#and what we do get isn't explored in depth

[zleepyhollow]

just want to manage a hotel in sims 4

[cathodic-clairvoyant]

There's a lot about discussion of hdwr that baffles me (not all discussion to be clear, because i do think there's a lot of good discussion about hdwr. But equally so are there the ones that make you wonder if you're reading the same story) and I think one that is especially annoying is the constant infantilization of miwa as this passive eternal victim. It drives me up a wall because this is quite literally an issue she's struggled with within the text of the story! She had an arc about how she dislikes how people treat her this way like towards the beginning of the story! And like even ignoring that, this story is about like nuanced and realistic portrayals of being in relationships and learning how to navigate them and so it's like what's the point if you're going to immediately reduce the characters to "the victim" and "the victimizers?" Is that even interesting? Is that a useful lens to look at interpersonal relationships?

[musical-chick-13]

"This show is SO good, you should watch it!!"

I gotta be honest. If I look at a character list on Wikipedia and get five characters down without seeing a single woman, it's probably not for me.

[marklikely]

i feel like im never going to be fully satisfied by any saw sequel (or the fanbase for that matter) bc i dont think the majority of ppl involved read jigsaw the same way i did.

[badgirlcoven-official]

No you misunderstand tumblr user writing long analysis post the people saying ACAB about death note are fully aware that the theme of the anime is "no one should have the power to kill" it's just that this message is fucking stupid and idealism perpetuated mainly by the privileged to stop their victims from violent uprisings

And the fact they chose a cops son and he only really targets criminals (an oppressed class, even if the things they've allegedly or assuredly done are awful) to illustrate this point further highlights how self-righteous and poorly thought out this message is

[bonefall]

Splashtail and Atheism

Hello. I am an Atheist and I call Splashstar an Atheist because he is based on widespread bigoted depictions of godless people like myself. There have now been several posts about this written as if they're trying to "correct a misconception," and I am tired of vagueposts completely missing the point of the criticism to get caught up on arguing semantics.

The misanthropic, god-hating "Atheist" character in Christian propaganda, which I feel Splashstar has some alarming similarities with, does not come from the writer's correctable "misconception" of irreligious labels. It is born from a hatred of nonbelievers.

Specifically, my point that Splashtail is a mashup of two popular anti-secular tropes common in religious media;

The assertion that there's no such thing as a "real" nonbeliever, and that Atheists are just "rebelling" against God because we're mad at him, want to do bad things without guilt, or have "lost our way."

The belief that morality itself stems from faith in a higher moral being, asserting that the irreligious are "evil" in contrast to the faithful.

Even passing familiarity with the arguments of Christian apologia seen in Chick Tracts, Pureflix films, PragerU videos, and so on, will have put these tropes in front of you. They are false and harmful, and they target Atheists.

For more on this, TVTropes has an entire article dedicated to the Hollywood Atheist and its sub-tropes. Note how many of these Curlfeather and Splashtail fall into, regardless of if you're arguing that they are "real atheists" or not.

Those that hate us do not care about semantic labels. To them, we are without God, A-Theistic, and they do not actually care what is at the core of your beliefs if it contradicts their narrative.

But, even worse, the "Splashtail Can't Be An Atheist" crowd isn't even totally correct on the semantics they're trying to have a pedant battle about.

Most atheistic organizations and online atheists define Atheism as "one who does not believe in God" and attempt to push a sliding scale of "agnosticism" on how hard of a "maybe" you're feeling about your lack of faith. In the sliding agnostic scale, Agnostic Atheists are a "probably no god" and Gnostic Atheists are a "definitely no god." Others describe that scale as "hard" and "soft" Atheism-- but there is NOT universal agreement on that definition.

There other definitions of an "Atheist," and even those who reject the "agnostic scale" completely (I am one of them). "Atheism" was historically the catch-all term for what we might now call "Irreligious," and more.

The Encyclopedia of Philosophy explores its many meanings, and proposes that what defines an Atheist is an active choice to distance oneself from faith; "Someone who rejects the premise of gods either based on lack of belief, or meaninglessness of the question." Matt Dillahunty, a prominent educator and activist, intentionally refers to himself as an Atheist when others (including religious people!) have tried to pressure him into using the label Agnostic, for reasons he covers in great depth. Historically, "atheist" simply meant anyone who denied the gods or acted impiously, evolving into use as a broad label for irreligious practices around the 1500s, until attempts to narrow it to "nonbelievers in deities" in the 1800s.

By EoP's expanded definition alone, Splashstar qualifies as an Atheist. The rejection does not have to come from a belief that Theism is false, but that the question is meaningless. He doesn't have to "believe" in StarClan any more than you have to "believe" in a total stranger. He rejects faith in it and lives without their influence.

But even more than that, "atheist" is a broad, stigmatized term with a history you can't erase. Hundreds of combinations of philosophies, spiritual beliefs, and logical positions have been called "Atheism."

"Atheist" can refer to Agnostics (those who aren't sure if there is a god or not), Antitheists (opposition to the belief in and/or worship of gods), Igtheists (those that feel that "god" is such a nebulous term that the question of belief is meaningless), Apatheists (people who just don't care), practitioners of Non-Deistic religions (such as Humanistic Judaism and some sects of Buddhism), and even heretics who spoke against religion like Diagoras of Melos (gay guy who chopped up a statue of hercules and used it to bake beans. king.)

In a fantasy universe where gods are provably, visibly real, the term "Atheist" is going to look a lot more like those historic and expansive uses.

Unless you want to argue that "atheism" by the narrow, popular definition of "believing in deities" can't exist in such a setting. So, arguing that Cloudtail stopped being an Atheist when he saw demons in OotS, in spite of this not affecting his spiritual practices. Or, dancing around using one uniting term, you could specifically say Curlfeather is a Misotheist, Splashstar is an Antitheist or Agnostic, Mothwing is Deist, etc.

You could have a discussion about how applicable these words even are in the setting. Or make up terms that satisfy yourself. You could do this forever. But I choose not to.

I think it's counterproductive to push people to learn a bunch of terms for hyperspecific branches of irreligious philosophy just to discuss clear anti-secular sentiment within the text of a book, actually. Or push people to abandon a useful word because fantasy isn't exactly the same as real life. Functionally, imo, all of those aforementioned cats are Atheists within this setting, living "without god" by rejecting belief-- and many of them invoke real world bigotry, with tropes much older than WC itself.

So the simple fact is; Calling Splashtail an "Evil Atheist" immediately communicates the narrative tropes I am criticizing.

Either by authorial accident or on purpose, Splashstar's lack of morality being tied to his rejection of StarClan invokes the demonized atheist trope, very much like the ones seen in PureFlix's God's Not Dead or Jack Chick's The Last Generation.

All the arbitrary wishing that the terms were more narrow and exclusive will not change the reality that those characters are intended by bigots as atheists. The terms of the discussion reflect that. Trying to tut-tut the fandom for calling a spade a spade is a smug way to phrase you completely missed the damn point.

[rafeandonlyrafe]

escape from isla nublar

words: 2.6k

warnings: jurassic world alternate universe, dinosaurs, violence, brief mentions of gore (but not detailed), illusions of sex but not actually written out, established relationship, soft!rafe, death tw, proposal, mentions of anxiety & panic attacks

a/n: im having a lot of fun with writing aus, so here! take another one!

“thank you so much for bringing me here, rafe.” you coo out, getting onto your tiptoes to press a kiss to his cheek.

rafes arm slides around your waist, keeping you tugged in close as the boat approaches the dock of the island. you squeal along with all the children gathered around impatient and ready to jump off the boat and explore.

“welcome to isla nublar!” the voice of a friendly sounding woman says over the speakers. “please disembark slowly and carefully and enjoy your stay in jurassic park!”

“baby, can i just say-” rafe begins as the crowd shuffles forward, most with bags in their hands or suitcases being wheeled behind them, but rafe has already arranged to have them brought to your room so you can get right to exploring. 

“mhm.” you hum, encouraging him to continue.

“that you've been so chill this entire trip so far. proud of you.” it might sound weird to anyone else, but you've always gotten nervous when leaving your home for too long, worried something bad would happen. rafe saw it on your first trip he took you on where you tried and very much failed to hide your anxiety.

“im so excited there's like no room for nerves.” you giggle as you walk down the gangway. “and the fact that you let me plan everything. you know how much i love a schedule.”

“we are so different.” rafe shakes his head, hand squeezing yours as you step into the concrete, turning away from the crowds heading to the resort and towards the main street and the iconic innovation center.

“opposites attract.” you state, and it couldn't be more true, but rafe loves you more than he could ever envision caring about someone.

as you round the lagoon, trying to see if you're able to catch a glimpse of the giant mosasaurs in its depths, you feel your excitement levels only elevate more.

“oh my gosh, there's the petting zoo entrance.” you turn and pout to rafe.

“isn't that mostly for kids?” he raises a singular eyebrow.

“i mean yeah, but you also get to pet baby dinosaurs. totally worth it.” you tug him towards the entrance.

--

“okay.” you sigh, placing your hands on your hips. “i guess we should slow down so we have things to do for the rest of the trip.” 

“im already exhausted.” rafe chuckles. “how about dinner then to the hotel?”

as tired as rafe is, he's certainly not going to complain about being run around isla nublar when he gets to see the gleaming smile on your face every time he looks at you.

“sounds good… we could go to winstons steak house,” you point in one direction, then the other “jurassic cafe, or the brachiosaurus restaurant.”

“how about whatever is closest.” rafe rubs his hand over his face.

“okay steak house it is.” it's your turn to take rafes hand. 

he barely manages to stay awake through dinner, and by the time you're back at the hotel, he's passed out on the bed before he can change into his pajamas.

--

“what would you like to do today?” you ask rafe. “anything but that hang gliding, you know how i feel about heights.”

“the gyrospheres look fun.” rafe shrugs and looks at the map pulled up on your phone. “or kayaking.”

“why not both.” you toss your phone to the side and cup rafes cheek, bringing your lips together in a kiss.

“you're the best boyfriend ever.”

rafe places a hand on your shoulder and pushes you down onto the mattress, laying you back.

“we can wait a little bit though, right?” the smirk on his face gives him away.

“i think that would be fine.” you giggle, pulling rafes shirt off over his head.

--

“that was actually so fun.” you hum out.

“it was when you let me drive and we could finally go fast.” rafe says. you were halfway through the gyrosphere tour when you handed the controls over to rafe, allowing him to speed through the ankylosaurus herds.

“but we will not be doing that on the kayak.” you hold your finger up.

“yes ma’am.” rafe says, slipping the attendant a $20 bill to move you to the front of the line, not wanting you to have to wait.

“life vest.” rafe says, slipping it over your head while he just grabs his and throws it into the kayak, not planning on putting it on unless something happens.

rafe helps you step down into the kayak, grabbing the paddle knowing he's going to sit in the back and do all the work.

--

“this is so beautiful.” you say, leaning back into your seat as you look at the stegosaurus and it's long neck reaching up to grab the leaves, his feet submerged in the water as you paddle past.

“this might be even better than the velociraptors.” rafe says.

“wait-” you sit up. “whats that sound? is that a radio?”

it takes a second for rafes ears to pick it up, but he can hear the frantic static of voices over a walkie talkie.

rafe continues to paddle, realizing suddenly that you've separated from all the other kayaks and can't see anyone. he brings the kayak closer to the side when he hears the radio as you reach out to pick it up from the muddy bank.

you turn the volume knob up as you try to make out what the voice is saying through the water logged speaker.

“we sent the containment unit out with nonlethal force and they're all dead! immediate evacuation, get everyone inside and back to the hotel!”

“rafe…” you turn towards him, eyes widening in fear.

“im sure it's just some kid pulling a prank.” rafe takes the radio, finding the speech button and pressing it. “what is going on?”

“who is that? this is an authorized channel.” one voice says before another cuts it out.

“whoever you are, seek shelter immediately. the indominus rex is on the loose, currently heading towards-” the radio sparks and then dies out.

“shit.” rafe hits it against his thigh, but it's clearly no use.

“rafe.” your voice is already shaking. “the indominus rex. i don't know what it is, but it doesn't sound good.”

“okay.” rafe stands up and steps out of the kayak, pulling it onto the bank before helping you out. “baby-” he places his hands on your shoulders. “i need you to stay calm. you know this island like the back of your hand. where are we?”

“we-” you take a deep, shaking breath. “we are halfway through the kayak adventure. we should head just west and find the road to the aviary.”

“okay.” rafe presses a kiss to your forehead. “let's go quickly and quietly. im sure they've already contained whatever dinosaur escaped.”

“yeah.” you nod, gulping, not so sure.

rafes steady hand stays in yours, helping you over bushes and downed trees.

“shouldn't be much farther.” you bite your lip, hoping you didn't get the direction wrong.

“hang on.” rafe whispers, placing a finger over his lips. 

before you can fully comprehend what's happening, he's tugging you down under a giant tropical plant, the leaves hiding you as you hear whatever rafe did, the pounding footsteps of dinosaurs.

“that's the stegosaurus we saw earlier.” you remember the distinct marking along its side.

“get over here.” rafe pulls you in tighter, not allowing you to see as he presses you against the stem of the large plant, covering your body with his own.

“it's okay, it's a herbivore.” you say, when you hear the second set of dinosaur footsteps following it. you tense up, and you can feel a panic attack setting in as you pick your head up to see some sort of giant rex running after it.

you both stay still and silent until it's clearly far enough away.

“rafe.” you tremble as you turn into your back, his body still hovering over yours, protecting you, willing to put himself in the line of danger if he needs to.

“it's okay.” his voice is betraying how scared he is as well, but he's going to try his best to not let you see it. “let's just get to the aviary.”

“i-i can't.” you shake your head. “im fucking terrified.” 

“me too, baby.” he says. “but we gotta get under cover somewhere before that thing catches up to the stegosaurus and comes back for us.”

you swallow deeply, eyes closing for a brief minute, gaining all your courage you possibly can.

“okay.” you're up and moving quickly, running towards the aviary. your steps are no longer balanced and cautious, moving quickly through the jungle until you make it through the trees to the grassy plane.

“the aviary!” you point at the large glass dome, just in time to see a helicopter careening into it, smashing a hole that instantly has pterodactyls flying out.

“shit!” rafe shouts, tugging you back into the treeline.

“we're gonna die.” you sob out, not able to hold back your tears as you crumple to the ground.

“no.” rafe says firmly. “i will not lose you.”

he knows he needs to move, especially as the pterodactyls come closer, and he doesn't have time to console you enough to get you ready to move.

rafe reaches down and pulls you into his arms, hugging your shaking form against his chest as he follows the same path of disturbed leaves and muddy footprints back to the river.

“i need you to paddle.” rafe says, glad your kayak is still in the same space. “i know you're scared, but you need to help me here. we need to go fast.”

you sniffle and look up at rafe, your big eyes filled with tears causing his heart to pang out in pain. “okay.”

rafe bends down, pressing your lips together in a soft and caressing kiss before climbing onto the back of the kayak.

you both immediately begin to paddle hastily, not knowing where the next meat eating dinosaur could be.

“the river goes underground then should let us off near main street.” you tell rafe, eyes briefly closing to envision the map in your head before putting your entire focus back onto paddling.

“baby, still.” rafe says softly, both of you pausing as you look upwards, seeing pterodactyls wings flapping over, thankfully not seeming to notice you under the treetops, yet you still wait until they pass over before beginning to paddle again.

“there's the cave.” you say, pointing as the river bends and you head underground, lights strung along the cave ceiling as you paddle underground, able to take a deep breath now that you're under cover.

“are there any dinosaurs in this cave?” rafe questions, helping you move back so you're leaned against him. 

“shouldn't be.” you say, eyes closing as your adrenaline drops now that you're mostly safe.

“go ahead and rest.” rafe hums as he paddles, looking down at you in relief.

--

“y/n.” rafe shakes your shoulder and you sit up with a gasp, looking around, waiting to see the indominus rex charging at you.

“it's okay.” rafe says. “we're just leaving the cave.”

“so that wasn't all just a nightmare?” you sit up, knowing you must not have been asleep that long, but already feeling majorly refreshed.

“im afraid not.” rafe sighs as you grab your paddle to help steer.

“so this let's out…”

“near the resort. we should be safe there.” you squint into the dying sunlight as the kayak leaves the caves and enters into the large man-made lake.

you both quickly steer to the side, glad to be out of the kayak and on your own two feet.

“to the resort.” you say, able to tell that there are still people running from main street in that direction.

rafe is about to toss the paddle back into the boat when a screech comes from overhead and you both look up to see a pterodactyl perched over cave entrance.

“run!” rafe yells, not turning his back from the dinosaur to see that you haven't moved an inch, not leaving him.

the pterodactyl lunges forward just as rafe swings his paddle at it, hitting it in the beak, but it only enrages the dinosaur more.

you move quickly to grab your paddle, joining rafe in hitting at it, keeping the snapping beak away from pecking at your skin.

“baby, go.” rafe grunts out.

“no! im not leaving you.” you keep slapping at its beak and head until it gets annoyed and roars before taking off to the sky.

“fuck.” rafe groans. “i hate dinosaurs. sorry baby.”

“that's okay.” you say with a slight laugh. “i don't think i like them that much anymore either.”

you take off towards the resort, keeping your oars held tightly in your hands, just in case any pterodactyls try something.

“onto the ship or into the resort?” you question, seeing people trying to get into both.

rafe opens his mouth to respond when a roar rips through the air.

he looks around quickly, pulling you into taller grass, not having any other close cover.

“some of the gates must be down.” you whisper.

“why?” rafe questions, not doubting you as his eyes search through the field before you point at the crowd of people, even more frantic as you watch from a distance.

“because there's a metriacanthosaurus.”

the name makes rafe blink harshly before he sees it, the dinosaur flinging people around as it takes advantage of the hoards of people trying to get to cover.

“oh my god.” you cover your mouth, watching as the carnivore rips someone in half.

“don't watch.” rafe pulls you further into the grass, tucking you against his chest.

you close your eyes and focus on his arm wrapped around your shoulder instead of the screams.

“i got you.” rafe whispers, free hand tapping his shorts to make sure the box is still there in his pocket.

“i know.” you press your lips into his neck. “i know.”

gunshots ring out and rafe looks out of the grass to see that the dinosaur has finally brought down and everyone is safely inside.

“okay, let's run.” rafe helps you stand, deciding to head towards the boat instead of the hotel, knowing it's just one step closer to getting you safe.

you take off in a run, entering up the gangway you went down just yesterday morning.

“inside the cabin.” one of the staff says quickly, ushering you through the glass doors into the packed hallway of people, but rafe keeps moving, tucking you into him until you're towards the front of the boat, able to move up a level and find a place to sit down.

“we're okay.” you say as you relax into the sofa. “we’re alive.”

“i love you.” rafe says, head dropping to your shoulder. “im never talking you on another vacation like this again, but i love you.”

“and i thought you were protective before.” you chuckle, breathing out heavily.

“really ruined my whole plan though.” rafe knows that you both just experienced a trauma that will no doubt need to be unpacked later, but you're just happy to be safe inside the cruise ship.

“what plan?” you lift your head up.

“not the best time but-” rafe sits up and pulls a box out of his pocket. “i planned to ask you in front of the waterfall, all romantic and sweet. but i don't want to waste a single moment longer.”

rafe flicks the top of the box up to reveal a glimmering ring. “will you marry me?”

you let out a squeal and jump into rafes arms, “yes!”

sfw tags: @winterrrnight @bejeweledreverie @ladyinbl00d @ethanthequeefqueen @drewsephrry @wearemadeofstardust0

[numberonetrashwitch]

Some observations about Baldurs Gate 3 that hit too close to home.

After another few runs i will probably just make an in-Depth Character Analysis for every character simply because they are good reflections of actual trauma-manifestations and how abuse can manifest in people. They are also so well written that it serves a narrative purpose to explore all the material that is out there about them. I am also personally cursed with actual medically-relevant levels of Empathy and Hyperfixation; so writing this helps me put a pin in it and move on.

But so far here are my highlights

(SPOILERS and obviously content warning bc these are deep)

before you ask; i have almost 300h in this game.

You have to convince Shadowheart to eat the Noblestalk. She actually stells you she rather get her memories back from Shar but when you hit the persuasion or intimidation (what the fuck) check to get her to eat it she'll tell you about her childhood friend. Not her name, not her parents but her best firend. Possibly because she has had a closer bond to that person after being abducted and indoctrinated. With her believing herself to be an orphan, she would've looked elsewhere for comfort and sought out her own family, this is why she falls hard and heavy for Shar and builds the backbone of her indoctrination. She is literally ripped out of her home & given a new identity to server her from all she has known. Religious indoctrination, Gaslighting, Abduction, being forced to let go of your personality are her main themes.

There is a scene out there floating around in which you see Astarions pespective of the night when he bites Tav for the first time, in his meditations he is confronted with the rules Cazador put on him, including that he can't eat intelligent creatures, can't be away from Cazador unless allowed to, has to obey every command and that they are should know that they are property. Which in turn means that Astarion literally didn't just have any autonomy, he was objectified (and not just through seductive/sexual measures) and that is really the crux to understanding why he doesn't believe in kindness, but rather shows self-serving behavior in most cases. Since we know that Astarion was extremely young for an elf before he died and became immortal (literally stopping the aging /maturing process) it is also very telling that Cazador constantly calls him brat, boy or other very juvanile names, refering to them as a family... well it is also the story of a very controlling parent. Themes of (Bodily) autonomy, infantilization ( & puer aeternus, forever-child), slavery, depersonalisation, corruption of life and torture to break someone.

Gale isn't just a guy hung up on his Ex, but also a victim of abuse. In this case a power imbalance none of us can fathom; She is described as being a jealous goddess and rules over the domain of mysteries and magic. So with Gale being a Wizard, she is literally his boss. He admits that he was foolish enough to aspire to be an equal to her, but she is so jealous that she tells him he can't really be worthy as long as he takes breath. She could just take his powers away and be done with it, that would be more than enough punishment for a guy who literally made Mystra and her domain his life's purpose, but she rather makes him do it himself. Add to that, that she literally only tells him this after years of self-isolation (after he put down so many wards that he could've blown up a whole army as he says if you click the right dialogue) to really fuck him up well. He also talks about death pretty much constantly, not surprising giving your situation, but he will tell you that he will kill himself at several points in the game, for instance after he comes clear about his nethrese orb. Themes of romantic abuse, power-imbalance, toxic work enviorment, self-isolating behavior, suicidal ideation

Wyll ... well from the looks of it he is the most well adjusted of all the companions (my opinion) but he has something that i'd describe as the "eldest daughter"-syndrome, more commonly known as parentification. This pattern usually occurs within single-household parents and is commonly described as a parent looking to their child for emotional or practical support, rather than providing it to their kid. We meet Ulder and see that he talks over Wyll a lot, not listening but expecting him to follow the standard he sets for him. That is also why Wyll repeats his fathers words like gospel (because this is what, in his mind, fullfills the expectations bestowed upon him) and why he loves fairytales / bard tales so much (because they are an ecapist view of the job he set out to do) Ulder literally exiled his teenage son because Wyll did the only thing he could to save an entire city, by sacrificing himself. Thats a lot to expect from a 17 year old - even more so, he doesn't stop with the heroics. He expects himself, as a human who hasn't even reached the age of 30 to hold up to mystical creatures such as Astarion or Karlach, or even Gale who is a accomplished Wizard. Themes of parentification, escapism, self-harming through putting himself in danger, chronic-self-sacrifice

In plain words; Gortash, Karlach's Idol sold her to a Devil. But add to that that she must have been pretty young when she was sold (late teens to early twenties possibly) and being that if you play as a Tiefling, you face a lot of predjudice she was likely forced into that position as well. Starstruck she was, with a juvenile naitivy that Gortash used. Appropriately, as he is the chosen of Bane the god of "tyrannical oppression, terror, and hate, known across Faerûn as the face of pure evil through malevolent despotism" (Source: Forgotten-Realms Wiki / Bane) So she pretty much was raised in a toxic enviorment, which forced her to become a killing-machine, first figuretively, then with the extraction of her heart, literally. Themes of slavery, oppression, misuse of trust, being taken advantage by a more powerful/older(?) person, being drafted.

Jaheira - to be honest, you need to know the lore of the previous baldurs gate games or just listen to her dialouge, ask her all the questions. She is a war-veteran against Bhaal, the good of ritual murder, and has a long history of fighting to achieve some sort of balance of power. She lost her husband and several close people all to this, or any other war, but due to her wisdom and strength people look to her for guidance. Themes of: Survivors Guilt.

Halsin - he is really closed off at first but then just casually hits you with "i was captured in the underdark and spent 3 years chained to a bedroom wall by a pair of drows who used me as they pleased". He is reprimanded by some of his druids for leaving the grove as soon as opportunity struck, just to get back and leave the next day, and if you talk to him about his position in the grove he is actually very forthcomming. He actively holds himself back; indulging in simple hobbies because he knows what lies within his heart. He is afraid of himself and his potential (canonnically he can't control his wildshape, which is very weird for an ARCH-druid) Themes of: impostor syndrome, avoidant-based self-harm, sexual opression, loss of control, emotional regulation.

Lae'zel is a very tragic case, and one that closely resembles the stories of Shadowheart and Karlach. Her entire existence is based upon a matriachial war society allowing her to live if she proves she can be of use and that in a culture which only values brutality, dominance & service. All of that culimating in her finding out that her oh-so-beloved Queen is actually just an imposter, and that everything she has lived for up to that point is merely political propaganda created to make her, and the rest of her entire species, willing pawns in a war that has no longer bearing on their survival alone, but is fought to justify Vlaakith's (the reigning monarchs) personal ambitions. Not only is she forced to reconcile that she is turned into the thing that controlled her kind for hundreds of years, that the only cure she knows of would kill her and then on top of that, that her hopes and dreams were lies and that she is now the Nr 1 enemy of the person she has served with all her being. themes of: oppression, propaganda, casual violence, objectification, child-warfare, eternal warfare

Minthara in short, her story is about being shamed for growing up in the same scenario that Lae'zel grew up in. Lolth, the god of the Lolth-sworn drows is a crazy queen who values scheming & backstabbing so much and is so volatile that you can't know what to expect of your deeds (and i mean it; there were people who were appraised by her for scheming against her, but also those who were killed. It's almost random.) She considers Lolth to be cruel and abandoned her for the Absolute, only to then be used and abused the same way Lae'zel has. Not with promises, but erasing her memory and exposing her perceived weakness. Themes of: casual violence, violent culture, her own ambition colliding with her desire to be safe, being a pawn in a larger game.

[anneapocalypse]

On Wuk Lamat, and Female Characters in FFXIV

The Thing with Wuk Lamat is you can tell me you think she had too much screentime; you can give me numbers on how many lines she had or how many scenes she's in relative to other characters or other expacs; you can prove to me "objectively" that she gets more focus than other main NPCs; you're simply not going to convince me that this is something I should be unhappy about. And not just because it's silly to think you can use numbers to prove a story is good or bad and make someone else go, "Wow, you're right, let me just throw away all the joy I experienced with this story and revise my opinion because you've scientifically proven to me that I'm wrong."

Because while I love Final Fantasy XIV and I have greatly enjoyed its story in so many ways, fundamentally one of my biggest beefs with this game has been how much female characters have been denied complex character arcs and growth and agency and interiority.

Minfilia gets treated as a sacrificial vessel who lives for everyone but herself and doesn't even get to have feelings about her own death because that entire arc is focused on a male character's angst about it instead. The game tells us in the Heavensward patches that Krile sees Minfilia as her best friend and then just forgets about that later and never follows up on what that loss must have meant to her. Ysayle is basically right about most of what she's fighting for but harboring a bit of self-delusion is apparently such a terrible sin that she has to pay for it with her life, while her male foil is deemed so worthy of salvation that there's a whole plot point about how important it is that we risk our lives and others' lives to save him. Y'shtola is a major character who's been around since the beginning, and the game keeps dropping maddeningly interesting things about her (apprenticed to a cranky old witch in a cave! saved her own life and the lives of her friends with an illegal and dangerous spell and it worked! reserved and undemonstrative yet regularly through her actions reveals herself to be deeply caring! disabled!) and then shows complete disinterest in following up on any of those things with the kind of depth and care shown to male characters with complex arcs like Urianger.

In general there is also a repeated thread of female characters being portrayed as weak or overly emotional: Minfilia is weak because she doesn't fight and needs to be eaten by a god in order to gain "a strength long sought." Krile is portrayed as not being able to pull her weight with the Scions (despite the fact that she actively keeps five of them from dying in Shadowbringers) and the only thing they could think of for her to do in Endwalker was be yet another vessel for Hydaelyn (hmm, that sounds familiar) and it's not until Dawntrail that she gets much actual character development in the main story and even that has to come alongside "Look, she can fight now so that means she's useful." (And I love Picto!Krile, I'm just saying, there's a pattern.) Alisaie, despite having very good reasons for needing to find her own path apart from her brother, is portrayed as having to prove herself when she returns, that she's "not the girl she once was," and "will not be a burden" (while Alphinaud is repeatedly given the benefit of the doubt and reassurance and affirmation from other characters even after he takes on responsibilities he isn't ready for and fucks up big time).

And if you follow me you know I adore Urianger, and I love Alphinaud and Thancred and Estinien too, so please don't misunderstand what I'm saying here! I'm not knocking those characters, or saying we shouldn't also love them. I just use them as a comparison to demonstrate how the female characters have been neglected.

Lyse has some of the stronger character development among the female Scions, and while she's still kind of portrayed as being too emotional and hotheaded in early Stormblood, I think it's actually explored in more depth in a way that I like; Lyse has good reasons for wanting to fight for her nation's freedom, but having been away from Ala Mhigo for several years now, she needs to understand the stakes for the people who've been there fighting for years, what they've lost and still have to lose. She grows as a person and rises to the challenge of leadership, and I'm even okay with the fact that she leaves the Scions afterward because it feels right for her to stay in Ala Mhigo, and at least she doesn't die.

And by all accounts she was, like Wuk Lamat, widely hated when her expansion came out.

Unironically I think the other female Scion with the strongest character arc is Tataru. She tries to take up a combat job, finds that it's not for her, and decides to focus on where her strengths are instead. In doing so, she both holds the Scions together as an organization in the absence of a leader by capably managing their finances, and also comes into her own as a businesswoman and makes international connections that benefit both the Scions and her personally. In contrast to Minfilia, she's not portrayed as weak because she doesn't fight, and is actually allowed to be an important character who's good for more than being sacrificed. Tataru is still distinctly in a supporting role for the player character, however, and her character arc happens as a side story that takes up a relatively small amount of screentime over several expansions, which I think is probably why she doesn't evoke such a negative reaction.

But there is a pattern of the game's writing showing disinterest in the interior lives of female characters generally, and in making their growth the focus of a story.

So yeah, I'm going to be happy about Wuk Lamat! I'm going to enjoy and celebrate every moment of her character arc, of her personal growth, of watching her put the lessons she's learned into action. I'm going to love and treasure every moment when she gets to be silly, embarrassing, emotional, scared, grieving, confused, upset, seasick, impulsive, and still deemed worthy of growing into a hero and a leader. I will love her with all of my soul and you simply will not convince me that it wasn't worth the screentime after such a profound imbalance for basically the entirety of the game. We've never had a major female character get such a strong arc with this much love and attention put into it and that means more to me than I can truly say. The backlash to it is disheartening, as this kind of thing always is, but I'm not going to let it ruin the wonderful experience I had playing it and how much joy it continues to bring me.

And for those of you who don't want any of that for a female character, thank goodness you have Heavensward and Shadowbringers and Endwalker and no one can take those away from you.

(And if you follow me you know that I love Shadowbringers and Endwalker and have very fond memories of Heavensward despite some issues with it, so not only can I not take that from you, I am not trying to!)

Some of us have been real hungry for a character like this with an arc like this, so, I think, y'know, maybe we can have that. As a treat.

[the-clock-of-the-time-dragon]

Musings on how magic works in the Wicked musical/film(s):

So I've actually never really heard anyone explore in-depth how the powers work in Wicked, because I guess they're both simple AND mysterious enough that most people regard them as self-explanatory. But I think there's actually a lot of interesting things we might learn about the characters and world through observing how and when magic happens in Oz.

So with the Grimmerie, it seems to work by reading people's hearts and granting them an approximation of what they ask for. I've pointed out before how it's kind of a mirror version of what the Wizard does: people come asking for their "heart's desire", and both the Wizard and the Grimmerie want to grant that desire and make people happy. But whereas the Wizard must do this with charlatanry (and in the end, people always end up having to either go and get what they came for themselves, elsewhere, or they already had it all along), the Grimmerie can actually twist reality to give people some version of what they wanted (and didn't already have): but it always comes with some fucked up cost that makes them regret it. It plays into the overarching theme of "what is happiness? Is it getting your heart's desire? What will you give up to get it? Is it worth it?", etc. I think it could even be inferred that every character who ever comes into contact with the book — directly or indirectly — is in a way "cursed" to never obtain true happiness, only a mockery of what they'd imagined happiness to be. This extends to the Wizard, Glinda, Morrible, Elphaba, Nessa, and even Chistery. And the grander the desire, the graver the cost for getting it — Chistery is able to get away with physical pain for his dream of flying, but the human characters all have their dreams come true only in ways they are never able to actually enjoy. I think the reason Elphaba is the only one able to not only read the book but get away with using it repeatedly, is due to her own innate power.

Elphaba's power is very different from that of the Grimmerie. She seems to have the ability to just flat-out REJECT ACCEPTED REALITY. She defies the law of gravity; even TIME (essentially "remembering" things that have yet to happen). Every time we see her use her powers, she does so to STOP what is transpiring, or simply to say NO to what is before her. Making things fall up instead of down, recalling the future instead of the past, reading books that are illegible. It's in keeping with her overall character, being off, or backwards, or at odds with everything around her: crowds part as if repelled when she comes near; her first day of school she's already being told she's going to excel far beyond what any of the other students could ever hope to achieve. The idea of "I clash with everything" isn't just a joke about color coordination, it's quite literally how she interacts with the world, including on a metaphysical level. She distorts and repulses.

The reason she has such a different relationship to the Grimmerie than everyone else who's tried to use it, is precisely because she clashes with everything. More importantly: she rejects both the world as it is, AND the world as she wants it. She denies her own desires for the sake of what she considers more important. She knows that she can have all she ever wanted: but she can't. She won't. She chooses to go AGAINST heart's desire, REJECT happiness — to deny HERSELF. Something that, perhaps, only a child of both Oz and Kansas — of fantasy and reality — is able to do. She's so at odds with the fantasy world she's been born into, so committed to Truth — a world of objective non-fiction — that she actively says no to her own dreams, and can literally disrupt and challenge the basic laws and logics of the story that she's in. She can use the Grimmerie because she uses the same language: negation. You can't reverse the Grimmerie's spells because they ARE reversals — distortions of a twisted nature. But Elphaba can't want what she truly wants in her heart; she rejects it; it's already reversed. To the "what are you willing to give up to get what you want?" question, Elphaba is the only one in Oz who can honestly just reply "NO", and give up her heart's desire of her own accord.

Now, how Morrible's powers work seem to be a lot different from the others. Her abilities aren't derived directly from the Grimmerie (though we know she has at least studied it), and appear to be innate like Elphaba's, but they manifest very differently. But why weather?? I think it pertains to her innate nature. She's a manipulator whose temperament changes like the wind (warm with some and cold with others), capable of clouding the truth or making things clear as she pleases, and acts as if the world revolves around her like a cyclone. She has total control over her powers because her power is control. There might have been a time when her powers were more benign — she says her talent is "encouraging talent", so perhaps we could infer that her true powers are motivating/suggesting things, giving directions, and that whenever she developed into the truly wicked person she is now, that power darkened into coercion/manipulation. So she can direct a cloud to disperse, encourage a wind to blow, or persuade a crowd to become a raging tempest.

As for Glinda: the musical/film(s) kinda implies she doesn't have any powers?? At least not the innate kind that Elphaba and Morrible have. We haven't seen her use any spells (except a simple one that got cut way back in the pre-Broadway tryout run of the musical), her bubble is shown to be mechanical rather than magical, and she's obviously interested in learning sorcery but fails the only time we really see her try to use it, and she doesn't believe she can read the Grimmerie. So whatever magic Glinda possesses has to be developed, and given she has never really been encouraged to do so (whether in school or when she's Glinda the Good), she probably hasn't had much of a chance to become a real witch by the time the story wraps up (although it would be a fun inclusion if the second film shows her using a spell at some point). Also: since magic seems to be related to character's personal qualities or narrative themes, it's actually quite meaningful that Glinda (at the very least) struggles to use it — she's constantly questioning who she is, what she wants, etc., and so whether she possesses a natural power of her own or needs to develop it through training, we might infer that her magic is similarly "unsure" of what it's supposed to do.

Feel free to respond with any thoughts — I just find this aspect of the story really interesting and hopefully this all came together to at least mostly make sense, lol

[loki-hargreeves]

In Another Life

Pairing: TVA!Loki x Reader (I tried to write it as a gn!reader) Warnings/Tags: angst, mentions of death (nothing graphic), Loki is a bit emo, romantic relationship Word Count: 1.8k Summary: PROMPT: wrong timing // When working with the TVA, Loki certainly doesn't expect to run into you. Especially after what he thought was a final goodbye. A/N: Using this prompt list by @ivystoryweaver . It's been too long since I last wrote for Loki so I'm going back to my roots with this one 🎃

Earth...2011....Timeline???

Loki steps out of the bright orange portal, straightening his suit jacket as he takes in his surroundings. It's definitely Midgard, or Earth as Mobius would call it. By the looks of it, they're in an alleyway somewhere and it's supposed to be 2011. If this timeline is anything like Loki's original timeline, he should be safe to roam these streets without people freaking out.

"So... we're looking for a needle in a haystack," Mobius sighs and rests his hand on his hip. The man glances at the device in his hand, one that's supposed to lead them to the temporal anomaly.

"I doubt it'll be more challenging than when we were looking for Sylvie," Loki smiles tightly. He is confident in his skills to track down the anomaly and figure out what's really going on in this timeline.

Mobius simply shrugs and looks at the end of the alleyway, into the town that is basking in sunlight, "maybe you're right."

"You know I'm right," Loki corrects him and takes the lead, walking out of the shady alleyway. They have a job to do.

It doesn't take very long for Loki to realize that this place is familiar, too familiar. After walking around town for a few moments, he knows it's not just his imagination. This is where he met you, in another timeline of course. All those years ago.

When Loki was younger, before Thor's attempted coronation and all that, he used to sneak through these portals that even Heimdall couldn't see. One of them would lead to Midgard, to this very town. At first, it had been fun, mostly something he did out of curiosity. Exploring the realm without being watched. Loki had been intrigued by people and their customs.

Then he had met you.

To this day, the Trickster's heart swells at the shared memories. To think the god of mischief had fallen for a mortal. If Thor or his friends had found out, Loki would've never heard the end of it. Looking back now, something like that would've been the least of his worries.

The few years you had spent together were brief yet some of the best years of his existence. You had fallen for him, not knowing he was a god, a prince or any of that. No, you fell for Loki for who he was. Saw the sides of him he kept hidden from everyone. And in return, Loki had seen just how wonderful humanity could be. How you, as an individual, made him believe in love. Selfless, real, passionate love.

Then Loki had trusted you with the truth. For a while, everything had been beautiful. No one on Asgard knew the prince was sneaking off to Midgard to see this mortal, and no one on Earth knew or tried to come between you. It had been just the two of you and nothing else mattered.

It's why Loki feels a mixture of overwhelming emotions swirling within him as he walks the familiar streets. It may be in another timeline and things could very well be different here, but many things look exactly the same. Everywhere he looks is a memory that unveils from the depths of his mind. He swears he tried ice cream from that shop once after you insisted he'd like it. You had been right of course.

"Weird…" Mobius mutters, his eyes glued to the device. "We're getting closer to it. It ain't moving at all," He explains and points at the red dot on the screen.

"Perhaps the anomaly is asleep?" Loki suggests, trying to figure out why it isn't moving. Something doesn't feel quite right though.

"Well they won't see us coming, that's for sure."

Loki just nods, too occupied with other things to even respond properly. Is it a coincidence that the anomaly has led them here? To a place so important to Loki?

Soon enough, Loki and Mobius are looking out to a field behind some houses. The sun is beginning to set, painting everything it touches with a golden hue. It's beautiful, just as Loki remembers it. That field out there is perhaps too familiar. By now, he's concerned about the coincidences. If the anomaly has anything to do with you, Loki isn't sure how he'd handle himself.

Do you even exist in this timeline?

A lump forms in his throat as Loki thinks about it. He had to say goodbye to you once already, over a decade ago. It might not be a long time for a being such as him, but a decade without you has already felt like a lifetime. Time is cruel, especially to mortals. What is even crueler is fate who had decided that the brief time you were promised in the first place would be cut so much shorter.

Loki had come to see you one last time without knowing it was the last. You hadn't been well. It was both a blessing and a curse that there had been enough time to say goodbye yet it had been the hardest thing Loki had done. Holding you, telling you how much you meant to him and promising you that he would find a way to cure you. That he would bring you to Asgard and make everything better, knowing damn well there was nothing that could be done. Now all these years later he can only hope that he had told you what you wanted and needed to hear before your time was up. Was it the right or wrong thing to do to create false hope? Did you know?

"What's going on?" Mobius asks with worry, noticing that Loki froze up. He knows Loki well enough by now to know when something's not quite right.

"This place," Loki shakes his head and decides to slip out a hint of truth without revealing too much, "I've been here before."

The wind plays with the flowers growing out on the fields, carrying the sweet late summer scent with it. There's a few people out there, some on a picnic as others read in the shade that the trees offer nearby. Everything about the scene seems serene. Once upon a time, Loki had been out there with you watching the stars. You loved his stories about all the places he had been. Loki recalls how deeply curious you were about the universe and all the beings living here.

"Do you think that's a coincidence?" Mobius asks with growing concern. Sure, Loki has been to a lot of places, he's a century old being but this still seems fishy. For all the places an anomaly could be hiding in.

Before Loki can answer, he sees someone.

There you are.

Healthy, living and breathing. You're in that shirt he remembers you loving so much because it had been a gift from a friend. You're walking down a path, on your way home presumably. That smile, so sweet and happy, is powerful enough to hit Loki's soul like a punch to the gut.

According to the TVA device, it's 2011. In Loki's timeline, you never saw 2011 yet in this timeline you're smiling and safe. Walking home as if nothing bad has ever happened at all.

Loki holds his breath, unable to peel his eyes off of you. There's only a few dozen feet between you and him but it feels like an ocean. After a decade of mourning you, to see your face like this is surreal. Even for him. Only now does the multiverse and multiple timelines feel like a reality. He's being hit in the face with the cold, hard truth that in other timelines everything can be so familiar yet so different all at once.

Mobius follows Loki's gaze, quickly noticing what has taken his friend's breath away. He has read Loki's file a million times so of course he recognizes you. Or rather this version of you. You're the one that got away, the last piece of happiness in Loki's life before the 'downfall' as some call it.

"Um... if you're wondering, they're not the anomaly," Mobius is the first one to speak, just trying to be reassuring. The device shows that the anomaly isn't moving so it can't possibly be you as you stroll down a path.

Loki nods, unsure if he should be relieved or disappointed.

"Of course," he clears his throat and takes a deep breath. It's surprisingly difficult to find his words in this moment. Then Loki looks back at you as the path brings you closer. With each step, his heart begins to race like crazy. What is he supposed to do? Should he say something? Would you recognize him?

You notice the two men just standing there, in strange brown suits. One of them in particular seems struck by the sight of you. Strangely, he doesn't scare you. He's cute.

"Hi," You smile at him as you walk past the man. Perhaps you look like someone he knows? That is the only sensible explanation that comes to mind. Not that you think of it too much, as they are just strangers.

Loki is frozen. You walk right past him. For better of for worse, you have no idea who he is. That kills that tiny piece of hope Loki felt in that moment, that hope that he can't deny no matter how hard he tries. After all this time, he still misses you. He's still trying to fix everything.

"Hey," he manages after a while, unsure if you even hear it as you don't stop to talk. Of course, you don't have any reason to. It's not really you. In this timeline, this universe, this other you has places to be and see. As bittersweet as it is, Loki tries to find comfort in the fact that in another life, you get to live even if it's without him.

Mobius looks at the screen again. Suddenly the red dot vanishes. The temporal anomaly just jumped timelines.

"Darn it," He curses and puts the device down.

Loki doesn't question it. He wants to see you make your way home safely. A part of him wants to run after you, talk to you, get to know you all over again. But he can't. Loki is stuck to the ground like a statue and he knows deep down that another you can't replace what he knew existed in the past. Nor would it be right.

As you vanish into a building, Loki finally tears his eyes away. His eyes sting with the threat of tears. Somehow, in this moment, it feels like he's gone back to his own time when he had just said his final goodbye. Loki can't forget, no matter how much he wants to, when he came to visit you but you had already passed. He could bury you but not these emotions.

"Hey, I'm sorry," Mobius puts his hand on Loki's shoulder, trying to offer him support.

Loki just nods and tries so hard to toughen up. As if seeing another you didn't just shake him up from the core.

"It's alright," Loki insists, "where were we?"

Mobius doesn't buy it but he won't pry either. Loki will talk if he wants to talk.

"The anomaly jumped," Mobius reveals while tapping the device, "kinda weird timing if you ask me. Didn't move the entire time and-" Mobius hesitates, unsure how Loki would react if he spoke your name. He decides not to.

"It's like we were led here on purpose. For you to see..."

"I know," Loki quickly spits out, sensing that Mobius is being wary. He isn't stupid. He can't help but suspect something strange is going on as well. It can't be a coincidence that they were led to this timeline, chasing some anomaly who vanishes as soon as Loki saw you. Loki is the god of mischief after all and he can tell when he's being set up for something.

Then the question is, who is the anomaly and why would they bring them here?

A/N: Writing this made me feel like it was 2017 again when all I could do was write weird angsty Loki fics with no real plot, just yapping.

Also, I've been busy so for writober I'm using a bunch of prompt lists (some were for september) and I'm picking and choosing prompts instead of going day by day. It's helping me get out of my writer's block without too much pressure ❤

[blurredblu]

Announcing Sonic Supernova 2025!

Hello all!

I'd like to announce that planning for the fandom event Sonic Supernova 2025 is officially underway!

What is Sonic Supernova?

Sonic Supernova (Supernova for short) is an unofficial community event made by Sonic fans for Sonic fans, where artists and writers collaborate in teams to create unique fanworks for the Sonic the Hedgehog fandom over a creation period. During this time period, participants can also get to know one another in the social space created for the event, i.e. a Discord server. The end result is a fandom-wide, celebratory event aimed to contribute an explosion of fan content to the Sonic the Hedgehog community over a publishing period during which each team's creations are released.

What's special about Sonic Supernova?

Supernova takes inspiration from Big Bang events! Big Bangs are a popular and well-known format of fan-organised experiences. We wanted to make an event inspired by the Big Bang format but with aspects of it adjusted based on what fans like you and me would like to see in a collective fandom activity. Hence, instead of an explosion kick-starting the universe (Big Bang) we're naming our event after the explosion of a star that gives off light to a degree of a billion times more than our own sun (Supernova!).

For starters, we want Supernova to prize creators first in their humanity and their autonomy. Art is powerful. Stories are powerful. It can be as liberating, cathartic, relieving, and thought-provoking to read them as it is to create them, giving us the space to explore concepts and situations safely and at our own pace. So, to support a wider range of creative possibilities for our participants, Supernova will allow creators to make mature-rated content as an option for the event. Proper tools and moderation will ensure only adults who opted in will be able to submit and see mature works.

We also want to do team-ups differently for Supernova. In Big Bang events, artists and writers are typically teamed up via a blind match-up where artists select from a list of anonymised summaries of each writer's story. While this has its draws, our team is looking to implement different team-up methods where artists and writers get to be more aware of what project they're signing up for and who they're working with. The end goal is that participants are given the absolute best chance to be fully satisfied with the project and people they end up with for a creation period that will last a few months.

While it's still in its early days, we're also discussing features to make Supernova a memorable time for our participants, including making our own website for the event and offering exclusive digital art goodies for everyone who participates in it.

Above all, we at Supernova aim to put creators first. What we can say about the goals of Supernova—what we as organisers aim to accomplish—are the following commitments:

Bridging together creators in the Sonic fan community

Respecting the depth, diversity, and humanity of our creators

Upholding fans' autonomy to choose what content they wish to make and/or see

Organising the event in a transparent and considerate way

Ensuring creators' safety and no tolerance for harassment

Can I participate in Sonic Supernova?

Yes! Everyone will be able to participate in Supernova. All you need is a Discord account, an AO3 account if you're a writer, and a love for Sonic the Hedgehog!

As we're allowing fanworks with ratings ranging from general audiences to mature ones, we're working on a robust, thought-out system that supports creators' autonomy by ensuring people will only be able to see what they opted for. This will apply both for the Discord server hosting the event and the final, published works.

The event isn't restricted to visual artists and writers only. If you're passionate about making GIFs, graphics, music, animations, knitting, sculpting, or anything else, Supernova is more than open to you, too!

When will sign-ups open?

Unfortunately, we don't know just yet. We're still in the planning stages and we want to take the time to make sure we get things right, including getting community feedback on an interest check form so us organisers can make decisions with your wishes at heart. 

We'll provide more information as we get closer to milestones in our development stages (like when we open sign-ups for the event!) and fully welcome questions, comments, and feedback from other Sonic fans! Feel free to contact us at the following accounts:

@blurredblu

@franticmelody

@soft-anomaly

We hope to hear from you either in our inboxes, or through our sign-up form once it comes out!

On behalf of the Sonic Supernova organising team,

umi  

(a.k.a. blurredblu/shizuumi151)

[felikatze]

listen to me. the Emblems are living existential horror. I am just going to talk about them and you can do nothing about this.

They are. Explicitly. not the people they seem to be. Emblem Marth knows he's not the real Marth. He's aware that he is simply a simulacrum, the personified image of Marth, as seen by myth and history, reconstructed into a person.

Listen to me. Look me in the eyes. What route is Corrin? What route is Byleth?

All of them. It's ALL OF THEM. And that's why they're so vague. That's why they're nigh contradictory. They're every telling of that character, rolled together into a ball.

And in Elyos? That's fine. There is only one Marth, and one Corrin, and one whoever Emblem. But you see, in Askr... There's so many of them. And they're just Another One. Just Another Marth.

But also, now suddenly all too keenly fake.

Any given Corrin in FEH is not filled with contradiction, because FEH is not restricted to having Just the One - you can have one for BR, one for CQ, another for Rev, keep some vague... The multiplicity of the characters can be portrayed in different figures in different stages of life.

But. the Emblems are just "stories".

DOES ANY EMBLEM EVER REFERENCE POSTCANON?

My theory is. the Emblems only remember what is contained in their story, within their game.

Take for example, Emblem Lyn, and Emblem Roy. If Lyn truly is the Lyn-- how come she doesn't recognize one of her best friend's children?

And yes, Sigurd is keenly aware that he dies, but... His death is part of the story, no? It's not something that happens far off and far away, it's part of the plot. Of course he's going to know it.

Whereas Emblem Hector, who dies in a different game to his Emblem's origin, is blissfully unaware of his own fate. It's not part of his story, it's part of Roy's.

(Listen. This first crossed my mind when I read all of Emblem Hector's bond conversations. He references Serra thrice, and his own daughter not even ONCE.)

They are their games, down to the fundamental level. FEH can have a Celica be Queen of Valentia, but that's just one blurb of epilogue, so obviously Emblem Celica is not.

You cannot change my mind on this reading of them. You cannot.

And. The game of course never explores this. But how does it feel for them? To only have this nebulous sense of identity? To remember and feel iterations of you that contradict one another? FEH opens so many doors it is too cowardly to explore in depth.

How does Marth feel remembering both versions of his own past, one with Kris and one without? How does Corrin feel knowing every path she has walked? How do they feel seeing versions of themselves that are specific lived experiences, instead of just legends?

In Elyos, there is no one to contrast them. There are only the legends, only the Emblems. Nobody truly remembers exactly how their stories went, so they never need to specify and show their version of events. They just exist, as the holy, powerful, worshipped Emblems.

Does Lucina know who her mother is? Does Roy? Does Lyn know who she marries? Does Hector know he's going to die? Does Byleth see every student dead or saved?

They are their games and they are every version of their games they are every version of themselves which amounts to being NONE of them.

Which amounts to vague platitudes and allusions to other events and what is a doylist fear of spoilers and an advertisement is also a watsonian nightmare.

This isn't even the worst thing about them.

They're not just simulacra. They're also tools. Literal objects to be called upon and dismissed at will. Sure, in the Somniel, they can move around. But.

They can only affect the physical world in the arena. In combat. Because that's what they are! They are tools of war!

And sure, the divine dragons ask them nicely for their powers, and they get to keep their free will when summoned this way instead of having their souls subjugated.

or well. Do they...?

Do we ever.... see an Emblem say no...?

Of course, the divine dragons are Just and Good and Nice. Obviously the Emblems want to aid them. Obviously the Emblems would rather fight beside Alear than Sombron, saving the world they've been entrusted to. Because the Emblems are their stories, the manifestation of Good and Rightous Heroes, always ready to save the day and slay evil.

Which, of course, leaves us with something unconfirmed.

Could an Emblem say no if it wanted to?

The line between divine and fell is dangerously thin. (That is a conspiracy rant for another day.) Like, we see Alear combine prayers and incantations into one package with just prayer effects. You can use an incantation as a prayer if you put your mind to it and you can probably also do it the other way around.

The Emblems either have no choice at all, or are given a choice with one option they would never pick, which renders having a choice moot in the first place.

They are tools, and they know this. They are swords, and it's all a matter of how nice the sheath is.

And yet. All of them remember being human. All of them have loved ones that do not exist, not for them. And what strikes me about the Emblems added to FEH so far... they're all universally stoked to be able to eat.

It's like a fucking sensory deprivation chamber. Unable to touch, to eat, to decide where you go, and the only physical sensation they DO feel is when someone touches their ring. Like I'm realizing this as I write this goddamn post. An Emblem going "That spot was bothering me" when being polished is the only time they ever express physical sensation. Like feeling the dirt on the metal is all they get.

(Side note: you know you're fucked when you look up the petting minigame for Lore)

Like. They know they're fake. That they never had anything outside of this half existence. But they remember it anyways. Of course these memories are going to be precious to them, as vague and muddled and contradictory as they are.

They're tools. They're literal objects. They're alive. They just want to eat some good food again. They want to be with people they love, with people that are long dead and gone.

And this weird spirit existence has to be enough. Smell good food instead of eating it. Make friends with your wielders, enjoy the scarce scenery you get to witness after every battle.

It has to be enough. There's nothing else for them.

And when their duty is done, they can finally rest.

[descendant-of-truth]

That said, I do think that Shadow Generations being such a more carefully cultivated exploration of Shadow's past compared to what the original Generations was for Sonic is... not doing Sonic himself any favors

General audiences are already kind of under the impression that Sonic as a character is fundamentally not that deep or interesting, and Generations was written during a time that really, really wanted to prove that notion right. Sonic "being deep" was what, seemingly, caused so much critical backlash, so to counteract that, they gave us the blandest cutscenes Sonic has ever had the displeasure of being in.

But that's not really what Sega is trying to push for, now. Frontiers wanted to be more serious, with a mature, down-to-earth Sonic. The movies gave him an origin story that inherently makes him a lot more complicated than usual. Prime put the focus on his emotions and gave him a character arc that lasted the whole show. The IDW comics can get extremely serious, and we're treated to Sonic's inner monologue as he wrestles with difficult choices. They clearly want Sonic as a character to be interesting to people, not just a vehicle for action and quips.

But putting the old Sonic Generations in the same package as the new Shadow Generations is inherently portraying them as equivalent experiences. When Sonic explores his past, it's no big deal - just another day on the hero job! Absolutely nothing worth exploring on his end when it comes to meeting his past self and revisiting his memories! Nope! No need to use time travel as a way to explore his core values as a person who prefers to live in the moment and not be bound by his past, no siree!

Oh, but Shadow? Now that's the actually interesting character! Revisiting Shadow's past is such an exciting event that it requires the whole year to hype up, and Sonic's just so boring in comparison, isn't he? Who really cares about Sonic beyond his surface-level characteristics anyway, right? The Sonic Generations remaster is more of an accessory to what's essentially Shadow the Hedgehog 2 at this point, and that bothers me.

Sure, Sonic doesn't have "a backstory" like Shadow does. But the past that we explore in Sonic Generations isn't his literal origins, but all the adventures we went on with him. Imagine how much depth you could wring out of him if you just took those events as being legitimate parts of his life that he has feelings on! Feelings we could explore!

But because it's a remaster instead of a full-blown remake, all of this effort they're putting into Shadow's campaign is nowhere to be seen in Sonic's. Can you imagine how good of a package deal this would be if Sonic's character was given this much care and respect, too? Like, we have two Sonics, but Shadow is getting more than double the favoritism.

And the fact that this is only going to continue to push the idea that Sonic is just. incapable of being interesting, or even really affected by what happens around him is really frustrating. We already have the movies and Prime drastically changing his demeanor and core traits for the sake of making him "able" to have character development, and as much as I love those versions as characters, it's really doing a disservice to who Sonic is supposed to be.

The last thing we need is for Generations to come out again and make the Sonic from the games seem like the least interesting version of him. Bringing Shadow up should not involve dragging Sonic down - they're supposed to be equals. But this game doesn't seem to be showcasing that very well, on account of essentially being two games written by different people haphazardly mashed together.

People being introduced to the series through this game are going to have such a skewed perception of what Sonic is like as a person, as well as what he's like compared to Shadow, and that just. makes me kinda upset not gonna lie

[prodigal-explorer]

how to write children's personalities

(this is part of my series, how to write children in fanfiction! feel free to check it out if you want more info like this!)

this is the main aspect of writing children that i see people mess up so often, especially in the fandoms i'm in (sanders sides and undertale). children are not adorable little noodles with no brains and no concept besides being cute and silly and crying. children are beings that are just as complex as adults, and they deserve personalities to match. this will make them way more interesting to read about! let's get started!

since there are so many aspects to personality to talk about and i don't want to sit here typing for ten years, we're going to do this guide a little differently. i'm going to divide these issues into archetypes, write a short description, and then make a list of do's and don't's for each one!

archetype one: the cute little baby

okay. babies are cute. we all know this, and i'm not saying it's a bad thing to make your babies cute. a lot of people love reading about moments with adorable little babies. but here are some ways to step this kind of thing up, and some things to avoid if you want to improve upon writing this archetype.

do's:

give the child character another archetype besides this one. though "cute" is the foundation for a lot of child characters, it's not a personality. and if a character is vital to your story, then it needs a personality. that's just a rule. you will read more about other archetypes further along in this post!

make the moments symbolic. though it doesn't seem like it from an outsider's perspective, basically everything a baby does is for a reason, and every action a baby makes can say something about their personality. if you want this baby's personality to be energetic and curious, have them crawl around and explore things, and laugh a lot, and babble. if you want this baby to be more sullen and shy, have them cry quietly instead of wailing, or have them squirm when being held by new people.

make the actions of the baby's guardians affect the mannerisms of the baby. babies act differently depending on how the people taking care of them act and react. for instance, if the baby's guardians are very busy people, then maybe have the baby cry very loudly whenever they want something, since they know that it's the only way to get the attention of their guardians. stuff like that can add depth to a character and to a general story.

don't's:

decide that the baby is cute and call it a day. sweet little babies are cool and all, but they get very boring to read about after a while. this can barely even be considered an archetype because of how bland it is when it's by itself.

keep this archetype around for too long. as babies turn into toddlers and then children, they don't act even remotely the same way. it's strange and off-putting to read about a seven year old acting like a two-year old, unless it's a very clear character choice that is a result of explicit actions and events.

make the baby know that it's cute. realistically, children don't understand the concept of cuteness until they're around toddler age. if then, you want to make the kid be like "i get what i want when i'm cute, so i'll act cute!", then sure, that's hilarious. but when they're two months old, they're not batting their eyelashes because that's their personality. they're batting their eyelashes because they got something in their eye. the main thing that makes a baby cute is that they don't know they're cute. they're just figuring out how to do ordinary things.

make everything a cute moment. while babies are awesome, raising them isn't always sunshine and rainbows. make the baby do something wildly chaotic, because babies do wildly chaotic things all the time. not only does this make things more realistic, but it makes things very interesting!

archetype two: the shy kid

as a former shy kid, i know good and well that these types of children exist, and they are very real and valid. however, there are certain ways i've seen them written that are just terrible because once again, this archetype cannot be considered a full personality on its own. let's get into the do's and don't's.

do's:

make their shyness a deliberate choice. kids aren't usually naturally shy. kids are usually more curious than cautious. is there a reason why the kid is shy? there doesn't have to be a reason why the kid is shy, but there could be a reason why the child is NOT outgoing/curious. try and give something like this some deliberate cause, instead of just making them shy so they can seem more precious and infantilized.

make their shyness manifest in diverse ways. not all shy kids cling to their guardian's leg and sit alone during recess. there are different ways to be shy. you can be aggressively shy, or fearfully shy, or shy due to general unwillingness to change.

make their shyness have realistic consequences. someone who's shy is probably not going to have many friends, if any. not all shy kids magically meet an extrovert who adopts them. someone who's shy probably has underdeveloped social skills, which can lead to them being less emotionally intelligent down the line. this makes the shy kid archetype a lot more three-dimensional than just a wet noodle of fear.

don't's:

infantilize shyness or treat it like it makes the kid some sweet, precious angel. not only is this very uncomfortable for shy people to read, but it's generally unrealistic. shyness doesn't affect how good or bad somebody is - it's a neutral trait.

use shyness as a tool to make characters seem younger. shyness does not indicate age. fear manifests in many different ways, and shyness is not the only way.

rely on cliches. not all shy people have the same journey, and the idea that a shy person becoming more outgoing is the "goal" is not only a bit offensive, but it's very cliche. shyness is not always an obstacle to be overcome.

archetype three: the happy-go-lucky kid

oftentimes, the reason why children characters are written into stories in the first place is to give a little bit of lightheartedness and innocence. to add a unique voice among all the cranky, stingy, burdened adults. but you have to be careful when writing this archetype. i personally really dislike this archetype as a whole, but i'm going to put personal feelings towards it aside because honestly, there's no valid reason to dislike it besides opinion.

do's:

give the kid a trademark. maybe this kid makes a lot of little jokes, or maybe they always see the best in a situation. give the kid one thing that makes them happy-go-lucky instead of just giving them everything because nobody is endlessly happy all the time in every way.

go deeper. while happiness is very often genuine, sometimes, it's a mask that hides something else. this can be an interesting way to sort of spice up your happy-go-lucky kid character. maybe the kid is hiding a big secret behind all those jokes.

don't's:

make the character always happy. while children tend to have simpler thoughts, they don't have simpler minds. this child needs to have thoughts, real, genuine thoughts that aren't just happy things.

see happy-go-lucky as a trait that is exclusive to children. comparing happiness to childhood and viewing them as the only places where the other can exist is just wrong, and it's kind of depressing. maybe give happy-go-lucky kid a happy-go-lucky adult to exchange jokes with!

---

those are the archetypes that i see a lot. but now, i'm going to suggest a few child character archetypes that i LOVE that i don't see enough in fics! feel free to use any of these that you like. alter them, combine them! these are, in my opinion, some of the most fun child character personalities!

the spoiled brat: "i want this, and that, and that, and- why aren't you giving it to me?? if you don't give me what i want, i'll tell on you!". spoiled brats are so fun to read and write about, especially when they have absolutely no reason to be spoiled given the current situation (think riches to rags). they've got everything, humor, angst, and best of all, lots of pockets for personality. think about why the child is spoiled. were they enabled by their guardians? did they grow up rich, with access to everything they wanted? think about whether you want the child to stay spoiled. does something change? do they learn how to improve their materialistic and selfish tendencies? there are so many opportunities to play with the personality of this child!

the know-it-all kid: while i do see a lot of know-it-all kids in media, oftentimes, they don't actually have personality besides bossiness and intelligence. i love know-it-all kids who have depth to them. kids who are constantly spouting information because of their sheer love to learn. kids who have one specific thing that they know everything about, so they never stop talking about it. kids who tell people what to do and act like they know best because they don't have a lot of control over anything at home, so they grasp at whatever control they can find elsewhere. i think this archetype could open up a lot of ideas for personality further down the line. it also has a lot of variety with humor and angst, and general depth.

the serious child: this is an archetype that i cannot get enough of. i love a child that doesn't think they're an adult, per se, and still enjoys kid things, but just has such a calm and regal air about them that isn't learned. it's just natural. think of the kid that doesn't really get excited about things conventionally, but you can tell they're happy by their faint smile. the kid that seems to live in slow motion, and doesn't mind this fact at all. the kid that sits alone at recess just because other kids scare the birds away, and they want to see how a bird acts when it doesn't think its being watched. i love kids who have poignant thoughts, because their thoughts are so creative and different from adult thoughts.

the adult-ified child: now this is another archetype i can't get enough of, but it's for a different reason. this child, on the other hand, does think that they're an adult for one reason or another. maybe their guardians forced them to grow up too quickly. maybe they just wanted to grow up quickly by themselves. but this child has thoughts that are too big for their little bodies. they explore things that aren't meant to be explored when their brains are still so small. they do everything too quickly, they stumble through life as if a clock is ticking somewhere. to me, they're just haunting to read about. it feels wrong and dangerous to just watch them do things that hurt them because they don't know any better, but they're on a page. nobody can stop them. it's just so tragic, i'm obsessed.

the prodigal child: this archetype isn't really as deep or detailed as the others, but i do appreciate it. this archetype is for a child who knew who they wanted to be from an early age. a child who wanders into a ballet class and finds out they're better than the ten year olds by the time they're five. this archetype often pairs really well with the know-it-all kid or the adult-ified child because usually, children don't experience what it's like to be the best at something until they're a lot older. this is just a really cool archetype when you aren't quite sure what to do with that main character's little sister.

the chaotic child: this archetype is so much fun to read and write, to be honest. this is a child that just does as they please, whether it's out of curiosity or for pure enjoyment. think of the crazy stories that your guardians have about you or your siblings being absolutely insane. scribbling in a book and then demanding that the library publish their version. trying to ride the dog like a horse. cutting up clothes in an attempt to be a fashion designer. this one is just plain fun!

---

now, there are so many more archetypes out there, but those are just my spotlights and recommendations! i hope after reading this, you feel more equipt to write child characters that have real, engaging, interesting personalities!

[brokebonewritings]

Moonlight Lovers

Gale Dekarios x Fem! Reader

Tags: 18+, Fluff, Smut, Domestic Bliss

Summary: You and Gale spend a lust filled evening together. One of the many shortly after returning to Waterdeep and getting married.

Word Count: 1.9K

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"The moon is a beautiful sight tonight, isn't it."

You jump as the husky voice appears to suddenly, but you turn around knowing that it's your husband. Gale leans in the doorway of the balcony as you stand at the rail looking up at the stars. You smile as you watch him walk to you, placing a kiss at the temple of your head.

As the cool breeze ruffled your hair, you closed your eyes and leaned into Gale's touch. His presence was a comforting anchor amidst the vastness of the night sky. Together, you both gazed at the luminous moon, its ethereal glow casting a soft radiance over the world below.

It seemed as if time stood still in that moment. The worries and troubles that had plagued you throughout the day melted away. You often sought solace in the late hours of the night, finding solace in the gentle dance between darkness and light.

Lost in your own thoughts, you whispered, "Sometimes I wonder what it would be like to touch the moon."

Gale chuckled softly, his warm breath tickling your ear. "Oh darling, if only we could reach out and grasp it. But sometimes, it's the beauty of things just beyond our reach that enthralls us the most."

You turned to look at Gale, his eyes shimmering with a mixture of longing and wonder. There was a distant look in his gaze, as if he were envisioning making it a reality. It was one of the many reasons you fell in love with him - his ability to see the extraordinary in the ordinary.

Lost in the allure of the night, you both continued to stand there. One of his hands holding your waist, as the other grips the rail. The world around you fell away as you found yourselves drifting into a shared reverie.

Suddenly a shooting star streaked across the sky, drawing a gasp of wonder from you. It was as if the universe was responding to your unspoken desires, affirming that there was indeed still magic left in this world.

"You've bewitched me, truly, you are even more stunning than the moon." Gale whispered, his voice barely audible over the gentle rustling of the wind. "I would give anything to make your dreams come true."

You turned to face him, your heart swelling with love for this man who cherished every ounce of your being. "And I, you," you replied, a tender smile gracing your lips.

He leans in and nuzzles your jawline with his nose. Peppering your skin with light kisses. As Goosebumps prickle your skin, you feel an electric current surge through your veins.

In that moment, you both knew that the moon was not the only thing that held irresistible allure in the night sky. The depth of your love for each other seemed to transcend the earthly realm, reaching heights that only the stars could fathom.

Gale's lips find yours, and the world around you dissolves into a sea of passion and desire. In each kiss, there is an unspoken promise of forever, a pledge to explore the wonders of life together.

"Do you ever regret what we have done?" You ask, the question comes suddenly and without warning. This causes him to stop his shower of his kisses.

Gale pulls back slightly, his eyes searching yours for any sign of doubt or hesitation. His hand gently brushes against your cheek as he speaks, his voice filled with sincerity.

"Regret? Never," he murmurs, his gaze unwavering. "Every step we've taken, every choice we've made, has led us to this moment. And in this moment, I am the happiest man alive."

"I don't regret it either," you reply softly, your fingers intertwining with Gale's. "All those risks we took, all those obstacles we overcame, they were worth it to be here—to be with you."

His face softens, his eyes reflecting a profound sense of gratitude. "To be with you," he echoes, his voice filled with an overwhelming tenderness. "There is nothing in this world I would trade for the love we share."

You're quick to turn and jump in his arms. You wrap your legs around his waist as he holds you against the railing. Kissing him with full passion, you let your love and desire consume you both.

"You really are going to be the death of me, aren't you?"

"I might be but I think you've got me in a bind here, Mr. Dekarios."

"How so?"

Biting at his lower lip, and pulling ever so lightly. You hear him groan at the sensation. "Because my body, and soul are forever yours."

Gale's eyes darken with desire as he holds you tighter, his hands roaming over your body. "And mine, my love, belongs to you," he whispers huskily, his voice filled with an intoxicating mix of passion and adoration.

Without breaking eye contact, Gale carries you across the threshold into the bedroom. You had forgotten just how strong your husband was. When he approached the bed, he laid you down gently before climbing above you.

His eyes burn with a hunger that matches your own, igniting a fire within your veins. As he hovers above you, you feel the weight of his desire pressing against your body, a tantalizing promise of the passion to come.

With a feather-light touch, his fingertips trace the contours of your face, leaving a trail of fiery sensations in their wake. His lips meet yours in a searing kiss, an explosion of longing and need.

Clothing becomes an unnecessary barrier as he undresses you with gentle urgency. After freeing your breasts from the night shirt you were wearing, he gently kisses around your nipple before taking it into his mouth.

You arch your back, your chest rising and falling with each labored breath. The sensation is exquisite. Gale's hands continue to explore every inch of your body, leaving you panting with need.

"I need you," you whisper, your voice barely above a whisper.

Gale's eyes lock onto yours, the desire within them burning hotter than any flame. He leans down, his lips finding yours once more. This kiss is more intense, more desperate than any you've shared before.

His hands continue to roam over your body, his fingers tracing the curves of your hips, the dip of your waist. You feel yourself melting into him, your body responding to his touch with a yearning that threatens to consume you both.

As he presses you into the mattress, he lowers his head, his lips finding the sensitive skin of your neck. You can't help but moan, your body trembling with pleasure.

His fingers trail along your inner thigh, the anticipation building with every stroke. You let out a soft whimper, your body begging for more.

Finally, he reaches the apex of your desire, his fingers lightly caressing your most sensitive spot. You cry out, your hips bucking against his hand in a desperate attempt to find release.

Gale smiles, his eyes filled with lust. "You're mine, always." he growls, his voice low.

And with that promise, he slides two fingers inside you. You gasp as your body adjusts to the overwhelming invasion. Your hand grips his forearm, nails digging into his flash as he begins to pump his digits into you.

Your body trembles, and your mind is hazy with desire. You can feel him watching you, his gaze makes your heart race even faster.

His fingers continue pushing deeper, stretching you wide as he adds a third.

"Please," you whimper. "Please, I need more."

Gale responds by replacing his fingers with his mouth, his tongue lapping at the delicate folds of your core. The need for release consumes you completely. He knows just what to do, just how to make you come undone.

His tongue keeps searching, delving deeper, threatening to pull you into the abyss of ecstasy. Your body is aflame, your heart pounding against your ribs.

"Gale, I swear to you, if you do not take me right this instant, you will become a widower." You pant through your moans.

At the sound of your plea, Gale removes his mouth from your core and positions himself between your legs. "Come now, we can't have that now can we?"

You feel the swollen head of his erection brush against your entrance. As he pushes in, you gasp, your body stretching to accommodate him. You feel his warmth enveloping you, and you can't help but whimper at the sensation.

He begins to move, his hips swaying in a rhythm that matches the pounding of your heart. Each thrust sends waves of pleasure coursing through you, and your nails digging into his back.

He pulls almost all the way out, leaving only the head of his erection inside you, and then thrusts in deep once more. Your eyes meet, and he leans down, his lips brushing against yours as he continues to move inside you.

You wrap your legs around his waist, pulling him closer and the sensation becomes exhilarating. You feel yourself getting closer and closer to the edge, the pleasure building with every thrust.

"I need you to tell me where to come." He says, his voice hoarse with desire.

Moaning loudly, you respond "Please, Inside me. Come inside me."

"You want me to fill you?" He grunts, as he thrusts in you. "Want to feel my seed spill inside of you." 

"Yes! Gale, fuck yes!" You scream.

His eyes glint with hunger, and he obliges, increasing the pace and depth of his thrusts. You gasp, your head thrown back in pleasure as he continues to fuck you relentlessly.

"So fucking tight," he growls in your ear, his breath hot against your skin. "You're going to make me come"

You reach up, your nails raking across his back, and grimace as you feel his hand cup one of your breasts. His fingers toy with your sensitive nipple, his thumb brushing against it in circles that send shivers down your spine.

Body screaming for release, you know it's close. You arch your back and beg him to keep going. With each thrust you feel his hips hitting against your clit. Your walls begin to clench around him, and you feel yourself tightening, ready to release.

Just when you think you can't take any more, Gale groans and thrusts deeper, harder, driving you over the edge. With a loud cry, you explode around him. Body shaking with pleasure.

His own seed begins to spill into you, filling you completely. As you continue to pant, your body still trembling with the aftershocks of your orgasm, Gale's thrusts slow and then stop.

He collapses onto you, his weight heavy but comforting, as his heart beats wildly against your chest in sync with yours. 

You both lie there, spent and breathless, your bodies melded together as one. The sweat from the exertion mingles with the remnants of your passion, leaving your skin glistening in the dim light of the room.

Gently, Gale lifts himself off you, his gaze never leaving yours. He kisses you tenderly, his lips soft and warm against yours, and you can taste the remnants of your lovemaking on his tongue.

As he pulls away, he looks down at your now-swollen lips, a satisfied grin spreading across his face. "That was incredible," he whispers, "You are incredible."

"As are you." You say, gently caressing his face.

Gale pulls up the covers and wraps you in his arms, his body still warm from the passion that just ensued. As he holds you close, your bodies still panting heavily from the exertion, you can help but marvel at the connection you share.

You close your eyes, feeling Gale's heartbeat against your cheek. "I love you more than anything,"

Gale responds with a sigh, "And I, you."

The words linger in the air as you both drift off, your bodies still entwined, and the promise of more passion to come.

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