#I wasn't completely happy with this

[orangesavannah]

The past to wash, but not absolve

[twice-in-a-blue-moon]

when solomon has sex with you for the first time, he makes sure to absolutely worship your body. during the first kiss scene with him, he said he's been waiting for a chance to do it. so with this, he's going to make sure his patience will pay off. not an inch of your skin will be unloved by him. it may have taken so long, but the end result will be perfect as the two of you are satisfied, love growing by the second

(Ooh, thank you for the food, anon!! Solomon's first kiss scene will forever have my heart) Reader is GN! :)

Minors DNI!

"Why don't you come just a little closer?"

You shift a little closer until there's no space between you two on the bed, and his lips are back on yours. His hand comes up to cradle your jaw, softly rubbing his thumb along to solidify in his mind that you are here and that this is happening.

Somehow, miraculously, he finally got you alone...and you want him too.

Though he fears he'll get too eager and move too fast for your liking, leading to crossing a boundary or scaring you away. So, he's careful, treating you as if you were glass, slow to do anything more than kiss you like this. Truthfully, he could just do this all night and he'd still be over the moon. But he can't deny in his heart the need for more.

His hand on your jaw slowly slides down your neck, simply letting his fingertips brush against the sensitive skin. It's warm, and he can feel your pulse thrumming just beneath. He wonders how it would feel against his lips.

Solomon reluctantly pulls away from your lips, leaning down to instead kiss along the column of your neck. It elicits a soft gasp, and he feels giddy that he can get such a cute response from you. It only serves him to want to hear more. A secondary motive.

With each article of clothing he removes from your body, he falls deeper in love as he sees his person bared completely to him. It signifies the trust you've built together. And he'll do everything to never lose it - a promise he quietly makes to himself.

From your neck, he lavishes kisses along your collarbones, down both of your arms, your shallowly rising and falling chest, your soft stomach, all the way down to your naval. Any further is iffy territory and he wants explicit permission before he does anything more.

Through a husky tone, he asks, "is this okay? Can I continue?"

Your approval and reassurance are resounding. The weight of worry eases a little, but he's still tentative to continue. He wants you to feel good. He wants this first time with you to be perfect. He can't help it, he's an ancient sorcerer in love for the first time in a very long time...if ever.

So, slowly, he ventures onward to where he sees the obvious impact he's had on you tonight. His talented silver tongue makes you squirm on the bed, your hands tangling in his soft locks as his name tumbles out of your mouth like a prayer. The taste of your sweet arousal is something he fears he could get addicted to.

Solomon can feel his own arousal growing past anything he's ever experienced before. He didn't know he had the capacity to feel so needy for someone else. Good lord, just what are you doing to him?

Once he feels he's prepped and pleasured you enough with his tongue and dexterous fingers, he pulls away to finally undress and bare himself to you. His eyes shift away nervously as he feels you studying his body now. He knows his skin is marred from centuries of living; the countless pact marks, scars he doesn't remember the stories of, and burns from experiments gone wrong. He's never felt self-conscious like this before, but it's another product of what you do to him.

When you sit up on the bed, crawling to him to brush your fingers along his skin, it takes his breath away. You aren't afraid to explore him. Tracing his pact marks, kissing his imperfections, never once showing disgust like he might've thought.

No, only care.

Solomon gently chases you back down onto the bed, crawling over your excited form with smiles and giggles exchanged in the otherwise quiet room. Once again, he gets your staunch permission before continuing. And once again, you reassure him that this is what you want. Any lingering doubt subsides, and with that, he lines himself up with your entrance and slowly slides in, letting you adjust once he's fully settled within you.

"D-Deus meus..."

His forehead rests against yours as his breathing turns ragged, reveling in how goddamn good you feel around him. It takes all of him to be patient, but he waits for your signal, and once he has it, he doesn't hesitate to start moving.

His hips snap against yours in deep, measured thrusts. Passionate kisses are shared, soft moans and grunts fill your ears, and his hands never once stop exploring your body. The love he gave it earlier wasn't nearly enough.

There's no rush. It's not frantic - it's not even desperate. It's slow and intimate as he guarantees you both feel good in this one moment of solitude.

Solomon isn't even thinking about afterwards or what those brothers might say. He's fully entranced by you. He makes love to you as if it's the last time he ever will.

Soon he brings you both to a mind-shattering orgasm. His body shudders above yours as he buries his face in your neck. The way you clench around him makes him consider asking for a second round. Though, he wants to take a break more - to love and care for you as needed. As carefully as he can, he pulls out, already missing being enveloped by you and your sweet body. The second his fatigued self hits the bed, you instantly cuddle up to him, locking him in place for the foreseeable future.

To say he's a little shocked is an understatement. Sure, you both just shared a moment of passion and pleasure, but there was still some part of him that wondered if you really wanted him. For you to take the initiative to cuddle up to him in the afterglow touches his heart. Solomon wraps his arms around you, humming at the shared warmth between your sweaty bodies and shielding you from the world outside of this room.

Tonight you're his. And he knows he'll always be yours.

[leonardburton]

the thing is. juno & nureyev's relationship has been such a major guiding thread throughout the podcast and the major drive of season 5, and the fandom has built itself so much (as fandoms often do) around shipping the two of them.

and yet nureyev doesn't show up at all in the last episode! or, he does, but it's only implied (for all we know it could be like. alessandra strong)(i know it's not but it would be really funny) and we don't hear his voice.

and it's so important to me that despite the room that their romance has taken in the plot and in our hearts, his absence reinforces that the point of juno steel's story wasn't a lady getting his man, it was about learning to grow as person for himself and for his friends (and not just his love interest), and it was about finding his footing in life and being at peace with himself and his place in the world. and he did! his growth and relative serenity is so apparent and just. a balm to the soul

and the fact that his man is back is just a nice add-on, not a necessity for his happiness

[galactaknightyaoi]

🏳️‍⚧️ DOUBLE HEADCANON ATTACK!!! 🏳️‍⚧️

Family HCs are already fun on their own but with transness added on they're even better. It's actual comedy gold. Also I've always wanted to draw some kind of Meta Knight VS Galacta Knight type thing, but I can't take anything seriously like that. So you get This.

What This is, is a way too high effort shitpost. It took a combined 2 and a half? Days, though most of it was just sketching. I'm proud of it! Anything for the bit.

Textless version + unfinished doodle under the cut

[aquanutart]

[turdofanerd]

I hear you're taking requests, may I request Four using the roc's cape? I just really like that item lol

Also your art is really cute! <3

aww, thank you!!! you're so sweet!!<3<3<3 I hope the doodles are to your liking! :DD

also thank you so much for the request :))

edit: also I meant to say that the roc's cape is so much fun in minish cap lol, I understand why you like it haha

[midnitecafe]

[new-world-mutation]

"This was me last night when I got the call. Swimming thru the streets of Bangkok after a dinner with some ex-pats I've met over the last few days. My happy place. Humbled and Grateful. FALLOUT received 17 nominations. All these incredible artisans doing some of their best work. But the same can be said for every artist on all of these shows. As for me...to be included in this category with these men.... There are no words. Just wanted to say thank you to everybody on this thread for all your support over these many months. Let's have some FUN on sept 15th, want too?! "

[greentea-and-cookies]

Stolas after the Full Moon episode:

"I'll fucking die alone if this goes bad!!" It went horribly bad

[m4rs-ex3]

the clown car arrived expecting to find the circus waiting for us, but there was nothing to be seen. however, we were given the tent and everything else you need for a good show, so we built it ourselves. maybe the structure is a little less sound and the ring is a little more off-center than it would've been, but put on a damn good show we did.

[babyjapril]

Grey's Anatomy 10.14

You’ve Got to Hide Your Love Away

[sugar-cookys]

the only issue i have with the my happy marriage anime is the redesign of these three

[astralhope]

Rank 52: The final duel!!

[stardestroyer81]

🏳️‍🌈HAPPY PRIDE MONTH, Y'ALL!!! 🏳️‍⚧️

Just in time for this month's festivities, I've whipped up a set of seven pronoun pins drawn in the style of the North American Mega Man logo, as well as an additional eighth pin repping transgender rights! You can find them all over on my RedBubble store by clicking here!

(Pssst! If you would like to request a custom pronoun set pin in this style, feel free to DM me and I will add it to my store for you!)

[rudnitskaia]

yay a week until my 29th bday ✨🔥😎🔥✨

[blueskittlesart]

any thoughts on how once again zelda was robbed of her agency because her "father figure" didn't listen to her? even if rauru was kinder to her than her father. and that she had sonia who was patient and loving for a little while before she died (just like her mother). i know rauru apologizes for his hubris but still, i wish we saw zelda be upset about it. and even if zelda was such a big part of the quest she still literally sacrificed her humanity once again because of someone else's mistake- because rauru literally didn't listen to the girl from the future that warned you that shit was going to go down. o know nintendo just loves putting zelda inside crystals and stones but i wish we got something better. even if it was her decision to become a dragon... did she have any other choice? it really just feels like they robbed her of agency again just like botw and the games before

i've been trying to figure out how to answer this one. because there are two ways i could analyze this plot point, either from a writer's perspective or an in-story perspective, but neither of those lead to me fully agreeing with your interpretation? I think there's definitely something to be said about zelda consistently being pushed aside in these games, but. well. ok let's get into it ig

from a writer's perspective, I do honestly have quite a bit of sympathy for the zelda devs as they attempt to navigate the modern political landscape with these games. The cyclical lore, though canonized relatively recently, holds them to a standard of consistency in their games in terms of certain key elements. one of those key elements is that there has to be a princess, and that princess must somehow be the main macguffin of the game. The player must chase her, and the end goal of the game must be to reunite the player and the princess. In 1986 this was an incredibly easy sell. women didn't need to be characters. players were content with saving a 2-dimensional princess whose only purpose was to tell them "good job!" at the end. but as society advances, that princess becomes a much more difficult character to write while adhering to the established overarching canon. (as a side note: i don't necessarily believe that the writers SHOULD be held to the standards of that canon. I think deviating from it in certain areas would be a good change of pace. but i also recognize that deviations from the formula are widely hated by the loz playerbase and that they're trying to make money off these games, so we're working under the established rule that the formula must be at least loosely adhered to.) Modern fans want a princess who is a person, who has agency and makes decisions and struggles in the same way the hero does. but modern fans ALSO want a game that follows the established rules of the canon. so we need a princess who is a real character but who can ALSO serve as a macguffin within the narrative, something that is inherently somewhat objectifying.

the two games that i think do the best job writing a princess with agency are skyward sword and botw (based on your ask, our opinions differ there lol. hear me out) in both games, we have a framing event which seperates zelda and link, but in both games, that separation was ZELDA'S CHOICE. skyward sword zelda runs away from link out of fear of hurting him. botw zelda chooses to return to the castle alone to allow link the time he needs to heal. sksw kinda fumbled later on by having ghirahim kidnap her anyway, but. i said BEST not PERFECT. botw zelda I think is the better example because, with the context of the memories, she's arguably MORE of a character than link is. we see her struggles, her breakdowns, her imperfection, specifically we see her struggle with her lack of agency within the context of the game itself. when she steps in front of link in the final memory, and when she chooses to return to the castle, those are some of the first choices we see her make almost completely free of outside influence; a RECLAMATION of her agency (within the narrative) after years of having it stripped from her. from an objective viewer's standpoint, this writing decision still means she is absent from 90% of the game and that she has little control over her actions for the duration of the player's journey. however I think this is just about the best they could have done to create a princess with agency and a real character arc while still keeping the macguffin formula intact--you're not really SAVING zelda in botw. SHE is the one that is saving YOU; when you wake up on the plateau with no memories, too weak to fight bokoblins, let alone calamity ganon. the reason you are allowed to train and heal in early-game botw is because SHE is in the castle holding ganon back, protecting YOU. When you enter the final fight, you're not rescuing zelda, you're relieving her of her duty. taking over the work she's been doing for the past hundred years. in the final hour, you both work in tandem to defeat ganon. while this isn't a PERFECT example of a female character with agency and narrative weight, i think it's a pretty good one, especially in the context of save-the-princess games like loz.

as for totk, you put a lot of emphasis on rauru not believing zelda and taking action immediately, which, again, from an objective standpoint, i understand. but even when we're writing characters with social implications in mind, those character's actions still need to... make sense. Rauru was a king ruling over what he believed to be a perfectly peaceful kingdom. zelda literally fell out of the sky, landed in front of him, claimed to be his long-lost granddaughter, and then told him that some random ruler of a fringe faction in the desert was going to murder him and he had to get the jump on it by killing him first. the ruler which this girl is trying to convince rauru to wage an unprompted war on has the power to disguise himself as other people. no one in their right mind would immediately take the girl at her word. war is not something any leader should jump into without proper research and consideration, and to rauru's credit, he DIDN'T ever outright dismiss zelda. he believed her when she said she was from the future, he allowed her to work with him and he took her warnings as seriously as he could without any further proof. but he could not wage an unprompted war on ganondorf. that's just genuinely not practical, especially for a king who values peace among his people as much as rauru seems to. as soon as ganondorf DID attack, giving rauru confirmation that zelda's accounts of the future were real, he began making preparations to confront him. remember that zelda didn't KNOW that rauru and sonia were going to be casualties of the war--she didn't make the connection between rauru's arm in the future and rauru the king until AFTER sonia's death, when rauru made the decision to attack ganondorf directly. I think the imprisoning war and the casualties of it were less an issue of zelda being denied agency and more an issue of no one, including zelda, having full context for the events as they were unfolding. if zelda had KNOWN that sonia and rauru were going to die from the beginning and was still unable to prevent it that would be a different issue, but she didn't. none of them did.

I think another thing worth pointing out with rauru and his death irt zelda is that rauru is clearly written specifically as a foil to rhoam. this is evident in how he treats both zelda and link, with a constant kindness and understanding which is clearly opposite to rhoam's dismissiveness and disappointment. consider rhoam's death and the circumstances surrounding it. He died because, in zelda's eyes, she was unable to do her duty; the one thing he constantly berated her for. Rhoam's death solidified zelda's belief that she was a failure, a belief which she KNEW rhoam held as well. his death was doubly traumatic to her because she knew he died believing it was her fault. Now contrast that to the circumstances surrounding rauru's death. Rauru CHOSE to die despite zelda's warnings, because he wanted zelda and his kingdom to live. rauru's death was not agency-stripping for zelda; in fact, it functioned almost as an admission that he believed her capable of continuing to live in his place. With him gone, the fate of the kingdom fell to her and the sages. he KNEW that he would die and still went into that battle confidently, trusting zelda to make the right decisions once he was gone. where rhoam believed zelda incapable of doing ANYTHING without link, rauru trusted zelda COMPLETELY with the fate of his kingdom. several details in totk confirm that when rauru died there was no plan for zelda to draconify, that all happened after rauru was gone. it was HER plan, the plan which rauru trusted her to come up with once he was gone. and I think it's also worth noting that zelda's sacrifice with the draconification parallels rauru's!! Rauru gives up his life trusting the sages and his people to be able to continue his work in his place. Zelda gives up her physical form trusting link and the sages in the future to be able to figure out what to do and find her. these games in general have this recurring theme but totk specifically is all about love and trust and reliance on others. zelda relies on link, link relies on zelda, they both rely on the champions and the sages and rauru and sonia and they all rely each other. reliance on others isn't lack of agency, it's a constant choice they make, and that choice is the thing which allows them to triumph.

The draconification itself is something i view similarly to zelda's sacrifice in botw--a choice she makes which, symbolically & within the confines of the narrative, is a demonstration of her reclaimed agency and places her at the center of the narrative, but which ALSO removes her from much of the player's experience and robs her of any overt presence or decisionmaking within the gameplay. again, I think this is a solution to the macguffin-with-agency dilemma, and it's probably one of the better solutions they could have come up with. Would I have liked to see a game where zelda is more present within the actual gameplay? yes, but I also understand that at this point the writers aren't quite willing to deviate that much from their formula. the alternative within the confines of this story would be to let zelda DIE in the past, removing her from gameplay ENTIRELY, which is an infinitely worse option in my opinion. draconification allowed her to be present, centered the narrative around her, and allowed the writers to reiterate the game's theme of trust and teamwork when she assists the player in the final battle, which i think was a REALLY great choice, narratively speaking.

In any case, I don't think it's right to say that zelda was completely robbed of her agency in botw and totk. Agency doesn't always mean that she's unburdened and constantly present, it means she's given the freedom to make her own choices and that her choices are realistically written with HER in mind, not just the male characters around her, and I think botw/totk do a pretty good job of writing her and her choices realistically and with nuance.