#I just have some relevant experience for once

[vidavalor]

re: dust-- etymologically tied to words also relating to smoke/mist/vapor. Dust in the 'ashes to ashes' sense but also dust in the sense of you have to dust to clean/preserve/start fresh. Idioms related to dust are about revolution and sex-and-death.

To "bite the dust" is to be killed, used as one of the most famous examples of sex-and-death/destructive sexual metaphor by Queen in "Another One Bites the Dust" (aw, take it/bite the dust/bite the dust, yeah...). It's a sex-and-death metaphor in a song that is also about a very literal, deadly problem that was related to sex during the very long earlier days of the HIV pandemic.

To "kick up the dust", though, is to cause an uproar. It's to disturb the settled order of things, which is necessary for things to change. You kick up dust when you're dusting. Without Gabriel kicking up the dust in Heaven and in the bookshop, nothing would have ever been able to change. Dusting is saying nah to Armageddon just as much as it's, uh, literally dusting the books in the bookshop. 😂

Another idiom we say that means basically the same thing as to "kick up some dust"?... "To upset the apple cart." The tomato, known in England until the 18th century, as "the love apple"...

The Oslo Revival album:

Come On Over to Our Third Floor Apartment

We’re Having a Party

Just for You

Four in a Bed

Have This Drink

It Doesn’t Taste Weird

We’ll Take Care of You

We Love You

You’re One of Us Now

Together Forever

Couple of different ways of looking at this, though I absolutely agree with your impression of the creepy feel to it. Like you said, it can go in different directions with wildly different meanings, and both the story and the etymology of the words chosen supports that.

For instance, the same set of words in these song titles that gives us the creeps because it sounds very much that it relates to ideas we're having about love bombing and Crowley having fallen into Satan's web also can be interpreting using the same words to have different meanings, including a much more positive one, and all interpretations are likely correct at once.

So, first, there's the positive meaning of how this relates to Gabriel's story. When you say it aloud, "Oslo Revival" actually sounds like "Our Slow Revival", meaning a return to trying to go more slowly after the anxiety of Armageddon (even if that anxiety is still present in S2). A revival can also be an awakening, which would then kind of refer to all of the angels and demons as a whole.

What is offered in our slow/oslo revival? The album title-- to "come on over to our third floor apartment." As you pointed out, this is a very American way to put this. "Come on over" is American in rhythm and Americans say 'apartment' rather than 'flat.' America can be symbolic of freedom and liberation in the story so we could say that the lure of those things is what draws people in. (Would be helpful if we were living up to that irl but I digress. *sigh*)

Depending on who is doing the inviting, this can be good or it can be awful. You can have a positive experience-- like Gabriel being safe in the bookshop-- or you can have the worst kind of experience-- like Crowley and Beez did with Lucifer. There's also the different floors thing that "third floor apartment" brings up that has to do with a difference between how the U.K. and the U.S. measure floor levels. Since we have all this stuff with lifts/elevators, it seems especially relevant in S2.

In the U.S., we have a thing that I understand doesn't really exist much in the U.K. known as "the ground floor," which is what is just known as the first floor in the U.K.. The idiom "getting in on the ground floor" comes from this-- it means starting with a project or a business from its inception.

I bring it up because this means that what a "third floor" is in the U.S. is different from what one is in the U.K.. In the U.S., it can go: ground/1/2/3, etc., while, in the U.K., it would be more like: 1/2/3, etc. The third floor in the U.S. is what the U.K. would call the fourth floor.

In some countries, there's actually no recognized fourth floor at all. It's considered unlucky so it's skipped entirely and the third floor is then beneath the fifth floor. So, hidden in the third floor/fourth floor apartment thing might be a nod towards the deception present in the creepy way this is all phrased because the idea is that the offer to "come on over our third floor apartment" is really that it's a fourth floor apartment that doesn't exist. Might go along with the idea of the offer in The Final 15 being as bullshit as it seems.

On the other hand, if you take it just as the third floor in an American sense? And in a residential sense? Sometimes, basements are counted as a floor in a house so a third floor apartment would be one floor up from the street level floor of a residence. It's essentially the upstairs in the bookshop, like where Gabriel was staying in S2.

So that brings us to the rest of the song titles. What is being offered? To "have this drink" that "doesn't taste weird." While the love bombing take on this is chill-inducing because of the connotation that the drink is laced, one, other meaning of the word weird is supernatural, stemming from The Wyrd Sisters of Macbeth, who are inspired by the goddesses in control of fate.

Ironically, the same word that very much does have a creepy connotation that is implying that the one who drinks the drink is going to experience a loss of control actually also comes from a word related to the supernatural that is historically related to control.

If you apply that bit to the Gabriel scenario, then a drink that doesn't taste weird is the hot chocolate. It doesn't taste supernatural-- it's a bit of the human world and a relief to Gabriel. It also doesn't taste strange or gross to him. One of the first things we see in his first scene is how put off by tea he is. Aziraphale offers him something else, instead, and he loves it. In this take, the same words that echo something dark are also underscoring something that is not creepy but sweet. Both Crowley and Aziraphale give Gabriel hot chocolate during S2 and it's just cute. It's Gabriel experiencing some of the joys of the human world and getting free from the oppression of Heaven.

We can also apply this a bit to the scenes relating to offered drinks and how respecting a person's choice over them illustrating who places an emphasis on autonomy and consent and who doesn't. Our main characters all do.

Gabriel is emphatic about making sure that Beez doesn't feel pressure to drink and Crowley is fine with Aziraphale not wanting wine in Uz. No one forces Muriel to drink tea, just offers it. Same with Gabriel and the hot chocolate. This is all healthy and provides a contrast to the scene that isn't towards which the season builds-- The Coffee in The Final 15, when there is an implicit pressure for Aziraphale to drink it, further suggesting who Our Villain might be. It's framed as a choice but we can all feel a sense of Aziraphale being trapped.

This is when the wording of the rest of the tracks on the Oslo Revival album comes in, too, because what's the benign result of the offered drink being accepted in these cases? We love you/You're one of us now/Together forever, per the album track titles.

The same words that feel eerie when we're on the love bombing track of this are also sweet if we're taking more the Gabriel-like track with it. The reassurance of we love you-- which, when genuine, is lovely. We love you, you're not alone, you can have a rest and some food and drink here, we'll take care of you. We'll help you. We'll all be a team-- we'll be friends, together forever. That's awfully literal, too, for the supernatural entities 😂 They've got Gabriel now for eternity. What else is in the tracks?

How about the "four to a bed." One original meaning of bed is a garden bed. Etymologically, the track title is also saying that being friends puts you all in the garden together and, since the garden can be paradise, it means that it's nice to be there with people you care about and not alone but... since a garden can also be a bit of a trap if you can't figure out how to get out of it, it can refer to letting in friends and helping each other get out of each other's Edens, bookshops, and M-25 burning rings of fire.

I think that the "four to a bed" part also refers to how if you let someone in, you bring with them the people they have let in, too. All season long, an element of Beez is literally flying around the bookshop because Gabriel brought them along. Giving Gabriel the hot chocolate when he came on over to the two oslo revival's third floor apartment means that there's now four in a metaphorical garden together-- Crowley and Aziraphale and Gabriel and Beez.

So, that's the positive take on it, right? But then there's also that a bed was also a word for a grave at one point-- four to a bed, as in everybody's in the same boat and they're all in trouble. (It's also in keeping with a lot of the sex-and-death happening in the wordplay in different spots throughout.) There seems to be a sense in there of getting into how someone's struggles can affect those around them?

There's also the "We're Having a Party." Party is a funny word because it means a gathering of a group of people but, etymologically, it's actually related to dividing and separating people. I'd say that's definitely what Our Villain was trying to do in The Final 15 but a party in The Meeting Ball sense of unity-- something more positive-- is then the same words working in the story of our main characters. As you pointed out already, the "We'll Take Care Of You" that means just that when we're talking about our kind main characters also has the level of being mafia speak for killing somebody.

What do you think is happening in the scene when Crowley falls to the ground in pain in Tadfield?! I find your thoughts about Satan and Crowley really interesting and sorry if you've already mentioned it but I think I've gobbled up all your metas on the subject and didn't see it. Thank you 🤗

Hi there! 💕 Thanks for reading & asking. I have an assortment of Christmas cookies to share. *gets the plates* Sugar feels extra necessary for Satan-related Crowley meta...

Let's talk about that 1.06 scene you mentioned where Crowley is dragged to the ground by Satan in Tadfield, what it has to do with a motif throughout both seasons around a thing known as proskynesis, and how all of that is relevant to The Final 15 in S2.

TW: rape (mentions of the non-consensual possession-as-rape allegory).

Note: Themes of bodily autonomy and its relationship to freedom overlap between Good Omens and Terry Pratchett's Discworld and that's the main reason why some of us are still here, not giving up on this rare, A+++ survivor story, despite also wanting to hurl a certain, other person once involved with it into an active volcano. Considering the topic, I felt the need to just mention that at the start.

Sooo... let's talk about what the scene in your ask has to do with a bunch of other ones, including that scene in The Final 15...

Good Omens has a few scenes that are dealing with a thing known as proskynesis. If you're unfamiliar with this, it's a word describing rituals of reverence and worship in royal courts, as formed originally in various parts of the ancient world, like Persia, Greece, and Rome, as well as rituals involving religious worship across many different religions.

Aspects of proskynesis exist into the present in different ways in different cultures. For societies that are monarchies, proskynesis is at the root of rituals regarding how subjects in those societies address royalty. Everything from kissing the ring of high-ranking clergy in some churches to doing the same with some mafia leaders has historical ties to this. Things like bowing and curtsying customs in Victorian England can also be rooted back to proskynesis.

There are also elements of it in everyday manners and customs in societies that you wouldn't think would have any connection in the modern world to things like this. In many democracies, for instance, as in many other countries of the world, the custom of getting down on one knee to propose marriage is actually rooted in proskynesis, even if the partnership is (hopefully) more equal in today's societies.

The Japanese, who have an intricate system of bowing as part of the social expectations of their society, are a great example of how proskynesis elements have evolved to not necessarily be related to royalty or religious worship but also form the roots of manners between people throughout all classes of a society.

The rules of proskynesis in a society or a religious group varied in details a bit between cultures but has always had the same, general, wide gap between different types of actions.

As a general rule, there's a polite head bob of a bow on one end of the spectrum of proskynesis, with different bows then getting progressively lower and more intense, until we're closer to the other, more extreme end of the spectrum. That end involves kneeling at the feet of the king or in worship of a deity. The absolute, opposite end of that spectrum from that polite, head nod/bob of a bow is fully prostrating, which is lying fully on the ground, and what of this is tied to the scene in your ask, as we'll look at here.

The sketch below is a good, simple visual of what I mean:

[User: Arseni on Wikipedia]

What's interesting to note here is that when you look at the above sketch and see different movements in it that are associated with different religions, these things came to those religions by first being associated with the royal court of ancient Persia and then being adopted, in part, into Greece and Rome. What physical worshipping in a religious way looks like to this day was adopted into different religions from how humans were showing deference to other humans as royalty.

One, big debate in Christianity is actually what kind of proskynesis was given to Jesus. The word is found in The New Testament but Jesus is the perfect example of the blurred lines here between venerating a human being and treating one like a god.

There are different levels of proskynesis for religious figures, with saints and the like being ok to venerate but proskynesis involving full worship supposed to remain only for God. What kind of treatment Jesus received or should have received and what he thought about it is a matter of debate. Is he a carpenter or is he a king of kings, right? Is he human or is he supernatural... or is he both?

Crowley and Aziraphale struggle with this, too, but what they wind up doing is not technically proskynesis but it's arguably a lot better. They bear witness to Jesus' suffering and murder. They show him empathy and respect. The scene we see shows them talking about him a bit, as two people might do at any wake or funeral or the like for ages to come.

When it came to royalty, what kind of proskynesis you would perform would be dependent in different courts on your rank and your relationship to the king. You might be expected to grovel with some really low bows if you were of low rank or to have a more modest bow or to kiss the king, if you were of higher rank. The lower ranked people were expected to go lower in their bows and do more work with all of this, in order for even the chance of being recognized by the king or another high-ranked royal.

When Crowley mocks Beez, addressing them formally as Lord Beezlebub, he does a formal bow, complete with the proper foot positioning-- you can see him step into it from how his hips move. He bows almost to the waist, complete with flourishing hand gestures that are showing mock-fealty and deference to the Grand Duke of Hell by sarcastically treating them as if they were a king.

This scene which, as we'll see, is related to the one in your ask, is only one example of a couple of Crowley sassing the fuck out of someone, specifically by using proskynesis. It also adds to the chilling nature of the scene in your ask by having occurred just a matter of moments prior.

Beez lets it pass entirely because they're really only Lord Beezlebub in an attempt to project power enough to try to survive Hell. Their title is more about self-protection than it is about an expectation of deference-- which is something that Crowley also knows and is at the heart of the mockery.

Like Aziraphale, with his respectful bowing to his friend in gratitude for the sushi in 1.01, Crowley has no issue with a polite, non-religious, non-royal version of proskynesis. If worshipping the humans is wrong, Crowley and Aziraphale don't wanna be right. They don't revere individual humans as kings or gods but they do revere humanity itself as a whole in that way. They show polite respect to those sharing that with them or educating them in it.

They also do that with one another. Crowley's soft, polite nod of a bow to Aziraphale when they meet in Eden is gentlemanly. It's respectful but not in a way that isn't just treating Aziraphale as an equal. Nina gets a similar treatment when they meet in S2.

Crowley still does something similar into the modern era with Aziraphale-- note the little nod/bow when Aziraphale accepts his lunch invitation in S1.

This is all very much on the egalitarian end of proskynesis; it's in where it basically formed parts of the foundation of gestures related to having good manners in different societies. It's respect and acknowledgement between people who view and treat one another as equals, as is the case with Crowley and Aziraphale.

Their relationship is one that is built around equality, free choice, and consent. Therefore, when Crowley apologizes in S2 in another scene that is related to the one in your ask by being an intentional, totally opposite contrast to it, Aziraphale can barely contain his laughter at Crowley's mock-submissive dance. The dance, in many ways, is really a satire of proskynesis.

Crowley is doing this "yes, my king" dance for Aziraphale with tongue firmly in cheek. The dance is poking fun at the difference between general submissiveness, which Crowley loathes and likes to mock, and voluntary sexual submission with one another, which different scenes have shown us that they both periodically enjoy as some light fun from time to time.

Aziraphale is desperately trying not to laugh long enough to reply with equal humor in his dry, self-aware, soft dom voice. He can't resist smiling a bit and mimes a kiss at Crowley-- seeing Crowley's droll mocking of proskynesis-- which is etymologically linked to words related to kissing and which can involve it in different stages-- and replying by bestowing upon Crowley a kiss.

Aziraphale is intentionally doing something that isn't really the result of proskynesis when in the royal circles that Crowley is referencing with The Apology Dance. The subject is meant to seek the king's favor and would be the one, if ranked high enough to warrant such a relationship with royalty, who would kiss the king-- not the other way around. By miming a kiss at Crowley, Aziraphale is meeting Crowley's mocking of inequitable aspects of proskynesis with some mocking of his own by being miming a kiss at Crowley, who is his equal and partner.

There's also a droll joke in there where the only royal subject of a king who could reasonably have expected a kiss from the king, if maybe not always in a public setting, was the king's queen. So, Crowley's whole mocking Apology Dance has a joking, "yes, my king" vibe to it and Aziraphale's response is to show equal humor towards and affection for the person who is-- in all senses of the word-- his queen.

The end of Crowley's dance is a combination curtsy and what's known as a bow-and-scrape-- the thing from which the phrase "to bow and scrape" comes. The scrape is the movement of the foot behind a person across the floor, done to be able to go lower to the floor on the bow.

To "bow and scrape" was to basically grovel in this really overly demonstrative way for favor with the king, in the hopes that he'd be impressed by your humiliating submission enough to bestow favor upon you. The phrase now refers to doing a large amount of work or groveling to someone in a position in authority, usually with the suggested reward likely not forthcoming.

The second word in the phrase-- scrape-- also contains the word for the thing Crowley has survived at the hands of that fucking monster, Satan, who lives for the demons to bow and scrape for his favor. That's intentional on Crowley's part-- the end of this apology dance is also a visual pun on the word scrape, which contains the word rape, and this while he's doing this mocking dance that is a perfect example of how completely different and very healthy his relationship with Aziraphale is by how he is free to be this hilarious, sassy shit with his partner versus the forced subjugation by his assailant.

You might think that wordplay-- visual or otherwise-- involving the word rape is a bit dark. I won't disagree with that but I just want to briefly show you other examples of it that I've noticed so you can see what they're showing as the rationale for it between Crowley and Aziraphale. It's actually more of an empowering thing when you see other examples of it that are in other scenes.

Crowley and Aziraphale's cant vocabulary-- their invented hidden language-- uses a lot of words-within-words, just like how rape lives within scrape. If you consider that, you might also notice a couple of foods that recur in Good Omens that also are related to this. In Crowley and Aziraphale's language and in their life together, food is food but food is also figurative language for sex. Their healthy relationship and all the food and sex that is part of their life together is their answer to the traumas they've both suffered.

It's sensual, mindful living that focuses on healthier, positive experiences that help them to provide one another with a quality of life that the pain of Heaven and Hell does not. As a result, some frequently mentioned food and drink is held up between them as examples of the loving, enjoyable, pleasurable relationship with one another that they have that stands in contrast to Heaven and, especially, Hell.

Crowley enjoys wine, right? Which is made from? Grapes, as Aziraphale orders in 1601...

The opposite of the rape-related issues that Aziraphale unintentionally triggered in Crowley in 1793, for example, is what he then offers him for lunch-- both figurative and euphemistic crepes.

Not coincidentally, that's also what Aziraphale suggested the day after Crowley was assaulted by Satan on the night Armageddon began-- the crepes of Paris, 1793-- and Crowley, as we could see, was all for it:

Another covert reference to this is Aziraphale's magic trick of changing a turnip into an inkwell. It's a metaphor on a couple of different levels but one of them is that the word rape overlaps with a type of plant that is also called that and is the category name for a group of plants and vegetables, the most famous of which is the turnip.

Turnips are also a pretty clever food metaphor for rape. They have been in existence for forever and are, horrifyingly, really common, but no one-- no one lol-- has ever really wanted to eat a turnip. They're not a terribly appealing food and I would wager that if you lined up every person on the planet and asked them to name a delicious food no one-- at all-- would say the turnip.

So, adding that into the etymology of the vegetable being tied to the word rape, then turning "the common turnip" into "an inkwell"-- when sea creatures, like octopi, are often sources of ink, and 'well' meaning both healthy and a flowing source of liquid? It's Aziraphale making a magic trick that is a metaphor for him helping Crowley heal from the rape-related inorgasmia referenced subtly in a few, other scenes, and which is the subject of the Fish meta, if you're interested in that.

Anyway, the healthy, humorous, proskynesis-mocking apology dance is one of the scenes that serves as a direct contrast to the scene in your ask where Crowley is forced to the ground by Satan in Tadfield. That scene involves the other, more extreme end of proskynesis, which is number 6 on the sketch near the start of the meta: prostration.

To be clear: how people want to worship in any way, if they do, is no one's business, so long as it's not harming anyone else. There's nothing inherently wrong with any of this if it's of someone's free will. The scene in your ask, though, doesn't involve free choice, it involves forced subjugation, which is from where the horror of it comes.

Prostration involves lying flat and face down on the ground with your arms outstretched. It involves kissing the feet of the king or the ground that you believe belongs to the deity you're worshipping.

Prostration is complete submission. It's basically a rejection of any sense of self in full deference to the king or the deity.

In Hell, all the demons are seen as belonging to Satan. Several of them, like Hastur and Shax, refer to Satan as "our Master." They are all seen as Satan's subjects and his property-- all known as a collective referred to by Hastur in S1 as The Fallen, as we also looked at in relation to Aziraphale being Mr. Fell in this meta.

In Heaven and Hell's view, The Fallen do not belong to themselves but to Satan. Crowley's sense of autonomy and his relationship with Aziraphale are secrets he keeps because of how they conflict with Hell, where he's not supposed to have any other desire but to live to serve his rapist, who believes that he owns him.

All of Crowley's mocking of anything more than a polite nod when it comes to proskynesis is more than just being generally anti-royalty and anti-authority. The root cause of all of it is Satan.

In the scene in Tadfield, Satan is forcing Crowley to first kneel and, then, to prostrate, before him.

When Crowley clutches one hand to his chest and uses his other hand under him to keep himself an inch or two above ground, he's doing so in an effort to resist fully prostrating.

He's trying to keep his hands from being pulled out in front of him and to keep up enough to keep his lips from kissing the ground in forced subjugation to Satan.

This is probably the darkest scene in the show-- even darker, maybe, than 1.01's scene of Satan attacking Crowley in The Bentley-- because this is a whole new level of horror here. Crowley is shaking with the pain of fighting for enough control over himself to keep from prostrating any more than he is being forced to. This is happening with other people present-- including Aziraphale and kids, including Satan's own kid-- with the obvious humiliation factor being part of the attack.

Unlike in 1.01, when Satan took complete control of Crowley to a point that he couldn't speak, he's left him that ability in this scene, getting off on hearing Crowley protest. This scene shocks because the 1.01 scene of Satan attacking Crowley, and subsequent scenes reinforcing the non-consensual possession-as-rape allegory throughout the story, lead the viewer to believe that this is how it will always be referred to in the story. It lulls us into a sense of complacency where we think we know what the show will do, which has the desired effect of making this scene, in which they shift that tone pretty dramatically, all the more impactful and terrifying.

Furthering the allegorical here is that Crowley is outmatched, power-wise, for the most part, but is putting up a fight. He's moved by an assailant against his will, quite violently. He's dragged to his knees and then pushed forward to the ground. He's in pain and distressed, he's lost control of his body, his legs end up splayed, he pulls in on himself as much as he can, and he's repeatedly saying the word no. I think it might be pretty much impossible to make a scene full of more direct correlations to rape than this scene. They're doing so to really underline this survivor story with Crowley that is running through so many of the other scenes.

Crowley grabs his right leg when he is forced down to the tarmac, presumably because that's the side that is being forced to move by Satan to drag Crowley to his knees. It's possible, though, that this might be also be an allusion to the aftermath of 1827.

When we saw Crowley in 1862 in the scene that functions as him still trying to deal with what happened in 1827, Crowley was carrying that cane that many think was more than a fashion statement. Something that could cause Crowley periodic pain, while also still allowing for other scenes in which he pretty clearly isn't in any pain, is the possibility that, in the 1827 aftermath, Satan broke one or both of Crowley's legs.

As any of us who have ever broken a part of our human corporations know, they can often be painful long after they heal and frequently subject to weather and stress. It's possible that Crowley had recurring pain for decades and might still into today. This is all speculative but why else might this idea also fit?

Possibly just because there are so many scenes in Good Omens that are nothing but Crowley just walking freely or hopping, owning his human body by sauntering around on the legs that are often symbolic of his life as a human of Earth, as he very notably doesn't have them in snake form... and his snake form is something that he associates negatively with his fall and Hell.

Crowley's walk at any given time is related to his sense of empowerment and, sweetly, there are also a bunch of scenes of Aziraphale just gazing at Crowley as he walks around. Including, darkly, the one that was happening when Crowley was dragged to Hell in 1827:

The scene related to this that I like best, though, is when Crowley and Aziraphale both get one over on Satan and The Metatron by successfully hiding Gabriel in S2. They grin at one another as Crowley hops down from the chair, fully in his body, landing gracefully and happily on the legs that, whether once broken or not, we have seen in 1.06 ripped out from under him by Satan before.

Hell also has some Godfather-referencing, mafia-like nods in different scenes in the series and breaking someone's legs is kind of classic mob stuff but, really, I think it's more tied to the whole forced subservience snake thing. Crowley, telling Aziraphale that he'd changed his name to one we learn in S2's Job minisode is associated for Crowley with freedom, autonomy, choice, and Aziraphale...

...from one that is "a bit too squirming-at-your-feet-ish" to Crowley. It's a comment made more horrifying when 1.06's scene in Tadfield makes it clear that this isn't just a metaphor here-- Crowley's unwillingness to be Crawly and his discomfort with being a snake makes even more sense once we have this scene in Tadfield that sees Satan knock his human legs out from under him and force him into literally squirming like a snake at his feet.

No wonder why Snake!Crowley has a tendency to prefer roaring like a lion when transforming into a snake-like monster, like he did in the paintball scene...

Crowley and Aziraphale working to reframe and claim The Serpent from Crowley's negative associations with being a snake is something I talked about in the other meta I posted recently, should you also be interested in that.

The other thing of note when it comes to this scene of Satan trying to force Crowley to fully prostrate is then the fact that, while we've looked at the horror that Crowley is experiencing here, there are some other scenes that are subtly referencing positive life experiences that can be associated with this same type of position, if the situation is consensual and of someone's free choice.

They're also the exact types of things that can be complicated by having been assaulted. Lying face down are obviously both common sexual and sleep positions, for instance...

In S1, one of the scenes that got cut was supposed to be Crowley waking up from a nap in his flat. The script book says it was supposed to be that Crowley was sleeping on the ceiling in his bedroom, which also looks to be how they were filming it from the picture of it that exists. DT filmed it standing up, presumably so that they could flip the shot around and make it look like Crowley was sleeping on the ceiling. In addition to the heat-seeking snake aspect of this, there's some interesting psychology that may be at work here.

Crowley's flat in S1 was not owned by Crowley-- Hell owned it, as we can see even more in S2-- and he was not technically safe in it. Hell isn't great with boundaries and, although Crowley had structured the flat to make it so that he might have some warning if someone were to come through the front door, there was no guarantee that they would do that. Crowley sleeping on the ceiling in the bedroom in his flat might suggest that he did so, at least in part, to try to have an advantage over someone who might show up in his flat.

It might suggest that Crowley likes to sleep on his stomach but he felt too vulnerable to do that in the bed in his flat so the only way he could make that happen there was to sleep on the ceiling, where his position would potentially be a bit more advantageous. Where Crowley likely does not have that issue is in the bookshop, as he's much safer there.

In another area of life? After 1.06 showing where the proskynesis theme was leading in that season, this scene below is then retroactively given another layer:

As looked at before, Aziraphale's hand gestures here are actually massage movements. His dialogue is also full of massage-related puns-- need/knead, back, practice. Probably also not coincidentally? In addition to just being fun and relaxing, massage is also often suggested by therapists working with couples where one or more partners has been assaulted, as it can be therapeutic on a variety of levels. The scene is suggestive of Crowley being comfortable with a variety of different kinds of pleasurable prostrate positions with Aziraphale, which stands in obvious direct contrast to the horrors of Satan.

So, here's where we're going to end this by talking about some mirroring to the scene in your ask with The Final 15, especially through using etymology. The word proskynesis comes from the Greek and is a combination of pros (meaning: towards, in this case) and kyneo (meaning: kiss). Some translations of it actually wind up being less "towards the kiss" more along the lines of "to kiss in the presence of."

Yeah... There's a word in the mix in this story that means "to kiss in the presence of" and that feels pretty relevant to the last few minutes of the most recent episode we've seen, no? 😂

In the S1 finale, the season's recurring moments of proskynesis lead towards the Tadfield scene, in which we watch Crowley wind up forcibly prostrated before Satan and resisting a kiss with everything he's got. While he'd do that anyway, what's the biggest reason as to why he was in that moment? Aziraphale, right?

It's because Aziraphale is right there and this is all already more than horrible enough. Crowley does everything in his power to retain enough control to resist this kiss because he is absolutely not kissing the Earth Satan claims is his, in forced deference to him, with Aziraphale watching.

Poor Aziraphale can't do anything about this in the moment that it's happening. He can't go to Crowley without giving away that he's Crowley's partner. They've been terrified for a long time that Satan would kill Crowley if he found out about them and, based on what we've seen of how violent and dangerous Satan is, it doesn't seem like that fear is at all unfounded.

By S2, Crowley and Aziraphale are becoming a bit less of a secret but the people who they are letting in are ones they feel are trustworthy. None of them have any affiliation with Hell or Satan. The one person around them each a bit that does have affiliation with him-- Shax-- is the one they're both still attempting to fool.

The S2 mirror of the proskynesis/"kiss in the presence of" moment from 1.06 of Satan attacking Crowley in Tadfield and Crowley resisting the kiss in front of Aziraphale involves these same three characters again... but some aspects of it are-- as they would be with a mirror-- shifted around a little.

In 2.06, it's Crowley with a kiss again-- but, this time, it's Aziraphale that he's kissing. Instead of being the person who is watching the kiss be resisted, Aziraphale is the recipient of a kiss that Crowley is actually willing to give.

Aziraphale, like Crowley in 1.06, is mostly resisting the kiss. While Crowley pushed to resist it entirely in S1 for obvious reasons, Aziraphale isn't put off by the idea of kissing Crowley in general but, in S2, is resisting it as much as he's able to do so.

Why?

Because Aziraphale knows with almost complete certainty that it's Satan watching them through the window.

[faworsley]

Would you like to read the longest Charles Des Voeux post on this website that goes into rambling and disorganized IRL and show meta? Below the cut because I think it’s some form of eTerror-ism to subject everyone to how big this’ll be (pasted from when I described in the discord! Because I’m happy w the thoughts)

1/? (I NEED to be able to put my little images and gifs under each segment so I’m adding more in reblogs)

Ok so HISTORICAL background for the guy first of all because I think some of it is relevant to his show portrayal:

His family moved to Ireland in his grandparents generation because they wanted to become Protestant and needed the freedom. So therefore much like Crozier Des Voeux was actually Irish but like Hickey claims, he really did spend more of his life in England—because he started in the military at the ripe age of, wait for it… ELEVEN—which was partially to suppress his accent and partially to avoid culture bias. His family last name was NOT Des Voeux originally; his grandfather changed it from the original de Bacquencourt.

Also devastating, weird, confusing fact: Charles Frederick Des Voeux (our CDV) had a brother named Charles Champagne Des Voeux (yes, another CDV) and in historical records, at least if I’m remembering correctly, THAT one is called Charlie, whereas it seems that our CDV went by the Victorian era shortening Chas, or in some cases Fred.

Child Soldier 101: He served in the Opium wars alongside Hodgson, Fitzjames, and Gore, and was 19 at the start of the Franklin expedition. Fitzjames chose him specifically because he was “a great favorite of Hodgson's” and also because, unlike show CDV, he was a very nice guy and seemed to be generally well-liked. He did also have some level of war experience and Navy knowledge.

Right before the Franklin expedition set off, he passed his lieutenant's exam with flying colors. This means he was technically a lieutenant before they set off, but there are a limited number of lieutenantcies available on an expedition like this, so for what I wouldn't really call political reasons he kept his position as a Mate. Later on, with records of him at the Cairn with his friend Gore, we know that he was almost definitely promoted to Lieutenant once things started going south, whether that's because they lost a lieutenant or just needed more help.

Now onto Charles Frederick Des Show

In the show, we first see Des Voeux handling the death of Billy Orren because he stops Collins from jumping into the water, and while that's absolutely the right choice, it's also the first of his scenes where he begins to paint himself as almost being unsympathetic to other members of the crew. He’s actually the first to the rail, and the first to toss a rope to Billy Orren, but what sticks out in the end is that he chose in the end that he couldn’t be saved. Fun fact--he (CDFV) and Collins had very close ranks on Erebus which means they would’ve been in close proximity quite a lot of the time, so it’s interesting to consider they might’ve been friends (though I doubt they got along).

In the show if there's ever a guy who's there without clear reason, says something out of place or tells a bad joke, it's almost always without fail the one and only Charles Des Voeux. He goes to the cairn with Gore to leave the Victory Point Note and looks like he's having a bad time the whole way. Gore seems charmed by Goodsir but Charles seems to think he's annoying. When they're at the camp they set up nearby in Season 1 Episode 2: Gore right before Gore dies, Charles keeps making little quips and telling jokes, and without fail, every time he looks over at Gore to see if Gore laughs. In the comic version that came out before the show, he and Gore are good friends and are portrayed sharing a sleeping bag all cozy like two bugs in a rug so I just think their friendship is really sweet.

Check out the manga Icebound, it’s free online (and for whatever reason I can’t link it)!

So up until this point, slops aside Charles is always very well-organized and put together, even if he looks like he wishes he was anywhere other than here on the expedition. Note: See my less-good post that focuses specifically on how his appearance and his attention to it changes throughout the show. He's 19 and has experience at war (the only enemy here is a bear he hasn't seen) and at sea (they are frozen in the ice).

[unproduciblesmackdown]

costume design, set mockup, and rehearsal photos from this guide to the show that's like really thorough in providing Context like, mini articles about the creators of the original movie, musical, and movie musical, about other versions of productions, the history, quotes of other commentary, interview quotes, context of other / preexisting genres like b movies, faustian stories, "what if a plant was weird" stories, glossary of terms (such as references that may generally be less obscure if you were in the '60s, e.g.), suggested further reading....haven't read it top to bottom but i think it's fantastic, link to the pdf as post source

[charliethemanticore]

Hi btw being trans does not automatically grant you supernatural understanding of all esoteric trans knowledge. You actually need to put effort into learning or put effort into keeping quiet about things that don't pertain to your specific experience

[phagodyke]

looking up info on keloid scarring is so helpful. thanks man I didn't think of trying that one

[ravenwolfie97]

i can't sleep and i want to fight youtube

[remxedmoon]

(You don’t know how much longer you can do this.)

hi the wip for this was absolutely not supposed to blow up. why does that have 1k notes. horrifying. anyways!!!! it’s update time baby!!!! 64 new assets this time around!

so that’s what the caption was supposed to be. this update was already pretty damn big and took a ton of time to make!!! and i was finally done!! but then my hand slipped and now we’re at 143 new assets. super sorry for the delay! That Was Not Supposed To Happen.

i’ll go more indepth below the cut, but this update encompasses all menu/profile art for both isat and sasasaap, battle portraits for sasasaap, every single pixel icon in isat (to my knowledge anyways), the dialogue skipping animations, and a few miscellaneous additions.

also i spent too much time on these to put them below the cut so Please God Look At My Icon Resprites I Spent 16 Hours On Them. enjoy!

okay first things first. why the hell is this batch 143 assets. so. i HEAVILY underestimated how many times the menu drawings are used in the games. even removing all of the custom art, it’s still ≈30-40 variations! that’s a lot! and once i finally finished everything, i got Posting Anxiety and somehow convinced myself that attempting Animation And Pixel Art (two things i haven’t done in YEARS) would be easier than writing a normal post. so here we are.

the custom art here is pretty much par for the course at this point. extra menu art for bonnie, extra expressions for the party in act 5, we’ve done this enough times that it’s expected. i am aware that bonnie’s custom menu art gets completely covered by the ui. i kept it in because it’s really funny (and also i didn’t feel like extending the sprite (but then the sasasaap version forced me to extend the sprite anyways so Whartever)).

once again, provided a spritesheet for sasasaap’s battle portraits! i do intend to cover both games, it’s just a slightly lower priority atm. unlike isat though, i’ve got Less (read “No”) experience with sasasaap, so there might be more issues with those assets?? apologies if there are, i’ll try to fix any issues that come up!

the Miscellaneous Additions i mentioned above are the sprites used on the teleport map and the loading screen, which is just a tiny version of the skipping animation. they were pretty small, so i figured i might as well get them out of the way!

not actually much to say about the 75 icons surprisingly! i haven’t done pixel art in about 5 years?? and that’s a Travesty actually these were super fun to make. i did make mockups for the overworld sprites earlier, but they aren’t Officially part of the redraws (yet) so they’re getting posted seperately

and also!! some exciting news!! this project might actually become a Proper Published Mod pretty soon!! i’ve been in contact with someone who’s willing to help me get everything set up, and i’ll be getting a Usable Computer around the end of the year!!!! it’ll still be at least a month before it’s up (i’d like to get the enemy art finished beforehand wauaua) but!!! still exciting!

okay, i think that’s everything relevant to the update!! i Definitely can’t fit all of the relevant assets here lol. but i’ll try my best ! please enjoy !!

[unintentionalseductress]

Natural Breeding Clinic - Prologue

warnings: MDNI, breeding kinks, general sex, mention of infertility and insemination methods

a/n: It's here. Finally.

Teaser - Prologue - Patient 1

You take a deep breath and sit down in front of the laptop, waiting for the other person to join the call. Never in your life had you heard about such a unique reproductive center but lately, you’d been feeling the pull to start your own family. You’d discussed this with relevant people in your life. Everyone had said if you really wanted a child, then you should go with the options you thought were right for you.

You’d done the research, looking into different doctors and fertility clinics, but this one just stood out. There were testimonials from several happy families, saying their methods, though unconventional, were effective, and the doctors showcased on the website were all incredibly striking, each one handsome in their own way. But it was the success rate that caught your eye. A 98% guaranteed rate that you would be pregnant, and that pregnancy would be healthy. The site didn’t go into too much detail on their method, but the wording caught your eye.

“A natural breeding clinic” they’d called themselves. You’d finally bitten the bullet and called, requesting an information session. The screen suddenly lightens and you focus your attention as an attractive woman with shoulder-length brown hair comes into view. She smiles in a welcoming way before speaking.

“Hello. Am I speaking with Mrs. L/n?” You nod and smile back, trying not to look awkward or uncomfortable. 

“Perfect! My name is Shoko Ieiri, I’m the main coordinating nurse here at Jujutsu Fertility. Thank you for scheduling an information session with us.”

“Yes, of course. I just needed more details before I booked an appointment.”

“Indeed.” Shoko claps her hands together before continuing. “Let me start by telling you a little bit about ourselves. We’ve been around for almost 6 years now. What sets us apart is that we focus more on women’s comfort than most other clinics. And we are sought out by people who are willing to use a sperm donor. We do not perform insemination services with sperm that are not from our own stock.”

“Your own stock? Are you associated with a sperm bank? And screen all the donors yourself?”

“Not a sperm bank in the conventional sense. We have 5 doctors who keep excellent health and their sperm is regularly screened to ensure quality. They are the only stock we allow for insemination.”

You blink to make sure you haven’t misheard. “The…doctors? Are you saying the fertility doctor I’d be meeting with will also be my sperm donor?”

“That is correct.” Shoko nods her head to confirm. “You will be meeting with the doctor of your choosing for at least 5 sessions. They will need to be at least once a week. Some women take the week off and come in 5 days straight.”

“5…sessions?” you ask, confused by the wording.

“Yes. It’s to ensure the insemination process has occurred an optimal number of times.”

“Wait…so…I’m going to be inseminated multiple times? How much downtime do I need in between each insemination?”

“Hardly any. Our method isn’t like a typical clinic. Most women leave feeling very normal and a lot more satisfied than when they came in.”

“Not like a typical clinic? So…you don’t use the catheter method?”

“We use minimal medical equipment in our inseminations.”

“Minimal…so what does the procedure entail?”

Shoko clears her throat and continues. “So it begins with you choosing one of our doctors. We highly recommend spending some time on this part. It’s essential that you feel attraction towards your doctor. Once you make a choice, they will reach out to discuss how your insemination experience can be optimized for you. You will receive a biodata on their sexual profile, their preferred methods of arousal, and other relevant details.”

“I’m sorry, but what?” You are at the edge of your seat wondering if you’ve entered an alternate dimension. Surely, this was all being made up? “Arousal, sexual profile- why would I need all these details? I thought sperm donors only gave information like height, weight, medical history and stuff like that.”

“Why wouldn’t they? You’re choosing to be bred by them. They would have to make sure their patient is satisfied with the experience.”

“Bred?” You bleat the word stupidly.

“Yes. We are a natural breeding clinic. We use the method nature has provided to us to ensure a pregnancy.”

The gears in your brain start turning and something finally clicks.

“Are-are you saying…I would be having sex with my doctor?”

“That is correct.” Shoko smiles gently at you, pleased that you have finally caught on.

“The human body doesn’t necessarily enjoy having medical equipment inserted into it. All that cold plastic, and the mechanical methods of insertion. It puts the body in a state of stress. Not good for implantation. So our doctors will inseminate you through the process of intercourse.”

 Her words fall like a fog around you. You can feel your heart racing, a flush creeping into your cheeks. It was…insane. The doctor of your choosing was essentially going to fuck a baby into you. As your mind starts pulling up the images of their doctors, each one impossibly handsome and striking, you feel a familiar throb starting between your legs. Wetting your lips, you try to talk to continue with the information session.

“I see. And…there are benefits to this?”

“Yes. Intercourse allows the body to relax, releasing happy hormones. In this stress-free state, in addition to the knowledge that your doctor is someone you’re attracted to and trust, the chance of an implantation doubles.”

You gape at Shoko, your mind reeling from all the information.

“And…when you say the insemination process will be optimized for my best experience…?”

“The doctor you choose will ask you extensive questions about your preferences. What turns you on, positions, dislikes, toys. It’s to determine if they will satisfy your breeding experience. If they feel they might not be a good fit, they’ll recommend another one of our doctors.”

You swallow, your mouth going dry. “I see. And…what else do I need to know?”

“We will start by collecting your medical history and run some blood work to make sure your body is ready for an insemination process. Women who have a domestic partner will need to get both a waiver and a consent form signed by their partner that they have been informed what happens for the insemination.”

“Of course. Makes sense.”

“You will be assigned an emotional support companion during this process. It will either be myself or Mr. Ijichi Kiyotaka. We are there to help ease your nerves and ensure you enjoy the process. And all patients must think of a unique safeword to use during the insemination process.”

“Safeword?” you parrot back, still processing.

“Yes. At any point during the process, should you feel uncomfortable, your safeword ensures all actions cease and your doctor will give you some space to breathe and reassess the situation.”

All you can do is nod along. Shoko gives you a look of reassurance. “I can guarantee that most women are pleased with the results. And our doctors are quite skilled in what they do. It’s natural to feel a little shy and embarrassed but at the end of the day, we all share a common goal- a healthy baby.”

Despite your initial shock, you feel some of your trepidation fade away. Shoko continues.

“If you are ok with all of this, I can send you the forms to get the process started. Once those are filled, you can take some time to decide on your doctor. Then we’ll set up a call with them.”

“Thank you.” You make a split-second decision. “Please go ahead and send the forms.”

“Excellent. I’ll send them to the email you put in your inquiry. Was there anything else?”

You shake your head no. “I think I have all I need.”

“Great! I look forward to assisting you again.” Shoko ends the call and you immediately go the the website again to look at the doctors, one of which will end up fathering your child. Such a hard decision. How will you ever make the choice?

@thesunxwentblack @kentocalls @actuallysaiyan

@belle-oftheball34 @jesssicapaniagua

@figmentforms

© unintentionalseductress original work | no copying, plagiarizing or translating

[reignpage]

Piercer!Geto

Manx Norton: going over the limit

Contents: 18+ mdni, fluff, smut, grinding, making out, blowjob, deepthroating, throat fucking, swallowing, marks the end of their pre-relationship story

“We need to talk,” you say. 

Geto looks up from his journal, slow and steady like he knew you would come here and at this time. He sets his pen down. His hair is tied up completely today and there are dark bags under his eyes that you can’t bear to look at, so you don’t. Instead, you settle into the seat, without being asked, and you cross your legs and your arms. 

You mean business. 

“Good afternoon, pretty. You look gorgeous.” 

Sighing, you ignore that fluttering in your stomach. There’s no point in getting carried away by his charm; it’s his instinct to be sweet, otherwise he wouldn’t have as many clients as he does. But you’re aware, faintly and right at the very back of your mind, that his words have a bite to them — they’re complimentary whilst also accusatory. 

“I need an explanation, Geto,” you state firmly. 

His left eye twitches. It’s not a flicker or a nervous tick, it’s a flinch. You have the power, just like your sister said, when you were throwing her shoes out of the window, and she was offering advice as a means to fight your murderous intent off. It didn’t work.

There’s always something shifting between you, something unstable, and it’s been difficult to manage — you’re new to relationships, so new to venturing outside your comfort zone that you’ve relied so much on him to guide you. But you’ve also had to step up and make decisions for yourself. 

Your friends weren’t very helpful; they insisted you quit or bring a new man to the studio to make him jealous, and as tempting as it is to be petty, you know they wouldn’t solve anything. It’ll just make you feel bad and icky. 

So, you’ve chosen the high road, providing him the opportunity to share his side, to explain why he let you down once again and why everything between you had been built on a lie.

Nodding, he opens a drawer and takes out a familiar sheet of paper. Then, in a conversational tone, he asks, “What do you see?”

“It’s my CV,” you answer. Truthfully, you have no clue what game he’s playing; there’s something in particular he’s looking for but all you see is the whites of the paper and the lines of ink. 

“Look at it from the perspective of an employer looking to fill a hole in their establishment,” is his reply. 

You’ve heard that tone often, every day, in fact. It’s the tone he uses on clients when he needs to go over payment plans, or on suppliers when he needs to negotiate a new contract. But he’s never used it on you. Distant and devoid of attachment, it makes you feel uneasy. 

Fiddling with a loose thread on your sweater, you furrow your brows as you read over the paper. Geto is leaning back on the chair, hands folded on his lap, the pinnacle of confidence. That used to be so attractive. Now, you’re just a little peeved off. You were supposed to be the confident one; you came here on your own volition, even prepared a speech you practised with your sister.

You should have known he’d sweep the rug from under you. 

Frustrated, you groan and smack the sheet. “Just tell me what I’m supposed to see! I have no time for this.”

Smiling reassuringly, Geto doesn’t bat an eye at your outburst and instead, begins a lecture, “What I saw was a CV lacking in relevant work experience. In fact, you had very little experience. Your most recent job was in high school, when you worked as a librarian’s assistant for a day. The other things on there were debate club and a certificate for being a neighbourhood ‘sweetheart’, and I’m not even sure what that means.”

“Oh.”

To your embarrassment, he laughs. A blush is growing on your face and suddenly you’re very aware of how some strands of hair are sticking to your forehead uncomfortably, how the sweater you’re wearing is a little scratchy and that maybe, just maybe, you’ve overreacted terribly.

Maybe you should have confronted him sooner. Perhaps just as soon as you overheard him tell Miguel that your sister owes him a favour for hiring you. However, in your defence, you were feeling a little hurt from having been left at the restaurant — you waited for an hour, watching people pass by and give you sympathetic looks as you sent text after text to a man too busy with a client to realise time passed by. 

A week has gone by since then, and you haven’t come to work at all, you dodged every text and call from Geto and ignored him when he showed up on campus and had the nerve to get upset that you’re hanging out with a classmate. Your sister tried to defend him, and herself, but you weren’t willing to hear her out. On many occasions, you’ve told her to butt out, to leave you to make mistakes and get hurt, because it’s your prerogative. 

She can’t protect you from everything and the more she tries, the harder you all learn that lesson. 

“Okay, fine. So, my CV sucks a little,” you huff, “but you should have never hired me under the pretence that I was good enough when the real reason was because my sister asked you. It’s unfair on me. I wanted to earn this job on my own and you two went behind my back to manipulate this whole situation!”

The man sighs and leans forward. You smell his cologne and it’s muddling your mind a little, so you lean back, away from him. He notices. “I understand you’re upset. And I’m sorry to have colluded with your meddling sister. But it really isn’t what you think, pretty girl.”

You hate how patient he sounds, like you’re the crazy one. And maybe you are. You don’t know anymore. In fact, you’re starting to think you know nothing at all. 

“Yes, it’s true she asked me to give you a job. But all I promised her was that I’ll give you a chance, like everyone else. And when you came for the interview, I thought a lot of things. One was that you are so different from your sister. Different from the people that tend to come through the door, from me. You’re much brighter, much warmer and lighter than everyone I’ve ever seen.”

There’s something in his eyes, a sincerity that makes you breathless. All the air has left the room and you’re leaning in without even realising it. Everything that he says is entrancing, he’s a pied piper playing a tune that fills your soul with a fire you can’t put out, and he’s leading you closer to him, away from everything you’ve ever known, away from safety and reason. 

You’re not afraid. 

“I had a look at your CV and thought, there’s no way I would hire you, not even if she begged or blackmailed me — I take great pride in my studio, I turned it from a little backroom space with flickering lights to what it is now. My clients trust me to provide quality service from beginning to end, and I will not let a woman, no matter how beautiful, get in the way of that.”

Geto reaches for your cheek, like he can’t help himself, and you let him. His hands are slightly calloused but otherwise smooth and soft. And that smile, the polite one he always wears, is gone. In its place is something that reflects how you feel, how you’ve both been feeling for a long time now. A frustration against the distance between you, the boundary that’s erected itself between employer and employee, boss and receptionist, and a man who’s seen it all versus a girl who knows so little. 

You aren’t meant to be. Everything about this relationship is wrong, it’s inadvisable, foolish, like Hades and Persephone, or Eros and Psyche. It’s a tragic love story doomed from the very beginning, the kind people talk about centuries later with a mix sense of awe and pity. You know all about it, have read so many variations of the same story with the same individuals who think they know everything, who believe they’re different, special and that the Fates will smile fondly on them. 

Except neither you nor Suguru are under the impression that you’re different, that this will turn out differently and that the cards you’ve been dealt are from a separate, fresh deck. You both know you’re playing a dangerous game. 

Neither of you care. 

“But then I talked to you. And you were so witty, so undeterred by my unrelenting questions, and so willing to learn as you go. You had the confidence of someone who’s worked a thousand jobs, who’s met a thousand people that, despite knowing better, I wanted to hire you on the spot.”

Carefully, with your eyes fluttering shut at the tentative touch of your skin, you breathe out, “Suguru, we shouldn’t.”

“I know.”

When your eyes open, you see his gorgeous, tortured eyes fall to your lips and you know what you want. 

Your lips meet his.

This kiss is so similar to the one you shared that night, but oh so new. It seems so long ago now, and when you feel his plush lips devour yours it feels like this is new to both of you and it urges you to push in further. His tongue touches yours and you don’t hesitate to intertwine it, to explore all that he’s laying out for you. 

Gasping for breath, you pull away with little success before he’s grasping the back of your neck and urging you over the desk, kneeing the papers there and hearing the pens and stapler fall to the floor with a dull clatter, you sit onto the desk and you hear his chair slam against the wall when he stands to press himself closer to you. He kisses you again. 

“Things work differently with me,” he says in between pecks to your lips. 

Whilst his mouth moves to your jaw, sucking at the skin by your ear, you giggle. “I know. My sister says you like control. Something about Christian Grey.”

Chuckling in your ear before nipping you there, he admits, “I’m not as insane as him. In truth, I don’t really know what I am, but I know it’s more intense than what most men ask for.”

“That’s okay, Suguru. We can work it out together, step by step.”

He kisses your pulse point. You moan. Goosebumps are rising along your arms; your back is arching to press as much of you closer to him. You’re barely capable of creating a single train of thought, you feel so lightheaded you don’t register how your legs are wrapping around his hips. 

“My smart girl,” Suguru muses against your skin. 

Your legs are wrapped around his hip, pulling him close until you can feel the bulge there push against your core. With a roll of your hips, the zipper of his jeans nudges your bundle of nerves. You gasp. And you seek out that pleasure again with slow, gradual grinds. 

Breathlessly, you say, “Suguru…”

He’s scraping his teeth against your pulse point, one hand kneading your thigh and the other holding himself up. Filling your senses, all you can think about is him and how there’s a growing pressure within that’s dying to be released. 

“Go on, pretty girl. Take what you need.” Tightening your legs around his hips, you grind harder, frustrated that there are layers between you. Your arch your back, chest rubbing against his. Like he knows what you want, his hand finds your breast, squeezing and groping. “No bra? Are you sure you came here to talk, angel?”

When his thumb brushes over your nipple, you cry out, body tightening as that coil inside snaps. You spasm, grinding hastily to draw out your pleasure. It’s much better than you any could have given yourself and you’re addicted. Hand flying to his hair, you thread it through, brushing out his hair tie until his silky hair cascades down.

He groans. 

In a blink of an eye, you’re being pulled and pushed down onto your knees. You grip his thighs, blinking fast as you desperately try to regain your bearings. 

“You’re asking for trouble, sweet thing. Can you handle it?” Suguru asks, a challenge glinting in his eyes as he smiles down at you. 

You bite your lip, thighs squeezing to subdue the regrowing aching there. With a sudden bravery, your hands make their way up, revelling in the marble like strength in his muscles before they find his zip. 

Hesitating, you feel something holding you back, an instinct within awakening. Awkwardly, you question, “May I?”

His smile widens, surprise flickering in his eyes, and then he’s threading his hands through your hair. It’s a rewarding pat, one full of warmth, and it’s empowering. 

“Such a good girl. You’re a perfect little angel, aren’t you?” He coos. “Of course you may, my pretty girl. Go on, go at your own pace.”

Nodding, you unzip his jeans, tugging it down with his boxers. And what springs out leaves your mouth watering. It’s huge and intimidating. It’s bad enough that he’s well-endowed, but nothing about him is typical. He’s different to the average man in every way. 

Starting with the metal piercing the underside of his dick, emerging through the head. 

Seeing the horrified look on your face, he chuckles, the hair soothing your head delving down to pinch your chin. Unperturbed by your reaction, likely expecting it, he explains, “I got it done a year ago, mostly as a dare. It took around nine weeks to heal and yes, it did hurt.”

“B-but I-I can’t,” you stammer and shake your head, adding, “there’s just n-no way.”

Suguru sighs, thumb grazing your cheek. “You don’t need to. I understand this is too much too soon, but I don’t think you’re giving yourself enough credit. You’re more than capable.”

You don’t want to disappoint him. And you want to prove you can do whatever you set your mind to. Recalling one of your sister’s drunken admissions, you know the trick is to pinch your thumb, so you don’t gag, to breathe through your nose and take a little at a time. 

“Okay, okay. I can do it.”

He gathers your hair and keeps them out of the way. Slowly, you wrap your hand around the base, gasping at the way your fingers barely touch. With no particular method in mind, you explore his length, thumb following a vein from bottom to top. He’s hot in your hand, almost burning, and the tip is shining with what you know to be pre-cum. 

It’s pearly white and you can’t wait to know what it tastes like; you lean in and scoop up the drop with your tongue. You both groan. 

Salty, you mull the taste over. It isn’t bad. And suddenly, you no longer feel scared. Your tongue fiddles with the bent metal barbell, surprisingly not minding the cold sensation against your hot tongue. 

“That’s it,” he groans, grip on your hair tightening. 

You widen your jaw, suckling the head, tongue pressing against the slit before it circles around, grinding the barbell back and forth. He groans louder, deep breaths vibrating through the room. 

When you push in further, you make the mistake of doing it too fast. You gag, eyes tearing up. 

“Slowly, pretty. Slowly. There’s no rush, okay?”

Coughing, you nod weakly, feeling embarrassed. Recovering your breath, you go back in, slower. Eventually, you work up a rhythm, bobbing your head up and down, taking more and more of him but never quite making it further than halfway. 

Both hands on your head, he soothes your tears away with his thumb before he advises, “Relax your throat, sweet thing. I’ll guide you, is that alright?”

You tap his thighs twice in a yes. 

And then he’s pushing in, more and more until he’s filling your throat, muscles stretching to take him in. Tearing up once more, you mentally swallow that panic rising, the claustrophobia within forcing your nails into his bare thighs. 

“You’re doing so well, angel. So good -ngh- for me, hmm?”

Suguru pulls back, the piercing scraping your tongue. And then he pushes back in. Again and again, he builds up to a rhythm, allowing you to get used to it, before he gives you more of him. 

This is so overwhelming, the feeling of his piercing bumping at the back of your throat, the ache in your jaw at the stretch, and the salty taste filling your senses. All you can see and feel and hear and taste is Suguru. You can’t get enough of him. 

So, when he bottoms out, your lips tickling his skin, your eyes roll to the back of your head just as his do. 

“I’m going to cum, pretty. Do you want to pull out?” He asks, pleasure written all over his face, the veins in his arm bulging at his barely constrained urge to fuck your throat freely. Knowing that he’s so in control, so concerned over you, when he could use you how he pleased, could take what he wants makes you so wet. 

You blink rapidly. 

“No? Are you sure you -ha- can take it? I won’t let you spit it out,” he warns. 

Sucking your cheeks in, you suction him closer. His cock head is rubbing the back of your throat, piercing burning, and with a shallow thrust, he’s cumming down your throat. 

Hot liquid fills your mouth. 

Suguru pulls out and you swallow the thick cream he leaves in your mouth. Your head slumps against his thigh, gasping for breath, heaving like you’ve just ridden a rollercoaster. 

Hands tucking themselves under your arms, he lifts you onto his lap just as he sits back on his chair, boxers pulled up before you even realise what position you’re in now. 

He rubs your back, muttering encouraging words about how perfect you were, how amazing you did, and how he knew you’d do well for him. 

“Open,” he orders, bottom lip pulled down by his thumb. He inspects your mouth and smiles at what he sees. “Good girl.”

And then he’s kissing you, tasting both yours and his essence. 

“No wonder Miguel gave me a funny look when I asked how many piercings you have,” you whisper against his lips, a high pulsing through your veins. 

Suguru chuckles. “He’s a good guy, did all my piercings. Eased all my concerns every time and I knew I wanted him in my studio.”

You nod. 

Your eyes are heavy and you’re hiding your face in the crook of his neck, breathing him in, and pondering the change between you. You’ve accepted that you’re entering an unconventional relationship, that he’s going to introduce you to a world none of your friends had seen a glimpse of, but you won’t be navigating it by yourself. 

He’ll lead you just as he had when you first started working here. 

Softly, gently and with so much patience, you’ll be free to stumble as often as you need until you know who you are, what you want, and what you need to be.

“Get some sleep, my gorgeous, gorgeous girl.”

Is the last thing you hear before you fall deeper into sleep in his arms.

[roguerambles]

I understand the disappointment, I really do, but I think people might be blowing the whole world state thing a bit out of proportion. "This is SPITTING IN THE FACE of long-time fans" no it's not Steve, calm down.

The series has always had to compromise when it comes to the state of the world because so many of the choices (especially from the end of Origins) were so wildly different that trying to build a sequel from so many conflicting factors would be more or less impossible. It's why we've never seen the Architect again, because him being alive or dead has HUGE ripple effects that are damn near impossible to write around.

Heck, it was entirely possible for Anders to die at the end of Awakening, but the writers wrote around it by saying "oh no he actually faked his death" even though logically that made very little sense because at that point he'd have absolutely no reason to do that? But Anders was in the sequel so that had to come up with something.

Basically nothing from Dragon Age 2 was important in Inquisition - Hawke siding with Mages or Templars made no difference, Anders being alive or dead made no difference, whether Carver or Bethany were dead or Wardens or whatever made no difference. We got some flavour text and that was literally it, everything else played out exactly the same.

Hell, the Temple of Sacred Ashes gets blown to bits at the beginning of Inquisition, rendering everything to do with that quest from Origins basically moot. And we've never gone back to Orzammar, and everything we have heard from it has been kept super vague, because depending on who the King is and if Branka is still alive things would look WILDLY different. Crafting a new story there would be borderline impossible because the dozen different possible world states make the foundation shaky at best.

It's why I highly doubt we'll be able to side with Solas and help him tear down the Veil because that would result in basically a whole new world being created. Imagine them trying to make Dragon Age 5 and being like "okay 50% sided with Solas and tore the Veil down and 50% kept the Veil intact....wtf now what do we do--?"

Again, I understand the disappointment, but I just hope once the dust has settled and people calm down a bit they'll see that, realistically, very little has changed. Your saves are still there, your experiences and enjoyment of the games and the characters and the story are still there, but they were always gonna have to draw the line SOMEWHERE.

And that's not to say none of our previous choices will come back - if we get another game, or a spin off or something they'll probably do what they're doing with the Inquisitor now. They're just taking what's relevant to the story they are trying to tell, and leaving what they aren’t going to use presently ambiguous.

[corasexigence]

Intox Play Primer

Vet for high risk play. If you don't have the utmost trust in someone, control what you're putting in your own body and know where it all came from.

Check for interactions. Yes, this means sharing complete information about whatever medications the person getting drugged is on. No, the interactions are not always intuitive. Yes, this includes things like alcohol. Ideally, ask your doctor about interactions with whatever you're about to play with- they're trained in spotting interactions, you're probably not. (ETA- @vekarin-striae mentioned that pharmacists are often cheaper, more specialized, and less invasive to talk to about drug interactions.)

If you've checked the interactions yourself, assume you might have missed something. Even if you've gotten your doctor to check, be aware they might have missed something. I once caught a potassium deficiency issue in someone's existing medication that their doctor prescribed them.

ROUND 1- Use it for its own sake before you play with it. Spend the time together and set yourself up for success: easy access to food, water, comfort media, and comfortable places to sit and lie down. Know how long it should last. Get someone who's used it before to tripsit if you can. Don't give yourself any tasks that involve new skills. Be ready to offer yourself or your partner a redirect from negative or anxious trains of thought.

Know what a good time on your drug physically looks and feels like. This is crucial, because things might go sideways in a way you're not expecting. Don't just be watching for specific signs of an overdose (though those are worth keeping in mind too)- if something seems wrong, get help. Seconds matter and you're probably not a professional.

Similarly: if the drug is at all sedative, or a downer, or long-lasting, and they're unconscious before it's out of their system, check for breathing and check for pulse. Also, your risk profile is your own, but I don't fuck around with hard sedatives- there's too fine a line between which body systems they shut down.

Start with a low-to-standard dose, and adjust doses for any relevant interactions (e.g. estradiol approximately halves liver tolerance [alcohol, weed, diphenhydramine], SSRIs approximately double psychedelic tolerance).

In order to avoid dependence issues, I wait a default of two weeks between recreational uses of any drug. (I only count caffeine here if I'm having more than two cups of tea in a day.)

ROUND 2- Play with it scripted and above board before you play with it in an explicitly cnc way. Your communication and mental state will have shifted, and you'll need to learn to accommodate that; make sure you try things out without added communication barriers first. Also, make sure to talk about how everything went afterwards when you're both sober!

If you're going to adjust doses, do it slowly and carefully. Most easily accessible recreational drugs can be incremented by half the standard dose. Some drugs are incredibly sensitive to fine adjustments; this is why Fentanyl, for example, is so dangerous and not recommended to use.

ROUND 3- Don't get comfortable. Try to have as peaceful and relaxed an experience as you want, and keep an eye on things as you play with different emotional states- but DEFINITELY continue to keep an eye on safety. It doesn't stop being a concern because you've done it once and everything went fine.

ETA- Mind how drugs affect things like pain tolerance! You might miss important signals from your body. Also, pay attention to overlap with your neurotype when planning and risk profiling. You might desire or achieve different effects depending on your own specific brain.

[markrosewater]

I appreciate your patience in listening to the people mourn what's currently being decided right now. If I can contribute something as well: I am also a UB fan, and I agree with the mechanical uniqueness and the awesome designs and all that.

However, the mantra being spoken before has been "maybe this product isn't for you," and while that was far from easing my concerns about some decisions, now that ub is going to be at every level of competitive play, wotc has taken away the ability for competitive players to opt out of an experience they don't want to partake in. If you want to win, you HAVE to get Sephiroth and Green Goblin, etc.

I like UB as an opt in choice, but the current decision feels malicious towards those who expressed their concerns before who were abated by consolations that wotc has rolled back. It does feel like a cynical money grab at the cost of many of the most dedicated players.

It’s not a “cynical money grab”. It’s us responding to two big pieces of feedback from the players.

1) Straight to modern sets were speeding up the flux in Modern. Metagames are influenced by how many new relevant cards enter the environment, and having a bunch of straight-to-Modern sets was creating unwanted flux. Modern players enjoyed that archetypes lasted longer than in smaller formats. It was a loud compliment often made here on Blogatog. This change is made to address that.

As a corollary to that issue, because we had less experience with making straight-to-Modern cards, our ability to balance them wasn’t as efficient as premier sets. This change also has the vast majority of cards going through the same system and power level, one we have years of experience with.

2) Players who were entering through Universes Beyond (and there are a lot of them - it’s a primary strength of UB sets) that wanted to play competitively were thrown into Modern. That’s just a bad entry ramp into tournament Magic, and it was a common complaint we were getting from newer players.

Universes Beyond’s greatest contribution to the long-term health of Magic is as a conduit to introduce new players. Learn the game system with a property you love, and then once you see what a great game Magic is, become a lifelong Magic player.

To accomplish this we need to have a “softer” landing spot, and we believe that is Standard. Note this is in addition to a lot of other work we are doing to return Standard to prominence.

I know it’s easy to want to attribute malice to a company’s decisions, but we really are trying to do what we feel is best for the longterm health of the game

[natalchartnurtures]

PAC: Energy Check~ for wherever you are right now

This was completely unplanned but frankly spirit doesn't give a fuck about my plans. So if this found you, here are some messages you probably need right now-

~~~~~~~~~~~~~~~~~~

pile 1: Ooh.. as I was preparing to start your reading, I saw 11:11 as the Chariot card showed up for you. This. Tells me that you are pretty strongly connected to your divine path right now, which simply means that you're doing something that's keeping you in alignment, sweet pile one! Good job! Keep going down this road because you WILL stumble upon amazing experiences and people! This message is coming through quite strongly. Now, isn't that lovely? Hehe.

Here's the thing, though.. Although you're actually IN alignment with your greatest timeline and life, you seem to be completely UNAWARE of the fact! You might be going through the necessary purging emotionally and/or mentally as a result of this alignment since the "old stuff" has no more room in your new vibration anymore. So, you've probably had to go through some intense endings and/or tower moments in life lately and THIS has left you feeling really, really sad. Maybe even depressed. For some of you, if that's the case, please seek help, sweet soul. It doesn't have to be therapy but even as simple as talking to a trusted loved one, you know? Or even journaling about it could help if you're into it. It seems like you could use a new perspective on the things you're going through right now. I'm sensing that you might be feeling emotionally numb right now too, but that's because you've been doing a lot of emotional processing lately AND IT'S ALL PAYING OFF. I just need you to know that. You just can't see it right now because you're slap dead in the middle of the storm, and I'm looking at it from a bird's eye view, you know?

While you're purging old stuff, I also see you making your way through an old core belief - "I gotta work hard to be deserving of anything because I inherently don't" Or something along those lines. You may have started purging this belief as a result of life showing you that it's simply not something worth keeping alive inside you. Maybe recently, you caught yourself overworking yourself to death only to receive very little in return (in any area of your life - relationships included) and this experience helped you wake up to this unhelpful belief of yours. You're unlearning this belief as we speak. It's not easy though, but I CAN assure you, you're acing it.

If you find yourself worrying too much about anything and everything or simply feeling a general fear, just know that it's a normal reaction to having things uprooted in your life. Life, right now, is asking you to do your best to focus on what's right in front of you because if you do this, the future is guaranteed to sort itself out. I promise.

I love you so much, pile 1. I see all your hard work and am rooting for you SO hard, bro. Love and light.

~~~~~~~~~~~~~~~~~~~

Pile 2: Seems like to me that y'all have been STUCK in a particular pattern for a while now, maybe years? For some of you folks reading? Let me spell it out for you what this pattern looks like to me - an imbalance of the mind and heart. Too much mind and too little heart. Maybe none at all.

I can't seem to tap into the root of this imbalance, maybe because it's different for each of you reading, OR maybe it's not relevant to us right now because you can simply begin to address this imbalance as you see it in your day-to-day. But I sense that you're really good at addressing things, so once you're conscious of this pattern going on subtly in the background, running your life, you can really do something about this. This pattern may show up as you struggling with feeling fear, and this is blocking you off to one very important thing fear is here to show us, and that is how to support ourselves. If we are afraid of something we desire and have a healthy relationship with fear, we go for the desire while caretaking our fear. I read a quote the other day, it said "Do that thing you love but if you find that you're scared, then go do it scared." The point I'm trying to make is, fear isn't going to go away on its own, it's you who will simply expand your ability to hold space for it AND your desires equally. When you figure out how to do this, magic will happen in your life. You'll find that your unwillingness to caretake your fear only gave you more things to be afraid of (because, hello, Law Of Attraction *lol*), BUT you'll also find that when you radically start taking responsibility for your fear(s), you'll be able to act from a wiser space and be your full badass self. You'll find that there are so many things you CAN do and so much life you CAN live. Everything you've wanted to start doing in life will start to happen almost seamlessly. It WILL surprise you big time. You're currently making your way through an important part of your healing, and that is to hold yourself in all your glory. To hold all parts of yourself, even the ones that are scared shitless. Once you've integrated this segment of your healing, SO many doors will unlock for you. Sweet soul, you have no clue of JUST HOW MANY. And this… is probably because you manifest with your heart primarily (meaning you feel things deeply and so you unknowingly tap into the frequency of what you want easily) and your fear is keeping you stuck in your head, which means you're only 40% of the full You right now, PRIOR the healing of c. You might even feel it sometimes. You might feel like you're only a shell of a person (been there myself, you're not alone in this!). Listen to that feeling. Your truth lies in there. You're meant to be the 100% you, and I see that you're already halfway there!

I love you so much, pile 2, sending you so much light and love. Hope you find the resources you need to make it through to your new life where you live in more love than fear.

~~~~~~~~~~~~~~~~~~~~

Pile 3: Man… y'all been fighting for your lives, huh? I see that you may be in the midst of a lot of divinely evoked darkness? Lol, I literally heard that - divinely evoked darkness. Maybe you're going through a dark night of the soul, perhaps? Whatever your're going through though, it seems like you've been hanging on for dear life.

Some good news for you- no matter the circumstances you're in right now (be it good, bad, or terrible), you've been doing all the work necessary to keep your head above water and have been diligently nurturing your own light, positivity, and essence. THAT'S incredible resilience, sweet pile 3, and I'm really proud of you! It's not easy to keep an open heart through bad times, and that's such a grand achievement in my eyes. UGH, BEAUTIFUL.

Your energy SCREAMS transition period vibes. You seem to be neither in your "old" timeline nor in the new one yet. You're sorta hanging in the middle right now. I see the Hanged Man in the third eye as I tell you this. Feels like you're in the void right now, and things just seem… bleh. Boring. Colorless. This is probably because you're already done with the ugly part of the process, "the divine shakeups", the loss, and the purge. Think… the bland but peaceful feeling you feel after having an intense ugly crying session, you know? Yeah, you're energetically there right now. You'll probably be here for a while longer because you've let go of MAJOR stuff, pile 3. Did you let go of people recently, maybe? Or that old bad habit, perhaps? That was the purge, so to speak. And now you're in the aftermath of it all, the uncomfortable but necessary calm.

-Side note: You might've struggled to embody your divine feminine earlier, but the timeline you're entering right now is the exact opposite of that. You might be attracted towards things that will help you nurture your own divine feminine right now. Give into it. Nurture patience, stillness, and compassion for self. It will HOPEFULLY speed up the void period if you consciously take part in it, you know?-

You're quite emotionally intelligent, and it has guided you throughout the whole process, and it also seems like it ain't your first rodeo in the process of proverbial death and rebirth. Good on you because you're doing a real good job keeping your calm through venturing into the unknown. You know what? You remind me of Elsa from Frozen, taking on the unknown like it belongs to her. You are such a queen, omg.

Yep, all that's left to do now is celebrate yourself, pile 3! Try your best to embrace this period, the void, and you'll be on your way to your next happy adventure! Love and light, sweet soul. Thanks for sharing your energy with me today.

~~~~~~~~~~~~~~~~~~~~~

[psychotrenny]

Given how unprincipled Liberals tend to have so much of their world view shaped by personal anecdotal experiences, the mass movement of USamericans to Chinese Social media may lead to a significant improvement in the general US public's attitude towards China. Like many USamericans will see first hand that the PRC is not some nightmarish 1984 hellstate inhabited by soulless drones. Whatever problems and differences China still seems to have, it's ultimately just a country like any other inhabited by people like any other and by seeing how those people live, interacting with them on a personal basis, this fact will become clear no matter how much Anti-Communism and Orientalism your average yank had absorbed beforehand.

While the most enthusiastic US chauvinists largely won't be the ones making the switch (too worried about their national pride and "Chinese Spyware") even the background influence from the less chauvinistic people in their life may slowly but surely wear away at the most vicious parts of their attitude. Not to mention the influence it will have on the yanks who hate their own government more than the PRC but haven't developed a position of principled anti-Imperialism, the sort who still believe a lot of lies about China even if they still see the US government as a worse or more personally relevant threat. The massive influence of the US on the other countries in their sphere of influence may also spread a general softening of public attitude towards China, even to the countries that don't contain a significant number of Chinese Social Media users. I don't think all that many people will become Marxist-Leninist purely through Xiaohongshu, but a sympathetic Liberal is still a massive improvement over chauvinist sabre-rattling.

While the general lack of genuine popular participation in Liberal Democracy makes this unlikely to influence any government positions towards China, a more China-sympathetic public at least makes it politically harder to engage in open acts of provocation and aggression. And while the Imperialist Media establishment will doubtless be working extra hard to correct this deviation, their job will become more and more difficult as their lies becoming increasingly obvious even for apathetic and "apolitical" Liberals. For as long as Social Media has existed it has primarily been a tool for Imperialism to manufacture consent and misdirect opposition. Yet now China's gradual but persistent strategy of advance seems to have paid off and Imperialist forces will find themselves increasingly threatened by the tools they once monopolised. This sort of development obviously isn't world-shattering by itself (we won't be seeing any "Xiaohongshu Revolutions") but it's a step in right direction; another contradiction added to the stack that's weighing Imperialism down and tearing it apart from within

[tiredsmashbros]

THURSDAY - .... um...?

well would you look at that. the blue bitchass is beginning to give up... how wonderful doing a party ain't easy don't try this at home-

WELL... since... SMG4 isn't going to announce something cool, i um, will! similar to the 1K birthday party last year on thursday, i'll show an itty bitty wip update once more on:

LIPBITE PART 3!!

since i already teased lil bit from this page a few days ago, i thought might as well show the whole thing!! obviously not final, but very close to it. frankly i've been meaning to have this next part done before 2025, yet i kept getting really sick, and having to manage several projects and irl issues/events. hopefully within my last spring semester i can continue working little by little but i can't genuinely guarantee a date. other than later this year LMAO. but what i CAN guarantee is i'm making sure its as great- maybe even better than pt2 as i'm putting a little more effort and thought from improving the past few months. alas, it is slowly in the works and reminder to folks i AM in my senior year and will be graduating THIS SPRING!! yippee!!! hopefully, after this event i can get back to prioritizing this one as i slowly get back to college. either way, once its done, i hope you guys will enjoy it as much as i do and hopefully the wait will be somewhat worth it. until then, wait patiently fuckers /silly

BUT THATS NOT ALL!!

since obviously that one sketch above ain't going be enough

here's a bunch of other things i've worked on during my fall semester that seems pretty cool and relevant but never uploaded on here !!

this is a illustration piece i made for my screen printing class! with the printed one being off from the reference since i put the color order wrong LMAO and i also wanted to experiment how chaotic i could make it hehehe. kinda shy to share this piece in particular, but its honestly one of my favorites i've done, so theres no harm in sharing

the same class, but as 1/3 of my final, i had to make books! but because i'm horrible with using pins and too picky with paper + string alignment, i thought it would be best i do... well... a very silly collage-like project xDDD buTT!! this one taking the opportunity to make a cool TSB book!!!

lastly, something even more crazy, another final from one of my other classes... a kickstarter.

BUTT PLEASE LET ME STATE THAT THIS IS FAKE AND PURELY MADE FOR EDUCATIONAL PURPOSES. I AM SOLELY SHARING FOR FUN AND ENTERTAINMENT. THIS ISN'T REAL WHATSOEVER AND VERY LIKELY WONT EVER BE.

okay legal reasons out of the way-

i've shared this with very few people on my server, HOWEVER, instead of me being in control what you can and can not see, i've decided to just let it out for people to see the silly jokes and additions around the page i've made on your own free will, and additionally to help folks get a more semi-direct answer to what TSB story is to those who haven't caught up or confused! a win-win lmao

welp. time's nearly up for me so i will flee for now. hopefully this satisfied some interested despite not being TOO grand, but just small silly goodies for the day.

but if you're still reading this, all i gotta say is tomorrow is a more special day. something i'm very proud of and hope ya'll will enjoy 🍔

[ohnoitstbskyen]

Hi Skyen, hope you're well! I'm seeking some advice and since you used to work doing mainly art commissions I figured asking you was worth a shot.

I'm a furry artist and I'm looking into doing commission work as a side gig while I finish animation college, and hopefully acquire enough experience/clients/notoriety to turn it into a full time job once I graduate.

Do you have any advice for someone literally just starting out with fresh accounts and zero following? Especially when it comes to reaching people and getting your first clients, and anything that one should take into account when working with NSFW specifically. Also advice for pricing your work is always useful 😅

No need to answer obvs but I'd appreciate your viewpoint if you want to share!

Got 2 asks on this exact subject so I'll write up what advice I can. One big caveat: I haven't worked as a commission artist for like half a decade at this point, and this job has a tendency to change fast, do not take anything I say as gospel. This is advice from a limited perspective, be critical of what I say and trust your peers and the people you are in community with before you trust me.

building audience

Step one is getting people to notice the artwork you create. Literally nothing else can happen until you have eyeballs on your work, and the most consistent and reliable way to make that happen is fanart. Ideally you'd want to produce fanart in a fandom you are personally engaged with and passionate about and familiar with, and which also has a sizeable community whose attention can help you build recognition and a base of followers.

This isn't always possible, and there's many a working artist who creates work for fandoms not out of deep personal connection, but because the fandom is large and relevant and a good way to capture the goodwill of algorithms and content feeds.

This approach has some downsides. For one, genuine fans can usually tell when someone's engagement with Their Thing is shallow, and for another it can be deeply creatively exhausting to chase the algorithm. I don't recommend this approach, but it is a valid means of building a business.

Another important consideration, especially when you are early in your career, is that volume tends to trump quality. Every artist will eventually learn that their shitty joke-doodle they sh*t out in ten minutes on a whim will get a billion reposts, and their complex personal work that took eight weeks to finish gets 2 likes from their closest mutuals and a comment from a bot saying "wow!"

In the age of the algorithm, what machines and for you pages value is a consistent, high-volume of output that generates user engagement. You will generally get further, faster, by producing a lot of work than you will producing great work. Again, this can be rough on your mental state, and a fast way to burn the fuck out, so please be careful and mind your health before all else.

The best way to build something that will last is to build your audience in communities and around fandoms and themes and ideas you genuinely care about and enjoy exploring and interacting with. Being your authentic self and creating work from your authentic interest is generally both healthier and long-term better for your career than trend-chasing. Treat trend-chasing and volume > quality output as tools in your toolbox, as creative and business decisions you can make to achieve a specific purpose, never ever EVER let them become the center of your praxis or your philosophy. Never ever EVER allow the Numbers™ to be your source of validation and accomplishment.

building business

Ok, so you've got eyes on your work. You've got some followers. How the hell do you get them to commission you?

Well, again, by demonstrating a capacity to create kinds of art for which there is demand. In the furry community, there's brisk trade in things like ref sheets and character design, for example. For most fandoms, ship art is a product which tends to be in demand. Being able to do really good expression sheets is a marketable skill. Being able to create compelling and clear emotes for streamers and creators is a marketable skill.

Showing the capacity to work in a wide range of styles is valuable. Showing the capacity to work in a wide range of genres is valuable. If you can do both comedy and romance your appeal expands. If you can do shonen-like action and angst as well, it expands again.

Equally, being incredibly good at a specific niche is valuable as well. Focusing hard on an under-served niche of work can give you a lot of opportunities to be the Go To person for that specific kind of thing.

Perhaps the hardest part of all of this is marketing yourself. Not only showing that you have the skills, but actively informing your audience that you are available, eager and willing to practise your skill for a fee. You have to sell yourself. It sucks, but you have to do it. You have to advertise what you can do, and you have to suffer the rejection and annoyance that comes along with doing that.

You have to ask people to commission you. You have to raise your hand and demand attention. It's not fun, but it's business.

Walking the line between self-promotion and being a person is hard. I can't help you that much with it, it's a very personal balance to find. Stay in touch with your soul, but kill the part that cringes at yourself.

Ultimately, you best marketing asset is your portfolio. Every time you do work, show it off. Repost it, retweet it, spread it around. If someone is happy with what you've made for them, do your best to make sure that other people see that happiness. Ask your clients (politely) to tag you when they share your work.

Oh, and for the love of god, sign everything you create, slap watermarks on anything that's likely to get reposted, and make it impossible for someone not to find your business email on your profile.

building network

If you're a commission artist, you are in community with other commission artists. You share interests, you share experiences, you share needs.

Practise solidarity. Absolutely seek out professional peers to help your business, but equally seek out opportunities to help them with theirs. If someone comes to you for art and you don't have commission slots open, point them at a colleague who you know can do the work too. Gas up your peers and spread their work.

Be a symbiote, not a parasite. Respect the craft of your peers, and don't chase celebrities and big names in the hope of coasting on their coattails. It will fail.

smut

If you're a working artist, at some point you have to reckon with smut and r34.

These genres are excellent sources of income, and fertile ground to build a business and network of customers. BUT. Do not ever make the mistake of thinking that they are "the easy way" or a shortcut. Do not ever make the mistake of thinking you can simply offer to draw tiddies and rake in the cash.

It's work and graft same as literally any other form of labor, it's challenging on both a technical and creative level, and the audience can sense if you're looking down on them. If you approach this from a position of shame, of "eugh, I'm debasing myself by doing this for rent money," it will not work, and you will lose standing and respect in the eyes of every peer whose support you need to succeed.

Just as in all other forms of creativity, if you treat the audience as morons who will slurp up whatever slop you serve them, then you will attract clientele that agrees with you, and you will deserve the misery they will inflict upon you.

If you are going to work in smut, establish your boundaries and enforce them. Know that good clients will feel safer and more comfortable with an artist who clearly states their red lines and earnest interests than they will with someone who tries to attract more clients by pretending to be open to work that they are actually uncomfortable with.

Never, ever, EVER let a client push you to create work you are not comfortable creating. It scars your soul in both the short and long term.

Also, when working with this kind of content, know the rules of payment processors and know how to hide the nature of your business from them. PayPal should never, EVER know the details of the content you sell with their service. Frankly, neither should your bank, most likely.

Look to your peers for advice and best practises about this. And be meticulous about your bookkeeping.

money

I want to tell you to charge at least minimum wage for your time. I want to tell you to charge substantially more than that, because your labor is specialized and highly skilled.

But the economic reality of commission work is that there is a crushing downwards pressure on the labor price of art, which has only been made more devastating by the rise of generative AI, and especially when you are a young artist just starting out, you're going to find yourself in a position where charging even minimum wage for your time will turn away a huge proportion of your potential customers.

Again, your portfolio will be the greatest argument for the value of your work, but you have to build that portfolio first, and very often that means doing a f*kton of work for not remotely enough pay until the pressure of demand finally works in your favor.

I don't condone or justify this state of affairs. It is horrid and I hate it, but I don't know how to fix it either.

Making a living from content creation of any kind requires you to get lucky, on top of working obscene hours and foregoing rest and vacations. It's not a safe or sensible plan for a career or paying your bills.

My sensible advice is to get a "normal" job you can survive doing, and do your creative work on the side, and resign yourself to the possibility that the creative work may never actually pay your bills.

And that is soul-crushing, but I cannot stomach pretending that hard work and gumption will guarantee anyone a decent living if they just try hard enough.

There are people who are better at every aspect of my work than I am, and they struggle harder and work for longer, and they will never see half the success I have, because I happened to get lucky, and they happened not to. It's wretched.

I'm not telling you not to chase your dreams. I'm telling you to do it with your eyes open, and with compassion for yourself first before all else.

All of this to say: I can't tell you what to charge for your work. It depends on everything from your competition to your niche to your genre to your community to your economic situation. You have to figure it out on your own.

All I can tell you is never forget that your work is worth more than the market will let you charge, and to raise your prices as soon and as much as you can. Try to reach at least minimum wage for your time as fast as possible.

in conclusion

Again, I haven't been a commission artist full time for a long time, please do not take any of this as gospel. Listen to your peers before you listen to me.

But trust me about the solidarity. It will save you when all else fails.