#I hope it's not too egregious

[torra-and-the-toons]

Idk I just really wanted to give them Deltarune Dark World forms.

They're based on a combination of their anime forms, Wakko's Wish and the actual characters from Deltarune.

I realized like halfway through this that they all have the opposite personalities of the characters they represent lmao.

[wowa-bublord]

Mentally lying on my bed and kicking my feet like a schoolgirl while joyously waiting for more Zack and Cloud sketchies ❤️ In your AU is Cloud completely conscious and aware when he first breaks out of his coma? Or is there a sort of in-between zone for awhile? If there is, is Zack overjoyed or worried out of his mind (or both)? Does Cloud struggle with allowing somebody to take care of him?

Sending you virtual hugs should you want them or a crisp and respectful nod of the head if not!

IM SORRY this ask only just showed up in my inbox but it says it's from march 24th?? tumblr killing me with daggers,,,, This is going to be a long one sorry!! I'll explain the stages of his coma first, and then the stages of waking up from it.

In the beginning, while they are on the run, Cloud is in.. something close to a catatonic state. He can perform basic instincts, such as blinking, swallowing, the small stumble-steps he's shown doing in gameplay, and making small noises. In my au/headcanon, this is because of the Mako keeping his body up and functioning in spite of his intense poisoning. Because of the Mako, his muscles also don't atrophy during this period. He has no memories from this era at all.

After this, a little before the battalion but mostly after, his body begins to heal from his Mako poisoning. Which is good. but the lack of the access Mako leaves his body with far less functions. He begins to lose the ability to eat, becomes unable to even stumble, his eyes shut and don't open again. He falls into a full comatose state. Which, although it is very scary for Zack, and takes a lot more work and medical equipment, is actually a good sign for his healing. Fighting off mako poisoning this far is already rare.

(In this segment, he is kept fed and hydrated through his IV, but he switches to an NG tube after he wakes up, due to the inconvenience of the IV and continued difficulty swallowing.)

His first signs of waking up were a few weeks before he opened his eyes. He began responding to stimuli, ears flicking at noises, hands tensing, eyes occasionally opening but not for long. It's at this stage that he also starts having nightmares, and becomes more aware of his environment. He has blurry memories from this era, but in the moment he was mostly just confused and distressed, and didn't process it. this took up most of the few weeks.

After some time, he began to have more moments of consciousness and rational thought. He could start to respond to simple questions or requests such as blinking or closing his hands. He only vaguely remembers this. It lasts a few days

when he actually began to wake up, initially he was incredibly upset and confused, not being recovered enough to actually process the situation. This resulted in him lashing out, not knowing where he was and initially not recognizing zack, he struggled and tried to pull his tubes out. This was the final stage to his waking up, only lasts an hour? possibly a few hours? and he was finally fully awake after this!!

When Cloud woke up from his coma, his body was incredibly weak from being bedridden so much. His muscles had atrophied severely over the few months, which put him in a wheelchair as they worked on him recovering.

In this stage, he is mostly determined to improve again. He feels a lot of gratitude towards Zack for taking care of him so much, and a lot of frustration towards himself for not recovering faster.

his next stage was crutches, he recovered his arm strength faster than his legs. He begins to pick up on zack overworking himself, but he's unsure how to approach it, and often ends up saying the wrong thing. (He still uses an NG tube in this era, but he begins to be able to eat on his own, so he doesn't have it in for much longer)

His next stage is using a cane, which he ends up using for a long while. Even after his muscles have recovered, he maintains knee/hip pain for the rest of his life. He also has migraines and memory issues like in canon. At this stage, he begins to get frustrated with Zack more and more. He appreciates Zacks help, but feels frustrated with feeling like Zack doesn't trust him to take care of himself, and upset with how Zack prioritizes Cloud so much over himself. Due to these frustrations, he grows more confrontational. (<- comic linked is not 100% canon to this au, just an example.) Zack is overjoyed that Cloud is awake. He thought Clouds return to consciousness would help his fears and guilt ease, but for some reason he finds himself more worried than ever. He always backs off when Cloud says he wants space, but he finds himself worrying about what Cloud is doing now that he isn't able to be monitoring him all the time, and then guilty for feeling so worried.

[governmentmandatedryujinstan420]

i can't believe i come back momentarily from the dead and it's with more cancerous memes. Two versions bc god had other plans, none which included not having both of these.

[notquitedeadpod]

realising the finale of NQD S3 puts the show at just shy of 20 hours long. it's 19 hours 54 minutes, I can call that 20 hours, right?

[phogay]

n e ways i miss ubering crs, i miss listening to people play music in home, i miss meeting people from literally all over the world i miss entirely randomly making friends with people i miss teaching moths and being taught all sorts of tricks and oobs, and i think thats what most people got out of the game too, if not at least some of these, and i wish tgc couldve seen that and stopped trying to "patch" things to push iaps instead of improving on these parts of the game we loved.

[pb-dot]

Film Friday: Inception

Today I'm writing about a movie that's a bit outside of my regular wheelhouse. Inception is not my favorite movie, it probably doesn't even get on the Top 10 shortlist if I'm honest, but it's probably one of my favorite movies ever to think about for a couple of reasons that I suspect are a bit unusual. This is all to say I'm going to go a bit deeper into Film Nerd mode than usual for this one. I'd apologize, but I'm not sorry. Inception spoilers beneath the cut.

So, to start off, I'm not particularly fond of Nolan as a filmmaker. He's extremely gifted on the technical side of filmmaking for sure, and his authorial voice is very strong. That said, his oeuvre seems entirely too cold and clinical to me. Sharp suits, sharp men, complex plans that pivot on perfect twists, near-realistic aesthetics. If there are any emotions involved it's what's ruining everybody's shit. Sometimes, Batman is there. You know, the whole bag.

Nolan makes complex clockwork movies that frequently fuck with time in an interesting way, but there's an emotional distance, or perhaps I should say "distance from emotion" to the whole thing which makes very few of them stick in any meaningful way. For example: I remember Dunkirk being a technically impressive movie that did some spicy things what narrative pacing is considered, but I couldn't tell you a single thing about who it was about, or even what those spicy narrative decisions were in service of.

There is, however, one notable exception. In his 2010 movie Inception, Nolan assembles one of, if not the most complex mechanism yet, and somehow it manages to be his most emotionally honest film. It's quite the impressive magic trick, and I would argue he achieves it by reaching a level of emotional honesty that one seldom sees from mainstream filmmakers.

Inception is a film about a crew of exceptional thieves specializing in cracking the final vault, the human mind. Using technology that lets them enter the dreams of their targets, they seek to extract company secrets, classified intel, and other pieces of knowledge that can most easily be hidden in memory. However, their troubled leader Cobb finds himself compelled to attempt a job thought impossible, Inception. Their mission is to plant in the mind of energy company heir Robert Fischer the idea of breaking up his company through a dream heist. This heist is complicated not only by the sheer deftness the crew must show in planting an idea without leaving any trace, but also by Cobb's own psychological scars that threaten to destabilize the carefully planned multi-level heist.

The first level I want to look at here is the central metaphor of the Mind Heist gang being analogous to a filmmaking crew. They're all creative and immensely focused people coming together under the direction of a man with a vision, Cobb. This description is perhaps a bit over-general, but what elevates the Filmmaking-as-heist idea to me is how the heists in Inception are specifically about creating a narrative. It is especially important with the main heist as creating a narrative in the head of the target is part and parcel of the inception, but even in the other heist we get to see, setting up a narrative is pivotal to stealing the information they're looking for.

As an aside, this narrative-making and the need for realism that comes with it also justifies what I consider to be my main sticking point with the film, in that the dreams are so very true to life and low-tech, while dreams in my experience tend to be strange, surreal and malleable experiences. This explains at least from the Watsonian perspective. From a Doylist point of view, it's more likely because Nolan is most comfortable with a near-realistic style of narrative, and this strict adherence to something approaching the realitylike makes his complex drama puzzleboxes easier to follow.

So, the heist crew are, essentially, filmmakers, which would, at least in today's Western film tradition, would make Cobb the director. In much the same way as Roy Neary in Close Encounters Of The Third Kind can be read as a stand-in for director Steven Spielberg, Cobb functions as our Nolan stand-in for Inception. Cobb is, however, far from a blank slate, or frankly a particularly idolized self. He is, in short, a mess.

After going deeper into the world of dreaming than anyone before him, Cobb has crossed some ethical Rubicons, especially when attempting to deal with his now-dead wife Mal and her reluctance to leave the world of dreaming. After performing the first-ever inception to plant the idea in Mal's head that the dream world is, indeed, not the real world, Cobb finds himself constantly troubled by anxiety as to whether he's asleep or awake. Whether this is a direct consequence or reaction to the act of inception, paranoia stemming from such a perspective-shifting thing even being possible, a manifestation of the guilt he feels over Mal's return to the waking world ending with her suicide, or even a sign that Mal did some incepting of her own, is something we can only speculate on.

Regardless of what exactly is eating Cobb, it manifests in his work. The heist crew frequently finds their efforts frustrated by incursions from Cobb's mind. The most common of these is Mal, or at least Cobb's mental recreation of her, throwing a wrench in their plans, and, in one particularly memorable case, a freight train running through an area a freight train really has no business being. Cobb tries to minimize the risk of this by not taking point and not being too directly involved, but this does little to dissuade his cocktail of trauma and troubled emotions from coming damn close to upending the entire thing.

The heist, however, does succeed. Through a series of bluffs and maneuvers, they manage to navigate Fischer Jr. to what he believes to be the deepest corner of his mind, where lies the comprehension, represented by a deathbed conversation with the man. Through this, Fischer realizes his recently departed father wishes for Robert to break up the energy conglomerate Fischer Sr. built, and instead make something for himself. It's a scene of high drama, and no small amount of catharsis as the troubled Robert realizes his father was never disappointed in him, and merely wanted his boy to be the best version of himself he could be. It's quite stirring stuff.

It is, however, a lie. This isn't Fischer Sr. revealing himself to be a caring father with trouble communicating the same, hell, it isn't even Robert's interpretation of the man. It is a scenario set up by the dream heist team with the express intention of making the dreaming Fischer Jr. believe this was his unconscious mind telling him to break up his energy conglomerate. It isn't Fischer Sr., not even as an imperfect mental construct by Fischer Jr., it's a construction of the heist crew. It's an act of manipulation, a triumphant act of manipulation, yes, but an act of manipulation all the same.

And still, even upon rewatching the movie with this knowledge well in hand, it's hard to not be swept along by the sheer force of emotion in that moment. Part of it is because it feels so necessary for the character. Fischer Jr. isn't just a target in the context of the scene, he's a troubled man with a complicated relationship to his father. He needs to settle his self-doubt and dismay with the stern and aloof parent he grew up with, and after his death, he still needs the catharsis. So in a way, it doesn't matter much that Fischer Sr. isn't the real deal, Fischer Jr. knows he's in a dream at this point, hell, it maybe doesn't even matter if the dream construct isn't his own. Perhaps what the dream-construct father says is what the wayward son needs to hear, although it'll certainly change the energy market in some pretty dramatic ways. Perhaps, or perhaps Cobb has become such a skilled manipulator his reach extends to the audience, but returning to our metaphor of Cobb as a Nolan stand-in, what is filmmaking if not manipulating and eliciting emotional reactions?

To further reinforce the point that this cathartic, but fake, heart-to-heart isn't the climax of the story, Cobb's journey isn't done. In the process of doing something thought impossible for the second time, Cobb is forced to do something impossible yet again, parallel to Fischer's revelation. This time, it is to dive deeper into the layered dreaming still in pursuit of his exit strategy, to the unconscious, chaotic under-realm of Limbo, from which there is no waking. This was from whence he managed to rescue himself and Mal back after the first inception, and although it is far from pleasant, he yet again manages to pull through and emerge from the dream.

Or does he? The movie does play with the possibility that the reality that Cobb emerges into is merely another dream in Limbo. It could be because of this the cinematography gets somewhat less focused as the heist concludes and Cobb finds his highest wish fulfilled, exoneration both in the eyes of the law and himself from any wrongdoing in Mal's death and the opportunity to return to his children.

Now, before I bring this all home, I feel I should speak briefly on Totems in Inception. The Totem is a series of different objects made by the various members of the heist crew. These items, Cobb's is a spinning top, are modified by each individual member and is only to be handled by them. The logic here is that these items are supposed to be a way to check whether you're in somebody else's dream, as you can check the object and how it interacts with the world to verify that it's doing what it's supposed to do, the weighted die falls to the number it's supposed to, the spinning top spins out and tips over like you'd expect it to. Throughout the movie, Cobb has a spinning top he checks regularly, some would say with obsessively, only feeling fully safe once the top tips over.

This is all to explain the lead-up to the final moment of the movie. Cobb, true to his habit, spins his top before meeting his children. He does, however, not wait for it to tip over, and instead goes to meet his children. The camera remains on the top, and moments before it becomes clear whether the top will fall over or continue, the movie cuts to credits.

Many have taken this as a challenge of sorts, a call to action to analyze the logic and events of the movie for signs. Is this a movie about a man succeeding or about a man succumbing? Is what we see in the closing minutes of the movie real, or is it a comfortable lie Limbo has formed around Cobb like it once did around him and Mal?

Personally, I say it does not matter. The story of Cobb ends with him leaving behind his totem for a reason. He has rid himself of the fear that has plagued him since emerging from Limbo and Mal's death. What if it was Mal who was right, and the quote-unquote real world was nothing more than a particularly elaborate Limbo dream. What if he never incepted anything, what if he's still dreaming within dreaming, stuck in a holding pattern until the impossibly long dream ends, his mind rent asunder by experiencing more time and place than a human mind is meant to bear. What if the top never stops spinning?

As my sequence of retelling might imply, I believe it was experiencing the inception scene with Fischer that helped Cobb clear the final hurdle and face his fears. Even if what Fischer experienced wasn't real, it had a powerful, arguably positive effect on the man. It gave him something he'd never get in the real world, closure. It wasn't real, but it was real enough.

So that is, I believe, what we're meant to take from that spinning top. The point isn't whether the top has stopped spinning or not, but rather that Cobb has stopped checking. Spin or not, Cobb's journey is not real. It's a movie, told by a crew of talented creatives, guided by a man with a vision and the willingness to show us things that aren't real to give us catharsis, show us wonder and terror, entertain us, and perhaps, give us some closure. "Try not to dwell on it," the movie says, as if aware of the deluge of movie buffs and wannabe theorists that would descend on this movie like they do on every movie with their red circles and reading metaphors as mechanics, "Even if it's fake, it's Real Enough."

[doctorparma]

i pray that god will forgive me for this but i think the voice brennan uses for the baron is pretty hot

[pika-blur]

sega went you know what. were gonna make it 3 bosses with telegraphing issues actually

[standbowed]

(☞ﾟ∀ﾟ)☞ uehehe

Send me a (☞ﾟ∀ﾟ)☞ and I’ll draw my muse in your muses clothing! // accepting.

local girl larps as the coolest woman alive, more at 11 // @caestusvulpes

[roobylavender]

i mean most abusers do love the people they abuse. abuse isn’t something done with intention or malice half the time, it’s done by people thinking they’re doing the right thing. bruce’s love and need for control are constantly in conflict with each other and that’s why the robins are stuck waging a war against him. i feel like a big part of a dysfunctional parent-child dynamic is feeling trapped by your parent’s love. Even if you hate it, it’s still canon that Bruce has been historically bad with dealing with his kids. Half of them don’t even feel comfortable calling him dad cuz the relationship seems so undefined or shaky. In Dick’s case i feel like he has no grounds to oppose robin and his vigilantism because Bruce (deep down) loved having someone like dick around to fight crime with. They both refer that time as “the good old days” so it’s not like Bruce was truly opposed. It’s only when the actual reality of that negligent and naive behaviour materialises that he realises he fucked up (robin year one eg). Then he treats Dick in such a cold manner that Dick believes if he’s not robin, he’s not wanted. This has been a pattern since the golden days so no it’s not ooc for Bruce. Yes the natural conclusion to all the modern day tension should be for both parties to meet and resolve their issues but Bruce is still the abuser at the end of the day, and even though Dick’s self sacrificing nature might easily forgive him, on a textual level it should be clear that a true resolution between the two would need Dick to dig deeper, and for Bruce to be ready for rejection from his son.

i don’t disagree with that assessment of abuse like it’s absolutely true, but my problem is i don’t think the cold or controlling behavior is really a consistent enough pattern until we move into post-crisis canon. for several decades dick and bruce have a great rapport with each other bc that’s what everyone knows they’re supposed to have. like i don’t think most writers from the golden or silver age if asked that they intended to write bruce as an abuser would agree and say yes, and that distinction to me is impt, bc sure, we can take what we’re reading on a surface level and project our own experience or modern understanding of relationships onto it, but i don’t think that should happen to the extent authorial intent is superseded bc then you start to enter territory where you’re divorcing narrative from genre conventions. if we go by the assumption that bruce is an enabler and abuser for allowing dick to be a hero for so long without purported attention paid to his safety then that establishes practically every hero within the universe possessive of a sidekick as an abuser. and i do get that some people are interested in following that thread like esp in post-crisis we see that exploration a lot but ig for me personally it’s kinda like the thing that breaks the camel’s back and withholds the entire genre from actually allowing itself to explore more pertinent issues. not to say abuse isn’t a pertinent issue, it absolutely is and i do think there’s ways it can still be explored, but the primary reason the genre was established in the first place was in response to fascism. obv the engagement with that wasn’t necessarily complex early on but it’s incredibly impt to the development of the genre and as we can see in a modern context how that response to fascism or lack thereof is conveyed can be incredibly influential in terms of facilitating support or not for fascist government. so my issue is like, yes, it’s impt for bruce’s faults in these relationships to be addressed to a constructive and worthwhile extent, but i also think writers have gone so drastically far in curating those faults in the post crisis era that it’s effectively restricted the scope of the stories they’re allowed to tell, bc they’re more focused on individual instances and relationships within this world than they are on any form of commentary that reflects the operations of the world at large in relation to regulation of crime

[xumoonhao]

yknow. there’s a lot of back and forth on what minghao said vs didn’t say, what he meant or didn’t mean and like yeah in some situations context matters but like…the context isn’t really the issue here? like he responded to a question (why was that question even asked???) with his opinion on something, and his opinion is fucked up. like you can argue all day that he didn’t mean it in the way it was taken (there might be merit there but that’s not for me to judge, really, bc regardless of how he meant it he said what he said) but ultimately in situations like this it doesn’t come down to what someone means, it comes down to what someone says. I’ve also seen people saying that even before that he said something like ‘i don’t know a way to word this properly’ or something like that, but then the proper response is to not say anything and move onto a different question. like y’all don’t need to coddle him. hes a grown man

[americankimchi]

since i see you're planning on playing rogue trader gotta warn you be ready for a shit ton of loading screens, like the space travel in game is literally just loading screens upon loading screens upon loading screens

as someone who has played both kingmaker and wotr, loading screens in owlcat games is nothing new 😔

i hope my laptop loads em quick 🫡

[t-u-i-t-c]

maybe i'll make a few ghost sets...

[littlestarxmilkyway]

So Ever Crisis now has a FFIX collab, and WotV is celebrating its fourth anniversary with a FFIX collab. Between these and everything else on the Nvidia leak coming true, I actually feel like the rumored remake will actually come to fruition.

I've been anxious over a potential remake though. I can't think of who at SQEX would even be right to lead that project anymore. Is anyone who was a creative lead on it even there anymore? At least Itahana is there for art and/or character design. Hopefully! If they let him!! (Not the same, but he's the last bit of IX will I can think of.) But besides that angle, what and who is there?

Even imagining Square making it a Playstation exclusive just makes me so sad, because it's something I can see them doing. (Praying it won't be PS5 exclusive at the very least! That certainly didn't help XVI!)

As much as I felt all that, I've been pleasantly surprised by SO2's remake, and I'm hoping the IX remake would be shown that same level of care and detail.

[queerlyloud]

Headed to the doctor again today. Back to this old song and dance 😒💀

[obsessivevoidkitten]

How The Elf Saved Christmas

Yandere Rudolph The Red-Nosed Deertaur x Gender Neutral Elf Reader CW: Painful Noncon, nonhuman genitalia, size difference, possessive behavior, possessive sex, jealous behavior, general yandere behavior, rut cycle, reader fucked big stupid, overstimulation, cum as lube, mention of musk Word Count: 1.3k (This is your Christmas gift from me, I hope you enjoy it <3)

It was one of the earliest years since the start of the Christmas holiday. Rudolph had just recently joined the other deertaurs that drew Santa's sleigh. Not only did he have the magic ability to fly like the others, but he also could produce a fog and snow dispelling light from his nose. He was perfect to lead the sleigh.

Well... almost perfect.

A week into December, he started acting out. Behaving aggressively towards the other deertaurs, secluding himself, and acting unusually possessive over the elf who had been assigned as his servant.

That was you. You brought him his meals and made sure he was comfortable. Normally Rudolph was very low maintenance and your job was exceedingly easy. He was always considerate of you and treated you very kindly.

But lately, Rudolph wouldn't let you out of his sight. And snapped at anyone who got near you, especially if you happened to walk by another deertaur. One time, he even looked as if he was about to stab at Blitzen with his antlers.

The reindeer even looked different. His normally kind brown eyes were more frenzied and dilated. The normally straight, soft, brown hair of his human half was unkempt. And his muscular human body was always tense.

The other deer-men knew what was going on. But it wasn't like they could get near you to tell you.

Rudolph was in rut.

And he had determined, subconsciously, that you were going to be his mate.

The other deer hybrids had gone to Santa and apprised him of the situation, but he chose to do nothing about it. Forcefully taking away a rutting deer's love interest could get very dangerous.

Besides, Christmas was fast approaching, and the fastest way out of rut was for Rudolph to satisfy his urges. And really, what was the comfort of one elf compared to the enormity of the holiday? Christmas was at stake.

In your employee contract, you had agreed to uphold the sanctity of the holiday and do everything in your power to keep Christmas safe and running smoothly. If that meant you had to be a cocksleeve for a deertaur to keep his head clear so he could guide the sleigh, then so be it.

But even Rudolph didn't know why he was so irritable or why he was so odd in his behavior towards you. Why the thought of you being near someone else or out of his side filled him with rage and anxiety.

You were completely distressed. Your boss was acting so differently towards you. You couldn't even return to your little hut. Normally, you would be dismissed at nights but Rudolph wouldn't let you leave.

Instead, you were made to sleep in his house and on his soft, low to the ground bedding.

One morning, about a week away from Christmas, you both learned why he was behaving in such an egregious manner.

Rudolph woke up before you did and something about the way you lay sprawled out with your butt up in the air and your pants slightly falling off. You woke something up in him.

All his instincts shouted at him to breed this elf that was presenting themself to him. To claim you as his mate officially.

Careful not to wake you, because he didn't want you to struggle until it was too late, he pulled your red and green pants and candy cane striped underwear down to your knees. Then he proceeded to lower himself over you until he was in position.

You were ripped violently from your dreams as extreme pain rammed through you. Rudolph, now at the height of his rut, had jammed in all in one go and with no prep.

Your tiny elf body squirmed and writhed in confusion and pain, the frantic struggles sending waves of pleasure through his cock which was embedded so well within you.

"Wha-what are you d-doing?" You squeaked out through the pain.

He didn't bother replying.

Rudolph's body was all you could see above you as his strong thrusts moved you back and forth below him.

The act was raw, instinctive, and possessive. Like your personhood was being fucked away by this being much larger than you until you were reduced to his property.

Screams for help barely escaped your body. They went unanswered. Even if someone had heard you Santa would have told them to steer clear.

You cried and sobbed, powerless to remove the brute who was raping you. Though it seemed he finally had noticed the cries of his partner through his rut.

He slowed down his pace, just a bit.

Snow elves were small but extremely resilient and adaptable. That fact, combined with a slightly slower rhythm allowed you to feel a bit of pleasure as your body adjusted.

"Fuck! You feel so tight! You're just so small~ Gotta fill you with cum. Gotta breed. Gotta breed. Gotta breed..."

You whimpered as the deer man lost himself in his carnal desire to fuck you silly.

He slowed down as he came in you, and you thought you could relax. You went limp, but before you could catch your breath he started pounding into you with renewed vigor, roughly pounding you into the bedding.

Cum leaked down your thighs as his heavy balls smacked you. The smell of his musk filled the air and made you a slight bit dizzy.

The seed from the first round of breeding had lubricated you nicely, and he slid in and out of you in a much more pleasurable manner.

"You take me so fucking well!"

Your crying and sobbing gradually turned into gasps and shudders of pleasure as over the course of the next several hours you came over and over until you couldn't react anymore.

You just lay there and take, completely senseless and overstimulated. Weeping not from pain but from the sensations of seemingly endless mating.

Finally he came in you hard and left himself in a while before pulling out completely. His dick left you with a lewd squelch as at least a gallon of semen dripped from your well worn hole.

For the first time in weeks he finally felt somewhat clear headed.

"Gosh, I'm so sorry."

Rudolph picked you up, cleaned you, and fed you. You were too tired to protest.

The deertaur was remarkably tender for someone who had just taken you against your will, treating you like a snowflake that would vanish under the slightest mistreatment.

It was odd being served by him for a change. But you were too out of it to really give it much thought.

"I'm sorry I wasn't more gentle. But I'm not sorry that you're my mate now."

He was still in rut, and every single day leading up to Christmas Eve, he made you endure an hours long breeding session. You smelled just like him. As if his scent was ingrained in you at a cellular level.

Luckily, his rut ended just in time for him to be able to complete his job, guiding the sleigh without a hitch.

You tried to escape while he was out with Santa, but the higher up elves informed you that you had a new assignment.

You had to live with Rudolph permanently to make sure he never got wild again. His partner had to live with him. If they took you from him now, even outside of rut, he'd go insane. And he performed a very important task by leading the sleigh.

You should have felt honored. Not many elves got to personally save Christmas.