#and that one was easier somehow

[romana-colasour]

Planning out a gen fukinamono fic thread is post canon and I want Itsuki to say how much Ashiya means to him, but 6 small chapters planned in and I still haven’t managed how and where to put that in

[yo-yo-yoshiko]

Hajime "Heart Guy" "Incredible Violence" Aikawa

[revasserium]

i’m CRAVING a sanji fic rn 🤤🤤

maybe something on showing affection with him? cause i feel like he’s kinda superficial with his affection when first trying to get with u, but then as the relationship progresses the affection becomes so much more.

well ur in luck bc i do have a sanji fic cookin currently but who knows how long it'll take me to actually finish... in the meantime... here are some sanji domestic/affectionate!headcanons bc why not

in the beginning, it would be the grand gestures -- always waking you up with a kiss and coffee (or tea, if you're sick, or just don't feel like coffee that day) and your favorite foods; a bouquet of fresh flowers (do not ask him how he obtains these in the middle of the ocean; he will not tell you and robin remarks loftily one day that you might not like the answer)

in the beginning, he'd tell you he loves you every single hour, lest you forget for even a minute, even though it's only been like... a week and you're not entirely sure what "love" means quite yet

and then, it'd taper off, not because the 'honeymoon phase' is over, but because he'd find other ways to show you -- other ways of tellin you he loves you without telling you in so many words

there's still breakfast, but sometimes instead of coffee or tea, there's a book that you mentioned you'd been wanting to read, there's an origami crane folded out of the napkin with such excruciating care it almost breaks your heart, there's a note written in his sloppy, slanted handwriting that he dreamt of you last night and couldn't figure out if he wanted to wake up to tell you or keep sleeping not to break the fragile dream

and the "i love you"s become something else too -- they become "how did you sleep, love?" and "i knew you'd be craving that" and "c'mon, drink up -- there's more where that came from" and "tell me about your dreams" and "funny, those sound an awful lot like my dreams too".

it'd solidify, this kind of love -- his kind of love -- into something much quieter than anyone might suspect. this kind of love that simmers, the kind of love that curls around you like a hot bath, that draws you in

it's the way he always saves the wishbone whenver he cooks up any kind of bird, how he always waits till everything is done and the kitchen's all cleaned up before pulling you toward the counter, to the tiny little bone with it's winged flanges, him holding one end, the other offered out like a promise (or a wish)

you've pulled so many between you that you've lost count of how many wishes you've made, until you're laughing and complaining that you're running out of things to wish for

"what do you wish for?" you ask one day, when you've tugged and sanji gets the wish, to which he only looks at you and says, "always the same thing, actually. always... just another day with you."

[icewindandboringhorror]

I made a few new wax seal stamps out of clay (like the ones I did for my worldbuilding stuff forever ago), this time just of random symbols that I thought might look good done in the style of painting over the raised part of the wax or etc. :0c Some of them aren't carved deep enough to really show up that well, but overall they worked okay for being clay lol

[somerandomcockroach]

A large burning canvas could be seen in the distance.

The neat fingers, full of small dents from the friction of the sword handle, caught a small flame, which immediately went out from faint pressure.

There was silence, a living silence, one of those that strains with its sound. A warm wind heated his battered, but carefully polished armor.

"You want to say something"

"I want" Blurr answered, turning sharply to the dark silhouette behind him that was quietly watching him until now. He clenched his fist with a grinding sound, where the spark died out, and demonstratively opened it towards the darkness. "And this is how you are paid for making the world freer! This is what remains of your legacy, and you react as if it doesn’t concern you at all!"

"It does not concern me anymore" the figure answered him calmly.

"Shockwave, stop!"

"Is that an order?"

"It's a request” His angry expression made it clear that this request was an obligation. “I just don't recognize you for these few months." His hand shook slightly with anger. Black smoke seeped through the cracks in his armor.

"I don't recognize myself for even longer time." Blurr visibly trembled at these words, realizing where the dialogue was leading. Shockwave slowly approached, his long, deformed fingers, three times longer than one of Blurr's fingers, carefully reached out to his hand and wrapped his palms in his huge paws, kneeling down to be on the same level with him. "Blurr, I-"

Blurr turned his head away so as not to see one piercing, but such a swampy dim light of his terrifying eye, which had become more precious to him than his weekly knightly brigandage. "Shut up. It's too early, we haven't agreed on when exactly to do this"

The dull mass of metal, which was only a tangible casing, after some hope of catching at least a spark of doubt, only lowered its head heavily. The crackling of the fire continued to be heard around. The soot reached them, gifting them with at least some warm light among the shades of cold before dying. Realization, regret, reluctance were not reflected in the knight's optics. His armor, always proudly looking into the face of danger, now reflected only the cowardly lights of the fire from behind. Despite this, he did not remove his hand from the strong lock until the blades themselves parted. Shockwave disappeared. Disappeared as he had done for the past few months.

Blurr turned back to the burning wall. From afar were heard screams, squeals, grinding, clanking. The column of fire did not subside, as if it was fed by fuel from secret reserves. It had been burning like that for hours, as if to show the greatness of this building over others that would have left only a column of smoke long ago.

Shockwave's last school of dark magic was burning out, as was the will of its creator to live.

[lavender-rroses]

back with more

still riptide this time but now with some OCs :-)

[marley-manson]

the topic is Trapper and the army as foils, you have three hours, go

In no small part the satire of Mash, particularly in the first half of the show, is tied up with gender performance.

The army represents traditional, stifling and violent masculinity. This is shown through everything from freudian jokes about guns (eg Frank and Margaret's flirtations in The Sniper or The Gun), to Margaret trying to cajole Hawkeye into performing a more traditional standard of masculinity while treating him like a soldier in Comrades in Arms Part 2, to many jokes and comments about (usually) Hawkeye not being a real man in contrast to army standards and various specific army personnel (eg Lyle in Springtime, Flagg in White Gold), to Frank and Margaret's worship of the masculinity of the army ("He's twice the man you'll ever be," re: Flagg and Hawkeye, Margaret's lust for MacArthur, Frank pursuing the sniper in The Sniper in an attempt to be a "real man" in Margaret's eyes, etc) to many jokes positioning the military as a sexually aggressive man pursuing Hawkeye ("Sure, the sun the moon the stars, your high school letterman jacket. Same deal I promised nurse Baker." "A receipt please, and promise you'll go out with other doctors," etc.)

In contrast, the main characters all fail to perform traditional gender in some way, from crossdressing to immaturity to indecisiveness to peacefulness to Margaret's masculinity and Frank's pathetic failure to live up to his own masculine ideals, to just about everything about Hawkeye. His cowardliness, his jokes about not being a real man, his jokes about taking the feminine role in sexual encounters with men and women, even multiple double entendres about his average at best penis size.

Trapper is the most traditionally masculine of the main cast. He still subverts masculinity in some subtle ways here and there, such as the occasional feminizing joke and mentions of not being in great shape, but overall he's the more butch counterpart to Hawkeye's fem. He plays the role of boxer while Hawkeye plays the role of diva in their respective manager/star roleplaying episodes. He's broader and buffer and plays football, often seen playing catch with someone while walking around the compound, while Hawkeye disdains sports and doesn't participate. He reads Field and Stream which Hawkeye derides in Alcoholics Unanimous while making a wry comment about shaving his armpits. A past lover nicknamed him Big John.

And there are many, many jokes about Hawkeye and Trapper being sexual partners. The recurring Uncle Trapper and Aunt Hawkeye gag, if my father sees this you'll have to marry me, for me? only if you put those on, your father and I will tell you what we did to have you, that's when I fell in love with him, etc etc etc. It's constant. In these jokes Hawkeye usually takes the feminine role, though not strictly every time ("Me and the missus," is one exception in As You Were, the dance in Yankee Doodle Doctor is another).

Trapper's masculinity is differentiated from traditional military masculinity in a few ways. Most obviously, Trapper abhors the military's violence. He never uses guns and mocks Frank's obsession with them, he's a healer rather than a soldier, and he's disgusted by the results of military violence on the men on his operating table.

He's also secure in himself. The military's brand of masculinity is strongly characterized by insecurity and overcompensation. Frank is the main representative of this military insecurity - a coward who insists he's brave (The Army Navy Game), a man who clings to a phallic gun to compensate for his sexual and gendered inadequacies (a main theme of The Sniper, perfectly mirrored when the army itself comes in with a vastly disproprotionately powerful automatic machine gun on a helicopter to shoot down one sixteen year old), a homophobe repressing his own attraction to men (As You Were, the original script of George), etc. We also see this in Flagg, who implicitly sublimates sexual urges into violence (seen when he suggestively caresses his gun while describing how he wants to torture a boy in Officer of the Day).

Trapper doesn't need to overcompensate. He's well-endowed physically, he's portrayed as a competent and considerate lover, he's a brave man who doesn't mind being seen as a coward, and he may or may not be attracted to men but either way he's not a homophobe (George) and he doesn't express his sexuality through violence. When Margaret proves herself stronger than him, his response is to be impressed rather than offended (Bombed). When he dances with Hawkeye for a gag, he doesn't mind letting Hawkeye lead.

He's also differentiated in terms of tradition, with the mliitary representing a more propagandic 50s traditionalism, and Trapper representing a 70s, countercultural freedom from tradition. We see this in the way Trapper has plenty of sex despite being married, while adultery is a court-martial offense in the military. It's notable that he's open and carefree about it, while Frank and Margaret are surreptitious and hypocritical in their affair. This lack of traditionalism is also shown in his disrespect for authority, often in direct contrast to Frank and Margaret's worship of it, and his allyship to George who the military would persecute for his sexuality.

So ultimately we can see that while Trapper and the military are both examples of masculine performance, Trapper's masculinity differs from the military's in being more flexible, less violent, less traditional, and more secure. The military's masculinity is far more toxic than Trapper's, particularly in the context of 70s counterculture media, which aligns womanizing with sexual liberation rather than a lack of respect for women, accurately or not.

This contributes to their respective dynamics with Hawkeye.

Hawkeye, we've established, is usually more feminine, and there are a myriad of jokes characterizing Trapper as his sexual partner, as well as the military as a sexual pursuer.

The jokes Hawkeye and Trapper make about their relationship tend towards cozy domesticity. They're Radar's "aunt and uncle," they directly roleplay marriage ("Martha, we're going to have to move, the people upstairs are impossible,") and less directly behave as though married (the bickering in Alcoholics Unanimous, the discussion about naming their pony in Life With Father). Occasionally they're treated as a healthy couple in contrast to Frank and Margaret's toxicity ("While I'm gone, promise you'll go out with other doctors," vs "Touch anyone else and I'll cut off your hands" in Aid Station).

In some instances the jokes lean towards predatory - "If you're trying to get me drunk, it'll work," or "Who is this man in bed with me?" "I followed you home from the movies," but they're always playful, always fond. If Hawkeye takes on a submissive or victimized role in these jokes, it's one he has fun with and discards just as easily in the context of the rest of his relationship with Trapper.

So, it's important to note that Hawkeye and Trapper support each other and look after each other in an equal, enthusiastic friendship. From Trapper ensuring Hawkeye gets to sleep in Doctor Pierce and Mr. Hyde, to Hawkeye supporting Trapper when he wants to adopt a child, to Trapper right at Hawkeye's side as they attempt to procure an incubator, they are there for each other every step of the way. If their relationship is a marriage in some ways, it's a healthy, strong, and non-traditional marriage, an equal and open partnership free of jealousy and insecurities.

Compare that to the military's relationship with Hawkeye. In jokes it's characterized as powerful and predatory, far from an equal partnership. Sometimes it approaches positive - in Carry on Hawkeye, much of the humour is derived from Hawkeye and Margaret's gendered role reversal as she assumes military command of the unit. Hawkeye playfully calls her sir, seductively lies on her desk like a secretary in a porn film, and most notably treats an immunization shot as sexual penetration in a prolonged gag about sexual role reversal. Hawkeye has fun playing a sexually submissive role to a representative of military authority in this episode, but it is a submissive role.

Several of the one-off jokes have a similar sensibility, such as the double entendre of "My bellybutton's been puckering and unpuckering all day," in response to a representative of MacArthur assuming their excitement over the general's arrival to the unit, or Hawkeye's "Okay, take me, I'm yours," to Colonel Flagg. They demonstrate a willingness to play the receptive role on Hawkeye's part, but they also, pointedly, disturb the object of the jokes.

When Hawkeye makes these jokes that sexualize military authority, he's attempting to be provocative as well as defiantly drawing disruptive attention to his own powerlessness as a drafted surgeon. The power dynamic between Hawkeye and the authority of the military only goes one way, and Hawkeye gets a kick out of pointing it out in ways that perturb the representatives of that authority, but it's a power dynamic that takes its toll on him.

Many of Mash's plotlines revolve around Hawkeye rebelling and attempting to seize some scrap of agency back from the military. Adam's Ribs, for example, in which he starts a mild riot over the food he's being fed and spends the episode attempting to procure barbecue ribs from Chicago (which Trapper procures for him), or Back Pay where he tries to charge the military for his forced labour. A particularly notable example is Some 38th Parallels, in which Hawkeye complains about being paid the equivalent of a nickel per operation, and his frustration manifests in impotency until he can perform a gesture of rebellion against the military.

One unfortunate consistency of these episodes is that the army ultimately retains its power. When Hawkeye achieves his goals, it's only in small ways that do little more than satisfy his own need to assert his sense of self. Often, Hawkeye doesn't achieve his goal at all, but is thwarted by the army, such as in For Want of a Boot. In every instance he remains powerless in comparison to the authority of the military.

So the context in which Hawkeye makes these sexualized jokes about the military literally fucking him is one of abject helplessness. In a sense, all he's capable of is pointing out what the military is doing and putting it in his own, audacious terms. He's not capable of preventing it. His jokes usually have an edge of bitterness to them in delivery, and when they don't, that tone is imparted anyway by the greater context.

With Trapper, Hawkeye can play-act a marriage or an assault, but in either case he's an enthusiastically consenting, equal partner. Trapper's performance of masculinity allows for Hawkeye to take any role from victim to wife to husband, and enables Trapper to respond in kind from a position of equality and respect. The military, in its insecure, domineering performance of masculinity, is a dictatorial authority, never allowing Hawkeye perform any role but a feminized, victimized one, and only ever giving him the choice of whether to perform with a wry smile or a sneer.

In short, Trapper is the cool, considerate service top to the military's insecure domineering boyfriend.

I'm tagging everyone who enabled this lol, share the blame. @beansterpie @majorbaby @professormcguire @rescue-ram

[bikefuckersoftheworldunite]

valentino and sete sharing sete’s water bottle at welkom 2004 post race presser

[remusjohnslupin]

I forgot to make a post about this last week (or maybe I needed time to process what I saw), but addressing my fellow Tolkien fans out there: Did anyone else feel the urge to scoop their own eyes out with a spoon after the whole 'sympathetic and misunderstood orcs who just want to stay with their families and don't want to go to war' debacle?

Misunderstood orcs. Misunderstood. Orcs. Who don't want to go to war. ORCS. They actually showed an orc baby being held by its orc parent.

Once again... ORCS.

I am so glad Christopher Tolkien died in 2020.

[gelarshiesprofruitboarder]

coughs hi heres more

[jonasiegenthaler]

natejo secret satan for @stromesquad <3

[mwagneto]

i left my phone in my room and picked up an actual physical book and sat down on the balcony and read the whole thing can everyone please be so so proud of me

[a-most-beloved-fool]

For the writing prompts;

19. For luck - Rom and Leeta

"And then," Bashir was saying - though in truth, Rom was paying only half attention, far too busy thinking about Leeta - "she came right up to me, and kissed me on the lips!"

"Oh, she did, did she?" Chief O'Brien said, scoffing good-naturedly.

"It's true!" Bashir insisted, though he didn't look insulted by the Chief's doubt. He was smiling into his glass, seeming quite delighted by the disbelieving frown on O'Brien's face.

Rom didn't quite understand what was supposed to be so 'unbelievable' about the story. In fact - "It seems pretty believable to me," he said. "Doctor Bashir's always kissing beautiful women." (Including, at one point, Leeta - though not anymore, Rom thought with some pleasure.)

"Yes, but this one was out of his league," the Chief said, batting his hand playfully across the table.

Bashir just smiled bashfully, ignoring the swipe. "Ah, well. You're right about that. She wasn't really interested in me after all. Turns out, she'd just misconstrued the human concept of a 'good luck kiss'".

"Ohh! A 'good luck kiss'!" Rom said eagerly. Then, after a pause, "Uh, what's a 'good luck kiss'?"

The Chief sat back, idly crossing his arms. "Well, it's pretty much exactly what it sounds like. It's a kiss that you give someone to wish them luck."

"Oh," Rom said, considering that. Luck was always a good thing to have. Perhaps... "Oh! Leeta!" He stood, sending his chair clattering backwards. "I'll be back!" he shouted, then raced from Quark's bar, ignoring his brother's parting shout out dismay.

He needed to find Leeta.

--

"Leeta! Waaaait!" Rom hollered, shuffling through the crowded promenade as quickly as he could manage, chasing after her familiar voice. "Leeta! I need to give you something!"

This would be easier, he thought, if Bajorans could hear as well as Ferengi could.

But, at last, Leeta stopped, turning to find him. "Rom? Rom, what's the matt-"

The rest of her sentence trailed off into a hum as Rom reached up, pulling her down to plant a kiss square on her lips. One of her hands cupped Rom's cheek, soft. Rom didn't really know how long a 'good luck kiss' was supposed to last for - he really should have gotten more details before running off (for example, does it need tongue? Bashir never specified.) - but he thought that this should satisfy it.

He pulled away, grinning toothily up at his wife. "Hi, Leeta," he said.

She smiled down at him, cheeks flushed and lovely as always. "Hi, Rom. What was that for?" she asked, looking bemused and delighted.

"It's a kiss," Rom said, perhaps unnecessarily. "For luck," he added. "It's a hoo-man tradition!"

"For luck? Rom," she asked, laughing, "what are you wishing me luck for?"

Rom blinked. "Uhhh... For your day?"

Leeta beamed at him, and then leaned down, pressing a kiss to his forehead. "Well, I think it worked. I do feel pretty lucky now."

Rom grinned. "Me, too."

--

(also if anyone else wants to make a request, the ask game is here. i can't promise they'll get done as quick or be as long as this one is, though!)

[dairyfreenugget]

(Alt text under read more)

Part 2

:] I do enjoy the pain

ID start: A doodle of the Pale King and Pure Vessel from Hollow Knight as humans. It's a close-up of their hands. The Pale King holds his trembling hand along his body when the Pure Vessel gently grabs his wrist and hand. He flinches and almost pulls away from them, but he doesn't. End ID.

ID start: A doodle of the Pale King and Pure Vessel from Hollow Knight as humans. The Pure Vessel leans against their father's arm, holding it tightly. Their brows furrowed as they look down, looking troubled or even sad. End ID.

ID start: A doodle of the Pale King and Pure Vessel from Hollow Knight as humans. A side view shot of the Pale King, with only the horns and the top of the head of the Pure Vessel visible as they lean against him. They say, "...I love you too, papa..." The Pale King looks shocked, tears pressing into his eyes. End ID.

ID start: A doodle of the Pale King and Pure Vessel from Hollow Knight as humans. The Pale King lifts his head up, his nose scrunching up as he closes his eyes tightly. He trembles as he tries to bite back his tears. One tear slowly falls down his cheek. End ID.

[pocket-elf]

Got a couple bruises and a bite mark (On my lip from kissing vampires)

Alex Gaskarth, music video for ATL's Tell Me I'm Alive

2 thread cross stitch on 18ct aida

[karenandhenwilson]

I love how we have come up with half a dozen or more names for our ship.

This thought has been brought up by one of my fandom groups discussing all the different names we have for Buck and Tommy. It's fun to see them all and to talk about how they came to be. I think it really shows our excitement and joy and love for the ship. Wanna tell me in tags or reposts what ship name you like the most and the least and why and what you remember of the origins?

Also, I think it's really funny how a certain group of haters is so desperate in their obsession that they try to mock us about it but then also came up with their own version of a ship name just so they have a slur for it.