#and i feel you can interpret their actions in different ways

[raven-at-the-writing-desk]

curious about your take on riddle's dream. i have seen people en masse claim that riddle yearns to a deliquent/"if he wasn't traumatized, he would be in a pop music club" and... it feels like such a literal interpretation (although there are some who are obv just joking) to the point of misinterpretation? i'm not very invested in riddle's story arc, but to me it read like a pretty clear "what if i was the worst version of myself (which riddle has been raised to see as being disobedient) and i was still loveable".

[You can read my thoughts on the book 7 chapter 12 part 3 update here!]

I think there’s a lot of different ways to interpret the dreams because of how… vaguely they’re written + their length + every player coming into the dreams with their own experiences which inform their POVs. For this reason, I don’t feel comfortable outright stating X or Y interpretation is “wrong”, and nor do I wish to be used as a means to validating one interpretation over the others. All I’m going to do this ask is explain how I personally interpreted Riddle’s dream. That’s all.

I don’t think Riddle wants to be a delinquent; this would be conflating a child’s desires to that of a delinquent. Yes, Riddle was detained be a police officer—but not for any violence or serious criminal actions. He was detained for singing in front of the police station (without a license) and causing a public disturbance (because of his amplifiers). Furthermore, Riddle doesn’t engage in any other criminal behaviors (unless you count not going to school, but a minor isn’t usually held liable for that; the onus is on his parents for not sending him). I think it would be more accurate to say that Riddle’s wishes are very child-like ones. He wants to be able to play with his friends all day, he ignores studying and obeying rules, he can eat tarts and drink sugary tea whenever he wants, he has doting parents that are always emotionally there for him, etc. These are not marks of delinquency, they are the innocent longings of an inner child that never got to be recognized.

While I don’t think it’s a guarantee that Riddle would be in Pop/Light Music Club had he had a more lenient mother, I do think that Riddle would want to explore creative outlets. He is noted as having a very strong imagination, but is limited in his life experiences and struggles to think for himself or to act outside of the concrete, as is defined by rules and laws. If these restraints were loosened up and he had actually been allowed and encouraged to explore other avenues, he might have found an interest in the arts and expressing himself through that. It could be a visual medium, a written medium, a musical medium, whatever.

I think music is what we jump to right away because he has a band in the dream, but I could easily see him dabbling in other areas too. Maybe music was chosen because it’s a group activity, and Riddle longs to be that setting. A happy family, a boy with lots of friends, you name it. You could also argue that Riddle went with music because that’s what he knew from his dorm members. Adeuce are in athletic clubs, which Riddle is sort of rubbish at, and Trey is in Science Club, which of course covers topics Riddle would already be studying irl. Cater’s club is the only one with a significant degree of creativity allowed. Riddle might have based his hobby in the dream off of Cater’s experiences. One telltale detail that supports this theory is that Riddle mentions people keep leaving because the band can’t stick to one genre, which is also true of Cater’s irl Pop/Light Music Club. Another thing to consider is that Riddle is able to conjure the look of delicious cakes and cookies but not replicate the taste because he’s not familiar with it. You could say this is also true of his being in a band. He looks the part, but we never hear him participating in it—perhaps because Riddle could have seen Cater rushing to a club meeting in his outfit, but not have actually heard him play. Therefore, it’s possible that Riddle’s dream is just pulling from his shallow understanding of what “being in a band” is about… the camaraderie of it. This, again, loops us back to Cater’s relationship with his fellow club members. It’s less about the actual playing and more about the vibes and hanging out with one another. Maybe Riddle heard stories from Cater about this and got curious? This same logic applies to other aspects of his dream. He seems to emulate what he has heard from his dorm members in general. Loving parents who are there for him (like Trey), the bout of delinquency (like Deuce), the ability to speak his mind (like Ace). Riddle is wanting to be more like his peers, who were able to have “normal” experiences. To me, it feels like he used his dorm members as templates (which he combined with his own desire to have a fulfilling childhood) because Riddle himself doesn’t have a clear concept of what it means to live freely. After all, he only has like 1-2 months of playing with Trey and Chenya to go off of compared to a few years with his Heartslabyul classmates.

As I said earlier in this post, I don’t think the Riddle we see in the first layer of his dream is meant to be “the worst version of himself” or “Riddle but disobedient”; it reads as more of Riddle indulging in everything he missed out on in his childhood. Sweets, parental love, playing all day with friends, loudly and openly expressing himself through music, exploring creative ventures, making happy memories… I don’t believe these are bad things or borne out of Riddle wanting to be rebellious or disobedient, they’re just consequences of acting like a kid.

I do find it interesting that so many aspects of himself were entirely written over. However, I don’t see it as Riddle thinking he has to be a different person (as in, having a different personality?) in order to be worthy of love. Riddle was definitely still able to make friends as a child even with the quiet personality he had then. It was possible. Nothing in his backstory makes me think Riddle believes he wasn’t deserving of love—but he may think that love has to be earned, that love is conditional. And what is that condition? Following the rules, obeying, performing well in exams. That’s what he was taught would earn him success and his mother’s love and that’s what he enforced in early book 1. I think… Riddle definitely wants to be someone else, but in the sense that he wants to be born into different circumstances. Parents that get along, a dad that has time for him, a mom that dotes on him, no magic, no expectations to shoulder, lax rules, etc. This ties in with Riddle wanting to live the childhood he feels he never had. A childhood where he had no friends, where he studied all the time, where his mother calorie counted for him, where he was not allowed to play video games or watch movies, where he was not allowed to choose his own clothes or career or anything. Several of these sentiments were expressed post-OB.

Now that being said, everything I just discussed covers only the first layer of Riddle’s dream. I see the idea of Riddle thinking he has to be someone else coming through a little stronger in the second layer of his dream. That’s the part where everyone is being chased through the destroyed rose maze. Here, we see a much more extreme and even more domineering Riddle than what we saw in book 1. He lords over his students such that even his versions of Ace and Deuce have fallen into line and mindlessly follow his commands. The mob students are scared of him—and though Riddle is aware of it, he is content. They salute him and praise him for his iron fist. He is the most correct, after all. He is ruling just as his mother would, he is being the person his mother wants him to be.

This is expanded upon further in the third layer of his dream, in which he faces his inner darkness. Riddle confronts the truth: that he is desperate to cling onto the dorm leader seat, because that’s all he has going for him. He has driven away his classmates, who fear him and resent him. There’s his mother, but she has not granted him the affection he craves, and her approval is conditional. He is alone and unloved. This potentially recontexualizes details seen in earlier layers. Why is Riddle in a band? Maybe because he wants to be like Cater, who seems easygoing and approachable. Why does Riddle live many other aspects of his dorm members’ lives? Why do the characters conjured by Riddle’s darkness to fully believe that Cater wants to transfer to Scarabia—a dorm known for having a friendly and relaxed leader? It could suggest an insecurity in Riddle, a worry that he, as he is, is not enough. Not smart enough for his mother’s approval, not kind or cheery or normal enough to make friends. So all he has is his crown, which he reverently claims to. It’s one of the few things he has to call his own, a decision he made for himself and something he earned through his own merit.

But ultimately, I see Riddle’s truest desire as… being his own person, having his own independence and things he chose for himself. Not letting himself be ruled by the shadow of his mother. (His Phantom fittingly seems to dangle him on strings, as if Riddle is its puppet or marionette.) It doesn’t mean complete chaos or anarchy, and it doesn’t mean being like other people. It means defining his own rules for how he should live. Walking forward on his own path. Making his own identity, not tied down to that of his mother. Riddle is so used to being to do what to do or how to be—by his mom, by some arbitrary set of rules. The fact that he confesses to the things he actually wants after his OB… that he wants to stand up to his mother over winter break… that he confronts the dream version of his mom with the declaration that he will open this door with his own hand, that he will walk forward on his own path… I think that says a lot.

…. Weeeeell, like I said at the start, that’s one interpretation 🤷‍♀️ It’s not necessarily “correct”, and it’s liable to change (especially since all of this information is still very fresh; I’m still taking the time to digest it myself). The wibbly wobbly dream magic is open enough to invite all kinds of interpretations, so I encourage you to take this all with a grain of salt and to come to your own conclusions?

I think it’s interesting that it’s Riddle’s dream that has resulted in many different interpretations, especially on the English speaking side? I wonder if that’s because the average EN player skews younger, so those fans can relate a lot with the struggle for identity and finding freedom from one’s parents, even if their circumstances aren’t exactly the same as Riddle’s. We project our own experiences and feelings onto Riddle, which informs our interpretation of his dream.

[nylloth]

First of all, you're talking about a very specific political critique, while most of the actual criticism has nothing to do with that.

Personally, I know very little about American politics, so I’ve never criticized the show on that basis. The show has its own internal city politics, which were established in the official game lore. I know the official lore, which is why my expectations for this aspect were completely different. This has nothing to do with the real world.

Secondly, my main criticism is about the writing. Arcane didn’t win its writing award.

Here’s what I’m criticizing: the characters have forgotten their own motivations from Season 1. Viktor’s arc is a blatant retcon—his motivation was death, not disease. The show always tackled social issues and inequality, but in Season 2, those themes were erased. The dialogue was drastically reduced. The creators chose the "show through animation, don’t tell" approach, but you can’t use it in every situation—otherwise, we’re just left staring at Caitlyn’s microexpressions. Vi’s dialogue was cut by 60% compared to Season 1. That’s not how good storytelling works.

Is it because of the episode count? No, because Season 1 managed it just fine. Instead, the writers crammed in too many music video sequences, which anyone can interpret however they want, and which often fail to convey the characters' thoughts and relationships.

The pacing is breakneck, making serious decisions feel unearned—especially Viktor’s, which change every five seconds. He becomes a god and loses faith in his vision all in one day.

Jinx’s "revolution" basically didn’t happen.

Pacifist Viktor suddenly decides to team up with Ambessa and considers it the right choice. And Ambessa, a brilliant warrior and strategist (as established in Act 1), agrees to a highly questionable alliance with someone she can't control.

The weapons conflict between Viktor and Jayce, which was a major theme in Season 1, is completely dropped. Why? Because Jayce fell into a pit and broke his leg. As if that somehow helps him understand Viktor, who lived with a disease, was dying from it, and was part of the lower class that no one cared about.

The core dynamics of the show—family relationships and social inequality—shifted to a Marvel-style formula with lots of action and a big bad villain.

See? It’s not about real-world politics. It’s about how it was written.

Moving away from writing: Viktor’s original lore was far more complex and morally engaging. He was never purely evil or just a victim of magical manipulation. Turning him into an "evil god" is an incredibly dull choice. Of course, you might not know this if you haven’t read the original lore.

Caitlyn poisoning the city? Completely brushed aside.

We have two "women in freezer"—Sky and Isha. This is one of the worst, most lazy, and disgusting writing choices. Cheap, especially for Sky, who was already treated this way in Season 1.

Viktor’s time loop raises countless unanswered questions.

Episode 207 is pure fanfiction, eating up screen time for the sake of the Time Bomb ship. It serves no narrative purpose. We don’t even see how Ekko talked Jinx out of suicide. Why? Because it happens off-screen. And ask yourself—why is it off-screen? Because the writers had no actual dialogue for that moment.

Now the most interesting part. I watched the leaks. Dialogues were rewritten and cut at the last moment! This means the writing was incredibly raw. They were re-recording lines just months before release. Sevika’s lines were cut from the final episodes.

And while I can accept Act 1 with all its flaws, Act 3 is a disaster.

As a standalone Marvel-style show? Maybe 8/10. But as Arcane’s second season—compared to Season 1’s writing, storytelling, themes, and character arcs—it’s really bad.

I feel sorry that so many of you aren’t trying to analyze these issues. That you think slowing the show down and staring at the characters’ facial expressions is the right way to understand their shifting motivations. I feel sorry that you don’t see the obvious difference between Season 1 and Season 2. But it’s there. Otherwise, there wouldn’t be so much criticism. And that criticism has nothing to do with real-world politics.

The first season never received this much criticism and for good reason. It was simply better written.

People don't understand that we criticize s2 because we genuinely love s1 and we were disappointed. basically what speaks to us is the grief of losing potential or “what could it be…” it's not the same as being a hater

[lobotomiesatclaires]

Lighter Kink and Psychology Analysis - Zenless Zone Zero

Full disclaimer: I don’t play Zenless Zone Zero, but through my friend’s love of the game and Tumblr osmosis, I’ve learned a great deal about Lighter. I find the differences between his canon and fanon interpretations fascinating, so I thought it would be interesting to break down the psychology of kinks and what I think Lighter’s are. I’m going to focus on the ones I believe he has, and if people want me to go into further detail, let me know! Also if it was clear from the title 18+ content below

Exhibitionism – Subcategories: Semi-Public Sex, Secret Keeping, and Risk Play

Lighter is fascinating because he’s full of contradictions. He doesn’t like having his picture taken and prefers to keep a low profile, yet he wears flashy clothes and takes on high profile work where he cannot NOT be noticed. He wants to be left alone but craves connection with people. Part of this can be attributed to losing so many important people due to his own actions, but I think another part of it is Lighter’s hopeless romantic streak. He wants to die for love, and I think part of that is tied to finding someone worthy of that sacrifice.

He’s not interested in people who praise him or send him gifts because, to him, they don’t truly know him—and if they did, they wouldn’t want anything to do with him, he thinks. This low self-esteem and disorganized attachment style create a loop where he desperately craves connection, has opportunities for it, but never fully lets his walls down to allow a deeper bond. Because of his past and the fear of never being truly understood, Lighter communicates in subtle ways. In-game, he can give the player purple lilacs. In the language of flowers, purple lilacs symbolize one’s first love or the first time one feels love for someone. However he leaves on a job right after, to stop any possibility of asking him more about why he gave them to you.

When it comes to sex, Lighter has experience, but in romantic love, he’s very much a virgin, in my opinion.

In line with this, I think Lighter would be needy as a partner, in constant need of validation but unable to ask for reassurance. He hates when his friends are mad at him—it distresses him significantly, which reinforces my earlier points about his emotional sensitivity. Thus, I think one of his core needs would be for a partner to be very possessive of him. Not only would this push back against his feelings of guilt, but it would bulldoze past his tendency to panic at intimacy and distance himself.

While I agree he’d be into risk/thrill-seeking, I don’t think it would be extreme or involve pain. I believe it would be a form of intimate thrill-seeking—the kind that engages an overactive mind.

Imagine:Lighter and his partner in an elevator, on the way to a party. Four seconds before the elevator reaches the destination, his partner pushes him against the wall, kisses him, and whispers in his ear that they’re not wearing anything under their dress coat. The doors open, and they walk out into the party crowd—no one the wiser. Except Lighter.

For example: They’re at the party. Lighter’s charming, slipping easily into conversations with strangers. But every so often, his partner brushes their fingers lightly over the back of his neck—just once, fleeting. No one notices, but Lighter does. His spine straightens slightly each time, a silent acknowledgment: I know who I belong to.

Or: Club sex on the top floor behind a loud rock band. The balcony overlooking a busy street. Going to dinner with friends with a remote in his hand and a small vibrator in his partner’s underwear.

I think Lighter would enjoy all of these scenarios—not just for the risk, but for the inherent trust required to play and keep these secrets between him and his partner. It’s something completely his, something no one else can encroach upon, yet it’s right there, obvious to anyone observant enough to notice.

Marking – Physical and Psychological

Marking, both physical and psychological, would lean into Lighter’s desire for connection. Think: visible signs of his partner’s presence—like a hickey or a faint lipstick smudge on his collarbone.

While traditional marking overlaps with the possessiveness I imagine he’d enjoy, psychological marking might be even more appealing to him. This could involve embedding someone’s presence in his mind through habits, sensory triggers, or routines.

Lighter’s fear of being forgotten or unimportant could be countered by the constant reassurance that he’s always present in his partner’s thoughts. Non-sexually, his partner might leave voice notes for him to listen to during missions or spritz their perfume on his scarf. They might even snap a risky picture and set it as his lock screen so the next time he checks his phone on the job he’s left with a surprise.

Lighter is haunted by the dead, but I think what he truly craves is being haunted by someone living. He would adore his partner’s presence lingering in his personal space, feeding his need for connection without direct confrontation.

Domination – Receiving, Direction Taking

I firmly believe Lighter likes to be dominated. In terms of desire, I don’t think Lighter experiences much spontaneous desire; rather, he’s more connected to responsive desire (see the paper “Sexual Arousal and Desire: Interrelations and Responses to Three Modalities of Sexual Stimuli” by Katherine Goldey and Sari Anders). That man is too tired to be dominant, and as seen in-game, he prefers to take orders. He would definitely call his partner “Boss” in the bedroom.

Beyond the bedroom, I feel Lighter would continue this relinquishment of power through authority transfer dynamics as a coping mechanism for emotional instability, much like he does for the Sons of Calydon. This could manifest in routines or rituals where his partner makes decisions for him, offering a sense of control without the burden of autonomy. It’s both a reaffirmation of care and a release from the pressure of decision-making.

Given his tendency to overthink, delegating power outside of sex could ease his mental load and reinforce security in his relationships. I think Lighter would enjoy having his partner pick out his clothes, jewelry, ect, decide small daily routines, or even manage his finances in a consensual dynamic. This creates a structure where emotional care is embedded in everyday life, not just during intimacy.

Additionally, given Lighter’s need for emotional grounding and his craving to feel “claimed,” collaring—whether in a literal BDSM context or as an everyday symbolic gesture—would be something he could secretly obsess over. If Lighter were given a necklace, choker, or even a collar (especially since he loves jewelry), he’d never take it off. He’d wear it under his clothes, hidden from everyone else but always present. On rough days or when away from his partner, just feeling it against his skin would serve as silent reassurance, grounding him.

It would satisfy both his exhibitionist streak (a hidden “secret” between him and his partner) and act as a reminder: I’m not lost. I belong somewhere. To someone.

For example: if before a mission his partner was to kiss him goodbye, place a necklace around his neck and say “Come back wearing this” he would tug at the small chain subconsciously the entire time he’s gone. He would sleep with it on, shower with it, and when he returned, the metal would be warm and oxidised from his skin, his skin stained from the metal.

Praise Play

An extension of his need for domination and grounding, I see praise play as a huge turn-on for Lighter. While some believe degradation is one of his kinks, I think it’s the opposite. While he might engage in degradation play if his partner wanted it (and part of him might believe he deserves it due to his low self-esteem), I think he would emotionally shut down if it became a consistent dynamic. To me it would be a similar dynamic to the start of the Astarion romance, fulfilling a role as a tool rather than as a person.

Kinks often reflect core emotional needs. Non-consensual fantasies, for example, are about being desired so intensely that someone is willing to break laws and social norms. Degradation kinks often involve a need for others to see the worst parts of us and want us regardless. However, for sensitive individuals, this negative reinforcement doesn’t bring solace—it simply reaffirms their worst fears and destroys their fragile attempts at building a better self image. I also don't think Lighter would find any attraction in demeaning his partner, I think he would feel unworthy of their attention and trust, especially in the beginning.

Lighter is consistently wracked with guilt and desperately wants to know whether he’s doing the right thing, whether it’s in his job or in a relationship. For someone like Lighter, praise isn’t just arousing—it’s reparative in a way nothing else matches. Each compliment is a stone in the foundation of a self-worth he can’t build alone. When his partner says, “You’re doing so well,” or “You feel like home, like safety,” it’s not just about sex. It’s about rewriting the narrative he’s been telling himself for years.

Domestic Play

You cannot convince me that the image of Lighter’s partner cooking or doing general domestic chores wouldn’t awaken something deep within him, even though he might not admit it at first. In-game, he respects and surrounds himself with women who embody dominant, traditionally masculine qualities. He’s more than happy to take orders from them, but in terms of romantic or sexual attraction, he seems to have little interest in those traits. I suspect this is because these qualities mirror his old self, and that’s not something he finds much solace in, either romantically or sexually.

I think Lighter would be attracted to someone fundamentally different from those around him—someone softer and more considerate, yet still strong in a more traditionally feminine sense. Given his history of loss, trauma, and the absence of a stable family, I believe he harbors a profound urge for a family-like relationship. His partner would create an environment that feels like home, a concept Lighter likely yearns for but doesn’t fully understand.

Home-cooked meals, small domestic gestures of affection—these would make him unbearably needy, though he’d only show it when alone with his partner.

For example: During mundane moments—making coffee, fixing his jacket—his partner casually murmurs, “You belong to me.” It’s subtle, not always sexual, but it lights up the part of Lighter’s brain that craves validation without having to ask for it.

Things like his partner knowing how he likes his coffee without needing to ask, or grabbing the salt shaker from him because it’s bad for his cholesterol would make him unbearably turned on you cannot convince me otherwise. These small acts of care would hit him hard, far more than overt declarations of love.

For Lighter, being told what to do isn’t about submission—it’s about relief. In a life where his choices have often led to heartbreak, the absence of choice feels like safety.

Sensation Play – Both Sensory Deprivation and Service

Lighter is an overthinker. According to Emily Nagoski’s Come As You Are, overthinking is one of the primary reasons people struggle to achieve climax or engage fully with emotional and sexual vulnerability. When you place too much pressure on external factors—self-image, internal worries, even things as small as ‘the dishes need to be done’—it inhibits your ability to ground yourself in the present and truly experience pleasure. This is why many people, particularly women, struggle with partnered sex and climax.

For Lighter, orgasm denial or delayed gratification would likely be a huge turn-on, especially in situations where he’s restrained or unable to interact directly with his partner—think handcuffs or shibari. The removal of senses, such as blindfolding, helps heighten arousal by redirecting the energy normally spent on processing visual stimuli toward pure sensation. It doesn’t stop the overthinking; it realigns it, forcing it to focus on the present moment.

For example: His partner lightly places a hand over his mouth while he’s blindfolded—not fully cutting off air, but creating a soft restraint. It’s not about danger; it’s about trust. The lack of visual and verbal control pushes him into a space where he can’t overanalyze—he can only feel.

Considering Lighter’s past—especially his time in the fighting pits, where he described himself as feeling like a zombie—I don’t think he’d enjoy pain or impact play. His physical existence outside the bedroom has already been filled with similar kinds of suffering. Instead, sensation play becomes a refuge—a way to experience his body without violence, without pain. There's a running joke that he fears the sight of blood in game, which is another reason why I believe centering pleasure rather than pain would be more attractive to him.

Emotional Edgeplay

I believe Lighter craves not just physical intensity but emotional vulnerability pushed to its limits—scenarios where trust is tested, intimacy feels dangerous, and attachment triggers are explored in consensual, negotiated ways. Emotional edgeplay isn’t about causing harm; it’s about walking the razor-thin edge of emotional exposure, where the potential for catharsis is as powerful as the risk.

Overstimulation is an aspect of emotional edgeplay, often resulting in emotional release—like crying during or after sex—as the body lets go of trauma it’s been holding onto for too long. Lighter, who is profoundly dissociated from his needs due to guilt and a deep-seated dismissal of his own worth, would find this both terrifying and necessary.

We see hints of this in-game. For example, there’s an interaction with a guide dog—trained to seek out the most vulnerable person in the room—that ignores everyone else and goes straight to Lighter. This detail speaks volumes about how disconnected he is from his own emotional fragility; the desensitization runs so deep that he doesn’t even recognize it anymore.

In these moments, speech and affirmation would be crucial, especially during heightened emotional states or low points.

For example: During edging, when he’s trembling with frustration—not just sexually, but emotionally—his partner gently cradles his face and whispers, “Do you see how wonderful you are when you’re not pretending?”

It’s not just arousing—it’s disarming. Because in that vulnerable space, Lighter isn’t the cool, edgy pit fighter turned bodyguard. He’s just him, stripped of all pretense. No walls, no bravado. Flaws and all. It also provides acceptance by omission, that his partner sees all and accepts all.

Caretaker Dynamics (Reversed Aftercare)

I also believe Lighter would prefer to be the primary aftercare provider, despite this traditionally being the role of the dominant partner. According to Dominatrix Eva Oh, aftercare is a service role, and for Lighter, providing that service would be deeply fulfilling. (It’s a common misconception the Sub role in BDSM is the harder or serving role, because truly Dom’s are required to be very emotionally stable, beholden to their sub and can turn out to be a very stress inducing role for the wrong people). This is why high flying jobs such as CEO’s actually prefer to be submissive because it is the only place in their life they get to be minded.

While aftercare is essential after most sexual interactions—especially those involving intense scenes—reversed caretaker dynamics, where the more emotionally fragile partner provides aftercare, would align perfectly with Lighter’s psychology. Despite his vulnerabilities, he has an overwhelming desire to feel needed, to prove his worth in relationships even when he feels broken.

Being allowed to “take care” of his partner post-sex, even when he’s emotionally raw, satisfies this need. It’s not about dominance or submission—it’s about anchoring himself through acts of care.

For example: After an intense session, when his partner is spent and emotionally vulnerable, Lighter insists on making tea, carefully bandaging small marks, or physically holding them—even if he’s the one shaking. He tucks the blanket around them, brushes sweat-damp hair from their forehead, and whispers, “I’ve got you.”

In those moments, his value isn’t measured by strength or stoicism. This role reversal reinforces his sense of purpose without undermining his vulnerabilities. He doesn't always have to be the strong one here, in this moment.

Closing Thoughts

Ultimately, Lighter’s kinks aren’t just about physical pleasure—they’re reflections of his deepest fears, needs, and desires. They’re coping mechanisms woven into intimacy, helping him navigate a world where connection feels both a gift and a threat. Whether through domination, praise, or emotional edgeplay, his kinks allow him to confront the parts of himself he hides from the world.

At the heart of it all, Lighter wants to be known.

References

Disclaimer I have dyslexia and English is my second language so I apologize for mistakes.

Theswaddle.com. (2019). The Psychology of Sexual Kink. [online] Available at: https://www.theswaddle.com/what-is-kink-the-psychology-behind-sexual-behavior [Accessed 9 Feb. 2025].

admin@blossmcart (2023). A dive into the definition of Lilac Flower and its Significance. [online] Blossmcart Flowers. Available at: https://blossmcart.com/blog/definition-and-significance-of-lilac-flower/#:~:text=The%20Lilac%20is%20a%20flower,purple%20Lilac%20signifies%20first%20love. 

‌Li, S. (2024). The Psychology of Kink: A Cross‐Sectional Survey Investigating the Association Between Adult Attachment Style and BDSM-Related Identity Choice in China. Archives of Sexual Behavior, [online] 53(6), pp.2269–2276. doi:https://doi.org/10.1007/s10508-024-02829-1.

When Kinks Come to Life: An Exploration of Paraphilic Behaviors and Underlying Predictors. (2024). The Journal of Sex Research. [online] doi:https://doi.org/10.1080//00224499.2024.2319242.

The Kink Orientation Scale: Developing and Validating a Measure of Kink Desire, Practice, and Identity. (2024). The Journal of Sex Research. [online] doi:https://doi.org/10.1080//00224499.2024.2387769.‌

Oh, E. (2020). I Was a Corporate Slave Until I Became a Professional Dominatrix. [online] VICE. Available at: https://www.vice.com/en/article/eva-oh-dominatrix-sex-kink/ [Accessed 9 Feb. 2025].

Youtube.com. (2025). Available at: https://www.youtube.com/watch?v=t_Ng_b28uxM [Accessed 9 Feb. 2025].

‌Youtube.com. (2025). Available at: https://www.youtube.com/watch?v=G2_aCw-DMq0 [Accessed 9 Feb. 2025].

‌

[tisajest]

You are newly orphaned and given to the nearest Wise Old Man to raise. He will be your guardian til adulthood and may or may not come to care for you, who would you rather that man be?

[a-stars-art-blog]

Barok the physically affectionate my beloved

[burning2know]

I agree wholeheartedly with OP and these tags from prev. prefacing that I will be ignoring the game that shall not be named and probably repeating some points.

There's nothing quite like the interactive medium of a video game that makes you examine your own choices and beliefs. And when it comes to politics, there's often a disconnect between ideology and lived experience. My favorite thing about DA was always the fact the it tried to bridge the two. Whether it's showing that various individuals in similar circumstances can have completely different ideologies, or it can be to explore what happens to individuals and their experiences after reshaping the world according to the player's ideology. That bridge, albeit implicit, has been formative in the way I think about my own world. When it comes to the lore and world building, it demands the player to use critical thinking, much like a historian might, to make sense of it. And I did end up feeling like I needed to make sense of the world to make my choices.

Even though DA has argued both sides, it does it incredibly well. The arguments it presents come from character perspectives that makes sense in the universe, and it makes it all feel real. I think a lot of credit should go to origin's writers for providing those arguments. It feels like the writers talking amongst themselves trying to hash out what each action means for the world and to eachother using the NPCs, and in the spaces of these discussions, I get to reflect on where I agree and disagree and what that means for me as a player. The experience reminds me of me watching Contrapoints videos in which she has a conversation with various parts of her own beliefs about her gender identity, and engaging with her inner-discourse lead me to a deeper understanding of my own identity.

That's the true value of arguing both sides. It lets the audience decide for themselves without being prescriptive. And while it does demand the audience construct their own reasons and values to explain their choices, it also provides a window into possible viewpoints that the audience might or might not agree with. And not in a judgmental way. That process shows how one character may arrive there, not through insanity or stupidity, but through various circumstances and experiences.

DA's goal was always to challenge the player. That isn't to say that there's no bias, or a particular perspective that the writers are coming from. But the point is that it opens a space for exploration. It takes a certain kind of person to be able to do that without falling into the hole of appearing contrarian or troll-ish. And to some extent the writers themselves had to treat each argument with equal respect and legitimacy to display its outcomes in the game according to the rules of the world rather than their own ideals. And that itself is not easy. It doesn't surprise me that that world view and capacity disappears when the series changed hands.

And underlying all of that is a philosophy about how individuals operate, and how they operate when they come together into groups of individuals (many different words to say power and hierarchy). And that underlying philosophy is what resonated with me so much with over time. It's very compassionate to be able to hold space for these other perspectives. Not only rare to see due to the complexity required to show it, but easy to lose and difficult to gain back once you've lost it. And at this moment in the history of DA, we have lost it.

In some ways, I think the timing of this happening Makes Sense. We live in a tumultuous time where reality is uncertain and volatile due to the nature of new modes of information exchange. We see all kinds of people sharing things on social media that could easily be interpreted as lived experience or disinformation. And more than ever, our shared reality is being shattered into a million pieces by personalized content. (I too have felt the "we live in parallel universes" thought creeping up on me). In this chaotic environment, we Need the psychological comfort of certainty, of knowing what the world is like. The easiest and most familiar way is to find an authoritative voice and trust that single voice as the guiding star. That voice is only strengthened by others' agreement, and we contribute to this strengthening with our own psychological needs for certainty and stability. And we become resistant to dissent and critical analysis, because the amount of information to sort through gets very overwhelming very quickly.

What DA does has always been the opposite of that, it demands the player to confront multiple perspectives (albeit in a much more curated and coherent way). And it is logical to me that the game goes against such a primary psychological need in these trying times, perhaps now more than ever. But this theme has always gone against the grain, and media that goes against the grain in this way is so rare and So Badly Needed. We Need people to be able to think through and cobsider multiple perspectives, because there are so many perspectives accessible to us. At the same time I understand the draw of never ever having to do that. And I also understand that a lot of people just don't think that deeply ever. And that's why losing DA hits extra hard for me. Because it is another piece of resistance swept away with the torrent of greater trends that push us away from shared understanding with the people around us.

i feel like all of my pondering and analyzing and criticizing veilguard over the past few months has actually truly given me a better understanding of what dragon age meant to me, what about it specifically was so meaningful, and why, as a result, veilguard felt so wrong. it took a while for me to figure it out. about three full months of relentless essay writing, actually. but i think if you had asked me a few years ago what the core of my love for dragon age was, whatever answer i gave would not have truly gotten to the root of it, because i think i had to experience the disappointment of veilguard to fully understand why i love dragon age. and ive realized that core is that i loved how the previous dragon age entries demand so much of the player, and deliberately prompt introspection and critical, often political, thought.

dragon age games have historically forced the player to be self-reflective and introspective about their worldview and beliefs. solas is obviously a fantastic example, as he was deliberately written to be a reflection of the player in order to prompt them to reflect on how they treat people, how our expectations of people influence their behavior, and how people are pushed to extremes and turned into monsters or saved by love and kindness. how do people become monsters? what drives them to blow up buildings or start rebellions or destroy the world as you know it? are they right or wrong? does it even matter? how did you contribute to this? are you innocent? it puts these insane, politically and morally charged situations in your face and forces you to confront them. slavery, a refugee crisis, poverty, class disparities, racism, foreign occupation, the list goes on, and you are not given the option to look away or be a bystander. you have to ACT. you have to choose, you have to make judgements, you have to take responsibility and explore your role in this world as someone with the capacity to act upon it, to make your will a reality, to fail, to make mistakes. i honestly can't think of any other video game that does this to the same extent? nor any media at all because the act of being IN the world as one of it's people through the act of role-playing is essential to how it provokes this experience in the player. its ballsy. they deliberately try to make you uncomfortable. these games are full of liars, deceivers, betrayers. the games themselves lie to you. its character try to deceive you. did you catch it? or were you fooled? what else might you be fooled by? who else might be lying to you? in the game? in real life? and then you get to play it again knowing the end, and what the game prompts changes with your new knowledge. now it asks, do you forgive them? what makes someone worthy of forgiveness? where do you draw the line? what do you think?

i dont think i realized until recently how impactful this was for me considering how i first got into dragon age at 16 years old. i dont think i had experienced anything up to that point that would put a situation like judging a war criminal who ordered the deaths of children or another war criminal who just left me to die and orchestrated a near-coup or a traumatized terrorist who just blew up a church right in my face, and said MAKE A DECISION. and i didnt know it at the time, but looking back i can see how valuable it was for me at that age to have what was effectively an avenue of exploration and self-expression of all of these moral and political issues that i was grappling with as a young adult. i played inquisition for the first time just months before i voted in my first presidential primary. i already had a political consciousness at this point, but it was nonetheless new and vulnerable and still blossoming into something more concrete. inquisition, then, almost provided a sort of political, moral and personal sandbox for me from ages 16-20 to better help me understand myself in relation to the world. the RPG-ness allowed me to put myself into these situations - like the mage-templar war and its metaphor for mass incarceration and police brutality - while i was also simultaneously grappling with and trying to understand these issues in real life. having dragon age to help me further unpack my own beliefs and conception of these issues was undeniably impactful. it provided a space, through a narrative i enjoyed and cared about, to make choices and judgement calls and better understand who i was, and what felt right to me. it asked, "what do you think?"

veilguard lacks this. completely. and lets be clear that the previous games did not always do a perfect job. many of these depictions are messy and harmful and problematic, but they at least, by extension of their own existence in a narrative that forces you to THINK and JUDGE and DECIDE, give me the space and opportunity to judge them as messy, as problematic, as harmful. i can confidently say that i think da2 is too sympathetic to the templars as an organization because the fact that da2 presents me with so many narrative conflicts regarding the templar organization allows me to not just make in-game decisions and play as a staunch advocate for mage freedom and circle abolition, but to form opinions on the game itself by extension. i can confidently say that i believe the qunari's portrayal is islamophobic because the game has prompted me so many times; what do i think about the qunari? what do i think about the oppression of the elves? what do i think about dorian being a seemingly good person but defending the practice of slavery? who should rule orzammar; the progressive asshole or the conservative traditionalist? do i forgive loghain? do i forgive anders? do i forgive solas? this in-world critical thinking about issues in thedas leads to meta critical thinking. further questions naturally follow -> what message did the writers intend to send through anders? how can i notice the echoes of how this story came into fruition in the shadow of 9/11? what do solas's endings tell me about the writers view of retributive punishment? how is bioware's portrayal of the dalish, as inspired by indigenous north americans, reflective of deep-seated anti-indigenous canadian sentiment? why did the writers stop prompting these hard questions at all in veilguard? did they only like it when it was about characters, not when it led to critical thinking about them and the company as a whole? through these processes of in-world interrogation, i am inevitably invited to analyze the effectiveness of their narrative portrayals and the writing itself. perhaps this is why dragon age is so famous for its discourse lol.

ive said before that im not sure that veilguard could ever have been as impactful for me as the previous games, partly because when you are 16 everything is more impactful because your brain is an eager sponge, unless it did something that really resonated with me as an adult. but what it should have been, at the very least, is something that could have been as impactful and formative on a current 16 year old that sees a gif on tumblr and decides to check out the game, as inquisition was to me 10 years ago. and im sure there are teenagers and younger adults out there playing this game and loving it and loving the characters and the world and thinking its great, good fun. thats great. however it fundamentally cannot have the same profound, developmentally catalytic experience it had on me because it simply does not challenge the player. it does not prompt them to question their own beliefs and the power structures within their lives. it does not prompt them to reflect on the political narratives they may have been fed all their lives. it does not confront them with the sorts of topics that get books on banned lists in florida and force them to bear witness, to think deeper, to feel guilt or horror at the outcome of your own poorly-made decision, to make moral judgements, to make mistakes, and to live with the consequences.

i think i now understand why veilguard was so disappointing to me and ultimately would be a failure in my eyes no matter if i enjoyed the combat or the exploration or whatever other shiny coat of paint sits atop it. veilguard does not ask much of you. it does not prompt any sort of introspection or interrogation of your presently held beliefs. it does not demand anything from the player except to dodge at the right moment. this is a fundamental, core departure from what made me fall in love with dragon age in the first place. if you love dragon age because you want "fantasy escapism" and fun characters to smooch, then i am happy for you. but i would remind you that can find fantasy escapism all over the steam library - farming sims, cozy games, a witch looking for her cat in the alps, etc. what you cannot find are games that are willing and brave enough to challenge and provoke the player into a better, more thorough understanding of themselves in relation to our world and it's many, complex and daunting political and moral issues. to have lost such a thing, when media like this has become so few and far between, and during a time when we need it more than ever, is a devastating loss.

[sukibenders]

I feel like Percy ultimately falls into the trap that many main characters in shows and books do where they get blamed for every little thing, even though they literally have/had no control over the situation or reacted in a way that, to fans, who sometimes have more knowledge than them, didn't like even though in the moment it makes sense. Don't even get me started on when you start adding side characters, because then that really gets the fandom going on trying to find ways to hate the main character for no reason, it's wild (eg. Alina Starkov, Harry Potter, I could go on!).

[lisbonsteresa]

knees weak, arms are heavy

[musashi]

i want more nuance to be entered into the discussion of the green girl sorority and how differently cynthia plays elphaba in comparison to those who came before her because while a lot of people are rightfully like "why was elphaba not black from the beginning" and celebrating that she is now being played by a black woman, i think we need to be careful in just writing off all the elphabas of the past as Random White Girls when the role was championed (and often followed/succeeded) by a jewish woman

the pop culture archetype of the Wicked Witch has deep roots in antisemitism stretching faaaar far back. there is a level of reclamation happening in casting idina menzel, a jewish woman, to play the Misunderstood and Maligned young girl who is branded as exactly that. and stage!Elphaba is also written and acted with jewish stereotypes in mind--she is loud, aggressive, no-nonsense, blunt. she is quick to advocate for herself and shut down the discrimination she faces. all of this is very intentional! her personality is abrasive from years of abuse, and that makes propagandizing her easy. this is literally the thesis statement of the musical--it's not about aptitude, it's the way you're viewed.

cynthia's performance of elphaba is fucking INSPIRED despite going in a completely different direction. she's much more reserved, analytical, one of her key character traits is how well she can read people (see her calling out Galinda as insecure/putting on airs in their first scene together, clocking that Fiyero is using his party guy persona as a shield for his own depression) elphaba's attempts to blend in and make herself smaller all fail simply because of her existence, if not that then because she feels empathy so strongly she often struggles to hold back from acting, protecting.

personality wise, though, cynthia's elphaba is very quiet and closed-off, not at all the bullet-to-the-face that she is in the stage show, and... she still gets propagandized and maligned. though this seems to contradict the other interpretation, it tells of the other end of the spectrum of propaganda, one that black women watching (and many, MANY other marginalized folks) are sure to identify with--it does not matter how "nice," how reserved, how small a black woman makes herself. a racist society will still scrutinize her every action for a way to parse ill intent from it, brand her as an angry black woman who is dangerous and wicked, and write off any humanity she has in the process.

these two very different interpretations tell of the lie of assimilation. the fact of the matter is, when you are marginalized, there is no way to sand down your edges enough to make the people oppressing you "accept" you. that is why wicked is a tragedy at its core. whether loud and aggressive or quiet and unimposing, there is nothing elphaba could have done to make the people of Oz see her as anything other than a scapegoat to blame all their problems on.

so while i definitely appreciate that people are excited for black girl era elphaba, i would encourage us all to still show appreciation for what came before--that was not white girl era elphaba. that was jewish girl era elphaba. two houses, both alike in dignity, two stories both worth being told.

[ridingtorohan]

hey!! i saw ur recent post about the tulpar crew walking in on reader touching themselves, could u do the same but vice versa?

Ask and ye shall receive!

𓇻 ft. tulpar crew x gn reader

𓇻 content. 18+ content, minors dni. possible second hand embarrassment. masturbation, sexual propositions, the whole shebang. this is a sequel to this post. this one can definitely be read on its own though. lightly implied that reader didn't accept swansea or daisuke's offers in the prequel but that can be left up to interpretation. jimmy's definitely happened though.

𓇻 enjoy! feel free to like, reblog, or send in asks!

‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎Masterlist - Want to Join my Taglist?

Curly is just so damn tired. Tired of the reports, faxes, checking the straps in the cargo bay. One of the few downtimes he gets is when he can sit and watch the constellations pass on the common room monitor. The Augira, Constantine and Mitena were all ones that he recognized from this sect of the system, all penned from the eyes of Saturn and further.

Movies are a scarce commodity on the screen, given Jimmy's track record of not wanting to hook the systems up, but it helps him nod off most times.

Working out, though? Working out he can do. Pony Express has given him permission to bring his weights on board, alongside a slew of magazines and audiobooks to listen to.

While Curly doesn't think of himself as a gym rat, those moments to himself are some of the best. Nothing but the burn of iron, the strain of his muscles with each rep. It's methodical work, one that sets his mind at ease and off of reports for once.

Some days, he can get Jimmy in on the action, but most of the time his co-pilot bemoans it. Each time they worked out, the stretches between the next session grew longer.

He's pleased when you agree to attend a few sessions with him. By then, it's almost amicable between you two, as if him walking in you didn't even happen. He's very much acted the part of a dutiful captain, though, he can't help his own eyes from wandering when he sees you stretch. Can't help himself from putting his hands firmly on you when he goes to correct your stance. It doesn't linger, doesn't wander, but goddamn, does he wish he could throw propriety out the window.

It's after one of his solo workout sessions when he chooses another way to unwind. Really, that's the only explanation for it. One that he tells himself anyway, because the strain of propriety is heavy. If he still thinks of you from time to time, if your face crops up in his thoughts while he touches himself, that's his business.

The only places you'd catch him in the act is either in the bathroom or his room.

Curly has always been imaginative, thoughts trailing to roads not travelled, paths that burn out of sight. Of you, sprawled out on the bed, and how he wished he had stayed. How he'd have given anything to hike your legs over his waist and kiss you senseless when he slid against you.

As it always is, every fantasy comes to an abrupt end. Every night that he had dreamed of walking in to find you waiting, you found him. Wifebeater drenched in sweat, towel draped over his shoulders, every line of his well built body on display, hand fisted around his cock.

There's a difference between wishing you'd walk in on him and actually receiving it.

A painful, terse moment lingers between you two, tension so thick he swears he can cut it. His hand completes the motion, wiping from his base to the tip, each breath deep. Despite how uncomfortable he felt (for more than one reason), he also felt more prepared. "Hold on a minute." He'll cover himself, boxers and uniform hiding himself from view.

If you believe you could flee from the room without Curly following you, you're dead wrong. He'll track you down, put this to bed once and for all. He'll catch you, half-dressed in his uniform, blue workwear draped around his waist, hand against the wall. "We have to talk about this."

Regardless if you stay or leave, not talking about it is no longer an option. You've both seen more of each other than was warranted, then what you both signed up for, but dammit he wants this. And he's so tired of shying away from things that he wants. From the person that he wants. All because of some higher-ups sitting cozy back home saying that it's wrong to do. He can't do it anymore, not when he feels like he's on the cusp of something great for once in his life.

"I know that what happened isn't what either of us expected," he'll start, voice low and perhaps far too sensual to be appropriate considered his half-dressed state. "And frankly, we can keep it to ourselves, pretend we never saw it." Biting the bullet is one of the fewest things he's done in life, but this is something that he wants to do. By fractions, Curly leans in closer, his voice entering a low murmur. "But... it doesn't have to be. We could give each other a.. hand, so to speak."

Routine. That's one thing that the Tulpar is good at. Routine. Each meal time, the rigid necessity of clocking in and out on time, even bathing. Pony Express may be a shit machine but it's well oiled, worked raw by the people under it. Delivering the payload is a smooth easy task because they all work on it together.

Part of that routine is shift work. Jimmy, ever the night-owl, works evening and night shift. This makes it so incredibly easy to avoid him if you wanted, especially since he walked in on you tending to yourself.

But he doesn't let you forget it. Since that moment, there's a smoldering heat in his gaze, eyes hooded as he watches you go about the room. Watched as you did your tasks, always standing too close - enough that you can get a whiff of his woodsy cologne, or feel his arm against yours.

He's almost helpful, even when your tasks really don't necessitate the need for another. His hands linger, hot against your uniform, his hips against the back of yours whenever he steadied you, or reached above you. Each word a rumble in his throat.

Except there's never really any change to talk to him about what happened. Not when every moment is tense, fraught with unresolved desires and need. Not when Daisuke or Curly walk into the room, silencing the burning questions and words that haunt your lips. Jimmy seems especially disgruntled about the interruptions, getting almost snappy towards the other crewmembers.

All in all, you rarely have a moment to speak with him. It's the furthest thing from your mind when you step out of the shower, more than eager to collapse face first into bed and sleep the weariness away.

If you're the sort to bring clothes into the washroom to change into, the absence of them is noted fast. No amount of scrounging around turns them up either. At a loss, it's to your sleeping quarters to wrangle up something else to wear.

Except you're very much not alone the second you step into your door. The door swishes behind you but you're effectively grounded, eyes drawn to the man lounging on your bed.

His head is tilted, messy hair falling across his hooded eyes, a dark and smoldering look to them. A slow stretch of a smirk crawls across his face, a pleased look darting into his eyes.

Jimmy is just as bare as the day he was born, an arm languidly thrown over your pillow. A leg bent up, not at all coy about having himself on display. His other arm is resting against his thigh, one hand smoothing along his flushed cock in a slow, slick motion. His fingerstips are all but slathered in precum - or actual cum, as you might suspiciously think when you look at your clothes haphazardly thrown onto the floor, looking sticky.

"There you are. Took you long enough." He breathes out your name, chin tilted upward, something primal lurking deep in his eyes. Jimmy clicks his tongue, ever the disapproving copilot. "You should know better than to keep someone waiting." Despite the curt, wanting tone to his words, he doesn't move towards you. Letting you go to him. Like he knows you will.

"I've been thinking," each word is low and deep, husky in his mouth. Jimmy's hand very much doesn't stop moving, stroking himself as you're rooted to the spot. Whenever you glance down between his thighs, his smirk deepens. "That you owe me for what I did for you."

It's not like you could dance around the topic forever; each touch, every interrupted conversation, it all would have culminated to this. Jimmy waiting for you, eager to put his hands back on you, to feel you tremble and shudder beneath him as he pulls you apart.

The thing was, you realize, it'd be terribly easy to leave him here. To not respond to his advances. The door was to your back and even Jimmy had enough sense not to walk out nude in pursuit of you. It'd be easy to walk to another crewmate's quarters and pilfer clothes. It'd be laughed off, brushed under the rug just as another incident, excused as you being unable to enter your room because of 'technical difficulties'.

The thing is, though, you can clearly remember how his hands felt, the way he moved. How Jimmy watched you with the same intensity now, his eyes a dark promise of a repeat experience, if not more.

You don't really want to refuse such an offer, do you?

Try as Anya might, she can't get the image of you out of her head. The sounds you made, how your hands moved. She'd tried to be civil, though how quickly she averts her gaze and fidgety hands betray how much it affected her. Nerves, she'd try to excuse it. Nothing ever related to you, of course, because that sounds too much like blame. She blames herself for walking in on you masturbating, and blames herself for wishing that she hadn't left.

But by god, did it make her needy and so sexually frustrated. She's found every excuse under the sun to touch you then jerk back, at war with herself. She has to act professional. Doesn't she?

Something about you, seeing you like that, had coiled something burning inside of her. Something hot, that festered low in her gut.

For the most part, she can act professional. Mostly. But she can only get so far from letting her eyes trace your silhouette, from sitting on her leg whenever you talk to her. It's risky business, even riskier when she decides to keeps a few tokens of yours. Things that smell like you, even distantly - papers, a bracelet. Things that you've lent to her before.

It's been a while since she got laid, since she's even been attracted to anyone. But something about you just sets her on fire, burning with want and need. She needs you like she's never needed anyone before.

Realistically, Anya knows it's because of the forbidden nature; because of the close proximity day in and day out, but there's something so tantalizingly beautiful about it too. She's a sucker for it.

One of her favourite places to get off is in the medbay; she can lock herself in it - but she doesn't. Because it's so much more tantalizing when she thinks about you walking in. When she thinks about pressing you against the desk and using her medical expertise on you. She wants to hear you - taste you - feel you. Is that too much to ask for?

That's exactly where you catch her. Her breath coming out in hot breaths, eyes shut tightly, uniform pulled open. It'd be so easy to mistake it for something else, such as the room being hot - if it weren't for where her hands were.

One has all but ridden up her shirt, rolling the peak of her breast between her fingers. The zipper has gone all the way down to her waist, one hand curled tightly in her underwear, motions jerky as she fingers herself.

Every inch of her wishes that it was you, your fingers working her over, touching her clit and prodding at her walls. She feels so close, having edged herself for a bit until you came in.

It was just to ask her her input on supper, or for a nonsensical question that very well could have waited for another moment.

The door swishes shut behind you and her eyes flutter, dark as she looks up at you, flush all but crawling up her neck.

Seeing how you look at her - how you came to look for her- needing her for something, a question halfway on your lips - and it's her undoing. She moans your name, guttural and hoarse, hips jerking, dripping over her knuckles. "Wait-" Singlehandedly one of the better orgasms she's had, better than when she pined endlessly.

When her senses come back, Anya is breathless and shaken - and you're long gone.

She's not letting you go this time. Not when a new, burning question lodges inside her. Did you like what you see? Did you wish you weren't there?

Anya approaches your door at night, knocking crisply and when you grant entrance, she stands there, the atmosphere almost palpably awkward. She takes a few steps closer, feeling flighty and desperate, eyes searching your face, whispering your name.

"I'm sorry you had to see that," she whispers, voice low in the room, nerves biting at her throat. She can't not know anymore. "But I'm... glad that you did."

"Is this.. tension between us all in my head, or, do you want me too?"

It's one thing after the next. Couplings came loose, Daisuke's homework is not up to par, the lightbulbs need to be changed but no one seems capable of doing it. It all amounts to a sort of frustration winding up in him. Swansea has enough grace not to lash out at anyone, but it's there, palpable in his tone.

By some saving grace, you're willing to help him out with his work. Passing over screwdrivers and wrenches, new copper wire as he needs it. Swansea has noticed that you're attentive and eager like that; willing to help. Sometimes, he really wished you were his intern instead of Daisuke, not that he blames the kid.

He really needs a damn beer.

Wanking out his frustrations as a teenager and young adult had really suited him just fine, and with each passing day, it becomes a far more likely possibility.

It surely does not help when every little moment with you feels charged. Knuckles brushing when you supply him with mechanic tools, or when his arm brushed against your thigh as he steadied the ladder for you.

Swansea finds his gaze lingering.. on how your uniform bunches, the sway of your walk, the excited chatter to your tone when you've launched into some spiel or other. Each look he gives you is in quiet contemplation, though perhaps not as obvious as to why.

He's long since brushed off your curious questions.

It's when Anya outright slipped and fell over an oil spill that Swansea called it quits. There's only so many small annoyances that he could take before it became a hazardous snowstorm.

After it's suitably cleaned, he tried to find a place to tuck himself away. Keyword: tried. Something else always needed to be fixed, and he had enough years under his belt to know the ins and out of everything. Leaky faucet? Hold his glass. Vaccuum given up? He's got it. Curly, goddammit, he has it.

It's so grueling to find a moment of peace, so he takes what he can. That just so happened to be in the utility room, frustrations to a boiling point.

He knows his body, knows just the right way to stroke himself, the perfect amount of pressure. Learned it long since his youthful days, since his amicable divorce from his wife. Sure, it might feel mechanic at a certain point, but to him, it was a small reprieve. A getaway that only booze came close to.

Foreskin pulled back, his head is tucked low, eyes heavily lidded, fingertips pressing under the tip of the head just like he likes.

Swansea has himself sticky with precum when the utility door rattles and open. "Swansea, I found your keys-"

His eyes track up, eyebrows raised. Whatever hasty attempt you may have made, it's blocked by the aging mechanics of the utility door. It's from an older rig, one that still uses keys instead of the security bars that the medbay and cockpit use. Which means it's faulty as shit.

He sighs, head tipped back, eyes still on you. "That's on me for not leaving a sock out there," he grumbles, voice gruff and husky. A reference to how he told you to ward off people when he caught you masturbating earlier.

Moving his hand from his cock, his gaze is surprisingly steady, arm draped against the back of the chair. "Listen, kid, I won't say shit about this if you don't. Keep it jammed tight better than a olive jar when making margaritas. But." He rolls his neck, feeling a satisfying crack run through him. "I can show ya a few things that the ole cap' or other men won't, if yer interested."

Daisuke has been, for lack of a better word, edgy around you. Hovering, then trying to create distance. He can't seem to decide how to act around you. Not when he's seen you that way, pleasuring yourself. When he wishes you'd involve him.

He's seen plenty of naked people before, got hard over them, but wow, did you take it to the next level. Even how you tilt your head or roll up your sleeves has him in an outright tizzy, straining hard in his pants.

Daisuke often has to excuse himself from your presence. Ignoring Swansea's rolling eyes and knowing scoffs is easy; ignoring you is harder.

It's during one of those mundane tasks, where you're prattling about your work to the others, his eyes glued to your form, absorbing every word that he can't take it anymore. Excusing himself, he pops right out of the room, awkwardly striking towards his bunk.

But of course that is the exact moment you decide you need to return his gameboy - or comic, or whatever he had lent you a few weeks prior.

Daisuke is completely in the groove, pants folded down, back propped to the wall, knees folded and lips parted with each heavy breath. He's always been loud, noisy and boisterous. But his saving (and falling) grace is that he's also often playing movies in his room, and what muffled sounds you may hear from the other side of the door is easily chalked up to that. (Or perhaps, you knew.)

You catch him like that, hand fisted around his lean cock, shirt ridden up over his stomach, his movements sharp and jerky. It's bad enough that you walk in on him like this - but another to hear Daisuke rattle out your name, the sound breathy and full of want coming from his lips.

He's a poor, flushed mess, eyes wide when he looks up at you - and it's so plainly obvious to the both of you that he didn't call out because he heard you come in.

"I- I can totally explain." Except he really can't, can he, when he has his dick in his hand, just moaning your name literally seconds ago.

Any attempt to backtrack out of the room will be greeted with a hasty, "Oh my god, no, pleasewait!" As he all but tries to leap from his bed, tripping over his pants in his haste to get to you. Daisuke is nothing but determined and will try to talk to you about this, even if you manage to successfully flee.

Choosing to stay has him utterly red-faced, almost ashamed as he rambles through a tirade of, "Okay, so," punctuated by repeated, stumbled phrases before he manages to get out, "So, me calling out your name just now - total accident. Unlessyoudon'twantittobe? But, like, I definitely understand if you want to leave but I'dreallyratheryoustaybecause I really can't stop thinking about you and, - oh hey, is that my gameboy? You can just set it-- that's not important! I just. Really don't want you to leave. Please."

[reasonsforhope]

There's a saying my dad taught me, that I've found is very true in life:

The antidote to anxiety is action.

If you're like me, you're probably anxious right now. And scared. And quite probably angry. About climate change, about the Palestinian genocide, about Donald fucking Trump.

That only makes sense. It hurts to find out that people aren't as good as you thought, or hoped. It hurts to know how much better we could be doing, and then see all the ways in which we aren't doing that. It hurts to know that people are going to die.

This is something I've been grappling with myself since the US election. I had hopes that were higher than this, and I had reasons for those hopes, but in several spheres, those hopes have been disappointed.

That's not a reason to give up, though. It's not a reason to give up on the world, on yourself, on your life, or on hope.

The antidote to anxiety is action.

(Nobody is allowed to interpret this statement as being about/against psych meds btw. Meds are great and help a lot of people. But this isn't about them.)

Fear and anxiety exist for a reason: to warn us when there is a threat. And to motivate us to do something about that threat.

That's why, the more you push anxiety down down down, the worse it tends to get.

Your brain - your self - is telling you that something is wrong, and that you need to do something about it.

So listen. And find something you can do to help. Anything.

It will make you feel better, I promise. Maybe not right away, but it will.

And the more you do to help, the more you'll see the difference it can make. The more you're surrounded by people who are also helping, who also care. The more you'll see more and more ways to help.

Look up organizations near you - especially organizations that help protect the groups that are most vulnerable right now: undocumented people, immigrants, trans people, BIPOC, queer people, Muslims, Jewish people, disabled people, unhoused people.

Find someone who is helping, and find a way to help them.

The more we do to help each other, the more we organize, the more we resist fascism and work to beat climate change and make those fuckers pay for every. last. fucking. inch...

The more we will change. The more people we will protect and save.

We're stronger together. So find something you can do. And do it.

[miraculouslbcnreactions]

I think a more charitable interpretation of the statue scene being when Adrien first fell in love with Marinette is that he’s lying.

I think contextually with the way his expression is animated the moment Adrien started to see Marinette differently was when he practiced her confession with her as Chat, but Adrien can’t tell her that. So they picked another scene from the show for him to lie about as a cover.

This isn’t to absolve the show of bad writing. It’s extremely telling that the romantic leads interact so infrequently out of the mask that the statue scene was their go to.

It also doesn’t help that we rarely get any insight into how Adrien thinks. Meaning we only have on screen actions to go on regarding his unreliability as a narrator and as a superhero.

(Post that spawned this ask or possible this one, not 100% sure since both reference that scene)

While this is obviously not what canon was going for, I utterly adore this as a simple fix to the problem. What a lovely idea that could have been perfectly in line with the show's humor. Just have Kagami ask Adrien when he started feeling like this for Marinette, leading him to flashback to:

The Glaciator balcony scene, but oops, can't talk about that one, he was Chat Noir

The Weredad confession and date, but oops, once again, can't discuss that because he was Chat Noir

The Glaciator 2 confession to "Buttercup", but oops, he's once again Chat Noir

Could even throw in an Evillustrator flashback, but once again, he can't talk about that because he was Chat Noir!

Between each flashback we see Kagami getting ever more impatient so Adrien finally just blurts out something about the wax museum based on a poster behind her head and the rest of the episode is him having to pretend that the awkward almost kiss was the moment while Marinette, Luka, and Kagami all look at him like he's nuts. It could have been amazing! You could also do a variation where the flashbacks happen throughout the episode as Adrien remembers his favorite moments with Marinette, but he can never talk about the real memory because it was with the wrong him.

Then again, that would probably eat up the whole 20 minutes, leaving no time for an akuma attack, so it wouldn't work for Miraculous as every episode has to have a fight in it, but that's not an argument against this idea. It's just another argument for why a romance is poorly suited to an episodic formula show that's incredibly strict about being both of those things!

[proudfreakmetarusonikku]

Anyway, while people are discoursing about men and not sharing Shubble points, here’s the actual advice I got from watching the stream bc I think that probably needs to be spread more. Shubble elaborates it much better but if you can’t watch it’s better than nothing.

Physical abuse is not just hitting or kicking, anyone causing physical pain intentionally to you without consent is physically abusive, regardless of how that manifests or if it seems silly.

Pressuring someone into using a safeword on something that’s not, like, a mutually agreed thing and is just something one partner wants is controlling and creepy.

Partners who push at the edge of your boundaries and avoid safewords are abusive.

A partner insisting you’re remembering things wrong and making you seem crazy is abusive (specifically, it’s gaslighting)

Grand romantic gestures from the beginning can very easily be a sign of abuse, as abusers use it to endear themselves to their victims.

Controlling behaviour and refusing to break up while also refusing to make changes is possessive and unhealthy at best.

Abusers will manipulate things to make it seem normal to those outside of their victims- by being kind and helpful even as they neglect their victim, by pressuring their victim to treat their abusive behaviour as a joke, ect. It’s often very hard for an outside observer to know if something is abusive, and making assumptions off of what you know in front of closed doors isn’t helpful.

It’s very hard to tell that you’re being abused, and you'll often still retain affection for your abuser for a long time- this is normal, and this isn’t your fault if you wanted to stay friends.

Even if an abuser is struggling with their own problems, taking it out on you is not acceptable. People can be bottling up their emotions and struggle with depression and past trauma and that gives them no excuse to hurt you.

If your partner relies entirely on you to take care of them, and support them financially, that’s financial abuse one way or another.

Abusers tend to hurt more than one person, and their actions escalate without outside influence (be it intervention if possible or something that keeps them away from victims if not.)

Listen to your gut, if you think a relationship is bad. Even if you’ve been through this before, sometimes you can’t realise in it, but you’ll feel it subconciously.

Also, Shubble is being supported by friends who helped her cope and went through different but similar things. She's specifically mentioned right now keeping the stories anonymised, but she might change her mind, if I interpreted the last bit correctly. She's doing alright, she's healing, and it sounds like she's being believed by her friends, at least most of them. I wish nothing but growth and healing for them, and wish them the best moving forward.

[goldfades]

NOT SCARED──RAFE CAMERON

free palestine carrd 🇵🇸 decolonize palestine site 🇵🇸 how you can help palestine it's crucial that we stand in solidarity with those who need our support. right now, the people of palestine are facing unimaginable hardship, and it's up to all of us to do what we can to help. whether it's raising awareness, donating to relief organizations, or supporting calls for justice and peace, every action counts. we can amplify their voices, shed light on their struggles, and work towards a future where every individual can live with dignity and freedom. your support can make a difference! FREE PALESTINE!

for this request

─ summary | during an argument, you accidentally flinch.

─ pairing | rafe cameron x fem!reader

─ warnings | kinda angsty, but it softens into something fluffy and sweet. could be interpreted as ptsd?, rafe being angry, nothing else really!

ok love u bye!!! pls send me requests!!!!!!

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The room feels smaller than usual. The air, heavy with tension, presses in from all sides, thick and humid, like the heat outside the windows you forgot to crack open.

Rafe stands across from you, his face flushed—partly from the Carolina sun, partly from the argument that spiraled faster than either of you meant for it to. His eyes, usually such a cool shade of blue, burn as they lock onto yours. He was complaining about something Sarah had said offhandedly, and you couldn't bring yourself to answer. You weren't even sure what he was saying anymore. Something about how she was an ungrateful little brat?

“Are you even listening to me?” His voice cuts through the stillness, sharp and rough.

Your chest tightens, the weight of it pressing harder with each word. You stand there, rooted in place, trying to keep your composure. You want to yell back—God, you want to—but your words are caught somewhere deep in your throat, tangled in the knot of emotions you’ve been trying to hold back for what feels like hours.

And then it happens.

Rafe’s hand jerks up, a frustrated gesture, fingers raking through his hair. But you don’t see it as that—not right away. The movement is quick, too quick, and instinct takes over before you can think. Your body reacts.

You flinch.

It’s small, a barely-there movement, but in that moment, it feels seismic. Time freezes. You see the flicker of confusion cross his face, the instant shift from anger to something else—something unreadable, something that twists your stomach in knots.

The silence that follows is deafening.

The air between you both seems to collapse in on itself, heavy and suffocating, as if the room is holding its breath, waiting for what comes next. Rafe’s eyes, sharp and cutting just seconds ago, soften in a way that makes your heart stutter. You see it—the realization. The moment it hits him.

His arm lowers slowly, his fingers uncurling from where they had been tangled in his hair. There’s a flicker of guilt, maybe even hurt, in his gaze now, but he doesn’t move toward you. Not yet. He stands frozen in place, as if he’s afraid to take another step, afraid that the space between you will shatter entirely if he does.

“What the hell was that?” His voice is softer now, but there’s something raw underneath it, something that makes your chest tighten even more.

You bite down on your lip, trying to will the tremble in your hands to stop. You don’t answer right away because, honestly, you’re not sure what to say. You didn’t mean to flinch. You know Rafe would never hurt you, not like that. But it happened, and now the weight of it hangs in the air like a storm cloud ready to burst.

"I—" Your voice cracks, barely a whisper. You want to explain it away, brush it off like it’s nothing, but the words feel too fragile to stand on.

Rafe shifts his weight, his eyes flicking to the floor before they settle back on you. The tension in his shoulders hasn’t quite eased, but there’s something else there now. Vulnerability, maybe. Uncertainty.

“I wasn’t gonna—” he stops, as if the words are too heavy to finish. “You know that, right?”

You nod quickly, too quickly, because you do know. But it doesn’t change what just happened. It doesn’t erase the way your body betrayed you, reacting out of fear instead of logic, making this moment real in a way that feels unbearable.

“I didn’t mean to...” you manage, your voice small, cracking under the weight of the silence.

Your words feel hollow, barely filling the thick air between you. Rafe’s gaze lingers on you, searching for something—reassurance, maybe? Forgiveness? You’re not sure. But there’s a look in his eyes that you don’t quite recognize. Vulnerability has never been his strong suit, and seeing it now, raw and exposed, makes your stomach churn.

The seconds stretch out painfully long, the silence between you both growing louder, pressing in like a suffocating blanket. Every breath feels labored, as though the very walls of the room are closing in, shrinking with the weight of what just happened. You can hear your heartbeat in your ears, fast and uneven, like it’s trying to outrun the awkwardness that’s settled between you.

“I wasn’t… I didn’t mean to scare you,” Rafe says, his voice soft but frayed at the edges. It’s like he’s unraveling right in front of you, piece by piece, and all you can do is stand there, clutching onto whatever is left of your composure.

You know he means it. You know. He would never intentionally hurt you, not physically, not in that way. But the tension from the argument, the way his hand moved so quickly, too quickly—it just triggered something deep inside you, something instinctual and uncontrollable. And now, that flinch, that split-second of fear, hangs between you like a permanent scar neither of you know how to heal.

“I didn’t mean it,” you repeat, almost like a mantra, willing the words to erase the moment. But even as you say it, your hands are still trembling, and your heart hasn’t quite settled in your chest. You feel the need to explain, to fix the mess that’s rapidly spiraling out of control. “It wasn’t you, Rafe. It’s just—”

You stop, your throat tightening as you struggle to find the right words. How do you explain something like that? How do you tell him that sometimes your body reacts before your mind can catch up, that sometimes fear sneaks in where it doesn’t belong, uninvited and unrelenting?

Rafe’s brow furrows, and he takes a small, cautious step toward you, as if testing the waters. His movements are slow, deliberate, like he’s afraid of making it worse, of pushing you further away.

“Hey…” he starts, voice softer now, almost tentative. His eyes, still locked on yours, carry a weight that makes your chest tighten. He takes another step, closer this time, closing some of the distance, but there’s still a carefulness to him, like he’s afraid to breach the invisible barrier that’s suddenly formed between you. “It’s okay. You don’t have to explain.”

But you want to. You need to. You need him to understand that it wasn’t his fault, that it was just the heat of the moment, the adrenaline from the argument twisting your reactions into something they weren’t supposed to be. You shake your head, trying to string together something coherent, something that will ease the hurt that’s settled in his eyes.

“I didn’t mean to flinch,” you whisper, voice cracking under the strain of your emotions. “I just… it was reflex, okay? It wasn’t you. You didn’t do anything.”

Rafe stops just a foot away from you now, close enough that you can feel the warmth radiating from him but not close enough to touch. His hand twitches at his side, like he’s debating whether or not to reach for you. His jaw is clenched, his lips pressed into a tight line, and for a moment, he just stands there, studying you, his blue eyes clouded with a mixture of confusion, guilt, and something you can’t quite place.

“You sure about that?” His voice is barely above a whisper now, rough and strained, as if he’s holding himself together by a thread. “Because it didn’t look like nothing.”

The hurt in his tone makes your heart ache. You want to reach out, to touch him, to tell him that it really is nothing, that you’re fine, that he’s fine. But there’s a knot in your chest that refuses to loosen, tightening with every passing second.

“I’m sure,” you say, and though you try to make your voice sound steady, it wavers, betraying you. “Rafe, I know you. I know you’d never—”

“I wouldn’t,” he interrupts, his voice thick with emotion. He finally reaches out, his hand hovering in the air for a moment before it finds your arm, gently, so gently, as if he’s afraid you’ll break under his touch. His fingers wrap around your wrist, warm and steady, grounding you in the moment. “I’d never… you know that, right?”

The softness in his touch contrasts so sharply with the tension from earlier that it nearly breaks you. His thumb rubs slow, gentle circles against your skin, and for a moment, you allow yourself to close your eyes and breathe, just breathe, focusing on the steady rhythm of his hand, the warmth seeping into you.

“I know,” you whisper, opening your eyes to meet his. “I know, Rafe. It was just—”

“Instinct?” he finishes for you, his voice quiet but understanding, like he’s trying to piece together the puzzle himself. He lets out a small, shaky breath, and you can see the frustration simmering beneath the surface, not at you, but at himself. “I just hate that I made you feel like that. I hate that you even thought for a second…” He trails off, jaw tightening again, as if the words themselves are too painful to finish.

You can feel the weight of his guilt, the way it clings to him like a shadow, and you hate it. You hate that this argument—something so stupid and trivial—escalated into something that neither of you meant for it to. You hate that your body betrayed you like that, that it made Rafe question himself, question the way he loves you, the way he would never hurt you.

“I’m not scared of you,” you say, firmer this time, willing him to believe you, to really believe you. “I’m not.”

Rafe swallows hard, his hand still wrapped around your wrist, but his grip is loose, hesitant, like he’s waiting for you to pull away. But you don’t. You step closer instead, closing the last bit of distance between you, your free hand reaching up to cup the side of his face.

His skin is warm under your touch, and you can feel the tension in his jaw, the way his muscles are still tight with emotion. His eyes flutter shut for a moment, like he’s savoring the comfort, the reassurance, but when he opens them again, there’s something deeper there—something that makes your breath catch.

“I don’t want to fight anymore,” you whisper, your thumb brushing lightly across his cheek. The weight of the argument, of everything unsaid between you, feels so heavy now, and all you want is to push past it, to move forward, to fix the crack that’s formed in the foundation of what you have with him. “I’m sorry for—”

“You don’t have to apologize,” Rafe cuts in gently, his voice barely above a murmur. He leans into your touch, his hand tightening ever so slightly around your wrist. “I shouldn’t have let it get this far. I’m the one who’s sorry.”

For a moment, neither of you speak. The storm of emotions between you slowly starts to settle, replaced by a tentative calm. The argument still lingers in the air, but it feels distant now, like something neither of you want to revisit. You can still feel the weight of what just happened, but standing here with him, close enough to feel the steady rhythm of his heartbeat, you know you’ll both be okay.

You always are.

↳ make sure to check out my navigation or masterlist if you enjoyed! any interaction is greatly appreciated !

↳ thank you for reading all the way through, as always ♡

[cntloup]

a relationship with simon would be mellow and quiet.

of course it would have its own turbulences, but for the most part it's silent.

there are no big gestures or loud words, but soft murmurs and tender touches.

he's always got a protective hand on you when you're out and about, not out of toxic jealousy or anything like that. he's too mature for that. he's confident and he trusts you.

he does it to keep you safe, so no creep would even dare throw a wrong glance at you, let alone get too close or touchy and make you uncomfortable.

it also comes from the need to feel you at all times. he needs to make sure you’re still there and you haven't vanished from his life, turned to dust like all the good things have in his life.

he always keeps an eye on you especially outside when you're going about your business, perusing around different shops at the mall.

it comes from his protectiveness, also from his flaming love for you that engulfs his heart. he simply can't take his eyes off you, his gaze softened and adoring as he looks at you being happy and giggly when you find something that you like.

he always keeps you safe in a quiet way, but you feel it. you always feel safe in his presence.

all his love and devotion seep through his actions, even the littlest ones.

he makes sure you’re always stocked up on all your favorite food, beauty products etc. and always is there to keep you from hurting yourself clumsily. all in all, he always tries his best to make your life easier.

he quietly shuffles under the blanket when he returns late at night and whispers 'i love you' before kissing the crown of your head and pulling your body closer to his, fully flushed against him. and he sighs in relief, he's home.

now don't get me wrong when i say mellow and quiet. it can still be intense at times.

especially the ugly parts that you both try to avoid, but can't help as it seeps through the corners of your relationship anyway.

he needs his space when he returns home from a deployment. and you've learned that the hard way.

he's lashed out at you from time to time. even though he had fought hard with himself to keep that side away from you.

and a heavy silence settles in the room after the shouting and occasionally throwing stuff have taken place.

not the comfortable silence you're used to when you're together, but a thick, suffocating atmosphere.

he starts cursing and grappling with himself after slamming the door to his office shut.

and you curl into yourself on the couch while uncontrollable sobs escape you and you feel paralyzed by his venom.

that's exactly what he was trying to avoid all along, all throughout your relationship. he tried so hard to keep that part of himself away from you, from poisoning you as he interprets in his mind, but to no avail. the demons won. and he can never forgive himself for letting them.

but that's where he was wrong. you tried to convince him that he doesn't need to hide any part of him from you. you love him and you love him entirely, all of him.

even though he still needs his alone time as everyone does, he tries to open up more and talk to you about what haunts him instead of bottling it up to the point of explosion and taking it out on you.

and you've encouraged him to attend therapy again and promised him that you will be there every step of the way with absolutely anything he needs. and of course he accepts. for you and himself. for his family.

[andhumanslovedstories]

I've been running this writing experiment lately to cut out phrases like "I felt" in my fiction writing. Like I was looking at a sentence in a draft that said, "he felt as if character's eyes were pinning him in place." And then I was like, "well, does he think that or is it true? As a result of this person watching him, he's froze. It's not like a thing, it is that thing."

Oh and "almost"! I'm always going, "He felt almost relieved that it hadn't happened." Well, did he feel better that it didn't happen or didn't he? Or "somewhat", I'm always going, "she felt somewhat perturbed."

And like none of that is wrong, to be clear. I don't know if it'd improve your writing, I don't even know if it'll improve my writing, but I use this sentence structure all the time so every viewpoint is from a voice that thinks about what it thinks, hedges its statements, and offers the same ability for wry little jokes formatted in the exact same way. And I have a lot of writing like that and I think (!) that they're good, but read as a whole, I'm like, "god, they all sound the same." Like there's one melody that I write songs to, so even with different lyrics, it's almost (!) the same song. Something I've been struggling with in regards to my writing and why I've felt so blocked is how boring I found writing my usual way. I'd read something and enjoy the individual parts of it, but then I'd step back and I didn't like the whole. And I got good at this enough at seeing that I didn't like it to do it in real time as I was writing, which as you can imagine didn't improve the process of writing because now I was bored AND dejected about being bored.

There's this sentence-level structure fact that I use unconsciously. A pattern I find easy is short sentence, short sentence, short sentence, long sentence. So I write that. "He [verbed]. He [verbed]. Then he [verbed]. As he [verbed] to his [consequence], he [verbed] that [noun] was [statement of condition]." Which could work, it often does make for a nice rhythm, but it's something I reach for often because it's easier for me.

Just last sentence, I originally typed, "I find it easier for me." But if what I mean is "using this pattern is less effort than another pattern," then it's easier for me. One voice is hedging its bets and the other asserting. Either is fine! But they're different! And, again, GOD you would not believe how many words I've cut out of this paragraph as I write it. I'm so chatty. I love using twelve words when six will do. And that gives my writing a specific tone to my ear.

So if I am bored of that tone, why not try using just the six words? Why be understated? Why be afraid of stronger opinions? So right now with my fiction, I'm experimenting with cutting out as many self-reflective words as I can. Sometime you do need to draw attention to the face that this is the character's interpretation, but like you definitely don't need to do it as much as I naturally want to do it. You don't need to always go out of your way to allow the possibility that the narrative voice is wrong. During editing, I trim the weaker ones (I originally typed, "what I consider the weaker ones" Is that more accurate?). But I think them being there in the first place shifts my language which shifts my character's which shifts my plot. It's sentence structure all the way down!!

(this barely applies to my writing on here, btw. i try to do good but yknow this is a tumblr blog. i'm not trying to get a lit mag to accept it.)

Anyway blah blah (chatty!) the point is I've been trying to write in a way opposite of my interests. Something that doesn't take itself too seriously, that emphasizes EMOTION and ACTION instead of minimizing it, and that clips through scenes at a good pace. Doing this been amazingly fun. I've been having such a good time doing it. I am writing so much because I really enjoy doing it. The process of writing is so fun again.

This post is about two things. One is my new mood stabilizer and therapy day camp. The other is about the benefit of pretending to be MXTX.