean out of the screen to release a silent, desperate gasp, nails digging into the back of the couch as she tries to rut up into your hand in a way that doesn't obviously send the sofa, trembling. You idly thumb over her slit, smearing the thick, embarrassingly copious amounts of pre down her length. It twitches in your palm, as you ramble on about schedules and the comeback and spoilers and other things that have long become white noise in Caitlyn’s ears. Her hips chase your touch, brazenly, now. She barely even realises when you’re calling it quits; early, too. Because obviously, this was all just to fuck with her.

“Caitlyn,” You sing-song—smirking (supremely unsubtly), at the camera. “Say bye-bye.”

She only just registers the comment. Barely. “Bye.” Caitlyn’s voice is a low croak, hips arching upwards off the couch just as you end the live. Just in time, too, because—

“Oh, fuck.” Caitlyn releases the longest moan of her life, cum spilling over your fist, and she collapses back into the couch. Your phone falls from your hand, and you’re practically shaking with laughter. 

(“Little Caitey,” Caitlyn grumbles, after the fact, with your head nestled between her thighs in apology, “That’s preposterous. What’s so little about her?” Nothing. But there’s no fun in that, is there? At the slow, sly smile spreading on your face, Caitlyn groans. “What?”

“You referred to her in third-person.”

“..Please just suck me off already.”)

[writers-potion]

The Pirate's Glossary

Ahoy - an interjection used to hail a ship or a person, or to attract attention.

Arr! - an exclamation

Avast! - a command meaning stop or desist

Aye (or ay) - yes; an affirmation

Becalmed - the state of a sailing vessel which cannot move due to a lack of wind

Belay - (1) to secure or make dast by winding on a cleat or pin (2) to stop, most often used as a command

Bilged on her anchor - a ship holed or pierced by its own anchor

Bilmey! - an exclamation of surprise, short for "God blind me!"

Blow the man down - to kill someone

Boom about - when a ship turns in the wind the boom can swing violently enough to injure or kill a person on board. "Boom about" may be shouted to warn others the boom is about to move.

Bring a spring upon her cable - to come around in a different direction, oftentimes as a surprise maneuver.

Careen - to take a ship into shallower waters or out of the water altogether and remove barnacles and pests such as mollusks, shells and plant growth from the bottom.

Chase - a ship being pursued, or the act of pursuing a ship.

Code of conduct - a set of rules which govern pirates behavior on a vessel.

Come about - to bring the ship full way around in the wind. Used in general while sailing into the wind, but also used to indicate a swing back into the enemy in combat.

Crack Jenny's teacup - to spend the night in a house of ill repute.

Crimp - to procure (sailors or soldiers) by trickery or coercion, or one who crimps.

Dance the Hempen jig - to hang

Davy Jones' locker - a fictional place at the bottom of the ocean. In short, a term meaning death.

Dead men tell no tales - standard pirate excuse for leaving no survivors.

Deadlights - (1) strong shutters or plates fastened over a ship's porthole or cabin window in stormy weather. (2) Thick windows set in a ship's side or deck. (3) eyes.

Fire in the hole - a warning issued before a cannon is fired.

Furl - to roll up and secure, especially a ship’s sail.

Give no quarter - the refusal to spare lives of an opponent. Pirates raise a red flag to threaten no quarter will be given.

Handsomely - quickly or carefully; in a shipshape style.

Haul wind - to direct a ship into the wind.

Heave down - to turn a vessel on its side for cleaning.

Heave - an interjection meaning to come to a halt.

Ho - used to express surprise or joy, to attract attention to something sighted, or to urge onward.

Letter of marque - a document given to a sailor (privateer) giving him amnesty from piracy laws as long as the ships plunders are of an enemy nation.

List - to lean to one side

Long clothes - a style of clothing best suited to land. A pirate, or any sailor, doesn't have the luxury of wearing anything loose that might get in the way while climbing up riggings.

Marooned - to be stranded, particularly on a desert isle.

Me - My

No prey, no pay - a common pirate law meaning a crew received no wages, but rather shared whatever loot was taken.

Overhaul - (1) to slacken a line (2) to gain upon in a chase; to overtake

Parely - a conference or discussion between opposing sides during a dispute, especially when attempting a truce, originating from the French, "parler," meaning "to speak." The term was used in "Pirates of the Caribbean: The Curse of the Black Pearl" as part of Pirate law.

Piracy - robbery committed at sea.

Quarter - derived from the idea of "shelter", quarter is given when mercy is offered by pirates. Quarter is often the prize given to an honorable loser in a pirate fight.

Reef sails - to shorten the sails by partially tying them up, either to slow the ship or to keep a strong wind from putting too much strain on the masts.

Run a shot across the bow - a command to fire a warning shot.

Sail ho! - an exclamation meaning another ship is in view. The sail, of course, is the first part of a ship visible over the horizon.

Scupper that! - an expression of anger or derision meaning "Throw that overboard!"

Sea legs - The ability to adjust one's balance to the motion of a ship, especially in rough seas. After walking on a ship for long periods of time, sailors became accustomed to the rocking of the ship in the water. Early in a voyage a sailor was said to be lacking his "sea legs" when the ship motion was still foreign to him. After a cruise, a sailor would often have trouble regaining his "land legs" and would swagger on land.

Shiver me timbers! - An expression of surprise or strong emotion. In stormy weather and rough seas, the support timbers of a ship would "shiver" which might startle the crew. The phrase may have been less common during the Golden Age of Piracy than it had become later in fictional works.

Show a leg! - A phrase used to wake up a sleeping pirate.

Sink me! - An expression of surprise. Many pirate exclamations used exaggerated imagery to highten a point. Ye might say the sailors were punchy or a bit melodramatic after a lengthy stay at sea.  

Smartly - quickly

Take a caulk - To take a nap. On the deck of a ship, between planks, was a thick caulk of black tar and rope to keep water from between decks. This term came about either because sailors who slept on deck ended up with black lines across their backs or simply because sailors laying down on deck were as horizontal as the caulk of the deck itself.

To go on account - A pleasant term used by pirates to describe the act of turning pirate. The basic idea was that a pirate was more "free lance" and thus was, more or less, going into business for himself.

Warp - To move (a vessel) by hauling on a line that is fastened to or around a piling, anchor, or pier.

Weigh anchor - To haul the anchor up; more generally, to leave port.

Ye - you

If you like my blog, buy me a coffee☕ and find me on instagram! 📸

Reference:

https://www.pirateglossary.com/

[writingwithcolor]

Sri Lankan Fairies and Senegalese Goddesses: Mixing Mythology as a Mixed Creator

[Note: this archive ask was submitted before the Masterpost rules took effect in 2023. The ask has been abridged for clarity.]

@reydjarinkenobi asked:

Hi, I’m half Sri Lankan/half white Australian, second gen immigrant though my mum moved when she was a kid. My main character for my story is a mixed demigod/fae. [...] Her bio mum is essentially a Scottish/Sri Lankan fairy and her other bio mum (goddess) is a goddess of my own creation, Nettamaar, who’s name is derived from [...] Wolof words [...]. The community of mages that she presided over is from the South Eastern region of Senegal [...] In the beginning years of European imperialism, the goddess basically protected them through magic and by blessing a set of triplets effectively cutting them off from the outside world for a few centuries [...] I was unable to find a goddess that fit the story I wanted to tell [...] and also couldn’t find much information on the internet for local gods, which is why I have created my own. I know that the gods in Hinduism do sort of fit into [the story] but my Sri Lankan side is Christian and I don’t feel comfortable representing the Hindu gods in the way that I will be this goddess [...]. I wanted to know if any aspect of the community’s history is problematic as well as if I should continue looking further to try and find an African deity that matched my narrative needs? I was also worried that having a mixed main character who’s specifically half black would present problems as I can’t truly understand the black experience. I plan on getting mixed and black sensitivity readers once I finish my drafts [...] I do take jabs at white supremacy and imperialism and I I am planning to reflect my feelings of growing up not immersed in your own culture and feeling overwhelmed with what you don’t know when you get older [...]. I’m sorry for the long ask but I don’t really have anyone to talk to about writing and I’m quite worried about my story coming across as insensitive or problematic because of cultural history that I am not educated enough in.

Reconciliation Requires Research

First off: how close is this world’s history to our own, omitting the magic? If you’re aiming for it to be essentially parallel, I would keep in mind that Senegal was affected by the spread of Islam before the Europeans arrived, and most people there are Muslim, albeit with Wolof and other influences. 

About your Scottish/Sri Lankan fairy character: I’ll point you to this previous post on Magical humanoid worldbuilding, Desi fairies as well as this previous post on Characterization for South Asian-coded characters for some of our commentary on South Asian ‘fae’. Since she is also Scottish, the concept can tie back to the Celtic ideas of the fae.

However, reconciliation of both sides of her background can be tricky. Do you plan on including specific Sri Lankan mythos into her heritage? I would tread carefully with it, if you plan to do so. Not every polytheistic culture will have similar analogues that you can pull from.

To put it plainly, if you’re worried about not knowing enough of the cultural histories, seek out people who have those backgrounds and talk to them about it. Do your research thoroughly: find resources that come from those cultures and read carefully about the mythos that you plan to incorporate. Look for specificity when you reach out to sensitivity readers and try to find sources that go beyond a surface-level analysis of the cultures you’re looking to portray. 

~ Abhaya

I see you are drawing on Gaelic lore for your storytelling. Abhaya has given you good links to discussions we’ve had at WWC and the potential blindspots in assuming, relative to monotheistic religions like Christianity, that all polytheistic and pluralistic lore is similar to Gaelic folklore. Fae are one kind of folklore. There are many others. Consider:

Is it compatible? Are Fae compatible with the Senegalese folklore you are utilizing? 

Is it specific? What ethnic/religious groups in Senegal are you drawing from? 

Is it suitable? Are there more appropriate cultures for the type of lore you wish to create?

Remember, Senegalese is a national designation, not an ethnic one, and certainly not a designation that will inform you with respect to religious traditions. But more importantly:

...Research Requires Reconciliation

My question is why choose Senegal when your own heritage offers so much room for exploration? This isn’t to say I believe a half Sri-Lankan person shouldn’t utilize Senegalese folklore in their coding or vice-versa, but, to put it bluntly, you don’t seem very comfortable with your heritage. Religions can change, but not everything cultural changes when this happens. I think your relationship with your mother’s side’s culture offers valuable insight to how to tackle the above, and I’ll explain why.  

I myself am biracial and bicultural, and I had to know a lot about my own background before I was confident using other cultures in my writing. I had to understand my own identity—what elements from my background I wished to prioritize and what I wished to jettison. Only then was I able to think about how my work would resonate with a person from the relevant background, what to be mindful of, and where my blindspots would interfere. 

I echo Abhaya’s recommendation for much, much more research, but also include my own personal recommendation for greater self-exploration. I strongly believe the better one knows oneself, the better they can create. It is presumptuous for me to assume, but your ask’s phrasing, the outlined plot and its themes all convey a lack of confidence in your mixed identity that may interfere with confidence when researching and world-building. I’m not saying give up on this story, but if anxiety on respectful representation is a large barrier for you at the moment, this story may be a good candidate for a personal project to keep to yourself until you feel more ready.

(See similar asker concerns here: Running Commentary: What is “ok to do” in Mixed-Culture Supernatural Fiction, here: Representing Biracial Black South American Experiences and here: Am I fetishizing my Japanese character?)

- Marika.

Start More Freely with Easy Mode

Question: Why not make a complete high-fantasy universe, with no need of establishing clear real-world parallels in the text? It gives you plenty of leg room to incorporate pluralistic, multicultural mythos + folklore into the same story without excessive sweating about historically accurate worldbuilding.

It's not a *foolproof* method; even subtly coded multicultural fantasy societies like Avatar or the Grishaverse exhibit certain harmful tropes. I also don't know if you are aiming for low vs high fantasy, or the degree of your reliance on real world culture / religion / identity cues.

But don't you think it's far easier for this fantasy project to not have the additional burden of historical accuracy in the worldbuilding? Not only because I agree with Mod Marika that perhaps you seem hesitant about the identity aspect, but because your WIP idea can include themes of othering and cultural belonging (and yes, even jabs at supremacist institutions) in an original fantasy universe too. I don't think I would mind if I saw a couple of cultural markers of a Mughal Era India-inspired society without getting a full rundown of their agricultural practices, social conventions and tax systems, lol.

Mod Abhaya has provided a few good resources about what *not* to do when drawing heavily from cultural coding. With that at hand, I don't think your project should be a problem if you simply make it an alternate universe like Etheria (She-Ra and the Princesses of Power), Inys (The Priory of the Orange Tree) or Earthsea (the Earthsea series, Ursula K. Le Guin). Mind you, we can trace the analogues to each universe, but there is a lot of freedom to maneuver as you wish when incorporating identities in original fantasy. And of course, multiple sensitivity readers are a must! Wishing you the best for the project.

- Mod Mimi

[bellshazes]

i don't think the life series is "about" anything at all. it's not about survival or winning or player dynamics, or any theme. however i do think that the entire series - third life to present - is unified by a game design philosophy where all mechanics are engineered to disrupt the game as it has been played.

third life was initially pitched as "a[n ...] experiment" and its opening question was fundamentally how long can this last, which scar quickly proved was not long at all. it's easy to forget that it was not always a given that seasons would last approximately eight weeks and how the breakpoints of red/yellow violence would fall.

last life attempted to disrupt the established social norms by a) attempting to ban acting based on prior season's events and more importantly b) introducing social deduction mechanics which destabilized all alliances by default. similarly, although the ban on continuity never returned, double life's gimmick at its core is just another disruption of social dynamics. limited life iterates on last life's boogeyman dynamic while applying a different kind of time-limited pressure; secret and wild life are carousels of disruption to social play and "regular" or survival gameplay.

nevertheless players have defined the real rules of the game - the game-as-played which gives the series continuity - through their playing of it. both in spite of and because of the mechanical disruptions, conventions around sportsmanship and acceptable behavior are deeply entrenched. kills that are "illegal" by the written rules matter less than the player perception of them; the desire to invent social punishments for explicit infractions died with etho in the third life firing squad. players judge kill attempts as acceptable/impermissible by their relative status of reds vs. yellows, as the rudeness of ending someone's series early far outweighs the obvious strategic benefit of eliminating reds first. history persists, only as much as a given set of players negotiates it should. everyone should be along for the ride for as long as possible, but it will end.

ultimately life seasons are designed to make it difficult to play as you always have, and the players derive fun and drama from balancing their leaning into the gimmicks or into their habits. unfortunately this tension is deeply compelling and leads to wildly divergent opinions on what is "good" or "authentic" about a season or gimmick or episode because where the "good" tension is depends on the viewer, the point of view, the episode, etc.

[blackmagictrait]

anyway

"When you contribute UGC [user generated content], you grant to EA, its licensors and licensees a non-exclusive, perpetual, transferable, worldwide, sublicensable license to use, host, store, reproduce, modify, create derivative works, publicly perform, publicly display or otherwise transmit and communicate the UGC, or any portion of it, in any manner or form and in any medium or forum, whether now known or later devised, without notice, payment or attribution of any kind to you or any third party. You also grant to all other users who can access and use your UGC on an EA Service the right to use, copy, modify, display, perform, create derivative works from, and otherwise communicate and distribute your UGC on or through the relevant EA Service without further notice, attribution or compensation to you." - ea terms of service "Mods must be non-commercial and distributed free-of-charge. Mods cannot be sold, licensed, or rented for a fee, nor can Mods contain features that would support monetary transactions of any type." - official sims 4 policy on mods

free cc resources:

my free cc tag

** all sfs folders

dollhouse mafia * telegram group (instant messaging app), requires phone number to sign up but you can set your # to private. 100% safe and my most used resource (read the rules!!!)

ts4rebels > direct link to vault * new site, new link

paysitesmustbedestroyed * it's back bby!!

simsgalaxy * vk page, requires account but is free (**good for sl conversions)

kemono.party (for patreon/boosty releases) * use an adblock on this one!!

losts4cc * not a pirating site, just an archive of cc that's been deleted/lost

verycursedstuff * for curseforge stuff!!

🏴‍☠️🏴‍☠️🏴‍☠️

[prokopetz]

So, you've mentioned before that TTRPGs always have an expected "mode of play", that is, the basic concept from which the gameplay loop is derived. I admit I have little experience with this kind of thing, but I'm having trouble wrapping my head around the mode of play of Lasers and Feelings. Like, what's the unifying thread between Lasers and Feelings, Radical Catgirl Anarchy, and Lily is Girls With The Ability? Or between L&F and something like Speeding Bullets, for that matter? Is it just that they're all rules-light shitposts? Or is it based on, like, the tension between the two different ends of a dichotomy?

One-page games can be tricky in this respect because they just don't have the bandwidth to explicitly state many of their assumptions. They necessarily depend on the players (and the GM, if present) bringing the "correct" set of assumptions to the table regarding how the game ought to be played.

Still, there's enough there to draw certain conclusions. For example, in a typical Lasers & Feelings hack, rolling the dice gives a pass-or-fail outcome (with optional complication) for a discrete physical, mental, or social task. This frames a session of play as a sort of narrative obstacle course: the story consists of overcoming a series of well-defined obstacles in order to arrive at a particular goal. That might seem like a fairly banal observation, because that's how a lot of tabletop RPGs frame a session of play, but we need to make that explicit to contextualise the next step.

That next stop, of course, being the approaches.

One of the baseline assumptions of any tabletop RPG is that you're going to use it to tell the kinds of stories about which the rules have something to say – indeed, a tabletop RPG has to assume this, because if you're not telling the kind of story about which the rules have something to say, you're not playing the game!

To that end, a Lasers & Feelings hack is usually going to give you a pair of approaches to roll against, each consisting of a set of ways of conceptualising the obstacle in front of you. I'm not using the term "conceptualising" just to be fancy here; in Lasers & Feelings, the GM (if present) describes the obstacles, but it's on the player, not the GM, to decide "this is the kind of obstacle which can be overcome with [insert approach]", and nobody gets to tell them they're wrong.

Thus, a Lasers & Feelings hack assumes that the story of your game is going to consist of a series of obstacles (see above) which can usefully be conceptualised using at least one of the game's two approaches. A game where your approaches are "the power of friendship" and "the power of unimaginable violence", for example, probably isn't one that you'd want to use to play out a scenario inspired by Jane Austen's Pride and Prejudice, because those approaches aren't useful ways of conceptualising the kinds of obstacles such a story is likely to present – and if you used it anyway, the story would rapidly stop being a Pride and Prejudice pastiche.

All that in mind, it might be more accurate to state that Lasers & Feelings as a framework presents meta-expectations; the framework provides a set of mechanisms for a particular hack's chosen approaches to direct play, but you have to look at what that hack's chosen approaches actually are to pin down what that direction is.

[beta-therapy]

Female Sexual Freedom = More Sexless Men?

By all metrics, female sexual freedom is at an all-time high in Western society. In this discussion, female sexual freedom / liberation / empowerment is a general term used to describe women’s

-openness to casual sex,

-average number of sexual partners, and

-ability to be sexually promiscuous without social repercussions.

We see today’s women, in large numbers, going out in revealing outfits that draw attention to their sexual features. We know that the typical modern woman does not have the same hesitation toward casual sex that women had 30 years ago. Rather than hide her sexuality and treat it as sacred, she wears it like a crown, unapologetically. She flaunts it on social media.

This is just one effect of a broad scale cultural change in the developed world. As we become more scientifically and technologically savvy, there is a large movement to depart from the ancient wisdom encoded in religious principles, and instead, to derive our values from rationality.

And this is the result. A population of free, empowered women who live with a focus on fun and pleasure. They reject religious dogma (it’s just a bunch of arbitrary rules!). Since there aren’t any objective values and everyone can pick their own, this leads to the feminine tendency to be inclusive and tolerant of everyone (except when it comes to sexual selection, of course. There’s no inclusivity there, but it’s just biology so you should respect women’s decisions).

Now here is the paradox. Sexuality has become a lot more public. Women are much more open to engaging in casual sex. Hookup culture is widespread. We’ve never lived in a more sexual society. So it should follow that your everyday, average Joe is getting a lot more sex, because the barrier to sex is so low, right?

Actually, the opposite is true. The average guy experiences a barrier to sex that has never been higher. It is fair to say the average man today is invisible to women. Check out the standards females set for men today. Check out the statistics on male sexlessness. The number of sexless men has been rapidly increasing every year in this digital age.

The culture is becoming extremely sexual, but here’s the catch: the only men who get to participate are those in the top tier (the men who women actually want to have sex with).

Therefore, instead of saying we live in a hypersexual society, it’s more accurate to say that women are no longer beholden to traditional values, so they can freely express their deepest desires, and instead of getting shamed, they are accepted. We are letting their true colors shine through!

And what did those true colors turn out to be?

Women love sex! But not with an average guy.

In plain, honest terms, what women want is to chase the man with value. The man who could get any girl. She wants to seduce him. Make him fall in love with her. That’s the female sexual fantasy that we’re watching play out. It has nothing to do with giving out sex to an average guy.

This paradox is an example of the tug-of-war between freedom and equity.

Society has removed much of the stigma on sexual promiscuity, substantially increasing our ability to freely make sexual decisions without getting judged. We’re taking down the barriers on sex and sexual behavior, so it’ll be more accessible to everyone!

But the effect is the complete opposite of “more sex for everyone.” Women’s freedom to act out their deepest desires without apology has resulted in the strongest social caste system of men, because those deep desires only pertain to alphas. Some men fuck hundreds of girls. For other men, the only way to have sex is to pay for it.

The same consideration applies to every item of public policy. The laissez faire capitalist system is attractive because everyone is free to make their own decisions. But since consumers are naturally going to select the best products available, the system is prone to monopolistic takeover. The result is that everyone buys from the same few companies, and your average Joe cannot enter the playing field because he has no ability to compete.

We know one thing for certain. Freedom is key! We should all be free to pursue our highest potential. That’s equality of opportunity. You can’t control the outcome without infringing freedom. Some of us will achieve at a high level and reap all the rewards, but most of us will never come close no matter how hard we try. At the end of the day, we accept the rewards if we’ve won, and if not, we don’t complain when we see the spoils awarded to others.

[lennjamin-o7]

i don't think i have it in me to watch philza minecraft's too many hours hardcore streams, so I'm just curious- how does he do lore for his hardcore series?

I can give you the info I know, and I am 100% certain there are people who can give more thorough explanations and/or correct me. @rakkuntoast is someone on tumblr who I know is much more informed than me about Philza lore.

Most of Philza's hardcore streams are him building these massively cool builds. But, the Lore of the series is that he is more of an archeologist or historian, discovering these locations and the story behind them.

A lot of the Lore is delivered by him explaining and narrating the story of the world as he builds. Occasionally, he will go through the whole story of the world for new viewers who don't already know. And sometimes, happy accidents or jokes just become a part of the story.

The main lore is this.

The Enderking, a God who ruled the End, was greedy and thought he deserved to be in control of everything, so he set about stealing everything for himself.

He tried to pull in parts of the Nether, but was stopped by the Blaze Empress, goddess of the Nether. Part of the Nether is still affected by this tussle, seen in the Nethervoid build. Also, during this clash, two of the Blaze Empress's BEST warriors known as He and She were separated. They were in love, but never confessed to each other their feelings. Now they are just lava pools, separated forever. (He and She were added because Kristin convinced Phil to put a smiley face in a lava pool and the Lore sprung from there).

Then, there is Flowerfall. Flowerfall was the home of the Ocean Overlord (Affectionately called Ocean Himbo by the Crows and I had to actually google what his title was because I couldn't think of it other than Himbo). The Ocean Overlord was a god of, well, the ocean. He lived in this massive underwater palace. When the Enderking was stealing parts of the world, the Ocean Overlord was asleep. He was asleep through the whole War, actually. And the Enderking nearly ripped his house out from under him! It was only another deity, Rose, who stopped the Enderking from stealing the Ocean Overlord's house.

The Gods (Minus beloved Himbo) fought against the Enderking and kicked him out of their realms. I'm not remembering exactly, but I think that in this tussle and the return of the Ocean Overlord's home, the sea flooded the End, creating Endlantis (someone correct me on this, if its wrong). The Enderking was slain (however, he's a god so he's not REALLY dead). His corpse lies underneath Endlantis, always possible that he could return.

There are a ton of details that are added onto this, but those details are really only fleshed out in one-off moments within Phil's streams. Like, Phil adding a tree at Spawn where the Blaze Empress and Rose send each other gifts and messages because they are such good friends (Crows know they are gal pals, even if Phil doesn't confirm it). Others are derived from accidents like the Battle of Endlantis, which was where multiple dragons were accidentally spawned, and Phil had to kill them off. Or when Phil lost his trident in the void, he made it big and existant in the newest season as if it had transcended dimensions.

There are other gods that we haven't been introduced to, as well. I think there are 2 more that he hasn't named. However, yeah, its kind of hard to keep up with all of the Lore if you aren't able to constantly watch it. I know there is a really good video of Philza explaining his Hardcore Lore to, I THINK, Slimecicle? But I couldn't find it. If anyone knows where it is, please link yes!

Anyways, I hope that answered your question 💚💚💚💚

[evangelinesbible]

11H AND WHAT TYPE OF FAMOUS SINGER YOU'D BE

If we use the method of derivative astrology then the 11h should be able to tell you what type of famous singer you'd be.

2H = Singing Voice

10H = Fame

10 houses away from the 2H is the 11H.

PSST- you can look at the 11H ruler and what it tightly aspects too. And if you have a planet that has multiple sign rulers you can look at those descriptions too ;)

SUN/LEO

You naturally gain attention as a singer. You have a lot of confidence in yourself as a singer. You might be seen as the type of singer that can’t help but shine when they perform. A singer with a big personality when they sing to others. Some of the attention you get can be overwhelming and you might feel like the spotlight is on you all the time. You’ll be famous for your very bold and creative ideas as a singer. Famous singer who makes an “All eyes on me” statement with their music and is seen as royalty. When it comes to your singing voice you might be known to have a powerful one, like a lions roar. (Moving forward know that other aspects in your chart can possibly effect what your voice is also known for)

MOON/ CANCER

As a singer you’ll be famous for your emotional vulnerability and honesty. You’ll sing about what you truly deeply care about. When it comes to your voice it’s distinctly feminine, soft and also nurturing. Life lessons involving your childhood might been seen a lot in your music. Since cancer/the moon is also a luminary fame and popularity is very natural for you to gain. It may manifest a little differently than Leo but you might also feel like all eyes are on you. You may be known as a singer who uses music to connect to your inner child and use music to heal yourself and others.

MERCURY/GEMINI/VIRGO

You’re the singer who is very critical of how you perform. You might feel like everyone, including yourself is watching your every move and judging you. You might be your worse enemy. Since mercury rules quickness you’ll be famously known for getting tired of what you do/make as a singer very quickly and you’ll be known to go through a lot of phases. You might also be known as a singer who can sing or even rap really fast. You’ll be famous for your well thought out musical eras, clever lyricism and messages involving change.

VENUS/ LIBRA/ TAURUS

Famous singer who’s specifically known for being very artsy and having a beautiful/“pretty voice”. You are a singer who is known for your sensuality and femininity. You will typically be known for singing about love, relationships and how you like to be pleased. Similar to moon there’s a softness to you this people will love, even if you had a bad girl/boy era people will still see you as sweet and soft. You might also sing about material things, wether it’s a commentary on materialism or flaunting it.

MARS/ ARIES

As a famous singer you’d be known to be very sexual and/or aggressive in your music and performances. You are a very passionate performer/singer and you may be very blunt and upfront about what you sing about. You’ll be known to be assertive and very confident in your singing abilities. When it comes to your singing style you’ll be famously known for singing very loud, aggressive, and bold. And even when you’re singing softly there’s still a dominance in your voice that people pick up on.

JUPITER/ SAGITTARIUS

This placement can also indicate gaining popularity very easily as a singer. You’ll be famous for your big personality and it might shine through your music/performances. You’re a singer who gains a lot of money in the industry. You’re a singer who will be famously known to spread messages and personal wisdom through your music. You might use your music to spread awareness about issues you deeply care about, especially about equality and justice.

SATURN/ CAPRICORN

The singer with a very long lasting impact/career. The singer who might set a certain standard in your work. When your famous you’ll naturally gain a lot of respect in the industry. When it comes to your voice people might perceive it as perfect, well crafted and again the standard because of your consistency. (Even if you are not a perfect singer or technical vocalist) You might gain more praise or notoriety as you age and mature. You’ll be famously known for making a lot of achievements as well as going through extremely challenging situations that you may involve with your music. You may be known for your perfectionism because you might doubt the way you perform as a singer.

URANUS/ AQUARIUS

You’d be famous for challenging the norm and staying fiercely independent. A singer who’s famous for being a trend setter and bumps the curve. As a famous singer every one expects you to do something unique, technologically advanced, something completely new and never seen before. In your field you will be seen as one of a kind because it’s very hard to replicate who you are. You might have copy cats but they’ll never reach the level you will reach because your uniqueness as a singer is authentic. When it comes to your voice you might be known to do a specific thing with it that you’re known for that nobody else can replicate.

NEPTUNE/ PISCES

You’ll be a famous singer known for singing about your self destructive problems, addictions and/or delusions. You might involve themes of spirituality as well. When your famous you’ll be glamorized, including what you sing about (which can be good or bad). You as a singer can be confusing or aloof which gives you some mystery. People might find you very confusing because you might contradict yourself through music. When if comes to voice you might be famous for your dreamy and/or almost drunk like cadence and tone. You may be known for your creative melodies and musical production

PLUTO/ SCORPIO

You’d be famous for the power you have being a singer. Wether if that’s with your voice, your lyrics, or just with your presence. And you also gain power through singing. When you’re famous you might transform into a completely different person, maybe even multiple times. You might potentially transform something in your industry. You’ll be seen as extremely magnetic so people might naturally be obsessed with you and copy what you do. Of course you might be a very sexual singer as well and you might constantly talk about themes of sex and intimacy. When it comes to your singing voice you might be known for a sultry tone and a powerful one as well. It might also be known for its deepness.

What’s your 11H? Mine is Cancer Saturn with 11H ruler being Sagittarius Moon 💋

-⚜️💫⚜️

[inky-duchess]

Etiquette of the Edwardian Era and La Belle Époque: Tea

This is a new set of posts focusing on the period of time stretching from the late 19th century to the early 20th Century right up to the start of WWI. I'll be going through different aspects of life. This series can be linked to my Great House series as well as my Season post and Debutant post.

Today will be focusing on the rules of tea with this time period.

Tea was a staple in society, not only as a comforting beverage but as a social gathering beset by strict rules. Etiquette at tea is not only important for guests but is a sign of respect to one's host.

High Tea vs Afternoon Tea

You're reading both terms and you're thinking high tea is the formal version and afternoon is informal. In fact, no. It is the opposite. High tea was actually served far later, about 6pm/7pm and focused on more savoury, substantial dishes. High tea was more of a lower class tradition, designed to fill the stomachs of hungry workers. The word "high" is derived from the tall tables used. Afternoon tea is served at 4pm, designed to fill the gap between lunch and dinner. Afternoon tea is served at low tables with all the guests seated and involve a lighter meal, more nibbles than anything.

Hosting and Attending Tea

Tea is an event that happens every day, it's not an excuse for a snack, it's a ritual. One can have tea served in one's own home or at the home of a friend. One must be invited to tea, one can't just show up and expect to get fed. Tea was typically served in libraries or drawing rooms and done times outside in the gardens if weather permits. One had to dress for tea usually in comfortable but appropriate clothing. Men would wear suits, women would wear tea gowns or a simple gown - keeping their hats upon their head, if they are visiting. Tea was not poured by the footman but by the host or if it is a large party, by one assigned guest. The hostess or designated tea pourer would serve themselves last.

The Tea Set

Tea sets are highly coveted and much remarked upon at tea. One would usually inherit a service (that's what the collection was called) or be gifted it at one's wedding. Services would all match and most households had different kinds, the best usually reserved for important guests.

Teapot: the tea pot held the hot water and tea leaves was was usually made of china and decorated.

Cups: the cups were generally low, shallow.

Saucer: a small plate for the cup to rest on

Tea cannister: where dried tea leaves would rest until needed.

Sugar bowl: was a small container made of china with a cover to protect the sugar from moisture.

Milk jug: a container for the milk

Slop basin: was a porcelain dish used for disposing tea leaves left behind with the dregs of tea.

Tea spoon: small spoon used to stir tea

Side Plate: small serving plate used for food.

As you might have noticed, other than a tea spoon, cutlery is not listed. There would be a spoon for jam and a knife for a scone, most food was designed to be eaten with one's hands.

There is also one instrument not listed here and it's the most recognisable thing at afternoon tea.

The Tiered Tray

The tiered tray is a set of trays stacked upon one another holding on each one, a different course. Sandwiches and savouries were served on the bottom (Favourites include smoked salmon, cucumber, cress, egg salad sandwiches), scones on the second and sweeter delights served on the top (sponge cake, macaroons, pastries etc). One would begin ay the bottom and work one's way upward.

Making the Perfect Cup of Tea in the Edwardian Era/Belle Epoque/Gilded Age

Disclaimers: Let's make one thing clear. Tea is not prepared one way for all. Tea is culturally important across the world and every culture has their own rules about how tea is consumed and served. There's no one right way.

I will be discussing the English way of brewing tea in this post.

As mentioned before, tea is held in a cannister before use. Tea leaves were added to the hot water and lightly stirred.

Controversially for most people, milk was commonly added first.

One would then set a strainer in one's cup, tilting the pot. The strainer will catch the leaves and leave your cup almost tea-pulp free.

With the tea added, one could add in sugar. The trick is not to make a show about it or be too loud. One simply should gently turn your spoon from the 6 o'clock position to the 12 o'clock position. Also, the spoon rests on the saucer when not in use and doesn't stay in your cup.

When drinking your tea, put your pinky down. That's an American myth. Simply lift your cup to you, lifting the cup to your mouth by the handle. Saucers are not lifted unless your cup is far away. Don't slurp it, there's plenty more where that came from.

Etiquette at Tea

Afternoon tea is for light conversation, do avoid heavy topics.

Listen attentively when being spoken to.

Don't talk with your mouth full or stuff your mouth. Typically everything should be polished off with 2-3 bites.

Gloves should be removed at tea because one is eating with their fingers.

If one is leaving the table to go to the bathroom or a breath of air, simply turn to your neighbours and excuse yourself. No explanation needed.

Napkins should be removed from the table and set across one's lap when one is sitting down. When finished with tea, set it beside your plate before you rise.

Also you daub, not smear.

Don't cut your scone but break it.

Don't lick your fingers.

Don't bang the spoon on the side of the cup.

Also there's no dunking biscuits into your tea. It's just not done at afternoon tea.

Never thank the staff for fetching anything - or at very least, don't be overhead doing so.

Always say your goodbyes to the hostess and compliment the tea, even if you had a rubbish time.

Also most importantly, never criticise somebody else's manners. That's the height of rudeness.

[highlighter-goblin]

Ok I have more headcannons for the ✨hatchetverse✨

Number 1:

All the men in the Lipshitz/Mathews/Goldstein family have a middle name that’s a derivative of Jon. Paul, Gary, and Jerry have jon, John, and Jonn respectively, Trevor has Jonah and Richie Jonathan, and other men in the family tree also have one of those middle names, something similar, or the same with different spelling.

Headcannon B:

Some of Lauren’s characters are cousins. Specifically Emma, Ruth, and Brooke, their mothers are sisters, hence the surname differences. This little tidbit is relevant to another headcannon coming up.

Part III:

Richie introduced Paul to anime. Paul was babysitting and Richie put on sailor moon, now Paul likes anime, specifically magical girl anime. Because it was his first, his favourite is sailor moon, and he’s a crystal truther (like me) and has seen the original anime but dislikes all the filler that wasn’t in the manga that crystal excludes to cut to the chase of the plot. And the precious little simp sees him and Emma as Mamorou and Usagi, Endymion and Serenity, Tuxedo Mask and Sailor Moon, he thinks he is her fate destined saviour (he is) and simps for her in the same lame way as the dumping in the show.

4rd:

None of the nerdy prudes can drive. Ruth can’t safely drive because her headgear is considered a distraction, Richie is an ambulatory mobility aid user and legally can’t drive, Peter can’t drive because his eyesight is so bad in one eye that he’s legally blind and also legally can’t drive, Grace’s parents don’t let their little girl drive and she doesn’t want to go against her parents, Steph can’t drive because she lost her licence for reckless driving (she gets exited a bit too easy on the road)

(Edit/update: I should have probably mentioned that Pete’s situation is being based off of the road laws of Victoria, Australia, where from my knowledge if you have poor vision in one eye and are legally blind in the other you can’t drive, so I might be wrong when it comes to American road rules)

Fifth:

There was a comic convention “incident”. Ruth and Richie wanted to set up Paul and Emma, because the little nerds are friends and they wanted to set up their uncle and cousin respectively because they were seeing ✨signs✨ that their loved ones had a crush on each other. There was a comic convention in Clivesdale or some other close town to the island and Ruth and Richie wanted to go and found it as a way to set them up. Ruth asked if her favourite adult cousin could chaperone her to the convention, and hey there might be some stoners to test product. Richie told Paul there would be sailor moon and also he can’t drive and come on uncle Paul you get me the most. Ruth and Richie withheld the information for each other’s attendance to their respective adults and “coincidentally” found each other at the con, and Paul and Emma were befuddled and smitten, and now the 4 of them go to at least 1 con a year for the sake of family and saving gas money (and so Paul and Emma can flirt)

Ok sorry if this is long these have been brewing for a while. (This took me 40 minutes to type)

[utilitycaster]

okay watched Cloak and Dagger and here are my thoughts in brief

I don't think showing Ripley's backstory is bad. Part of why Ripley is an interesting character to me in a way that, to use my favorite punching bag, Otohan, is not, is because we had hints of what made her this way - fleeing the Empire; a list of names on Animus that included Bertrand Dwendal. Part of why I mock Otohan relentlessly is because she is a one-dimension villain, and Ripley never was that, which is why she's an interesting villain. Tragic backstory, in my opinion, enhances one's villainy, rather than reduces it: what sort of monster suffers and decides to do the same to others, rather than is driven to work to improve the lot of others? That's essentially why Caleb is in the end a heroic character and Ludinus is the culminating BBEG more so than Predathos.

Glintshore is one of my favorite battles of Campaign 1 and it also would not, in my opinion, translate well to animation. There was a great line in the Midst Messages from Xen in reference to Moonward about how in most rules-heavy TTRPGs, when you enter a big battle, time stretches out significantly, but in a systemless game like Moonward, it goes very quickly, which gives it a very different vibe and makes players make very different decisions. The emotional weight derives largely from how the party enters combat already heavily drained and never regains their footing, and how the cast is well aware and the sense of dread (and belief that Percy might be permanently dead and Taliesin will have to roll up a new character) sets in long before the battle ends. [long tangent about good parasocial vs bad parasocial in actual play put off until I have time to actually read Watch Us Roll, but this is Good Parasocial]. It's actually an interesting test of the challenge we face for the finale of the series: you are not going to get as efficient an emotional punch as Sam saying "Nine" in a show that doesn't have a concept of spell levels. I had struggled with how one might recreate the Glintshore battle and the answer is "you don't".

Ripley's speech was great no notes, love her being fucking awful and consumed with vengeance to the end. I think just as the theme of "your resentment will destroy you" is an enduring one throughout Critical Role, so is "every mortal is in theory someone who could change and become better, but if you shoot the hand that's trying to help you, well, get rekt lol"

The music over Percy's death is corny as hell. However, I am already on the record as someone who mutes It's Thursday Night for being corny as hell and who pokes fun at Matt's more purple prose and I seem to have stuck around regardless. I have made my peace with the fact that a good chunk of the cast spent their formative years just absolutely immersed in anime, and given the Extreme Anime Vibes of Percy in TLOVM I can't say I love it, but I also can't say it's not sort of fitting. Please do cut that scene with different music though, because it would be funny as shit.

I need to watch episodes 8 and 9 (going to now!) but much as I love the glintshore fight, you know what I love more? Episode 1x69 (nice). Real Tragedy Enjoyers know the proof is in the aftermath. If 8 and 9 also suck then I'll be back here in like an hour but if they're good then it's whatever.

Grog is always on some level experiencing a Sitcom B Plot and if you ever find yourself disliking a TLOVM episode, remember you're watching a sitcom where Grog is dealing with a Bird that is Very Here (metaphorical).