#I have a lot of thoughts about this and I might make my own post about it. hmmmmmm.

[crystallinestars]

NSFW Alphabet - Kinich

In honor of Kinich's birthday, I wrote a NSFW alphabet to celebrate. There's just something about him that has a firm grip on me, and I've been unable to stop thinking about him for a solid month. I'm posting this at 11:11 (my time), so let this also be a tribute in the hopes he'll come home on his rerun 🙏

Kinich x fem!Reader

A = Aftercare (what they’re like after sex)

Kinich is quite good at aftercare. He’s attentive to your needs and asks how you’re feeling and if you need him to get you anything or help with cleanup. Even before you say anything, his keen eye picks up on your physical state, and Kinich will go out of his way to help you with whatever he can.

He gets you whatever you ask for, be it water, a towel, or a kiss, and carries you to the shower if you’re too weak to walk. He apologizes for being too rough on you and makes a mental note to be gentler next time. Kinich makes it up to you by letting you rest and taking care of your household duties the following day.

After cleaning up, if it’s not too late in the day, he’ll whip up a simple meal for you to share. Alternatively, he might stay in bed and cuddle if he needs the rest. Kinich enjoys cuddling after sex and basking in the afterglow. There’s something nice about holding and treating you with tenderness after such a passionate encounter. It deepens his affection for you.

B = Body part (their favorite body part of theirs and also their partner’s)

Kinich doesn’t have a favorite body part on himself, but he does prize his body as a whole. His childhood taught him early on the importance of having a well-maintained body. Without it, he wouldn’t have survived. It’s also his bargaining chip with Ajaw, so he considers his body to be one of his greatest assets. Kinich takes care to stay in shape, which his physically demanding commissions and extreme sports hobby make easy to accomplish.

As for your body, Kinich also has no preference. He loves you for who you are rather than what you look like, but he does have a slight fascination with the nape of your neck. He catches himself wanting to kiss it when standing or lying behind you.

C = Cum (anything to do with cum, basically)

It’s thin and a healthy white. Has a slightly salty flavor. Doesn’t have a strong preference for where to cum, but he usually does it inside unless you tell him otherwise. He is hesitant to cum on your face because he thinks you won’t like that. You’ll need to tell him it’s okay otherwise he’ll avoid that area.

D = Dirty secret (pretty self explanatory, a dirty secret of theirs)

The first time you wore a swimsuit, Kinich was captivated by how pretty you looked. He already thought you were attractive, but something about seeing you in a flattering swimsuit and exposing so much skin made him pause and take an appreciative glance at you. His usual stoic expression didn’t change, but Ajaw noticed the subtle way Kinich’s eyes trailed down your figure, lingering on you for a moment too long.

Of course, Ajaw’s immediate response was to mock Kinich for checking you out, and the Saurian Hunter had to lock the menace away to keep him quiet. Though it would have been embarrassing to be exposed for checking you out, Kinich worried more about Ajaw making you uncomfortable with his blunt and crass commentary, so he did what he could to prevent that. Kinich also complimented your appearance, wanting you to know he thought you looked pretty in your swimsuit. (There was also a lot of fruit bribing happening behind your back so Ajaw wouldn’t open his big mouth once he was let out)

E = Experience (how experienced are they? do they know what they’re doing?)

Kinich has no experience. He never sought romantic or sexual relationships, preferring to be by himself and taking care of his sexual needs on his own. Intimate relationships weren’t a priority or something he was interested in. Once Ajaw entered his life, the pixelated menace’s rudeness and narcissism kept others away from Kinich, so such chances became even fewer, though Kinich didn’t mind.

Despite having no prior experience, Kinich does have a working knowledge of sex. He sees it mostly as a means of reproduction, but he’s read and heard enough to know it’s also done for pleasure, to relieve stress, and to deepen bonds between romantic partners. He never really gave it much thought until he formed a romantic relationship with you and wondered if sex was something you wanted to have with him in the future. He looked into it more once you started discussing the possibility of being sexually intimate. Due to his cautious nature, Kinich wants to be prepared for all kinds of situations, so he spends a great deal of time researching guides and tips on how to have safe sex.

The Saurian Hunter doesn’t let his inexperience hold him back. Even during your first time, he acts assertively and confidently when exploring your body and learning your likes and dislikes but remains gentle. Kinich’s preparedness gives him a good idea of what to do to please you and keep things comfortable and safe so you can both enjoy the experience. However, as a beginner to sexual intimacy, he would still appreciate it if you gave him some guidance on how you want to be pleased and communicated with him about your needs. He wants to polish his skills to please you to the best of his ability.

F = Favorite position (this goes without saying)

Kinich favors classic positions like missionary, cowgirl, and doggystyle.

Missionary allows him to see your face and establish a more intimate emotional connection. It’s his go-to when he craves romantic lovemaking. It also makes it easy to kiss you, hold your hand, and bite your neck. Kinich enjoys variations on missionary as well, such as hiking your legs onto his shoulders or pressing your knees to your chest for deeper and tighter penetration.

With cowgirl, he enjoys letting you take the reins and move how you like. There’s something hot about watching you bounce on his lap and get off with his cock, not to mention the alluring view he has of your body. While you ride him, Kinich helps guide your hips with his hands and thrusts up into you when he gets closer to his peak.

As for doggystyle, Kinich likes to use this position when you don’t have as much time to make love but still need sexual relief. It’s a tad primal, and he’s fond of the tighter squeeze this position offers. Watching you melt and moan under him makes his self-control slip a little, so Kinich tends to fuck you harder in this position. He presses his chest against your back, blanketing your body with his to stay close to you and because he likes biting your neck and shoulders.

Kinich’s athleticism and equipment allow him to try some less conventional sex positions, though he generally won’t choose them unless you express an interest in trying something new. If you so wish, he’ll use his strength and flexibility to try out one of the more difficult positions, or even get out the ropes and hooks, but only after careful research about the associated safety hazards. Sex should be fun, yes, but doing so safely is still a higher priority for him. The last thing he wants is for either of you to get injured.

G = Goofy (are they more serious in the moment? are they humorous? etc.)

As with most things, Kinich approaches sex seriously, but he does try to keep the mood relaxed. He doesn’t crack jokes, but his demeanor softens. He asks for permission to touch you, and frequently inquires if you’re okay and want to keep going, giving you a chance to stop should you want it. He takes your needs and comfort very seriously.

H = Hair (how well groomed are they? does the carpet match the drapes? etc.)

Has a small patch of curly dark hair. He grooms it just enough to keep it orderly but doesn’t spend a lot of time trimming it to perfection.

I = Intimacy (how are they during the moment? the romantic aspect)

Kinich is not the greatest romantic, but he does value an emotional connection during sex. He has come a long way in learning to trust and open up to people since his turbulent childhood, but the vulnerability and intimacy that come with sex and romance can make him uneasy. As such, Kinich only has sex with someone he deeply loves and trusts. Only such a person has the privilege to witness such a vulnerable part of himself.

Because he views most things in life as a transaction, if you entrust your heart and body to him, Kinich will see it as his duty to show the same amount of love and trust in return. He cherishes your trust and affection and wants to repay you in kind. This manifests in him holding your hand during lovemaking, openly looking at you with desire and adoration, and leaving soft kisses all over your skin.

He’s not the best with words, but Kinich tries his best to compliment you. It’s nothing flowery, usually just a simple “you look beautiful” while he admires your figure, or “you feel good”, and of course a whispered “I love you” during tender lovemaking.

As mentioned previously, Kinich values your comfort so he frequently asks how you’re feeling and if you want to keep going. He doesn’t want to force you if you don’t feel ready or want to stop, and neither does he want to push your body past its limits. Hurting or upsetting you is the absolute last thing he wants, so he gives you opportunities to leave the situation in case you want them. He’s very considerate towards you.

J = Jack off (masturbation headcanon)

Kinich doesn’t masturbate often. He’s usually busy completing commissions so he doesn’t have the luxury of thinking about his sexual needs. If he needs to relieve stress, then his preference for that is through extreme sports.

Nonetheless, he still experiences the urge for sexual relief, so Kinich usually masturbates while taking a bath. It’s one of the few moments he has completely to himself, plus it makes cleaning up any evidence of his lewd activities extremely easy. Kinich is cautious, however, and stifles his voice and other sounds to remain discreet.

He usually doesn’t think about anything while jacking off, but when he fell in love with you, he caught himself masturbating more often and fantasizing about you in your swimsuit or of you touching him like this. He was ashamed of thinking of you this way at first, but that shame went away once you became sexually intimate. If you ever ask him about whether he thought of you while masturbating, though, he will be honest and forthright when admitting that he had and still does when you’re not available.

K = Kink (one or more of their kinks)

Kinich leans more dominant, but he doesn’t enforce his authority. He doesn’t order you around or give commands, but he can pin your wrists down and act assertive to get what he wants from you (all while being respectful of your wishes and first gauging if it’s something you’re anticipating him to do. Kinich would never force himself on you).

He’s fine with you taking the lead if you have an interest in being dominant, and looks forward to seeing what you have in mind for your session together.

One of his biggest kinks is marking. Kinich likes to leave hickeys and bite marks all over your skin, particularly your neck, shoulders, and inner thighs. It’s a primal urge he gets when having sex, and he takes delight in seeing his marks on you in the following days. It makes him feel like he’s staked his claim on you, marking you as his. Of course, he doesn’t go overboard and listens to you if you say you don’t want the marks to be visible. He’ll settle for marking up your shoulders or inner thighs where the marks won’t be seen by anyone except him.

Kinich is also into hearing you beg. He won’t go out of his way to tease and demand you beg for his touch, but if you do so of your own volition (ex: “Kinich please, I need you”) then it sets off something primal inside him. Hearing how needy you are for his touch sends sparks of lust through him and makes him eager to fulfill your desires.

He’s also into light bondage. Nothing complicated, just some scarves or rope to tie your wrists with will do (his knots are secure, but he makes sure the bindings are loose enough to not chafe your skin. Though he’ll tighten them if you ask). Conversely, he can use his hands to pin your wrists down (and lace your fingers together). He’s not into being tied himself, though.

L = Location (favorite places to do the do)

Kinich isn’t against having sex outdoors, but only if you’re in a location that’s safe from potential intruders and wild beasts. He’s open to making love to you while camping, be it in a tent or under the starlit sky but won’t push you if you’re not comfortable with the idea.

At home, to avoid getting caught by Ajaw, Kinich prefers to have sex either in the bedroom or bathroom where you have more privacy. On the occasions when he gets a friend to babysit the menace, Kinich is down to make love pretty much anywhere at home, he’s not picky.

M = Motivation (what turns them on, gets them going)

One of the best ways to turn Kinich on is to express your love for him. Heartfelt words of affection, acts of service, or thoughtful gifts touch his heart. He is overcome by love for you in those moments because you make him feel cherished and cared for, and Kinich feels an impulse to show you that he loves and appreciates you too. He’s not good at sappy love confessions, so this impulse manifests physically. What starts as a gentle kiss of gratitude grows into something passionate as Kinich’s need to express his feelings for you intensifies. This can sometimes result in him making love to you.

Kinich’s self-control and patience are high, but there are a few other things you could do to wear away at them. For example, being assertive in initiative sex. Straddle his lap and teasingly trace your hands over his body, give him kisses along his jaw and neck, whisper in his ear how much you crave him, and lust will ignite in his loins.

Alternatively, you could wear flattering clothes that hug your figure, such as swimsuits or sportswear (he likes to admire how nice you look in them), or press up against him and let him feel the softness of your body. It’s unlikely Kinich will snap, but his interest in sexual intimacy will heighten considerably, and he’ll look for an appropriate opportunity to satiate your carnal desires.

N = No (something they wouldn’t do, turn offs)

Kinich dislikes being restrained or losing control of his body, so things like bondage and blindfolds make him uneasy. Plus, half the fun of sex is being able to touch you, so being tied up deprives him of the joy of exploring your body and making you feel good.

Kinich also takes no enjoyment from impact play. He doesn’t hate it but simply doesn’t derive any pleasure from the pain, especially because his associations with being hit aren’t good ones. Similarly, he won’t hit or degrade you either, not wanting to be like his father even if it’s light-hearted play with the intent to feel good.

Additionally, Kinich isn’t into roleplay. He doesn’t see the appeal and finds it awkward to act as someone he’s not, especially in a sexual situation. He’d much rather you and he act like yourselves and show appreciation and love for who you are without the extra obstacles.

He’s also not fond of sharing you or having third parties join your sessions, preferring to keep things private. Only you get to see this vulnerable side of him, and he hopes you share the sentiment of wanting him to be the only one to see you like this, as well.

O = Oral (preference in giving or receiving, skill, etc.)

Kinich’s inexperience might make him a little awkward at oral sex at first, but he is devoted to your pleasure and does his best to learn all the ways you like to be eaten out. Whenever he gives you oral, he keeps his eyes fixed on your face and takes mental note of which pressures and touches of his tongue and fingers get the best reactions out of you. He wants to use this knowledge to improve his oral skills so he can better please you.

Kinich has no qualms about going down on you because he strives to make you feel good, and as such, will bury his face between your legs and lap away at your folds until you’re writhing under his touch. He doesn’t mind if you tug his hair or buck your hips against his face, though if you squirm too much or impede his progress by clamping your thighs around his head, then he hooks his arms around your thighs and pins them down to keep you still. Kinch only lets go once he’s brought you to orgasm.

Despite his transactional outlook on life, Kinich doesn’t expect you to give him oral in return for eating you out. If you bring him to orgasm through any other means, then he considers it even. That said, he views it as his duty to go down on you if you give him a blowjob. He loves giving you oral. There’s something so erotic about hearing your moans of pleasure and watching you writhe under his tongue, so he’s always eager to repay the favor.

When you give him a blowjob, Kinich struggles to keep his voice down. His eyes flutter closed and he places a hand on your head, not pushing or pulling but just resting it there to ground himself. The sight of his cock disappearing in your mouth is intense for him, and as he approaches orgasm, Kinich shallowly thrusts into your mouth, careful to not choke you but unable to stop himself from wanting more. Whether you swallow his cum or let him paint your skin in it doesn’t matter—either outcome is hot to him.

P = Pace (are they fast and rough? slow and sensual? etc.)

Kinich’s pace depends on what you want. He usually goes for a moderate pace, keeping his thrusts consistent and angled just right to hit those sweet spots inside you. However, he can go slow and gentle if you’re making love, or faster and rougher if you’re in the mood for a good fuck. Even if he goes rougher, Kinich is still mindful of your comfort and keeps strict control of his thrusts so as to not hurt you. His main goal is for you to enjoy sex with him. Getting himself off is secondary.

Q = Quickie (their opinions on quickies, how often, etc.)

Kinich doesn’t mind quickies. Sometimes, when he or you are in the mood but don’t have enough time to indulge in long foreplay, he goes for quickies. Ajaw is usually the main reason for you guys having quickies, mostly because you want to squeeze in some intimate time before the arrogant saurian inevitably interrupts you.

Kinich finds it a hassle to work around Ajaw’s presence, so he prefers to send the dragonlord out on an errand or lock him away so you won’t be disturbed. To Kinich’s dismay, Ajaw quickly figures out that whenever he gets promptly locked or sent out on a long errand whenever you’re around, this usually means his servant is about to get busy with you. However, for once, Ajaw doesn’t object. He already had the misfortune of accidentally walking in on you getting frisky with Kinich when the hunter forgot to lock him away, and the awful memory is seared into the poor saurian’s brain. One time was too many, and he’d rather never see that again. Nevertheless, when he returns to Kinich’s side, Ajaw makes sure to thoroughly poke fun at the hunter and make his disgust for your sexual activities known.

R = Risk (are they game to experiment? do they take risks? etc.)

Kinich is willing to take risks, especially for you. Generally, he’s open to trying almost anything once but only if you’re also on board with experimenting. Due to his cautious nature, Kinich will want to research whatever new kinks you want to try so he knows how to indulge in them safely, especially if one of you hasn’t tried these kinks before. He's open to taking risks but he's not reckless.

S = Stamina (how many rounds can they go for? how long do they last?)

Kinich’s commissions and extreme sports hobby require him to have good endurance, so he has very good stamina. He almost always outlasts you in bed. He can easily go for three rounds, maybe a couple more if he’s willing to push himself and takes appropriate breaks, though three is already more than enough to satisfy his sexual cravings.

How many rounds you go for usually depends on you. If you can’t keep up with his stamina, then Kinich is perfectly content to go for 1-2 rounds (as mentioned, it’s the perfect amount for him). However, if your sexual appetite is big, Kinich can go for more rounds, though he would switch it up with oral or fingering for variety and to give himself a break.

T = Toys (do they own toys? do they use them? on a partner or themselves?)

Kinich doesn’t own any sex toys. He doesn’t need them to get off and thus sees no point in getting any. If you have toys you like using or want to try with him, then Kinich will learn how to operate them to please you. He typically likes sex without toys but admits they’re good for spicing up your sex life now and then.

He won’t object if you want to use toys on him even though they’re not as gratifying for him as your direct touch, but only if you know what you’re doing.

U = Unfair (how much they like to tease)

Usually, Kinich doesn’t tease you during sex. He takes a straightforward approach to life and likes to do things efficiently, and pleasing you is no different. However, Kinich can be playful when the mood strikes, and this results in him teasing you by lightly stimulating your sensitive spots, such as lightly flicking your nipples, rubbing your clit, or sucking on a delicate patch of skin on your neck just to watch you react to his touch with a small, amused smirk on his lips. He’s got a smart mouth, so he might also verbally tease you by pointing out how eager you seem for his touch, but he keeps the teasing lighthearted and affectionate.

V = Volume (how loud they are, what sounds they make, etc.)

Kinich naturally tries to keep his voice down when engaging in sexual activities. His most common sounds are ragged breaths, moans, and sighs of pleasure. His moans are soft, low, and infrequent, mostly because he muffles them by sucking hickeys into your neck or kissing you. He’s loudest when nearing orgasm, oftentimes uttering your name right as he hits his peak.

He doesn’t talk much during sex, but he does give you heartfelt compliments and tells you he loves you as a way of expressing his gratitude for all the love and trust you give him.

W = Wild card (a random headcanon for the character)

TW: Menstruation, mentions of blood, period sex

When Kinich found out about your painful menstrual cramps, he took to researching various methods he could use to help you deal with them because he doesn’t like seeing you in pain. Aside from common methods like heating pads, pain medicine, and warm baths, Kinich also read that orgasms can help alleviate cramping.

He proposes the idea of period sex, expressing his willingness to give you orgasms if it means bringing you relief. He understands if you aren’t comfortable with the idea and won’t pressure you into it, but his interest in doing this for you is genuine.

Kinich sees menstruation as a normal part of life and reassures you that there is no reason to feel self-conscious or ashamed of your body’s natural response. Blood doesn’t make him squeamish, so he has no reservations about getting any of yours on himself. If it helps you feel better, then he’s willing to get messy.

If you agree to his proposition, Kinich will take great measures to ensure your comfort. He understands that your abdomen must be tender, so he keeps all his touches slow and gentle to avoid worsening your cramps. He lets you decide if you’re more comfortable with him using his penis or fingers—either one is fine with him. If you choose fingers, then he rubs your clit in slow circles and gently thrusts his fingers into you, starting with one and then moving on to two until he makes you cum.

If you prefer his cock, then Kinich will be careful and gentle with his thrusts, keeping them slow and shallow until you’re comfortable with taking more. He showers you with a lot of kisses and affectionate caresses to keep you relaxed and maximize your enjoyment of the experience. During such moments, Kinich focuses more on your comfort and enjoyment than his own pleasure because the experience is mainly about you.

He feels a sense of accomplishment when his efforts pay off in your orgasm and you confirm that it did indeed help alleviate your pain. Kinich volunteers to have menstrual sex with you each month if it’s something that interests you.

X = X-ray (let’s see what’s going on under those clothes)

11cm (4.3 inch) in length and 10cm (3.9 inch) in girth with a dark red tip and a prominent vein underneath.

Y = Yearning (how high is their sex drive?)

Kinich’s sexual appetite isn’t big, so having sex once or twice a week is enough for him. Because his work sometimes forces him to leave his tribe for days at a time, opportunities to make love are not as frequent as you might hope, but Kinich still tries to make time for it.

Z = Zzz (how quickly they fall asleep afterwards)

Kinich doesn’t fall asleep immediately after intercourse unless he’s tired. He likes to stay up and hold you, basking in the afterglow and letting you know that he really enjoyed this moment. He’s not one for idle chatter, but he does use this opportunity to talk about your plans for tomorrow, maybe plan a small date, or invite you to a special place he discovered while running an errand as a courier.

You almost always fall asleep before him (he gives you quite a workout) and he observes the way your expression relaxes as you drift off with a small smile on his face. Kinich ensures you’re properly tucked in before draping an arm around you and joining you in sleep, or quietly getting out of bed to take care of unfinished work. He always makes sure you’re comfortable before leaving, though.

[oogaboogasphincter]

your pedro pascal character placements - based on your astrological chart! 💟

i made this thread a while ago and i put a silly amount of effort into deciding which character should go with which placement, so i thought i’d post some of my reasoning here! *this is just my personal interpretation of astrology+pedro’s characters; one thing i love about astrology is that it’s all subjective! :)*

**i’m working on adding more characters+placements! i made this list a while ago so i have lots of new ones to add :)**

☀️ Sun signs are said to represent your general personality and the archetypes they symbolize are supposed to act as a goal you’re to achieve in your lifetime, or a way to follow your life’s purpose.

♈️Aries sun: Agent Whiskey

people who fall under this sign are bold, energetic, and passionate about virtually everything in their life.

♉️Taurus sun: Frankie Morales

infamous for being stubborn, people with this placement are rooted in themselves and can be drawn to sensual perspectives.

♊️Gemini sun: Javi Gutierrez

if you have this placement, your mind is a whirlwind; you might be called aloof, scatterbrained, or accused of being in your head a lot.

♋️Cancer sun: Javier Pena

this placement bestows a painful amount of empathy in oneself; therefore, one with this placement might be distanced or protective of themselves and those closest to them.

♌️Leo sun: Din Djarin

people who fall under this sign tend to be people-pleasers, which gives way to them being inclined to indulgence and pride, even if they may at first present or argue otherwise.

♍️Virgo sun: Marcus Pike

infamous for being meticulous, people with this placement tend to be tightly wound and potentially shy or nervous because of it.

♎️Libra sun: Ezra, Joel Miller

if you have this placement, you might fare very well in new situations because of your friendly demeanor. you could be indecisive, but that is often cured by your adaptability.

♏️Scorpio sun: Pero Tovar

this placement makes for confident, intense people who are enshrouded in a quiet, unsuspecting shell. they could give off "doberman" energy.

♐️Sagittarius sun: Max Phillips

so you know i'm an optimist! people with this placement are likely honest to a fault, yet indulge in escapism quite often. you might fall victim to seeing the world through rose-colored glasses.

♑️Capricorn sun: Dave York

people with this placement are one word: driven. this could lead them to being materialistic or standoffish.

♒️Aquarius sun: Maxwell Lord

people with this placement have either never heard the story about the cat being killed by its curiosity or chose to ignore it. they're likely to be intellectual and innovative.

♓️Pisces sun: Oberyn Martell

people who fall under this sign could be considered an amalgamation of all the signs that came before it. they have a knack for empathy and could live in their dreams a lot.

🌙 Moon signs are meant to illustrate your inner monologue, or your emotional reasoning. They heavily impact your personal relationships.

♈️Aries moon: Javier Pena

people with this placement are very direct, but run the risk of becoming argumentative or losing their patience quickly.

♉️Taurus moon: Javi Gutierrez

if you have this placement, you might have a hard time standing up for yourself. you have burdensome emotional depth, but you're conservative about expressing it.

♊️Gemini moon: Max Phillips

if you have this placement, you might feel restless in your own mind and turn to others to express it, making you have a magnetic way with words. you could become shallow when agitated.

♋️Cancer moon: Marcus Pike

people with this placement are empathetic to a fault, which makes them endearingly fragile. you could dwell on things often, unintentionally hurting yourself even more than what something's worth.

♌️Leo moon: Dave York

this placement is very prideful; you might enjoy having a position of control, stealing people's hearts, or being admired or revered. however, you might take things to heart too easily.

♍️Virgo moon: Frankie Morales, Joel Miller

people with this placement tend to be labeled as the "mom" friend; they're reliable, responsible, and like for things to play out simply.

♎️Libra moon: Maxwell Lord

i hate to break it to you if you have this placement (i have it too, so i'm calling myself out just as much as you): you're petty. you could be a natural flirt, yet run the risk of depending on the approval of others if you're not careful.

♏️Scorpio moon: Ezra

people with this placement enjoy starting old things anew. they're have a suspicious feeling ingrained in their minds that just won't go away, so they enjoy transparency in relationships.

♐️Sagittarius moon: Agent Whiskey

if you have this placement, you could enjoy competing with yourself a lot (or think of yourself as your own worst enemy). you could have a tendency to make reckless decisions with cheerful intentions.

♑️Capricorn moon: Din Djarin

although people with this placement can be very guarded, they have a juxtaposing need for validation from others often. therefore, they're calculating when it comes to who they devote their time and energy to.

♒️Aquarius moon: Oberyn Martell

if "not like the other girls" was a placement, it'd be this one. people with this placement tend to take on an observant role rather than an active one, so they are often self-serving, independent, and philosophical.

♓️Pisces moon: Pero Tovar

people with this placement are observant, but instead of being independent like the Aquarius moon placement, they can fall for people's tricks more easily. they have instinctual feelings about people, but their sympathetic tendencies win over, rendering them gullible.

⬆️ Rising signs, also called ascendant signs, are supposed to indicate how other people perceive you or how you present yourself to others. It’s not uncommon for someone to mistake your rising sign for your sun sign because rising signs are sort of like first impressions.

♈️Aries rising: Dave York

if you have this placement, people might think that you move through life at a fast pace, independently, and are quick to jump to action.

♉️Taurus rising: Marcus Pike

people perceive others with this placement as stoic and sensual, often with a calming presence. you might have a sort of comforting, "lived-in" quality to you.

♊️Gemini rising: Maxwell Lord

people with this placement are likely to be thought of as socially exploratory, expressive and analytical; like a firecracker or a party-starter.

♋️Cancer rising: Javi Gutierrez

if you have this placement, you might appear like a wallflower to others. but, your perceived sensitivity makes people feel safe to put their stake in your dependable character.

♌️Leo rising: Ezra

you know those people who command the attention of a room without even trying? they just might have this placement. even though it comes naturally to them, others might think these people to be ostentatious or dramatic.

♍️Virgo rising: Din Djarin

people with this placement are revered for having a reserved character yet are ready to help at a moment's notice. they're not valiantly selfless, though; they're equally receptive to their own needs.

♎️Libra rising: Frankie Morales

people who are sly like a fox — provocative and might be accused more than once of operating under a facade — are likely to have this placement.

♏️Scorpio rising: Javier Pena

if you have this placement, people might think of you as intimidating because of your perceived x-ray vision. but they can see through you, too, to your vulnerability that you try so hard to privatize.

♐️Sagittarius rising: Oberyn Martell

optimistic to an annoying degree, talkative, a go-getter; all phrases used to describe how people with this placement come off to others.

♑️Capricorn rising: Pero Tovar, Joel Miller

people with this placement are often thought of to be responsible and hard-working, contrasted with a deadpan or dry sense of humor that cuts through their tenseness.

♒️Aquarius rising: Max Phillips

if you have this placement, people are likely to perceive you as a unique, educated, flexible, and quirky individual that gatekeeps only the very best parts of themselves.

♓️Pisces rising: Agent Whiskey

people with this placement are received by others as chameleonic. you have a capacity to be emotionally receptive, theoretical, and understand the subjectivity of different perspectives.

[certifiedsexed]

hey there! i don’t mean this in bad faith at all, and i’m not trying to use a term that’s a fascist dogwhistle. i promise i’m just confused😭

so i’m not a guy, nor have i ever been perceived as one, but in one of your recent posts, you said that men can’t experience oppression solely based on the fact that they’re men. which was kind of confusing to me — i don’t think you’re wrong, i think it’s me but i don’t know how to get to how you see it like that.

because in my experience, men can experience oppression because they’re men, although i don’t know if i’m saying that right or conflating the meanings of certain terms. i’m probably wrong, and would just love some clarification?

for example, my brother and i were always held to different standards growing up — it was expected of me to always cry and be emotional, and i was a ‘stone cold bitch’ if that wasn’t the case, but if my brother wanted to show negative emotions like sadness he was treated like there was something wrong with him too. and i know it wasn’t my brother — i spend a lot of time working with my high school’s diversity team, and in a lot of the events we organise, guys talk about how they feel enormous pressure to be angry and never sad, and to have stereotypically masculine interests and never deviate from that norm.

i also know men who’ve struggled to get jobs such as teaching as those are viewed as ‘female’ jobs and it’s a common view that men who want those jobs are ‘only in it to be around kids’. i’ve heard many women around me perpetuate sentiments like that, so i know they’re not making it up, even if it isn’t equal to the systematic oppression women face in almost every aspect of their careers.

i’m not providing these examples to prove you wrong, since i do think you’re right. i’m hoping that a window into the way i’ve always thought might help you clarify this in a way that can help me to change my mind, since i just think i’m lacking some clarity or context here. i think i’m conflating abuse and stereotypes with oppression, but i’m really not sure. any advice would be really appreciated!

i’m so sorry if this comes off badly, i don’t mean it that way. i’m just trying to learn, i promise i’m not trying to promote the kind of hate and close mindedness you’ve been seeing in your inbox as of late.

Hi! As always, I do not mind answering genuine questions!

The things you're talking about growing up and seeing boys around you pressured to present only certain emotions, that's part of the patriarchy!

Certain emotions are supposed to be "feminine" and thus boys shouldn't show them, while girls are often always considered "emotional" in some fashion. That's not oppression based on those boys being men that you're talking about.

It's the backlash that the patriarchy, and by addition trans/misogyny has on men. It's boys being pressured not to show certain emotions because those emotions are "feminine" and they're supposed to associate feminimity with weakness and shit.

What you're talking about there is also trans/misogyny!

The idea that men who do things perceived as feminine are predators, the idea that specific jobs are "female" jobs [while even in those specific female jobs, men are generally paid better and find it easier to get into those jobs than women trying to get into traditionally "male" jobs"]

[Though obviously this varies based on race and whether they're trans, etc, etc.]

To be a little more clear, all of the things you're talking about don't primarily affect cis men/boys. They fuck up transfems, because it's trans/misogyny.

You're right! It's not systemic oppression.

You might wonder if it's social oppression, which is also a no. Social oppression would require a historical/systemic oppression behind it. But that doesn't exist in this case.

What it is is the common issue oppressors run into. While they benefit greatly from oppression, there is also backlash they face from their own systems of oppression.

Like white people who fall into suicide cults trying to work towards white supremacy, or TERFs who fall into groups where they slowly pick each other off as they discover they're not all exactly the same and wind up accusing each other of not being "real" women, systems of bigotry simply do not work out perfectly even for the oppressors.

They never do.

To create the patriarchy, you must establish trans/misogyny, you must establish intersexism and you must push people to conform to those ideals, even if they hurt your own.

It's similar to how white supremacy can harm white people, despite white people obviously not being oppressed racially. The backlash of oppression hits even the oppressors sometimes.

Suppression, as a term, would honestly work far better to describe what you're talking about.

So yes, it's stereotyping, yes it's abusive to tell your children not to show/feel their emotions but it's not oppression based on these guys in your life being men! It's part of how trans/misogyny, transphobia and intersexism are enforced.

I understand exactly where you're coming from! It doesn't sound bad and I genuinely don't mind answering questions! Especially since you've got some good ones!

I'm not sure if I rambled too much to explain this properly but I hope this helps! Let me know if you have any other questions and/or need me to clarify anything here. <33

[saucerfulofsins]

I haven’t seen any posts comparing Buck’s coming out to Eddie and Tommy breaking up with Buck, which is a shame because the similarities drive me insane.

Or well. I say similarities, but that’s wrong. What I should be saying is: these scenes mirror each other. This post is more about the highlights than shot by shot comparisons – for that, I’d recommend you watch them side by side yourself.

Let’s start with the first and most obvious structural parallel: both scenes happen around 32 minutes into their respective episodes/between two-thirds to three-quarters in.

Now, for the scenes themselves. They follow the same basic outline, which I’ll discuss one by one. I’m following the same structure throughout: I discuss the coming out scene, then the breakup, and then give some analysis. At the end, I’ve included a section on further things of note that I couldn’t neatly fit into this structure and my final thoughts. Is this the first time I’m using the media analysis I was taught during my minor in Arts, Culture and Media with a focus on film in 2019? Yes, yes it is.

Buckle up, because this meta/essay is nearly 3k. For that reason (i.e. accessibility/readability and the amount of work I put in), this entire piece has been cross-post to AO3 (CLICK FOR LINK).

Opening shots

Seating 1.0

Buck in the kitchen

Seating 2.0

POV shots (both perspectives)

Eddie and Tommy leaving

Miscellany

Final thoughts

Analysis under the cut:

1. Opening shots

This part includes some of the most noticeable differences between the scenes, which explains why they feel different – at least at first.

CO: Eddie’s phone comes into view first – this is his chat conversation with Marisol, which the first part of the CO scene is about (note how this mirrors the gym scene, where Buck intended to come out before the conversation lingered on Eddie and Marisol). Eddie is also closest to the door during this part of the scene – which is where he will remain throughout.

BU: The first shot is of a closed door, which Buck opens for Tommy, i.e. Tommy certainly has no keys to Buck’s place, and this might well be a callback to doors as a recurrent theme. They greet with the briefest kiss possible. I rewatched this several times to make sure it really happened – it happens immediately after a cut and it’s filmed in such a way this could easily have been an air kiss lmao. (No seriously, I had to watch this screen by screen to properly catch it, and the audio is a lot more obvious than the visual). They make small talk about the movies and Tommy having ordered an uber (clearly a throwback to 7x05), and they switch positions so Buck is actually closest to the door.

As for clear similarities: Eddie and Tommy are standing up and remain mostly in the same place; Buck is moving around the loft – it’s an expression of his nervous energy, and the major changes in these scenes are about Buck, not Eddie or Tommy.

2. Sitting down

I made this a separate point for one reason, and one reason only: In CO, Eddie takes his own initiative to sit down, while saying he should go home and Buck offering him a beer, so clearly he won’t be leaving to go home any time soon(ilu Eddie but I’m begging you, stop putting yourself and also us through this 😭). In BU, Buck tells Tommy to sit down... which is in part to signal they need a more serious talk than can be done on the way to the cinema, but also shows a massive contrast in terms of familiarity and comfort, regardless of what Buck tries to tell Tommy later.

Both Eddie and Tommy sit down on the leftmost stool (closest to the door, i.e. it’s easiest for them to leave and Buck can’t get between them).

3. Buck in the kitchen

Fun fact! Before writing this post, I checked the scene where Buck confesses to Taylor that he kissed Lucy. During that scene, Buck is sitting down at the kitchen island, while Taylor lingers in the kitchen proper (i.e. with the island between them). She has moved in at that point – kitchens represent ‘being at home’ – but there’s a physical barrier between her and Buck, and it doesn’t actually keep from her leaving (even while saying she has nowhere to go).

CO: The camera uses a dolly shot to follow Buck throughout the kitchen – to the fridge and then back to the head of the kitchen island. He’s attentively listening to Eddie complain about Marisol and God watching him have sex (cursing God while sluttily drinking his beer).

BU: Buck walks out of view of the camera, through the kitchen, and there’s a dolly shot to the right to focus on Buck finding his place on the head of the kitchen island. He leans on the counter at this point. He does have a pretty open posture (identical to CO); Tommy sits with his hands/fingers folded together but he’s turned to Buck i.e. paying attention.

This is the position Buck has when he comes clear to Tommy about having dated Abby in the past; it’s also when his phone comes into the picture. Well. Pictures. Of Buck and Abby.

4. Seating 2.0

This is the longest section of analysis, and contains the part that makes me SCREAM but let’s start at the beginning. From the moment Buck sits down, the conversation turns serious in both scenes. This dialogue consists of mostly POV shots (which I will discuss next), and these medium shots that show Buck and Eddie, and Buck and Tommy.

CO: Buck sits down while Eddie says, “You and Tommy have the right idea, stay single.” This very clearly introduces a new section of the scene. Overall, the lighting of the loft is muted besides the yellow for visual interest and gay Eddie, thank you for your hard work Buddie colour theorists. Buck’s dining table is unlit and barely visible, so the space really takes a back seat and allows us to focus on Buck and Eddie. Please take note of the chair between them – this serves as a physical barrier, where someone is getting between them (a place for Marisol and Tommy, respectively).

BU: Here, the segway happens right after Buck’s come clear about being Abby’s ex 2.0. He sits down on the middle chair, but it’s quite obvious he’s shoved it away from Tommy. In fact, compared to CO, Buck is almost at the same distance from Tommy as he is from Eddie. There’s a barrier between Buck and Eddie, but there’s space between him and Tommy. This is emphasized by the lit dining table, which draws even more attention because of the white decorations: the loft is a space to be distracted by, focus on or even flee into.

Now. This is what kickstarted my obsession with these scenes, especially the coming out scene. The chair between them? Buck reaches out to Eddie, leans his arm onto it and in the process drawing attention to it. He actually leaves his arm there for an extended period, throughout several of the following shots, and only seems to pull back when he says he and Tommy were on a date.

The following shots – of Buck’s coming out and Eddie’s initial response – are back and forth POV shots. The first shot from medium distance, is this:

Do you see it. DO YOU SEE IT. Do you see what drives me crazy! Eddie is mirroring Buck’s earlier posture – also this is immediately after Buck says Tommy left him on the curb (i.e. Eddie realizes there’s no Tommy getting between them). Eddie’s not just opened up, he’s reaching out, extending his arm back onto that empty chair between them. And again, like Buck, he leaves it there for several shots. It’s still there when he tells Buck to call Tommy, although he briefly vaguely gestures to himself during the “He’ll love you! We all do!” It’s not clear when he takes his arm away; no shots show it and then he’s getting up.

This just. This drives me insane.

For comparison, Buck doesn’t reach out to Tommy during the BU scene. And, compare Tommy to Eddie:

5. POV shots

Okay, the section header is a bit of a misnomer because the scene consists mostly of dialogue and therefore has POV shots. Like I said, there’s also overlap between the POV shots and the wider establishing shots I used in section 4. The bulk of this part of the scene, however, shows a lot of over the shoulder close ups with quick POV switches. In both cases, this is where the subject at the heart of the scene is discussed.

Now, these differences are pretty small and they could be a consequence of these episodes having different directors. However, there’s zero doubt in my mind that Chad Lowe closely studied the CO scene for its sheer number of cinematographic parallels and therefore it might be entirely on purpose too YAY.

There’s some variation in the distance of these shots, but the most intimate ones look like this:

(Still not over that face he’s pulling here, dear Lord). Buck takes up most of the screen – his shoulders are visible, but the top of his head isn’t. I guess this is technically still an over the shoulder shot, but barely. Eddie is out of focus, just enough there to be a blurry ear. These shots are intimate. This is almost what Eddie is seeing – and actually these shots make it feel like they’re sitting a lot closer than they actually are.

"Until now.” Buck’s entire face (including hair) is in the shot, and we can see Tommy’s shirt. This is the closest/most intimate we get to see him (and Tommy, in reverse). For both sides, they’re very clear over the shoulder shots. Yes, this is intimate – but it is not intimate. A quarter to a third of the screen (esp as the conversation moves on) is dedicated to the other person. Buck is more visually interesting too. He has more colour in his face and his background is more clearly white than in CO, whereas Tommy blends in more with the brown coat rack background (shout-out to @sparklespiff for pointing out that difference while I was trying to figure out why Buck felt more noticeable, btw).

SIDENOTE: I know some posts have already been made about the pictures on Buck’s fridge and Eddie’s mantelpiece, like they seem thematically relevant (or perhaps not yet, but soon). Buck’s walls in general have more pictures on them in S8, which is evident both in Buck’s background and Tommy’s. I am nowhere near talented enough to identify them, but going by their general colour and composition, I believe all of Buck’s wall art pieces are that, art, not family photos.

6. Eddie and Tommy leaving

These scenes have some of the clearest parallels, and of course an incredibly clear difference in how Eddie and Tommy are leaving Buck.

CO: Eddie leaves not because of Buck (well, not technically), but because he has to go do something: “I gotta go talk to Marisol.” Buck is smiling while Eddie gets up and is on his way out. Of course, this is when Eddie stops, turns around, and Buck looks up. In fact, Eddie says “Come here” but he’s the one to walk up to Buck to give him a hug. Buck just stands up from the chair. During the hug, we get shots of both Eddie’s and Buck’s faces, and of course Eddie holding Buck’s shoulder. When Eddie leaves, we hear the door open and shut – the focus stays on Buck.

Again, when Tommy leaves, we only hear the door while the camera cuts to Buck. The show then picks up his response (with the same expression) during his arrival at Eddie’s, where Eddie lets him into his home.

BU: Of course, Tommy has nowhere he needs to go to (hello, return of the failed cinema date) – when he says “I should go” it is because of his conversation with Buck. There’s a medium wide shot of him getting up while Buck looks confused, looking like he’s about to reach out for Tommy – the first time during their conversation. The camera uses a slow dolly to the left, which is when Buck calls back Tommy to ask for clarification: “Did you just break up with me?” Tommy says, “Yeah, I guess I just did.” This has been pointed out before, but they’re clearly not sure. Tommy also says, “Believe me, I didn’t see it coming either.” (Was LFJ speaking from Tommy’s perspective in that interview?). That line is fascinating, actually, because only moments ago, he was incredibly adamant about being Buck’s first, not his last. This feels like a throwback to “Enjoy it while it lasts,” leaving them both overwhelmed/confused.

Look at how similar these shots are! Also, the reason I was adamant about calling these scenes mirrors and not parallels is because Buck and Tommy greet each other with a moment of physical affection (which, as I mentioned before, is incredibly short and barely visible). Eddie wouldn’t have ordinarily but feels it’s important to hug Buck to show him nothing has changed. In terms of meaning and cinematography, their interaction is a lot more substantial and reciprocal. They’re also making sure to leave on good terms – whereas Buck and Tommy meet on good terms, but part essentially as strangers. Buck and Tommy ending the scene like truly feels like an end. Buck and Eddie’s scene feels like a significant shift in their relationship, and for me part of that is a result of Eddie hugging Buck, and shaking up their routine.

7. Miscellany

Just some bits and bobs I couldn’t fit elsewhere in the analysis!

“I like him too. Just not the same way as you.” 7x05 was truly out there foreshadowing 8x06’s “I am not gay.” (I want to do a full 7x04 + 7x05 parallels post at some point, but that’s going to be a fuckload of work and possibly even larger than this post).

Like I pointed out, Buck and Eddie drink beer during their scene (which they often do during their conversations). Buck and Tommy are breaking up without accoutrements. Of course, we know Buck brings over beer to Eddie after the breakup. Because the scenes mirror each other so closely in every other aspect, it feels incredibly poignant: Eddie again fills a role in Buck’s life Tommy should have had. I also figured I’d check their fake brands, and they are different labels. I would assume Buck brought a new flavour, considering Eddie’s looks.

Speaking of continuity, Buck opening the door to Tommy in a sense mirrors Eddie opening the door to Buck at the end of 8x06. The key differences in their cinematography is that during BU, the establishing shot of the entire scene is of the closed door without a peephole shot. When Eddie opens the door, it follows his Risky Business tribute so the door takes up less presence, and even when it’s closed, Buck is clearly visible through the peephole.

Phones clearly are connected to (past) female love interests; Eddie is interacting with Marisol but it’s through text and impersonal – we don’t see the messages, we just hear Eddie complain. On the other hand, Buck is out of contact with Abby but he still treasures that relationship – otherwise he wouldn’t still have those pictures on his phone after 7 years. I guess that’s kind of cute? Idk, I never really liked Abby or how she treated Buck, but Tommy’s speech has turned me into an Abby defender lol

Like Buck, Maddie also stands at the head of the kitchen island during her conversation with Chimney. Chimney’s in the kitchen proper, though, and Maddie walks up to him so they can actually stand face to face and be happy about the new pregnancy together! (I genuinely missed that scene the first time I watched the episode, I was so caught up in the bones of it all SORRY MADNEY I LOVE YOU FOREVER).

8. Final thoughts

I mean. Are we really surprised? I’m not! Actually that’s a lie. I saw the similarities but was shocked at just how close these scenes are in full. However,I do think this scene in particular does a lot to show just how deliberate these parallels between S7 and S8 are (and between S8 and previous seasons in general – we’ve seen similar/near identical cinematography a couple of times now), and how deliberate the parallels are between Eddie and Tommy (who are literally taking up the same position in these two scenes).

And just. The fact it’s the coming out scene between Buck and Eddie, which was about opening up & telling the truth, and it doesn’t change anything (allegedly), versus Buck and Tommy, which is about opening up & telling the truth, which changes everything... it reaffirms how I feel about the coming out scene – this is a major moment of change, and that change is deeply entwined with their respective romantic relationships. AAAAAAAAAAHHH!!

[anxiously-awaiting]

hi his outfit is a fucking MESS rn but <3 bedi alter for your thoughts

[myokk]

Hi! I'm still feral for these two, would you mind giving us some art of them in their later years together!?

Hello angel!!!!

Sorry it’s taken so long to respond🫶🫶 but I wanted to draw some new art for this ask💓

We have: Sebastian and Eloise trying out their new fancy camera with a selfie, pictures of them with their daughter, and finally…idk I just always felt like this drawing is when they’re a bit older💓

I want to take this ask as an opportunity as well to talk a little about how I imagine their future (I have no chill & you can ignore this and just enjoy the art if you want😇).

I am a COMPLETE pantser - I never know how a chapter’s going to end when I start writing it (I always just have a few scenes I know I need to include to keep the plot moving forward). Although I have different *big* scenes I’m always writing towards, and themes/plot elements I’m always foreshadowing (shout out to @elliecutte for catching *almost* all of my hints and appreciating my general no chill😆), IM STILL NOT 100% SURE HOW I WILL END THINGS !!! 😳 I have a lot of endings I see as possible, and I think soon it will become more clear to me what will work the best💓

HAPPY ENDING:

Eloise and Sebastian become Unspeakables. I have a LOT of thoughts on this profession that could be its OWN post, and I feel like Unspeakables are generally specialized in one or two departments, but as their interests/research change they also change.

Eloise becomes an Unspeakable in the Mind and Death departments, with the occasional foray into Time. Her ancient magic is connected with all of these things (my version of AM is NOT like the game) & the Department of Mysteries is one of the only places that gives her any useful information about these things. Plus she thinks too much (it IS her hobby after all😆💓) and is very introverted so a hermit job like this is a perfect fit.

Sebastian becomes an Unspeakable as well, but I feel like it takes him a long time to specialize in anything, if he ever does. I just feel like becoming an Unspeakable is the adult equivalent of sneaking into the Restricted Section🥹🫶

They grow old together (I won’t explain TOO much) & have a lovely little family🥹 at least one daughter that they both dote on. Sebastian had an amazing childhood (idyllic until it wasn’t), and wants to give his daughter the same, and Eloise works hard to make sure their daughter feels the love that she never had growing up🥺

When Sirius is burned off the family tree, Eloise and Sebastian take him in🥹🫶 (they’re like 100 years old but WIZARDS LIVE LONGER…) The same happened to her all those years ago, and she wants him to know that his whole family hasn’t abandoned him.

Eloise LOVED her nieces - Bellatrix, Andromeda, and Narcissa - when they were younger, but as Voldemort becomes more powerful & people realize WHAT he’s doing, she has to separate herself from them. Her heart breaks seeing Bellatrix go mad, and seeing Narcissa engaged to a Malfoy out of obligation😔 (iykyk)

I haven’t thought any more about happy ending but I think it’s fun to think about how their future story might weave in with the actual canon events, ESPECIALLY since Eloise is a Black🥹💓

SAD ENDING:

After Sebastian gets his hands on Slytherin’s relic, it really starts to consume him and makes him even MORE obsessive than his natural tendencies - I imagine it similarly “talking” to him like Slytherin’s locket/horcrux did in Deathly Hallows (😳)

Eloise is deathly afraid of the changes she’s seeing in Sebastian and steals it from him (he would never willingly give it to her ESPECIALLY if it starts to feel like a precious item to him)

BUT the relic triggers the latent Black Family Madness in her - the madness that afflicts almost every woman in her family since…🤭 - and she herself starts to lose touch with reality. Her body and soul are already destroying themselves between the curse and the ancient magic inside of her, and the relic is what triggers it in her.

Sebastian becomes an Unspeakable, focusing on the Mind, in a desperate attempt to find a cure for his Eloise🥺

He never gives up his research, and sometimes when he comes home she is lucid and they talk about his research - otherwise, he just loves and takes care of her.

(He’s never successful in finding a way to reverse what he feels he caused in the first place - his ambition and single-mindedness is, to him, the reason why all of this happened)

Honestly who knows if I end their story either of these ways😌 I just love thinking of AUs and different endings and I have a few others I’ve considered as well!!! And whatever endings I don’t write will be immortalized on this blog and in my art as well🙏

[seeker-ophelia]

Ophelia’s Review, Part Two: Thedas, The Dragon Age System

Some things I need to get off my chest.

One. This does not feel like a Dragon Age game.

Two. That doesn’t mean I didn’t like it.

Three. I have a lot of feelings right now but I’ll come back when my brain has re-hydrated itself.

(I finished Veilguard at 10PM on Monday, and wrote this the morning after. And its still true, 5 days later.)

TLDR at the bottom

[Read Part 1 Here]

I do miss the heady blend of power, intrigue, danger, and sex that permeates these events games.

[Photo Cred: Dumped, Drunk & Dalish]

Because Veilguard is missing all of that.

Listen, it’s good. Great even. I loved it. Cried. Laughed. Dropped my controller and paced around the room for 5 minutes in anger and angst. Drank a bottle of wine in the bathtub after Solavellan’s happy ending (and my Rooks sad one). But this is not a Dragon Age game.

It is Dragon Age ADJACENT. Similar of course. The backbone is there. The direction, the vector, is there. But the execution…

Dragon Age (Origins through Inquisition) for me, was A Song of Ice and Fire. I love that series.

It was deep. It was harsh. It was MEAN. If offered me hope and then snatched it away. The world-building, the lore crafting, was intense and deep and required attention and critical thought. The characters were nuanced and troubled and real.

Veilguard, for me, is Eragon.

I also loved that series. It is pure and good and takes me on a journey through a fantastical land of dragons and heroes, of good versus evil, of mysteries and magic. But, it is juvenile. Its simple. It doesn’t try to be anything other than it is. Veilguard, is shallow.

The essence is there, beneath the surface Veil, pressing and bursting at the seams to escape, but is being held back by a gentrification of Thedas, the Tranquility of the Dragon Age world, if you would.

The Lore

I don’t want to go into to much about it (its going to be its own post, I think), but I love the lore of Dragon Age. I love learning about it. I love the questions, the pervasive theme that history is only as true as the historians who write it; things get lost, muddled, confused through and over time. And Veilguard, kind of feels like I’m being spoonfed? Like I’m a baby.

I think EA did BioWare a disservice by making this game for new players, instead of assuming that RPG players have the intelligence and wherewithal to comprehend at least a little bit of lore and history, or at the very least, introduce a cannon world state. You can have your cake and eat it to, but, as Veilguard shows, it diminishes the quality of the cake as a whole.

This game is an Action RPG. This is a game about combat. For the record, the first, second, third, 17th time I saw my Rook in their Takedown Animation, I said, out loud, ‘Dragon Age, G.O.T.Y.’ I swore at my inability to time dodges properly, I planned and schemed with primers and detonators and damage types. This is very reminiscent of The Witcher and Assassins Creed, for me (I have not played a ton of games, im sure there are others more like it). It was fun, it was challenging. But. This is not Dragon Age. Its Something Else™.

Dragon Age: Dark Origins

When people say Dragon Age is a dark game, they’re not talking about the gameplay, or the graphics, or the art direction.

Dragon Age deals with dark subject matter. Slavery. Racism. Religion. Politics. Power dynamics. Mages versus Templars. Addiction. Death. War. An unstoppable contagion that deals death indiscriminately. THAT’S what makes Dragon Age Dark.

These stories are deep. They’re hard. And yeah, they weren’t always handled properly (lookin’ at you, Gaider), but doing something wrong… looks like it might actually be better than pretending it doesn’t exist.

As a Sollavellan, I’m unspeakably glad they didn’t yassify Solas. He is still an unlikable character who has committed unspeakable war crimes. And we got a redemption arc that did not end in death. That’s a win for me.

But they kept his darkness at the expense of lightening literally EVERYTHING ELSE in Thedas.

What the fuck happened to Zevran’s Crows? I got the Puss-in-Boots-Found-Family Assassin Agency.

Where are the slaves in Minrathous? Where’s the trip to the upper city, gilded and clean, so we can compare it to the slums of Dock Town (which was not bad at all). Where is the “Rescue the Rabbits” Quest? Tevene Politics boils down to Dorian or Mave, “bad” or “good,” change from within, or power to the people.

The whole Qunari are just Bad™ now? The Antaam warriors turned into… what the fuck is even that? You know the advertising theory where women’s bodies are shown but not their heads or faces? This feels like that. Giant Grey Muscular Powerful Bodies with NoFace. THAT’S the Antaam? The Tamassrins really eliminate every embodiment of individuality from them? They’re just Storm Troopers?

And ‘Thal’enaste, what a lost plot thread to not have Lace and Solas meet in the deep roads, or Kal-Sharok, or fucking anywhere. Instead, you give her one little blurb of “companion banter.” Weak.

Where’s the racism towards the Elves? What happened to that? What happened to Dark Thedas? Oh, its actually all in the South, and thats destroyed now (lets put a pin in that for a minute).

The Companions

I have written and re-written this section 3 times. Its too long. I don’t need to mention them all. How to summarize them.

If you read my part 1, you’ll remember how I fell in love with Dragon Age 2, years after its release (after playing Inquisition, in fact), and how I fucking hard I fell for those very real, very troubled, very nuanced characters.

Anders and his quest for freedom, Fenris and his quest for vengeance. Merrill and her quest for knowledge, Isabella and her quest for… other cultures relics, I guess?

I hated the graphics in 2. It was the characters that carried that game. I don’t know how BioWare wrote them, but they failed to do that in VG.

My favourite character in Inquisition? Surprisingly, its not Solas. Its not even Cole, or the Iron Bull, or Dorian.

Its Cassandra.

I love her. Her story is SO complex. Her devotion to the Seekers, to the Andrastian Faith, is so pure, yet it does not impede her friendship with a Dalish elf who believes in gods that she does not. It does not stop her form forming close bonds with other people from different backgrounds, and although she is fearless in calling out the darkness in her own faith, its sins and its rot, she admits to her Herald that she is envious of the Heralds conviction.

Which character in Veilguard has that nuance?

The necromancer afraid of death? The Elvhen Engineer with ADHD? The literal Demon of Vyantium Puss-In-Boots? The smirking detective? The questioning Qunari? Or the gruff monster daddy?

Listen. I read trash. Smut, romantasy... I read objectively bad literature, for fun, all the time. And, I have a fantastic imagination. It is my own personal fleshing out of theses characters that saved me in this game.

But I should not have had to do that.

The Keep

I cannot explain to you, in words, how important those one-off codices and cameos are.

(Don’tThinkAboutIsabela Don’tThinkAboutIsabela Don’tThinkAboutIsabela).

*Grimaces* Okay.

I can speak no more about this. I am already writing a “Keep” DLC for Veilguard.

I would have rather lived in your world state than this abomination. Which leads me to…

‘The Soft Reboot’

So. The South is Gone. That’s the answer. The Hero of Ferelden. Hawke and their siblings. Everything is wiped clean, just as EA asked. All of the South, turned to the Hissings Wastes and the Anderfels, because of the Blight and the hubris of the Gods. What a tragedy. DA5 looks likes its overseas. Cool.

You know what would have been a better reboot?

Spite, taking over Lucanis’ body, walking through the Ossuary, or the catacombs of Minrathous, explaining to Rook how the heavy emotions of People manifest in the fade. The birth of a spirit. Or a demon.

Taash, meeting a spirit face to face in Arlathan, recoiling in disgust, until they help the spirit on its journey, and Taash begins to question their whole worldview surrounding demons. I- I mean spirits.

Emmerich, taking Rook on a lecture-walk through the fade, meeting spirits, solving puzzles, ‘you know, its not so bad in here, what’s the big deal?’

Bellara, instead of discovering Cyrian only to lose him, meets the demon formed of his death, and how to help him back into a spirit.

Neve, following a trail of wisps in the fade, learning things, memories, feelings, songs. Neve, reveling in the pure beauty of the wisps, until they lead her to Vir Dirthara, and her eyes grow wide, what is this place?

Davrin and Assan, after hard training in the High Anderfels, take a break, and while Rook and Davrin flirt, or joke, Assan finds a long string, and begins to play, the string growing and lengthening and thickening until a soft, feminine whisper fills the air, I Am So Sorry… And Rook and Davrin meet a strange spirit, a perfect combination of protection and regret, and they help her find her way home.

Harding, palms flat on the stone, pushing, working, threading her magic into a titan, tilting her face up to Rook, eyes shining blue, speaking in a thousand voices at once, let me show you what was lost, and for a millisecond, we FEEL Isatunoll.

The Dwarvhen was tranquil’d from their Memories, but the Elvhen were tranquil’d from the Fade.

And when Solas turns from Rook in Minrathous, I am sorry for this final betrayal, he is puzzled at the lack of retaliation, and turns to see the Veilguard, standing behind Rook, eyes locked on the giant eye-shaped rift in the sky.

Why are you not stopping me? He asks the group of misfits.

And Rook answers, I can admit when I was wrong. Tear it the fuck down.

And Solas, battered, bruised, and bloody, smiles, brandishes his ritual dagger with a flashy flip, banishes the blight, and tears down the Veil.

When I learned there were only going to be 3 choices carried over from the rest of the series into Veilguard, I tagged my complaint posts with something.

#You Cannot Dangle A Carrot In Front Of Me For 10 Years And Then Not Be Surprised At My Anger In Discovering It Was A Painted Dowel

Let me reiterate. I enjoyed this game. It was fun for me. I’m in the middle of my second playthrough and am planning a third, and a fourth. But this is NOT a Dragon Age game.

This is an EA game. And its good. But it could have been everything.

Bellanaris.

TLDR;

How torn I feel; lobotomized, rendered tranquil, separated from the memories, lore, and spirits, of the old Dragon Age, while still, like the Veilguard, wanting this world to endure.

Var lath vir suledin, BioWare.

For now.

[lairofsentinel]

Since this user's posts seem to have been deleted in previous opportunities I copy-paste their words here because they express exactly what I feel about this game. Dragon Age has died, unfortunately.

I'm a big time Dragon Age lover and have enjoyed every game in the series. Personally, I think Inquisition is the best in the series. And I was excited for Veilguard right up until I actually began playing it. Now, I want to clear things up at the start as to what I look for and believe makes a good Dragon Age game. To start, I DON'T CARE ABOUT COMBAT. I. Do. Not. Care.

You can make it Origins tactical. DA2 fast tactical. DAI hybrid. God of War action, I don't care. Dragon Age has always had combat that was...fine. A nice distraction and breakup in between the bits I actually care about: narrative ROLEPLAYING, story, characters, and exploration. I don't give a crap how great the combat is if the narrative roleplaying and writing are poor, I'm not playing BioWare titles for amazing gameplay. I am here for the story, the characters, and the roleplaying. Truth is, for a time I considered DATV's combat to be the best in the series.

And this is why I feel the game is a terrible Dragon Age, because it lacks or fails to respect those elements concerned with narrative roleplaying, story, characters, and exploration. Now, in many reviews and online videos you'll hear some reference often to the drop in writing quality. And a lot of time people will incorrectly say that the writing with the characters is to "modern" or "Marvel quippy" or not "dark" enough. I think these people are wrong, they recognize there is a drop in writing quality from previous games but aren't able to articulate why that is.

Dragon Age has never adopted any sort of faux medieval speech and vocabulary (though we'll get into this more later). This is a series that used "epic fail" as a thing someone uttered in the very first game. It's always had anachronistic dialogue and banter. So why is it such a drop then? Why is it considered poor? Simple. This is a game that does not believe in the world it has setup for over a decade. It does not believe in or engage properly with its own world and lore. I mean, look no further than the title "The Veilguard" a phrase that is never uttered by anyone in our group, and further proof it was a last minute marketing change. Compare to Inquisition where the title is apparent from the start in the game and has actual meaning.

You see, characters in DATV do not feel or react to events the way they should based on the lore. Why is no one constantly asking what the hell the Inquisitor is doing? The Inquisitor is kind of a BIG DEAL when it comes to Solas and Elven Gods, my Inquisitor drank from the WELL OF SORROWS! So why are we sitting around thinking at the start, "hmm lemme think who I can contact who might know more." The Herald of Andraste! They know more Rook, the guy that is technically your boss. The Inquisitor! Who else have you been working for this entire time? Who do you think told Varric to recruit you?!

But even removing the Inquisitor, the Elven Gods being real and also near synonymous with the old Tevinter Gods is kind of a BIG DEAL. It was only a theory fans crafted long ago that slowly revealed itself to be true. And it completely upends known religious dogma on all sides. Yet, why aren't people we meet going through a massive existential crisis? For instance, the Veil Jumpers we initially meet were presumably told off-screen about Fen'Harel, and are seemingly cool with this massive knowledge alone. But then we talk about those two other Gods being released and they're like, "well, shit those two aren't good." As if they have any clue if the fables about those Gods are real when we previously just upended everything they thought about the Dreadwolf! Why are you acting like this is another Tuesday?! Your entire religion is wrong. In that same conversation, Strife notes "Solas might be a bastard, but compared to the Evunaris? Let's just say they weren't know for being kind rulers."

My brother in Anduril, what are you talking about! Elven religion teaches that Elgar'nan was so beloved by the Earth that it "the land brought forth great birds and beasts of sky and forest, and all manner of wonderful green things." And that he fought the jealous Sun that tried to burn the land and all beasts away. Custom says that he and Mythal, "created the world as we know it" after defeating the Sun. He is literally described as one of the "good" Gods. WHY ARE YOU ASSUMING HE IS EVIL! It's like finding out Satan is real, but not as evil as have come to believe and then being told Jesus Christ is back and a devout Christian going, "well shit, that can't be good." WHAT?!

The same goes for Andraste and the Chant of Light, it took me 30 hours of playing before ONE character mentioned Andraste and the implications with the Chant and it was never brought up again. Our entire party is seemingly made up of unphased atheists. Now compare to something like Inquisition which explored this aspect HARD and was amazing for it. You'd get into great debates with religious figures and party members about the implications of Corypheus actually being a Tevinter Magister of old. And you'd talk about what it means towards the religious dogma preached and how much is true. And these intense political and religious discussions are present in every previous game, and not confined to a single conversation with one party member where it is seemingly resolved.

These conversations do not happen in DATV because there is no depth to the writing or engagement with the world. The Elven Gods are evil and need to be stopped. That's it. We don't need to think about the implications this has on Dalish customs and religion. Fuck it, all the Dalish are going to still wear their Vallaslin slave brand tattoos. Let's forget about Trespasser implying Solas was removing them from followers coming to join him. Let's even forget they were likely all told at this point that they are slave brands, nope still going to wear them yet speak blasphemy with every sentence against our Gods. No one cares about Andraste or The Maker or the Chant. Big deal if these Elven Gods contradict the overwhelming majority religion in Thedas. Not a single party member has religious or cultural objections to killing the Elven Gods; not a problem. Not one single elf wants to join Solas in tearing down The Veil and getting immortality again?

Again, let's forget about Trespasser setting up Solas gathering MANY Elven followers from Dalish clans who would be super inclined to join him after experiencing CENTURIES of discrimination and slavery by humans. The better question is what Elves wouldn't join Solas at the start? And what Elves wouldn't look at the other two Gods and go, "meh, maybe we should give them a try. They can't be worse than humans, right?" In DA2 you had elves joining The Qun to escape the discrimination of humans, but not ONE ELF wants to join Solas or Elgar'nan? Those Ancient Elves in the Temple of Mythal? I guess they all died, right?

This extends to EVERY single element of Dragon Age that previously had depth to it, it now has been completely removed. Those murdering Antivan Crows? Oh, they're just good Italian Mob Family that protect their city. Tevinter? Yes, it has poor people, but we're trying to do better. Oh, slavery? No, no we don't show that here. The Qun? The what now? No, they are all Antaam now, and so that means they are all generic evil warlords. No, they don't even attempt to follow their own hardcore view of The Qun like when Templars split from the Chantry, they're just warlords now that like plunder. Dwarves and their rigid Caste society? We don't do that here. Elves and racism across Thedas? Elves used to experience racism? News to me, what's a Shemlen? Never heard of that term, we like all humans. Pirates? That is insensitive, we are Lords of Fortune and we are sure to return any cultural artifacts found to their rightful owners; it belongs in a museum after all. The fucking Fade and spirits? Wait, you mean its different than generic fantasy spirit world? I'm sorry, that's too complicated here.

This either intentional disregard of the lore or plain ignorance also extends to environmental design. The asset reuse from Inquisition is particularly hilarious and must speak to the developers not having time after the switch from MP. Why are the same statues found in Val Royeaux in DAI also in Tevinter and Antiva? Why are those stupid Fen'Harel Wolf statues EVERYWHERE? Even in the catacombs of other Elven Gods! There are no statues of Elgar'nan or Ghilan'nain. Nothing for June or Anduril. Dirthamen. Falon'Din. Nothing. No, the only Gods that seem to get statues are coincidentally the ones who already had assets created for DAI or past titles that could be reused. Hmmm.

This continues into character designs too, why do the Veiljumpers and Shadow Dragons all dress richly? They are supposed to be poor as fuck. There's a codex entry about Veiljumpers finding a lost cache of old ancient elven armor and weapons and so boom they all get to dress like High Elven Lords and not the dirty, poor, wandering Dalish clans they are supposed to come from. Why do this? There isn't even an attempt to explaining why the Shadow Dragons, an organization supposed to be secretive, has branded clothing in bright rich colors and fabrics for all members. Naturally, it must be incredibly difficult for Tevinter authorities to not identify them.

This lack of depth and verisimilitude, naturally, affects all the characters. Because in this game you cannot roleplay and you cannot ask questions. In Dragon Age Inquisition, once you started the game, you could immediately interrogate Varric about what happened to every DA2 character despite the Inquisitor never meeting them, you know because it respects its players. You could speak to shop keepers, blacksmiths, your horse master. You could interrogate every single person to learn more about them and the world. The same goes for your player character in DA2 and Origins. You show in Denermin and find yourself knee deep in a quest to help Wade the Blacksmith craft the perfect armor. Here you can't actually speak to a single shopkeeper to ask questions and get some lore bits. You can't ask party members questions about their background, religious beliefs, upbringing, their factions, etc. You can't ask any returning characters any questions either about what they've been doing. Enter a brand new area? Great, you're not asking anyone questions about this never before seen place.

How does a lost Dwarven thaig survive every single blight? How are their immortal lichs in Neverra? How long has that been a thing? Why haven't they told anyone about the Elven gods or any other knowledge they've accumulated in an immortal lifespan? If immortality is so "easy" why can't Solas just do that to restore the Elves? Why are the Venatori, Tevinter Supremacists, following Elven Gods? Wouldn't that be a major identity crisis? Why would Antaam, who still preach the Qun, follow an Elven God that speaks blasphemy with ever breadth? Sshhhh, no questions. You get what is directly told to you and that's it, no follow-up questions.

Party members do not conflict with each other or interrogate each other's beliefs which is why their banter feels inconsequential and meaningless. Lucanis is a assassin, he kills people for money. The same organization that marked Zevran for death for failing a contract. The same one that took him as a kid and trained him to murder, often brutally, for coin. And yet no one really seems to care. He's just a nice Italian assassin from a nice assassin organization. Who cares. Let's instead talk about cooking, at length. Harding, a devout follower of Andraste, has no qualms with Elven Gods wreaking havoc on known religion. We get one conversation you can tell her to believe what she wants, and that's the end of that debate. Bellara also gets about two whole conversations about the conflict concerning her Gods wreaking havoc, both easily resolved. We don't need to think about any larger implications or doubt her loyalty when the Elven pantheon are seeking to restore her people that have been discriminated against since forever. Emmerich, a necromancer of Neverra, apparently has no religious belief. A codex entry even states that those of the Mourn Watch don't know where the soul goes after death. They don't like to think about it. Buddy, Mortalitasi belief is literally that our souls return to the Void alongside The Maker, but to keep balance a exchange must be wrought with The Fade to allow a spirit to house the now empty vessel. How do you not know the religion and customs of your own faction and land? This man has a whole quest line about funerary rights, yet not ONCE mentions religion and what he believes happens after death?! Sshhhh, no questions. No thinking.

Hey, remember The Fade? Remember how mages go to dream there every night. Remember how The Black City is always visible there? No? Well, we don't either. You won't see The Black City in The Fade. You might see it in The Crossroads in a closed off section, even though it is NOT The Fade. Oh, we're going to have you physically enter The Fade in multiple quest lines and no one will think it's a big deal. No, you still can't see The Black City. Now, The Fade is reduced to nothing more than your generic fantasy spirit world. It has none of the previous rules and lore that bound it before. Demons can bind to non-mages and we won't attempt to explain it. Solas fucks with The Veil and not a single mage notices a change in their dreams when they sleep at night. No biggie.

Lastly, let's return at last to the actual minutiae of writing. I stated at the start the writing isn't bad because of Marvel quippiness, which the series has always had. I was partly lying. Yes, the series has always had anachronistic dialogue. It has had meme language in its own previous titles. But, it was just that, a small joke here and there. For the most part the series actually tried to use it's own sort of "older" speech patterns. I think a perfect example has to do with Taash, she eventually finds her own identity and declares she is proudly "non-binary." Literally stating, "so, I'm non-binary." I have no issue with this sort of inclusivity in Dragon Age, it's what the series is known for. Yet, why does that sound wrong? Simple, it's far too anachronistic. It doesn't belong in Dragon Age. In Inquisition, Dorian let's us know he's gay. But he doesn't say, "I'm gay!" or "I'm a homosexual" those terms would not exist in his world. Instead he says, "I prefer the company of men."

And it's these little subtle changes in writing that makes it feel all the more different. We went from "I once ventured in to The Fade to serve the Old Gods of Tevinter in person. I found there only chaos and corruption. Dead whispers. Now I shall return under no name but my own, to champion withered Tevinter and correct this blighted world gone wrong. Pray that I succeed, for I have seen the throne of the Gods. And it was empty."

To: "Well, shit. That can't be good."

So, what do we have when all is said and done? Well, we have a decent generic fantasy action game. An intentional attempt by the developers to remove every edge from the world of Dragon Age in place of a very simple, easy to understand world with not much depth beyond what you see. You don't need to think, just play and have fun. This is beyond turning a MP game into a SP game, which so blatantly obvious in this game. DA2 was developed in 16 months, but is carried strong by its writing. You see, nothing prevented them from just acknowledging their own world they created. It costs very little to write around what already exists. Even if you can't make no assets or redesign the world. Writing is cheap and having characters voice these elements is not as costly as a redesign. No, they chose to remove the edge in every element because this was design intentionally for the masses with easy to understand world and zero depth.

But I wanted to play Dragon Age. I wanted to get into intense religious debates with party members as known lore is completely upended. I wanted to debate Elvish clans deciding to join Solas or the other Gods due to their treatment by human society. I wanted to debate the ethics of necromancy with the Mortalitasi of Neverra's Crypts. I wanted to engage in intense debating with Solas on the ethics of his goal. I wanted to see Tevinter react to a real push for anti-slavery and actually see the slavery in the slave capital of the world. I wanted to butt heads with the Antivan Crows and call them out for the murderers they are. I wanted to see the Black Divine and debate the Chant of Light with them. I wanted to speak to the Archon of Tevinter and see how he felt about the Venatori's past efforts in Inquisition. Hey, what happened to Meredith Reborn in Kirkwall and her idol and Red Templar worshipers? Forget about it.

We got none of this. I got a game that is pretty much disrespectful of its own world. I waited 10 years for this? Why even bother if this is the result? They may as well have just killed every previous character we ever knew, including Solas, offscreen and started anew with this game. Because as a Dragon Age game and sequel, it's terrible and no returning character is how they should be.

And when we get to the ending, that's pretty much what they did. Everything you did in all the past games? Well, that was pointless. Everyone is probably dead. King Alistair. Gaspard. Celene. King Bhelen. The Arl of Redcliffe. The Divine. The Circle of Magi. The Templars. The Seekers. Everything, everyone, and every organization that existed in the South is likely dead and destroyed. And now Dragon Age can become what they wanted, a generic fantasy IP.

But I just wanted to play Dragon Age.

[bisnes-socks]

i've read people's thoughts on the album as a whole and i've analysed most of the songs myself by now, so here's my thoughts on the whole people's champion album.

1. in ready to go, well he is just that, ready to go and try, even if he fails. he's not afraid and going forward and doing his thing is what he intends to do and what he loves to do. he has agency over his career and image, autonomy over himself.

my longer and more in depth song analysis posts are linked here in the text.

i personally don't think the album has a single narrative through it. the songs are thematically connected, but it's not one chronological and cohesive story to me. i've seen people speaking a lot on the theme of agency. i'd agree, that agency and autonomy are the major themes of the album, but i would specify that in my opinion, it's about finding and claiming agency. i think he has agency in almost every single song, but it's about him realising that he does have it, even when it feels like he doesn't, and him finding it and holding on to it.

2. in cha cha cha, he's talking about different sides of himself. in this song the two aren't necessarily living in perfect harmony, because one man needs piña coladas to coax him out, but both are.. intentional. and ultimately it's about finding the bravery to be who you are, which he is always advocating for and has really succeeded in, it seems.

3. in takavoltti, yes he is being sort of incited into crazy shit, but he absolutely recognises himself as a person who just.. gets into crazy shit easily. this side of him is also very present in mic mac. he's not bullied or abused into insane stunts and things, he recognises his own agency and both mental and physical autonomy in all of it by comparing himself to the dudesons etc. i think the song recognises the toxicity of the situation, but he's in control of it - as much as you are in control of your own personality and impulses.

4. ruoska is getting into the territory of maybe lacking some agency - life treats him harshly sometimes, and maybe he feels a bit powerless in front of all that. but then! he claims agency, by essentially going well yeah this hurts but hehe i'm into pain bitch. he literally says "baby hei mä oon valmis, anna tulla" meaning i'm ready, give it to me.

5. in kot kot i feel like he is at his most helpless. he's trying to control his situation by running away from things, trying to dance his worries away, but it's all crumbling down. in this one his agency in the situation is pretend.

7. in sex = money he is taking back like aaaalll of his agency and autonomy. his image, his work, his power, his role, his personality, his sexuality. autonomous agency anthem! he doesn't give a fuck! let's make sex moneyyy. BUT at the same time the song recognises the risks concerning agency and autonomy in the world of music, where selling sex is so prevalent. i think he is choosing to hold on to his.

6. in skit + autiomaa, he has lost agency and control over his life yes, but he is learning to find it again. he is listing things that he has done, to help himself feel better and to improve. it might not help (immediately anyway) but he's doing it. and he has thought about it, he has sought for help, he has sought for solutions, he has taken the steps. he is actively trying to help himself. i think that makes the song all the more emotional and sad, but it is not without hope, it's not without his own personal action for himself, and not without progress.

8. bananas is more about togetherness and collectivity i think. but i think it's also a song where he is truly enjoying himself. feeling himself, you know? if kot kot is a pretty sad song about partying, this one is pretty sexy. he's feeling like the hottest boy at the club, you know? truly into himself and into his crew and everything they get up to.

9. huhhahhei is about new connections. making the choice to be open and even vulnerable with new people. setting your own boundaries and giving yourself the permission to enjoy new people. self-confidence! 

10. in icip, he's not so much in control of things that happen to him, but he doesn't seem to be toooo bothered about it. which i find quite fitting. he sees things for what they are but he doesn't seem insecure or scared about any of it.

11. people's champion is a recap of him finding himself in a whole new situation and finding his footing in all of it - and recognising the help he has had along the way, while also being proud of everything he himself has achieved.

so overall, i think thematically this album is quite heavy, maybe dark even, but to me, it's not a sad album specifically. he comes across as someone incredibly tenacious. he's able to stay very strong, and he is able to recognise when things aren't going great. i think ultimately, the album is him going through life changing events, both good things and bad things, and coming out on the other side stronger and wiser than ever. it's an album of many emotions, but at the end of the day, he persists. and naming it people's champion, the single tear on the cover.. he's facing it all, taking it all head on, claiming his pride and moving forward. he's strong.

it's a powerful album.

[hoshinasblade]

you are so close to gaslighting yourself into thinking that maybe, just maybe you have already told hoshina's mom in the past what your favorite tea is.

the problem with that thought is today was the first time you met the mother of your boyfriend.

you denied it in your head - for all you know, perhaps mrs. hoshina is just really a good at guessing. that, or you are going batshit crazy.

because at that very day, people you have met for the first time - people who may be friends with hoshina soshiro but are practically strangers to you - seem to be aware of small details about you.

captain ashiro complimented you on your blue dress after shaking your hands, saying it's obvious why it is your favorite color, emphasizing how it brings out the intensity of your eyes. even okonogi, who you know works directly with the third division's vice-captain, had a specific joyful aura on her friendly face as she offered to hang out with you in the future, mentioning how she is a fan of true crime documentaries too and suggesting in the same breath that you should try the pudding sold in the headquarter's cafeteria.

you could have let all of that go if only you did not blush like a teenager after hoshina's own older brother called you by your childhood nickname during family dinner.

"i'm sorry." hoshina's hand found yours, his thumb drawing patterns on your wrist. he knows you'd been on edge since morning, and although this is entirely your idea - meeting his friends and his family in one day - he wouldn't blame you if you're overwhelmed.

"they did their research on me or something," you tried to laugh the nerves away. it didn't work.

"ah." hoshina suddenly looked guity. " that. well -" he stopped for a moment, gathering his wits, choosing the right words to say. "i mean, it makes sense that everyone who actually knows me would know about you, really."

you wanted to joke as a response; you wanted to say that he's talkative and tends to yap for hours about stuff he loves so yes, people around him would naturally know things about you. but then you caught yourself because this is yet another confirmation of what hoshina soshiro had been telling you for months now - that you are someone he loves.

you did not know being known could feel this sweet.

"huh. do you reckon i can extort them for information about you next time?" this time it was your turn to grab hoshina's hand, and with your forefinger, you traced three little words on the warm skin of his palm.

[author's note: hello guys, i know i haven't been posting a lot anymore, but i am thankful to everyone who still remembers this blog - yes i can read your asks, yes i see that you've tagged me in a fic, yes i checked my notifications in this blog every now and then. it might take me long to respond most of the time so apologies in advance but please know that i appreciate all interactions from everyone.

also i dont need to remind you but i don't tolerate copy-pasting or reposting any of my works anywhere. i read a lot from here too, and other writers can attest to this as well - we know if a line or a paragraph from any of our works is copied and/or reworded. ]

[softlyspun]

Oh, this is fun! As a historical costumer, I have some Thoughts on how corsetry and fit interact, and this is actually a topic that was keeping me from writing a costuming post for the Ginger and Mint girls. Might as well get it out of the way now! So, corsets...

I think the first thing that might not be completely obvious is corsets are sturdy. Even cheap ones from places like Corset Story are much, mush heavier than, say, a t-shirt or dress shirt. For its components:

The Busk

So, when I refer to the busk, I'm taking about the front closure of the corset, this bit right here:

(My cat decided to help.)

This is the bit that's going to give you trouble when you put the corset on, even if it's the correct size. It's a rigid bit of metal, much, much less flexible than the rest of the corset bones, and it's where the closures are attached. Usually those are the little metal clasps that you see here, but sometimes, especially in modern fashion corsets, you get some really whimsical ones, like this thing from Corset Story.

I'm inclined to say the busk isn't generally a point of failure in a corset: those little metal loops are riveted in place.

Next, we have

The Bones

So, when I'm talking about corset bones, I mean these bits:

These are long strips of something stiff but flexible. Historically, whalebone (a misleading name, it's actually baleen) was used, though, you'll also see things like stiff cord or reeds used for the purpose. Modern corsets use plastic or metal. They tend to be about the weight and flexibility of zip ties, maybe slightly stiffer. With time and use, these bones will conform to the shape of the wearer's body. This is sometimes a point of failure, usually when the boning pokes through at either the top or bottom of the corset. This will usually manifest as the tip of a bone poking you. (Almost every time this has happened to me, it's been under the armpit, but it could just as easily jam annoyingly into your waist). I suppose, technically, if it was put under some kind of weird strain, a bone could snap and poke through the middle of the garment.

Last, we have:

The Laces

So, a corset is actually a fantastically adjustable garment. This isn't to say that it isn't possible to wear them too tight, or for a corset to be too small, but in general they're a lot more forgiving than pop culture would have you believe.

At least with the corsets I've worn, the top and the bottom of the corset actually lace separately, and they tie at the middle. I almost always end up loosening the laces almost as far as they'll go when putting a corset on, getting the busk fastened, and then lacing it to the desired tightness.

While it's possible to lace it up on your own, the whole thing is much easier with another pair of hands.

For the points of failure here: the laces themselves can vary wildly. I've personally never had an issue with laces breaking, but it's not impossible that they might fray/weaken against the eyelets, or, if they're under a lot of strain and made from a flimsier material, they might just snap. The eyelets themselves are another potential point of failure: I've found that they can pull out and tear a garment when under strain (Or if you make the mistake of putting a grommeted garment through the wash. RIP, the kirtles I made in college). This is less of an issue when you're looking at historical construction, since historical eyelets are more or less embroidered into the garment, like this:

This is stronger and less likely to pull out, but still has the potential to unravel or wear out.

The final potential point of failure is the fabric of the corset itself. Like I said, these things are sturdy, but they're not indestructible. If the corset was already worn/damaged, and not carefully mended, it's possible for the fabric to tear (possibly dramatically!)

Just for funsies, let's look at how likely the issues are to occur:

The corset is uncomfortably tight, and it's all your character can think about.

Yeah, this is absolutely likely to happen. I think anyone who's done historical reenactment or cosplay has misjudged the fit of a costume at some point. Bonus points if the corset is an integral part of the costume, or if you're at a con or a Faire where you can't easily get out of the stupid thing. It almost always goes along with chaffing from the fabric of whatever you're wearing underneath the corset (and you should be wearing something underneath the corset. They're undergarments, but not next-to-the-skin undergarments)

I actually have my own personal experience with this. At a wedding, a reenactment friend came up to ask why I wasn't dancing. When I mentioned that I was corseted into a formal dress that didn't quite fit, her face went from teasing to sympathetic, and she assured me that I should just sit down.

The corset won't fit, no matter how much your character--or a helper--tries to get it on.

Like I said before, corsets are surprisingly forgiving (just lace it looser), but sometimes a garment is just too small. This is bound to be a point of frustration: even mass-produced fashion corsets can set you back a couple hundred bucks, and it takes a while for them to ship. If it's a custom corset, that's a much, much bigger investment, in time, money, or both. Depending on how much time you have before the event where the corset was being worn, this might require some radical changes to costume/garment plans. Many historical dresses are made to fit over structured undergarments, and won't fit correctly (or possibly at all) without a corset underneath. If it's for a cosplay, this might mean having to frantically throw together a look-alike out of duct tape and hope the morning of the convention.

All that being said, it might be possible to salvage the garment by just adding in a new panel. This was often how maternity corsets were handled in-period. Still, if the character is in a hurry, this is likely to end up being an obvious patch job, especially if they don't have a matching fabric on hand. If the corset is being worn as an undergarment, this might not matter. If it's being worn as a fashionable overgarment, it might cause remarks.

The corset is beginning to break or come undone as it struggles to contain your character.

I suppose it's possible that a less-experienced assistant might tie a bad knot that could come undone, which would honestly be the best case scenario here. The corset would just loosen as the night went on. Otherwise, this is the herald of frustration: this is going to mean either some time-consuming repairs, or buying a new corset.

The corset bursts open, unable to contain the pressure behind it.

This one's pure fantasy (not that there's anything wrong with that!) The possible ways I can see this working:

The rivets along the busk pull out, letting the corset fall open in the front.

The laces tear, sending shreds of ribbon everywhere, and the garment opening in the back.

The fabric itself tears, probably along one of the sides, in between the bones.

The corset is too restrictive to take off, and your character needs help getting out of it.

This has so, so much potential for a sweet, intimate moment. At the end of a day, feet and head both aching, I've found that I usually just want my beautiful outfit off. And there's always that point of exhaustion, realizing that the busk isn't going to cooperate and let you get out without unlacing the stupid thing, but that the laces are either tied too tight for you to undo yourself, or the knot is just out of reach. Turning to your equally exhausted assistant, and just quietly asking for help. The sigh of relief when the corset finally falls away. The red marks on your skin, where the fabric was pressed too-close for hours. The overall soreness of being through a busy day in costume, and the satisfaction of having had a great event. A vow to take things easy tomorrow, to let your body rest and recover.

Anyway, those are my thoughts on corsets and historical costumes as they relate to this kind of kinky fun!

corset prompts if u can!!! like being too big for a corset and just either not fitting or burstin it if thats ok !!

A time and a place:

On the way to an event that your character needs/wants to look extra nice for.

At an event, presumably with plenty of people your character wants to look good in front of.

On the way home from an event that your character may or may not have gotten a little too wild at.

At home, while getting dressed.

At a store, while trying things on.

The issue:

The corset is uncomfortably tight, and it's all your character can think about.

The corset won't fit, no matter how much your character--or a helper--tries to get it on.

The corset is beginning to break or come undone as it struggles to contain your character.

The corset bursts open, unable to contain the pressure behind it.

The corset is too restrictive to take off, and your character needs help getting out of it.

The cause:

No fault on your character's part; the corset was simply too small for their body.

Too much eating/drinking.

The corset used to fit, but your character has gained weight since they last wore it.

Bloating, be it from nerves, bubbly drinks, something they ate earlier, what have you.

Too much movement, gradually wearing on the too-tight corset and/or your character.

[verflares]

(click for higher quality!) draconified link concept ive been chipping away at this past week ..... here's my funny little compendium concept for him:

"A heroic spirit has taken the form of this bestial dragon. Unlike it's kin, this creature exhibits an extremely aggressive disposition. It appears highly territorial, and will relentlessly chase down those who disturb its skywide patrols - of which it seems to be endlessly searching for either a long-time vassal or foe. Unfortunately, it seems the spirit within has long since forgotten exactly who it was looking for…"

[odd-chips]

Here's a big post of some of my doodles of [Cap'n and crew] that I haven't posted yet! Couple are comics, couple are shitposts, you know how it goes.

(Also have some extra character tidbits beneath the cut!)

Cap'n (she/they) has become a Spongebob-adjacent "married to the job" type with sprinklings of "they are not immune to rose-tinted Company propaganda". Cartoonishly loyal to work, she's more upset about lying to the boss about her condition over actually becoming a monster on work time (though she isn't particularly a fan of being a monster, either).

Skeets (she/her) was already implied to be pretty optimistic and curious, but I've doubled down on this. She's constantly curious about entities and the state of her co-workers, asking questions and absorbing new information. She's also extremely lucky when it comes to encountering entities.

Mav (she/him), as implied by her nearly leaving Cap'n behind in the first comic, has become a "I won't hesitate, bitch" bitch. Split second decisions aren't an issue for her, she WILL shoot first and ask questions later. (She also now has a gambling addiction, haha. LOVES betting credits on things)

Kid (he/him) is now Irish. I will not elaborate. He's kind of literally the same otherwise. He's also in major inherited debt because of a Company-caused clerical error, but don't worry about it.

Uh. That's about it, I suppose!

[generic-sonic-fan]

It seems that Eggman has finally had enough of the troublesome E 123 Omega and now seeks to destroy him, permanently. The bot for the job? Metal Sonic. Who do you think would win , with no outside influence?

Or would they be too evenly matched and their fate is mutually assured destruction.

Mutually assured destruction, if a little delayed.

Omega has Shadow and Rouge to avenge him, after all. Metal Sonic does not possess such a privilege.

[deadendtracks]

Thanks for your thoughts! I'll start off by saying these are just my interpretations, so I'm not particularly looking for agreement or disagreement, but I do enjoy discussion!

I can see how you might interpret "Sometimes my horses stand a chance of winning" as concern for what a revolutionary war might bring, but I'm not actually convinced that fits with his character. For me, that line is more bitchy than anything else.

My post wasn't an in depth analysis of the scene so I didn't cover everything I think about what's going on there and the dynamic. I definitely see that line as primarily bitchy! But it's also a response to Freddie's accusation. This line in particular isn't really about concern for what a revolutionary war might bring -- it's about calling Freddie out for what Tommy sees as duping the working class factory workers into a scheme that isn't going to succeed, and will get them less than if they'd just bet on horses. It's both bitchy and I think an honest reflection of Tommy's world view at that point -- he sees Communism as pointless.

Tommy doesn't see Freddie's communist revolution as a threat because he knows it won't happen in Britian. He's disillusioned and bitter and traumatised by WW1, yes, but I don't think we have enough evidence to say he stopped being communist because of it.

Yeah, I don't necessarily disagree with you here -- there are lines in s4 or s5 to Jessie Eden about how Britons differ from Russians that support this. But I'm not sure Tommy intellectually thinking it would never happen in Britain and Tommy's PTSD are always on the same page, and I do think his reactions in s5 and s6 support the idea that underneath it all he has a running fear of the war coming home. He might not think there's *much* of a chance of a Communist Revolution in Britain, but even a slight chance (and Freddie exacerbating that chance) might be enough.

If you don't think he stopped being communist because of the war, why do you think he stopped? Everything we have in canon talks about how he was a party member when Greta died, and then he went to war -- there doesn't seem to be a lot of time for him to have grown disillusioned with Communism in between.

The other lines that lead me to believe he *does* see danger in "revolution" is when he talks to Polly about Freddie wanting the guns, and the way he accuses Freddie of seducing Ada to get them.

In season 2 we get textual evidence from Ada that he's a bad landlord who, if he gets complaints, will deal with them via gang violence. These are not the actions of a man concerned with the plight of the working man.

I can see how you might have this reading from those lines, but at the same time, we *don't* have textual evidence he's a bad landlord, we have Ada making a lot of assumptions. We don't even have evidence he owns rental properties in s2 -- we only see him buy houses for Polly and Ada. If you look at the rest of what Ada says in that scene, it's about her perceptions of him more than anything he's actually shown doing, it's about her own issues with him and the family.

I also never said he was concerned with the plight of the working man post-war, because I really don't think he is until maybe s5-s6. He's not at all concerned, and s4 definitely underlines this. When I wrote about how he might perceive the working man as canon fodder, it wasn't about concern for their plight, it was about how he would see the power dynamic of any actual revolution (or even union organizing) and why he sees it as pointless and sees what Freddie is doing as giving false hope.

(Personally I think his communism fades roughly when the family business starts turning a profit. That's what happens to a lot of people who manage to make it out of poverty, but that's not the point of this post)

I'm not sure I'm following the timeline here -- do you think his communism fades after the start of season 1 then? Or some time between the end of the war and the start of season 1?

I do agree with you that a lot of Tommy's attitudes have to do with his perception that he's able to pull himself out of poverty (he's a real believer in those bootstraps at least until sometime before s6). Tommy's internalized class issues are a big topic that exceed this post so I won't try to get into them, but I absolutely agree with you that he has no feelings of solidarity for the working class for most of the show, and alot of that has to do with the fact that he's pulled his family out of poverty. I don't think that's the *only* factor, but it's a big one.

i think i've posted about this before but one of the sources of conflict between freddie and tommy in s1 is that tommy legitimately sees what freddie is doing as irresponsible and dangerous. freddie wants a revolution -- he talks about Tommy being violent, but what he wants is civil war in England, a Communist revolution. I think Tommy may have even thought that sounded reasonable before the war; now that he's lived through five years of actual war, he's absolutely opposed to violent revolution. like you can critique his politics and you'd be right, but i also think some of his reaction to Freddie is coming from a real place of experience. tommy would do anything to avoid actual war again, i think, especially the spectre of war at home, and gang violence is nowhere near the industrial horror he experienced in France.

[miodiodavinci]

i saw that you used to hint at oc stuff on twitter (don't ask me why im digging im looking for zola stuff lmao) why don't you post more about them?

i am simply terrified that if i post oc things online someone will steal the concept and run with it faster and better than i ever could have and then i will be devastated forever and ever

more seriously i have very little to show for any of my oc things (adhd brain making life difficult as per usual awawawawawa) and every time i've shared oc things in the past i've ended up never following up on it and it makes me feel bad and guilty so i've just convinced myself i will Never talk about my ocs until i have something substantial i can put out there