pexxermint

[love-death-and-desert]

Idk if you’re still taking requests (if not no worries) can I get a Joe Hills from Nashville TN

<3

[jimmyspades]

i was in your wet dream driving in my car (crash 1996)

[bthump]

What are your thoughts or analyses on the phallic imagery in berserk? Less so the more obvious ones like seen in Casca’s nightmares which are obviously pointing to her sexual trauma, but like we see with the vagina-esque monsters and how Guts’ sword is alluded to being like a penis in some cases. Sorry if it’s a weird question lol

Sorry for the wait on this lol, I was on vacation for a while, and it's also a topic I wanted to spend some time on because I love it and I wanted to be relatively thorough. Thanks for the ask!

So yeah, disclaimers out of the way, Freudian analytical theory is very silly, very gender essentialist in ways that can often be transphobic and misogynist, and as far as I'm aware pretty much wholly unrelated to real psychology. Back in the 70s and 80s you had film theorists who took it seriously as a genuine glimpse into the subconsciousness of humanity or whatever, but now it's pretty much just a readily available source of sex and gender related symbolism that's easy to understand.

And in Berserk I do genuinely think it's a valid lens to view the story through because Miura is often quite heavy handed in utilizing it as symbolism. I mean, Guts literally gives someone an orgasm by stabbing her at one point. Some of this can definitely be a stretch, taking established symbols and running with them, but some of it is also almost certainly purposeful. I'll leave it to you to decide what you see as legit and what you see as stretching believability here.

This is very long lol

So yeah, it starts off strong in Berserk with Guts' oversized sword. Swords are dicks, ie sources of masculine power, especially in Berserk

and in the context of the story the dragonslayer is Guts overcompensating imo. And it's not compensating for a small dick lol, which would be more the purview of comedy, but for a loss of masculinity, ie Guts' childhood abuse from Gambino, and rape trauma. It's about his need to prove himself because he was made to feel like he had to, imo.

And it's not just the size of his sword, his obsession with it is also a major factor. He has a grandiose speech about how his sword is like a part of his body (hmm) and that it's been at his side through everything and he's always relied on it. The dream he lands on is to be the best and strongest sword fighter ever. He's currently having a breakdown over not being able to hit someone with his sword. He has a recurring tendency to break other guy's swords lol. At one point Casca screams at him that he essentially cares about his sword more than her. etc etc.

In the story dreams are at odds with emotionally healing human relationships, and dreams are represented by swords (Guts' sword obviously, Casca becoming Griffith's sword, Griffith calling the throne a sword while taunting the king in the dungeon as well as his vision of himself throwing him a sword and pointing to the castle in chapter 72).

So through a Freudian lens, Guts' sword can also be said to represent emotional isolation, positioning masculinity as emotionally isolating. Which, yk, fits with Griffith also equating dreams and masculinity in his Promrose Hall speech (a man must achieve a dream before he can have a family or lover) and, I suppose lol, Casca getting "softer" and more feminine as she falls for Guts, as femininity is therefore the opposite: emotional reliance on and support of others.

So if swords are dicks, then it follows that wounds are vaginas, ie yonic symbols. Also pretty obvious when you read some of the lines during the Guts and Casca sex scene lol. "I too want a wound I can say you gave me." These can represent weakness and victimization (I did warn for misogyny lol) and/or (often sexual) relationships and emotional openness.

So you have the relationships - "licking wounds" with Casca; Guts letting Casca stab him when he thinks about abandoning Griffith; the Beast of Darkness calling Casca the wound Griffith left so Guts can keep feeling the pain Griffith caused; Griffith scratching his own shoulder where Guts' sword pointedly didn't wound him; Griffith being out of reach of Guts' sword post-Eclipse; "let's give him a heap of raw iron;" and Farnese grinding on Guts' sword while possessed and Slan directly treating being stabbed as sexual penetration for the most obvious examples...

Also I'd argue that any time Guts gets his ass kicked in a fight it functions as an echo of his rape trauma symbolically and subconsciously to Guts. Both kinda obviously at times, like eg when Slan overpowers him and tears off his shirt while wounding his chest, and kisses him after the stabbing, causing Guts to feel a burst of fear

or when Rosine stabs Guts through the mouth as another enemy who flirts with Guts mid-fight. And of course the first duel with Griffith in which Guts unilaterally sets the stakes to sex slavery because he's projecting.

But also a little more subtlely, such as when Zodd is given the same position as Nightmare Donovan in Guts' concussion nightmare after he kills Adonis, or all this consistent imagery that rapists and apostles tend to get.

Or, interestingly, the way the Berserk armour functions as self-harm as Guts fights by penetrating Guts to "heal" him.

Something that solidifies its hold over Guts and makes him lose more and more of his positive humanity to his urge to kill.

So yeah, from a Freudian angle I'd suggest that Guts is driven to fight to reclaim the sense of masculine power he was stripped of when he was raped, and every fight can be said to be a repetition of his rape trauma in which he (usually) successfully fights back, but also continuously retraumatizes himself rather than healing.

I'm going to delve a little deeper into how phallic and yonic symbols intersect with the characters' relationships now that we've outlined some of the preliminary symbolism, starting from the Golden Age.

The first duel between Guts and Griffith is rife with Freudian symbolism, very overtly. Griffith stabs Guts and then Guts proceeds to have a nightmare about his rape trauma. Then he projects that trauma onto Griffith when he assumes Griffith wants to fuck him and adds sexual stakes to their duel. Then, yk, he takes Griffith's sword into his mouth lol.

Griffith winning by dislocating Guts' arm can be easily taken as a symbolic unmanning/castration, nicely introducing us into Guts' three years of growth towards prioritizing relationships instead of aimless sword-swinging to prove himself. It's also suggestive of penetration when you're primed to look for sexual symbolism (and if Guts offering Griffith his ass and then biting a sword doesn't prime you for it, what does?):

And the two of them losing their swords in the course of the fight and resorting to unarmed combat can also be taken as a telling symbol of the conflict between dreams and their relationship with each other. They lose the symbols of their dreams and contend only with each other, in a more positive contrast to the second duel that ends their relationship, in which they fight only with swords and never touch each other.

Wounds come into it when Griffith nearly gets killed rushing in against Zodd to save Guts, leading to the most impactful moment of their relationship, where Griffith admits he did it solely for Guts' sake and had no other reason. Griffith also points out how wounded Guts is after that fight, in what I'd call a nearly flirtatious way:

And if you follow these symbols completely strictly this scene suggests Guts retreating into his defensive masculinity in his sword exercises after being defeated/emasculated by Zodd and accused of not valuing his personal relationships by Casca, and finally finding a new, more constructive purpose for his sword after Griffith essentially confesses his devotion to him.

Dedicating his sword to Griffith in return for the wounds Griffith suffered for his sake, with, it has to be noted when the topic is freudian symbolism, his sword held at exactly crotch level.

In the second duel Guts destroys Griffith's sword before leaving, a symbolic castration which is most likely intended to represent and foreshadow Griffith's subsequent loss of power when he throws his life away and ends up tortured in a dungeon for a year. More interestingly imo, is Griffith tracing scratch-markes on his shoulder after sleeping with Charlotte and while crying over Guts - the same shoulder Guts' sword didn't quite hit when he won the duel, drawing attention to the lack of a wound by Guts' hand, a wound he created himself and traces in his devastation.

You have a nice... I don't know what the comic terminology is lol so I'm just going to call it a match-cut here, with Griffith and Casca both getting penetrated by the same number of arrows/skewers, to signify Griffith and the Hawks' fall from power, in contrast to Guts' growing phallic power as he pursues his sword swinging. Power which he demonstrates when he returns and saves the Hawks and Casca and Griffith by swinging his sword a lot and defeating a lot of powerful enemies and, if I'm gonna be crass, healing Casca's suicidal despair with his dick lol.

Interestingly though, before he does that he lets Casca stab him while experiencing the guilt of having driven Griffith into a torture chamber by leaving. It's a wound that highlights his emotional connection to Griffith and vulnerability to those emotions, even as he tries to deny them. He then manages to successfully deny them for a little while longer after having sex with Casca.

In this Freudian context, Guts and Casca's sex scene is an affirmation of a relationship, but one which is emotionally uneven, with Casca ready and willing to emotionally rely on and support Guts, but Guts still dedicated to his sword-swinging dream, inviting Casca with him but only as long as she doesn't get in the way of what he wants to do. This does fit with phallic symbols being associated with emotional distance and yonic symbols being associated with emotional closeness lol. (Also fittingly, the one way he does open up to her is about his rape trauma after a flashback.)

It's worth noting that in this disconnect Casca erroneously assumes Guts fought the hundred men and "bled" for her, making her want "a wound" from him in return. Guts fighting those hundred men is much more reminiscent of his fights against apostles, the fights that revolve around replaying his rape trauma to make himself feel better. Casca assumes they already have an emotional bond due to Guts' wounds, but she's wrong - Guts specifically thinks to himself during the hundred man fight that he's not doing it for Casca.

This is reflected in the Wyald fight when Guts insists on fighting Wyald, again as part of the whole reaffirmation of masculinity thing I outlined at the start of this, when Casca just wants him to run away. The Wyald fight is pretty overt about being about Guts' rape trauma imo, moreso than most fights in the story. Wyald's rapiness is made a point of from Guts' point of view when he sees him wielding the torso of a woman sexually impaled on a pike and gets extra angry, and when he literally cuts off Wyald's dick when he's about to rape Casca, and then has his pointed line about needing to "settle the score with him... with them... by his own sword."

SO ESSENTIALLY to sum up this subsection, I think you can argue that what prevents Guts and Casca from being an equal relationship is Guts stlil being hung up over needing to prove his masculine power through sword-swinging, rather than embracing his emasculation (which, remember, tends to signify positive relationships in this context) and coming to terms with it ("immersing himself in sorrow" as Godo says much later.)

Like, to return to Griffith, it's fitting that after Guts destroys his sword and he goes through a year of torture and is thoroughly emasculated, he's able to recognize his feelings for Guts and understand that Guts is more important to him than the dream, the "sword called the throne."

But he doesn't quite come to terms with his emasculation either. This symbolism is one explanation for the wagon scene where he propositions Casca - a desperate bid for some form of power. Not the strongest explanation imo, but since we're currently in the business of actively looking for this symbolism, it definitely fits. Casca's rejection and pity reinforce Griffith's emasculation, and overhearing her tell Guts to leave again is the final straw. Relationships are a bust, swords are now his only recourse, as we see when he has a vision of himself throwing him a sword and pointing to the castle.

You could take the nightmarish vision he has of a life with Casca as Griffith rejecting emasculation, but an alternate way of taking it is Griffith regaining a form of phallic power, and the emotional isolation that goes with it. After all, it's implied that he has a child with Casca, while totally withdrawn and emotionally isolated.

I once said in a different silly essay that Griffith choosing the dream is, in a way, Griffith choosing another version that nightmare, and that take also fits here.

And hey, it's another reason for Femto to rape Casca lol, if we want to ascribe meaning there, and of course we must in this kind of analysis. In the wagon Griffith essentially offers sex to Casca for the faint vestige of masculine power it could give him (emotional isolation and a child); in his nightmare he imagines that life and it drives him to suicide; and after becoming Femto he forces sex onto Casca and then continues on to embody emotional distance and masculine power.

This power is painfully demonstrated through the rape of Casca, but also subsequently through his pure untouchability (often in pointedly sexualized contexts); through his phony relationship with Charlotte and ascending to the ultimate patriarchal role of king/emperor and taking that sword called the throne; and I guess also through his actual sword lol which he still uses.

An example of sexualized untouchability - check out the positioning of that third thought bubble, in this scene where Griffith lords his invulnerability over Ganishka.

And look at all those pillars, I'm js.

And I'd be remiss not to point out the most recent confrontation with Guts where Guts tries many times to hit his naked body with his giant sword, completely fails, and then Griffith kidnaps Casca. More very on-point emasculation symbolism, it might as well be Guts trying to fuck him but unable to get hard lol. His breakdown afterwards doesn't do much to disabuse you of that notion either.

Anyway, back to post-Eclipse Guts. There's not much else to add that I didn't cover at the start, but in brief:

Guts has lost his arm during the Eclipse, which is an emasculation - he loses it while watching Femto rape ~his woman~ so it's like the most traditional symbolic castration there is lol. And of course he replaces it with a bigger, better, and more overt phallic symbol: a canon. And like the first thing we see him do with it is shove it into the mouth of a monster he's banging and blow her head off. So yk, there's that.

And there's Puck, who exists to help bridge Guts' emotional distance and essentially serves as the feminine counterpart to Guts' masculinity for a while. From his magical empathy, to his tiny size, to his lack of genitalia (note that in Freudian theory the lack of a penis is an indicator of femininity rather than specifically the presence of a vagina), to his connections with female characters Theresia and Jill, even arguably to his introduction where Guts saves him from a bunch of men throwing phallic knives at him by skewering them with his own (bigger) projectiles, this is consistent during the Black Swordsman/Conviction arc era.

Chestnut Puck is a lot more boyish, with his particular humour, his cameraderie with an annoying teenage boy, and now having his own feminine counterpart in Ivalera, but that's fine because his thematic job as a feminine influence on Guts is over after Guts starts collecting more friends.

And as far as the RPG group goes, there are a few notable instances of phallic symbolism for them too. Farnese and Serpico are an obvious example, with Farnese sexualizing the wounds Serpico voluntarily suffers for her, when she demands he duel for her honour a bunch of times.

Farnese brandishing the end of her whip at him doesn't hurt the freudian power dynamic symbolism either lol.

In the Conviction arc Farnese wielded a sword she was incapable of using, suggestive of her true femininity under a brash masculine surface, and when she softens in the Millenium Falcon arc she becomes a caretaker with only a small dagger for self-defense. That said, she does get that epic moment of stabbing a tiger in the eye with a long silver pole (candlestick) when she rejoins Guts' crew rather than becoming a housewife, so she still gets some badass phallic weapon imagery lol.

Serpico wields a thin rapier in the Conviction Arc, which Guts easily grabs in his hand, and in the Millenium Falcon arc he switches to a... limp feather duster lol. Serpico is very feminized compared to Guts and his weapons fit as part of that, but they're still effective weapons. You could maybe argue, within this Freudian lens, that this is indicative of Serpico's healthier relationship with masculinity. He's not compensating for anything, he's at peace with himself.

And god I gotta say something about Guts and Serpico's duels. In the first one you have Serpico delaying Guts while Farnese steals Casca from him, and part of that delay is to force Guts into a fight where he can't wield his sword, a parallel emasculation to Casca being kidnapped.

Then you have their confrontation after Farnese's no good very bad night, which is just incredibly suggestive lol.

You cannot tell me this isn't Guts getting blueballed when Serpico leaves after one quick exchange. Particularly coming in the same chapter featuring possessed Farnese grinding on Guts' sword (which Guts was much less interested in, incidentally). Also: wounds as sexual imagery again. Guts licking the blood off his cheek? Come on.

And finally you have their fight in Farnese's basement, in which Serpico attempts to hinder Guts by surrounding him with giant pillars, which Guts smashes through as he dodges around them. Another neat illustration of Guts' pure phallic power and Serpico's much more effeminate style.

One final note to address part of your ask, which didn't naturally fit into the rest of this lol: I would interpret vaginal imagery in monsters as mainly castration anxiety, yk, vagina dentata vibes, the fear of sticking your dick in a hole you can't see into. There's actually a lot of interesting stuff to consider in terms of the feminine as the unknowable other when it comes to Freudian theory, but that's like, not something I would expect Miura to lean into first of all, and also it would take another essay of explanation. If you're interested in that kind of Freudian analysis though I'd recommend the books Men, Women, and Chainsaws by Carol J. Clover and The Dread of Difference, edited by Barry Keith Grant. I took a course on women and horror films ages ago and read chunks of those, and it was very fun, and iirc both address Freudian imagery in horror.

Okay! So that's the rundown of like, all the examples of Freudian imagery that interest me at least lol. This isn't exhaustive ofc, Berserk is long and not stingy with this stuff, but this response is already so long and meandering lol, so I'm going to wrap it up here.

To sum up, phallic imagery often represents masculine power as well as masculine flaws (like emotional isolation) in Berserk, while yonic/vaginal imagery tends to represent feminine weakness as well as feminine virtues (like emotional connection and vulnerability). As a general rule, the more phallic imagery someone violently swings around, the more fucked up they are. Phallic violence is used to compensate for past trauma, but it only continues the cycle of violence. The way to break that violence is to accept one's wounds and focus on them, to heal, rather than trying to distract from them.

I don't think this is always the best way to interpret Berserk lol, but it adds another dimension that very often complements the surface meaning and thematic resonance of the story, sometimes purposefully, sometimes likely incidental. And either way it's a lot of fun to read into!

[mercymaker]

i know i've been yapping about the long fic for literal months at this point BUT!!! i am writing it!

it ain't much but it's honest work

[tennessoui]

For The propmts, "I can't trust you"

hi hello!!!

this is set in my "there was only one desk" au, where obi-wan and anakin, well. share a desk in the office and hate each other.

"""""hate each other"""""

(1.5k) (angst here and now but actually the stupidest thing ever)

The person sitting at Obi-Wan’s desk is not, in fact, Obi-Wan Kenobi. For one thing, it’s a woman with a severe red bobcut and better fashion sense than Kenobi’s ever had. For another thing, Anakin can’t actually remember a time when he’s made the trek up to the twelfth floor just to annoy Kenobi only for the man to not give him attention. So this woman, who doesn’t even raise her eyes to look at him when he’s standing next to her desk, can’t be Kenobi.

“Uh,” Anakin says. He’s holding a singular cupcake on a plate in both hands, red velvet because Obi-Wan hates red velvet and with a candle in the icing because Obi-Wan is extremely paranoid about the sensitivity of the sprinkler system. “Who are you?”

The woman’s fingers pause on the keyboard and she looks up at him sharply. With a raised eyebrow, she tilts her head to the nameplate on Obi-Wan’s desk.

Bo-Katan Kryze it reads.

Anakin blinks. “Do you—share this desk with Obi-Wan?”

“I don’t know who that is. I sit here every day,” Kryze says. “Is there something I can help you with?” She makes it clear that she believes there is absolutely nothing she wants to help him with.

“Um.” Anakin stares at her uninterested face, the nameplate, the desk itself.

He realizes rather suddenly that the plants are gone. All of Obi-Wan’s plants are gone, and in their places are picture frames filled with pictures of strangers, a standing calendar, and a souvenir mug.

“No,” he says slowly. “Sorry.”

“No worries,” the woman says, turning back to her computer. “Have a nice day.”

Anakin turns around and goes back to the elevators around the corner. He feels a bit stupid, holding a plate wth a cupcake on it, so he tosses it into a small trashcan next to a desk as he passes by, plate and all.

He still feels a bit stupid, and the feeling lingers all the way from the twelfth floor to the tenth, where his desk is. If Obi-Wan was playing a prank on him, he just fell for it like an idiot. 

But if he hadn’t—

“Obi-Wan wasn’t at his desk,” Anakin says to Vos as he sits down in front of his own computer. “There was this woman there instead, and she’d moved all of his stuff. Even the nametag.”

Vos doesn’t look up from his screen. He’s been sort of distant since Anakin came back, like he forgot how to talk or some shit during the month and a half he was away.

His silence would make sense if Obi-Wan asked him to help with the prank. And Vos probably would hop on the opportunity to fuck with Anakin. He tries to say he doesn’t play favorites of course, but he very clearly does. 

And his favorite very clearly is Kenobi, not Anakin. 

Anakin remembers the chair incident, after all.

So if Obi-Wan told him about trying to pull a fast one on Anakin his first day back at the office, hire a woman to sit at his desk and change all of its decorations just to confuse him, Vos would probably help out by pretending everything is normal.

Anakin narrows his eyes and looks at his desk. Nothing’s been moved or changed since he last saw it. No new cameras to video his reaction.

“Where’s Obi-Wan?” he asks, looking over at Vos. “I mean, it’s a lot of work, isn’t it? Points for creativity, I guess though.”

Vos’ fingers still on his keys and he finally looks up, going as far as to take his hands off the keyboard completely. “What?”

“Like where did he put his plants? And the zen garden with all the sand, you know? He moved that zen garden somewhere else just to fuck with me for a bit? And the name too, her name— Bo-Katan? Kryze? He could have tried a little harder to make up something believable.”

Vos looks at him, eyebrows furrowing. “Sorry,” he says slowly. “But–sorry, but what do you think is happening here, exactly?”

Anakin frowns. Usually Vos would be laughing by now. “Joke’s on him though, I brought him a cupcake to celebrate my first day back, and me and Bo-Katan split it instead. No cupcake for Obi-Wan. It’s what he deserves for such a lame prank.”

“Skywalker,” Vos’ voice sounds even slower. “Skywalker, there is no prank.”

There’s a very weird feeling in his gut. He forces a laugh. “Uh, right, of course not,” he says. “But seriously, where is Obi-Wan? I’ve been taking pictures I want to show him for months. He’s going to love them.”

He better love them, at least, if he knows what’s good for him. But Luke and Leia are adorable, especially now that they’ve stopped teething on everything in range. Even someone as heartless and deplorable as Kenobi will be swayed by their big eyes and general all-encompassing cuteness.

The look Vos gives him is uncharacteristically cold. “Two things, Skywalker. First, there’s no prank. Obi-Wan quit. Sounds like you brought cupcakes to his replacement, like some. One man office welcome brigade. Second, if you really think Obi-Wan Kenobi wants to see your fucking baby pictures, you’re more stupid than I thought.”

Anakin blinks and then stares as the feeling in his stomach spreads to his chest. “What? No. No way.” He blinks again, eyebrows furrowing. “Is this the prank?”

Vos pushes his chair away from his keyboard, rolling it to the edge of his desk. “Skywalker. Anakin. There is no prank. I’m telling you the truth. Obi-Wan has separated from the company. He is not here today, and he won’t be here tomorrow. He left.”

“But—” Anakin’s mouth is open, but no words are coming out. “But. He didn’t tell me.” 

There’s a knot in his stomach, one that may be bigger than his stomach altogether. No, it has to be some sort of—of prank. Of practical joke at his expense. When Obi-Wan pops out in an hour or so, Anakin is going to hit him so hard in, like. The shoulder. For the crime of being really, really not funny.

“Why would he tell you, Skywalker?” Vos asks, carefully putting his hands on his knees as he looks at him with an unreadable expression on his face. “You don’t like each other.”

“I—I mean. We do!” Anakin splutters. “We spent quarantine together! And last summer when we did the office expedition and got lost, we camped together! For two whole days!”

“Those aren’t bonding activities,” Quinlan says. “You know that, right? No one else would consider those things as foundations for a friendship or even workplace relationship.”

Like he always seems to do when Kenobi and “workplace relatitonships” are brought up in the same sentence, Anakin flushes. He can feel the tips of his go red.

“Look, I get that you’re—friends or whatever,” he mutters, pitching his voice down low so that no one else can eavesdrop. Not that anyone else is really paying attention, but just in case. “But we’ve—you know, you saw us. During the. The quarantine. We. Spent the night together.”

“Yeah, you fucked,” Vos rolls his eyes. “You fucked.” “So if he were going to leave the company, he’d tell me, alright?” Anakin puts his hand down flat on the desk. “Yeah? He’d tell me.”

“Only if sleeping with you meant something to him,” Vos points out, pushing his chair back fully behind his desk. “So I guess it didn’t.”

The words—sting.

A lot.

The words fucking hurt like Vos has just thrown a fucking cactus into his dick. Because—alright, they’d never talked about it afterwards or anything, but—kissing Kenobi, his annoying and annoyingly attractive deskmate, sleeping with him, touching him and being touched in return…it’d changed things for Anakin. Things he didn’t want to name then, and things he definitely doesn’t want to name now, if—if Obi-Wan really…really just.

Left.

Anakin shakes his head, wordless. “It meant something,” he says, practicing the words, even if it’s only Vos around to hear him.

“Yeah?” and Vos’ voice is cold. “Then why’d you just take almost two months of paternity leave, huh? If sleeping with my friend meant something.”

Anakin shakes his head again, staring fixedly at his keyboard. “Did he really—Vos, you’re not lying, are you? Did he actually quit?”

Vos is silent for several long moments. “Yeah,” he says, sounding strange. “Yeah, he did. This is—you’re upset about this, aren’t you?”

It could still be a joke though, because sometimes Vos goes too far and sometimes he doesn’t know when to quit, even though Anakin thinks he’s pretty obviously begging him to stop right about now.

He stands. “I—I don’t believe you. I can’t— I can’t trust you.”

Vos watches him swing his jacket on with raised eyebrows. “I suppose you don’t need his address then,” he says, expression guarded. “If you’re going to fact-check this yourself.”

Of course Anakin is going to fact-check this for his fucking self.

And either way, Obi-Wan Kenobi is going to have a lot of explaining to do.

[skitskatdacat63]

My seb hoodie has been in customs for 2+ weeks, when will my wife return from war 🫠

[keeps-ache]

my HOUSE.png

[lab-gr0wn-lambs]

The absolute whiplash I just got finding out I'm only a year older than Jojo Siwa

[youremyonlyhope]

why won't my brain shut up why won't my brain shut up why won't my brain shut up why won't my brain shut up

[keenestpeach]

.

[figuerockfaeth]

I NEED TO MOVE OUT NOOWWWWWWW

[cannot-copia]

this year so far

[peridots-pixiwolf]

yknow I play a lot of hard games but usually not "took 73 days to beat" hard

[waterberry-strawmelon]

Quick question for all my Dungeons and Daddies homies out there—

Is season 2 as funny as season 1? What are the best things about season 2? How easy or difficult has it been for you to reconcile the season 1 versions of the sons versus the season 2 versions of the sons grown up? (Or in other words, how have you been able to handle the characterization differences/changes/developments that occurred in between seasons?)

I’d love to hear people’s personal experiences (especially any listening differences!) between seasons 1 and 2 :)

[sensesdialed]

me when i think about how miserable late november/december is for peter now

[chryzuree]

i could make the scary mary fic also be in the babysitter’s a vampire universe… omg…