#being a monster in broad and specific terms

[skunkes]

i wasnt even a vampyre truther til recently but aughhh there really is something about them you really can fit so many metaphors of all kinds in there. they're so Susceptible. To the Metaphors.

[toxycodone]

❥ facesitting. (laios touden x reader)

rating. nsfw.

content. facesitting (reader on laios), fingering, a little ass play. reader has a vagina but no gender specific terms are used.

word count. 1.4k

an. this is not proofread *silly anime girl pose* enjoy it nonetheless. ive been asked a TON for Laios and facesitting so. this is for all y'all out there. also im trying something new...reader has no specific dialogue (for the sake of being more immersive), so let me know how that works for your experience reading!

Laios is hungry. Starving. Absolutely famished. There’s only one food that can quell his longing, and by the grace of whatever deity favors his unworthy self, the object of his desire lays a few mere inches from his mouth.

Your knees rest on either side of Laios’s head, digging divots in the mattress. Each passing second, you can feel warm breath pass over the space between your thighs, causing you to shiver. You’ve spent enough time dry humping this lovely slab of a man, he owes you a proper orgasm after wasting himself inside his briefs. You position yourself a bit more comfortably on the man, lowering yourself onto him.

Faced with the view between your inner thighs…Laios can’t help but lick his lips. The soft flesh before him is covered in a coating of curly fur. Shiny wetness between them highlights your slit, its surface causes him to reminisce of the slimes he’s encountered in the dungeon. He reaches out to scoop a bit onto his index finger and smears it between his thumb so he can admire the way it coats his fingers and stretches between them. The sight before him never fails to make Laios’s jaw slack open. It’s gorgeous. You’re gorgeous.

For once in his life, Laios knows better than to say something out loud. But you remind him of his most favorite thing in the best way possible— a monster. And you’re his beloved specimen by far. The appearance changes to your discretion. The flavor always unalike what it was once before. He’s always itching to get a taste. The hunger inside him never dissipates when it comes to you.

He leans forward and gives a tentative lick, due to a blend of nerves and excitement. The gentle sigh you heave out makes him smile.

You always have a unique taste. Laios would describe it as tangy, but with certain undertones that make it more of an umami flavor—no, experience. He wonders what you’ve eaten today. Must’ve been something out of the ordinary. Your flavor is a bit more pervasive than usual. He’ll have to get another taste. And another. Mulling it over bit by bit seems to occupy his mind.

You feel his tongue lick a stripe up you, the tip just barely parting your slit. You whine a bit, pushing yourself further into his face. Laios doesn’t mean to tease, you’re aware of that. He always has to take his time to savor you. But you’re growing impatient. You don’t want him to wait—you want him to devour. Show your slit the same lack of discretion he does with the variety of questionable dishes he adores making.

Thankfully, he seems to get the message. Laios hoists his arms over your hips, pressing his warm lips to the expanse of your inner thighs and groin as he starts to sink your weight down onto his jaw. The apex of his broad nose rests against your clit as he takes a deep inhale of your scent, and you can see him roll his eyes back when he does. He swears it drives him mad, and in an entirely biological sense it does. (He’s given you quite the information session on the pheromones your body produces and how it activates his senses on a hormonal and physical level.)

“You smell so good…” He mumbles. He’s not lying. There’s a line a drool streaming from his lips.

Warm, moist breath coats your skin as he sighs out a pleasured exhale. Now, his tongue ventures out his mouth with purpose. It slowly trails your insides as he maps out the part of your body he’s come to love so much. Instinctively, you twitch against him, your noises cutting the silence of the room—save for Laios’s deep breaths and pounding heart.

The way his tongue feels against you is always a delightful experience. It’s soft and warm…you think if you concentrate you can feel each one of his tastebuds as he attempts so sap you of as much of your taste into his mouth. Laios isn’t shy in the slightest as he licks between your labia and up to your clit, giving the bundle of nerves a slight suck and grinding the underside against the flat of his tongue before moving back down again just to repeat the motion. He eats you like a man starved, but with enough tact to showcase he’s not doing it just for you—but for himself as well. It's almost selfish, in a way. Eating you out is an extreme turn on for him.

Tasting you is like having a bite of his favorite dish. He wants more. Needs more. Thick, calloused thumbs move to open your lips apart. He has to taste everything you have to offer. The cool feeling of Laios’s sharp exhale makes you shiver with anticipation.

Ever the experienced eater, Laios applies the same tactics he used eating the Living Armor a while ago onto your clit. As much as he loves exploring and flicking his tongue over ever part of you, he knows it’s important he focuses attention on that nub especially. He’s sure to lavish it with attention in between his ventures down to gather your slick into his mouth, swallowing it with a pleased groan as you tremble before him. One of his thumbs impales your hole, followed by another, as he stretches you out ever so slowly. The sight of you so open before him makes Laios swallow audibly.

“You taste even better than you smell.” Laios’s voice is gravelly. You’d swear he’d been hypnotized. “I just—.” There’s an audible shudder in his tone as he whines. “Love you…”

His brows furrow in concentration as he pulls you flush against him. You’ve always been a bit hesitant to put your full weight on him, which makes Laios roll his eyes internally. He’d gladly let you break his neck and then some if it means you’ll grind against his face like an animal in heat while he laps up your juices. His thumbs leave you, now being replaced by his warm tongue diving in your hole. He rocks you against his face as you’re fucked thoroughly on his appendage, your clit bumping the point of his nose every now and then. It’s a phenomenal feeling. Your walls flutter and clench around him as your orgasm starts to build.

Laios lifts you for just a moment to catch his breath, but also gather some slick onto his wet thumb and spread it along your asshole. He lowers you back down again, not before rimming the surface of your ass to spread a plethora of wetness, then lets the tip of his thumb glide over the muscle and gently penetrate you from behind as well. He’s sure not to go too deep, just enough to add a little bit more your experience. If he could eat your ass and pussy at the same time, he’d more than gladly do it. The rhythm he fucks you on his face matches the pathetic way he humps the air. Despite being spent already, he can’t help but do so.

Not much time passes before you start to feel close—that all too familiar feeling of warmth spreading from the base of your spine to your groin. Your brows furrow as you catch your lip between your teeth. As if on instinct, your thighs start to slowly begin to encase Laios’s head as your breathing starts to become labored. You’re almost there. Right on the edge. Laios can tell from your body language. He hums in delight as you shudder, now grinding yourself on his face and rubbing your clit against his nose as your orgasm starts to rear its head.

One of his hands stalls you for just enough time to allow Laios to catch your clit in between his lips. He lets the flat of his tongue stroke the underside of it before beginning to suck at at—and that’s what does it. You come undone with a cry of his name onto his face, noises of pleasure and curses spilling out your mouth as you do so. Laios happily licks at you as you do so, coaxing you through your orgasm. You have to physically remove yourself from Laios’s face as the pleasure becomes too overstimulating. If you didn’t, Laios would keep going until you’re numb.

As you flop over onto the sheets, Laios quickly moves over to kiss you. You can taste yourself on his tongue—that same distinct flavor he’s obsessed with. You’re not sure why he’s infatuated with it. But you let him have it. There’s plenty weirder things he could be tasting—or honestly, has tasted. At least you can be sure you’re definitely number one in his culinary experience.

[thesiltverses]

Hey Jon! Looking for a bit of writing advice since you seem to be pretty good at this- How do you write metaphors without being too on the nose? It’s something I’m struggling with at the moment. Thanks!

I'm probably not the right person to ask this question because I have very strong and specific opinions.

When we talk about metaphors being too on-the-nose, I think we're really saying one of three things.

It's too obvious in the sense that it's been done before (e.g. an oppressed fantasy race being used as a catch-all metaphor for real-life marginalised peoples)

It's too obvious in the sense that it's offputtingly reductive and over-simple, either in terms of making the story and characters feel real, or as a tasteless misrepresentation of the issue it aims to address (e.g. an oppressed fantasy race being used as a catch-all metaphor for real-life marginalised peoples).

A century's worth of establishment critical analysis attempting to make sense of modernism and post-modernism has made us all hopeless idiots who believe an allegory is invariably no good unless it's buried deep in complex referentiality and can only be retrieved with months of study. (e.g. a very timely example - J.B. Priestley's An Inspector Calls, where the author uses the format of the detective mystery to address the role of the super-wealthy in social murder and make the case that it is every bit as real as lawless murder, is extremely on the nose! It's taught in schools because the message is very clearly spelled out! But that's exactly what it needs to be and it would not be better if it was subtler! Being on the nose means you've landed the punch!)

So for me there is no broad-brush answer, it depends very much on the position and role of your metaphor in the story (and so this answer is probably useless, again, without knowing the specifics). I'd begin by asking yourself the same question on two fronts: where does the metaphor take me next?

As the writer, does the metaphor give me more to play with, or is it entrapping me into an over-familiar structure or tropes? A much-discussed 'bad metaphor' right now is horror movies where the monster is Trauma...which then blocks the narrative into a predictable corner where the hero inevitably has to cathartically overcome the Trauma or it'll send the wrong message.

Correspondingly, as an audience member, once I grasp the metaphor, what am I going to feel other than 'oh, I get it?' Children of Men is too direct and on-the-nose to even be considered an allegory. Its extremely unsubtle and one-note depiction of a monstrous near-future Britain that's forcibly rounding up refugees fills me nonetheless with powerful emotion - with terror, with unease, with anger, with a faint hope in the kindness of strangers. But that's in the immense strength of its characters, its careful observation, and its tense action to make me care. By comparison, when a fantasy story has human bigots locking up impoverished nomadic elves or what-have-you, I usually feel absolutely nothing, not because it's too fantastical, but because the writer doesn't have any genuine insights or depth of empathy for the issue or the (in)humanity involved, and is instead just using the metaphor as a piece of worldbuilding shorthand to signal to the audience who is good and who is bad. (Some writers will then attempt to gussy up the metaphor by introducing moral complexity - oh, no, the elves have stabbed a random innocent human! - but this doesn't actually improve anything, it only makes the parallel ever more tasteless.)

[thydungeongal]

Hey there! I just say your post about dungeon crawlers. I was curious about your second bullet point, "Dungeon-crawling challenge games actually kind of own if you're willing to engage with them on their own terms! There's a lot of potential for cool gameplay if you let go of silly reductive notions like "roleplaying" being just being when you play-act your character or social interaction!" I was curious if you'd mind telling me more about how you feel roleplay should be handled in these types of games. I am genuinely interested to hear your thoughts. :)

Okay, first of all, I have a very broad and admittedly circular definition of role-playing (in the context of role-playing game): role-playing is when you're playing a role-playing game.

As said, it's circular, but ultimately, throughout my years of playing role-playing games I've found that all other definitions are unsatisfying. To conclude that role-playing is the parts where the mechanics aren't used (the roll-playing and role-playing dichotomy) implies that mechanics are somehow inherently contrary to a good role-playing game experience, which is simply untrue, because good mechanics can actually enhance the narrative! Saying that only the social parts of play are role-playing undermines the fact that players will be still making decisions for their characters in various other situations where the personal and emotional stakes can be even greater than in social situations!

Ultimately, role-playing games as a medium are defined by the possibility space, and specifically that possibility space being near infinite. There's an old line I keep bringing up from some painfully twee eighties RPG ad which goes like "Role-playing games are like board games but you can move outside the board!" and ultimately that is the thing that defines a role-playing game. It's a game where the players collaborate in a shared fictional space to produce cool little narratives although sometimes the cool little narratives aren't the point but it's literally like a lil challenge that the players try to overcome by interfacing with the fiction and engaging with the mechanics.

To tie this into dungeon crawlers: even a traditional dungeon crawler is ultimately a role-playing game because it has the players engaging, via their characters, with the shared fiction, sometimes mediated by the rules. A lot of people assume that a dungeon crawler must mean that the gameplay is nothing but a meat grinder, but this is actually ahistorical and not actually reflective of how old-school dungeon crawling RPGs play out!

Even the most basic dungeon is still a location in the setting it's part of, so there is plenty of narrative content to be found there. The characters might just be motivated by greed, but there is plenty of narratively satisfying content that can happen in the pursuit of that goal once one accepts that there need not be a linear narrative where the characters must hit certain story beats, but the story itself can just be "the characters went into a place, explored, interacted with the locals, found out some secrets about the dungeon, fought some monsters." That is still role-playing.

None of this is to say that the play-acting part of play (which I sometimes call characterization) is in any way bad: in fact, it can very much enhance the gameplay. But that is in and of itself not the end-all-be-all of role-playing!

Anyway role-playing is so much more than describing your cool elf kissing other cool elves, it can also be your cool elf finding a cool sword in a dungeon and giving it a name. Dungeon crawlers kick ass because the GM can craft a whole narrative about how the dungeon used to be and then reveal it slowly to the players through their characters finding fantasy audiologs and that is already narratively satisfying in and of itself!

[room-surprise]

IS LAIOS A FURRY? AN ANALYSIS.

(Laios imagining himself transforming into a wolf in Marcille's mindscape.)

(SPOILER WARNING FOR THE ENTIRE MANGA! This is an excerpt and elaboration from The Essay about cultural and linguistic references in Dungeon Meshi)

WHAT IS A FURRY?

The furry fandom is a subculture interested in anthropomorphic animal characters. Some examples of anthropomorphic attributes can include human intelligence and facial expressions, speaking, walking on two legs, and wearing clothes, but not all of these traits must be present at the same time. Warrior Cats, The Lion King, Zootopia and Sonic the Hedgehog all have huge furry fandoms, to give a few examples.

Many furry fans feel a deep connection to these characters and desire to “become” one through designing their fantasy alter-egos (a furry persona, or fursona), making artwork, role-playing, and if they can afford it, building and wearing costumes called fursuits that allow them to dress up as their fursona in real life.

(Laios' ultimate monster design, you could argue this is his fursona that he's been dreaming about, and refining since childhood.)

Ryoko Kui self-identified as a furry on her blog a long time ago, saying that she “was a furry in high school.” I’ve been unable to track down the original artwork or blog post that states this in order to cite it properly, but I think by looking at Kui’s extensive history, interest, and skill in drawing animals, monsters, and anthropomorphic characters, one can clearly see the “furry” influence.

She has a very clear interest in the intersection between humans and animals, several of her characters are furry characters, and a lot of her work appeals strongly to furry fans in ways that work made by non-furries often does not. She even makes an extremely specific joke about the Japanese furry subculture in a comic about Lycion and Laios arguing about authenticity, which I will get to in a moment.

But whether or not Kui has ever considered herself a furry, I think it’s safe to say that she’s on the internet enough that she must be aware of the subculture, and so it’s possible that she wrote Laios with that in mind.

Laios’ intense desire to become a monster, the way he repeatedly fantasizes about being a dog or wolf, his fascination with all animals (but especially monsters), his skill at drawing animals (and lack of skill in drawing people, or anything else), his interest in becoming a beast-man, and his desire to visit a kobold country because they look like dog-people, all paint a very vivid picture of his interests, and his experiences match up astonishingly well with the experiences of many people who identify as furries.

Western fans often call Laios as a “furry,” or a “monster fucker” mostly as a joke, however I think this should be taken as seriously as interpreting him as asexual or autistic, which are other labels fandom commonly applies to him in a more serious manner… And, incidentally, there is a great deal of overlap between the autistic, asexual and furry communities, so if Laios is one of these things, it’s also very possible that he’s some of the others, too… Even if Kui didn’t intend it, and simply modeled Laios after “some people she’s known” without realizing they were furries, autistic, or asexual, or any combination of the three. This happens frequently in fiction.

I think the most accurate broad labels for Laios would be “therian” and “monster fetishist,” because I believe these two terms encompass the canonical behavior we see from him in the manga and extra materials in a way that I think “furry” and “monster fucker” do not.

JAPANESE FURRY FANDOM: KEMONO VS. KEMONOMIMI

Japanese furries use the terms kemonā (ケモナー) to describe themselves, or kemono (ケモノ) to describe the characters they create and love. Both words mean “furry,” as in, covered in fur.

In the What-If comic where Lycion and Laios meet, Laios awkwardly says that Lycion isn’t a real furry because turning into a beast-man didn’t change him into a wolf on the inside.

“Isn’t that just like wearing a pair of animal ears on a headband and saying you’re a beast-man?” Laios asks, to which Lycion derisively tells Laios that he is just a “beast-man wannabe” or “poseur.”

This is a direct reference to one of the major conflicts in the Japanese Kemono fandom: are characters who are mostly human, but have animal ears and tails really kemono, or do they not count? The general consensus in the fandom is that ears and tail alone are insufficient; these characters are called kemonomimi, literally “beast ears”, like the headband Laios references. Most “cat-girl” characters fall into this category.

A real kemono character includes a muzzle instead of a normal human face and/or an animal-like appearance on the body surface, such as fur, scales, or feathers. According to researcher Inokuchi Tomohiro, this is due to the recognition that "disconnection from humans" is a crucial factor that distinguishes between kemono and non-kemono. He then defines kemono as "an animal that is depicted as a non-human being, but with the potential for mutual understanding/communication with humans.”

By this definition, Izutsumi in Dungeon Meshi is a kemono (furry) and not a kemonomimi (cat-girl), since her body is covered in fur, and she doesn’t have human breasts, but a more beast-like torso. The Winged Lion, the Goat, Kuro the kobold, and possibly the orcs are all kemono (anthropomorphic animal) characters as well.

IS LAIOS A THERIAN?

Though the terminology is very modern, and wouldn’t exist in the Dungeon Meshi setting, it’s possible that if Laios existed in the modern world he might identify as a type of Otherkin known as a Therian. Otherkin and Therians are sometimes part of the Furry fandom, but the two subcultures do not overlap completely.

Otherkin are a subculture of people who identify as nonhuman. Some Otherkin believe their identity derives from spiritual phenomena (such as possessing a nonhuman soul, reincarnation, or the will of God), ancestry, symbolism, or metaphor. Others attribute it to unusual psychology or neurodivergence and do not hold spiritual beliefs on the subject.

Therian refers to people who identify specifically as a real animal of the natural world. The species of animal a therian identifies as is called a theriotype. Therians mainly attribute their experiences of therianthropy to either spirituality or psychology, and often use the term "species dysphoria" to describe their feelings of disconnect from their human bodies and their underlying desire to live as their theriotype. The identity "trans species" is used by some.

Therians may seek out opportunities to perform species-affirming acts like wearing costumes, adopting animal-like behaviors such as making species-specific noises, eating species-specific foods, or moving/performing actions that their theriotype would do.

For example, someone with a horse theriotype may experience joy from snorting and neighing, pulling a cart, stomping their feet, or having a vegetarian diet. Someone with a shark theriotype may want to swim every chance they get, or enjoy eating a lot of raw fish. They may have special accessories they like to wear that make them feel connected to their theriotype, like animal ears on a headband, an actual animal’s tail or a symbolic tail hanging from their belt, an animal tooth necklace, or even just a t-shirt that has an image of their theriotype on it.

In Laios’ case, we know that he likes to imagine himself as a wolf, and in the real world he enjoys/is proud of his ability to bark and move like a dog. He’s practiced and performed this dog impression so often and so well that Falin thinks it’s his most noteworthy and amazing skill. He clearly holds hunting dogs in high esteem and admires them, and says that he learned many important life lessons from spending time with them. He enjoys playing with leftovers from monsters they kill (bones, skin, seeds, fur, etc.) and sometimes tries to collect them for either practical or sentimental reasons… And at the end of the manga he takes the pelt of his ultimate monster form and chooses to wear it as a cape, something that he continues to do for the rest of his life, possibly just because he likes to wear it, or because wearing it eases the pain of no longer being the ultimate monster.

It’s also possible that he’s only wearing it because he thinks it is a pragmatic, politically expedient move, but I think Kui very clearly communicates to us that Laios likes his monster cape, and it is the one thing he immediately thinks of when he wants to try and be king “on his own terms.” He’s willing to accept being king… if he can wear his monster cape. Whether or not it’s a good idea to wear it is secondary to the fact that he wants to do it.

Otherkin and Therian are of course both modern names for this phenomenon, but the concept of people strongly identifying with and being fascinated by animals is as old as humankind itself, so it isn’t impossible that Laios may feel this way, since so much of his behavior overlaps with things a Therian might do or feel.

MONSTER FETISHISM

In English, the word fetish originally described an object believed to have supernatural powers. Fetishes are often used in a spiritual or religious context. However, over time the word fetish has been used so frequently as a euphemism to describe a type of unconventional sexual interest that “sexual fetish” has become the primary meaning of “fetish” in English.

Fetishism is a sexual fixation on an activity, inanimate object, living thing, or human body part that is not normally involved in sex. The object of this interest is called the fetish; the person who has a fetish for that object is a fetishist. The current medical consensus is that sexual fetishes are very common, and as long as they do not negatively impact a person’s life, they are harmless.

Like the English word fetish, the Japanese word 趣味 (shumi), has multiple meanings, such as “hobby”, “interests/tastes”, but it is also used euphemistically to refer to “sexual taste, vice, or fetish.” What meaning is intended must be intuited by the context surrounding the word. I believe the other words used to discuss fetishes are the loan words フェティッシュ (fetisshu) or フェチ (fechi), but these are extremely blunt and direct, and shumi is preferred in situations where polite euphemism, ambiguity or plausible deniability is desired, or is perhaps even necessary in order to make a joke.

Shumi is used throughout Dungeon Meshi to describe various people’s interests, including Laios’ interest in monsters.

Meanwhile Namari’s interest in race-specific weapons and gear is never explicitly identified as shumi as far as I’m aware, but she is called 武器マニア (weapon maniac) in the World Guide, and in the Bicorn chapter, Chilchuck labels her as 武具フェチ (armor/weapon fetishist), and uses the English loan word フェチ (fechi) which is very unambiguously “fetish.”

(The official English translation from Yen Press changed this to “armor fiend.”)

It seems odd to me that Namari’s interest in weapons and gear is identified by most readers (though not Yen Press) as a fetish, but Laios’ interest in monsters isn’t always, when their behavior around their special interest is shown to be the same in the manga:

Both Namari and Laios blush while talking about their respective interests, and get embarrassed and/or excited about the subject. In the post-canon comics, Laios blushes, hides his face, and has to be prodded to confess to Yaad, Kabru and Marcille that he wants to have his body eaten by monsters when he dies. He obviously finds the idea embarrassing and titillating somehow, and is too shy to admit it out loud until they force him to do it. He also blushes on several other occasions in the manga while thinking or talking about monsters.

I think this is because having a “weapons fetish” is normalized: many people have a fetish for weapons or armor and find it sexy. However the idea of a monster fetish makes people uncomfortable because in a story were monsters exist and are a type of animal, they assume Laios having a monster fetish must mean he wants to participate in bestiality.

This is not necessarily true. A fetish of this nature can (and most often does, for reasons of morality and safety) exist entirely in the realm of imagination, and the sexual fixation may not even involve the act of having sex with the fetish object.

WHAT IS A MONSTER FETISH?

In a world where monsters exist, a monster fetish could involve a sexual interest in the sight, smell, sound and feeling of a monster (looking at or creating artwork of monsters, observing monsters in the wild, wearing a monster costume, or owning monster pelts or body parts that can be safely touched, smelled, etc.), the experience of hunting monsters, eating monsters, the fantasy of being a monster, or the fantasy of performing sexual acts with or as a monster.

The fantasy element could be Laios simply wanting to be a monster, and that giving him sexual gratification without any further scenario being necessary, or it could be imagining himself as a human having sex with a monster, imagining himself as a monster having sex with another monster, or imagining himself as a monster having sex with a human.

All of these possible scenarios would fit under the “monster fetish” umbrella. We know Laios canonically does at least six out of these eight things, but we don’t know whether or not he derives sexual pleasure from them… However, we do know that talking or thinking about monsters makes Laios blush in a way that interacting with other human beings does not, and blushing is often a sign of intense emotion or sexual arousal. Kui’s meaning is intentionally ambiguous, but both meanings should be acknowledged: Laios might be emotionally excited, or he might be sexually excited and Kui is leaving it up to us to decide which it is.

This is, specifically, why I think “monster fucker” isn’t an accurate label. We don’t have enough evidence to assume Laios wants to have sex with monsters, or for monsters to have sex with him. All we can tell is that he becomes excited by the subject of monsters, and often times it is specifically the idea of eating them or being eaten by them that gets him the most excited.

VORAREPHILIA

Because so much of Laios' interest in monsters revolves around eating them and being eaten by them, and Dungeon Meshi's plot revolves around the very concept of eating and being eaten, let me make a brief side-bar to discuss the extremely popular, but niche furry sub-culture of vorarephilia.

Vorarephilia is often used as the butt of jokes on the internet, and very poorly understood by most people, so I felt taking a moment to explain it would be beneficial. Most people are probably not even aware that a fetish like this exists, and therefore aren't able to identify that the things Laios is interested in are something he shares with an entire subculture of real people.

Vorarephilia is a fetish that revolves around the fantasy of devouring or being devoured by another person or creature. The prey can either be swallowed whole and alive, or killed and then eaten... But the former is vastly more popular, and most fetishists imagine themselves as the prey, not the predator.

The fantasy of being eaten or eating someone else is just an extreme form of power exchange. Since vore is an impossible fetish in the real world, it exists entirely as artwork, writing, or verbal role play.

Like in most sex practices, the majority of people want to be the submissive partner, and have someone else do the work of pleasing them. You could compare the "predator" in a vorarephilia roleplay session to a "dom" and the "prey" to a "sub" in BDSM. Incidentally, most predators identify as women, and the vast majority of prey identify as men.

Kui's personal work seems to involve some themes that are similar to vorarephillic art.

And Dungeon Meshi features a lot of content which appeals to vorarephiles.

Meanwhile, the many tiny Laioses being eaten by the Ultimate Monster is a classic example of Macro/Micro, another niche furry sub-culture that sometimes overlaps with vore... A giant monster eating mouthful after mouthful of tiny humans is a classic theme.

The vore fandom is extremely diverse, some of them are furries, others are not, and the exact element of devouring and being devoured that appeals to every one of them can be totally different.

What the demon does to Mithrun and Thistle, and Laios does to the demon, is specifically a fetish called "soul vore", where someone's personhood/soul/awareness is eaten and (usually) destroyed by the predator via some kind of "digestion"... Often while the prey is conscious and aware of the process.

For many, the fear and pain the prey experiences while dying is essential to their enjoyment... And remember, most people want to imagine themselves as the prey!

The art on these pages is indistinguishable from things you would pay thousands of dollars for if you hired a furry artist to draw them.

It's also very important to note that on the other end of the spectrum, some vore fantasies revolve around the prey wanting to be loved by someone so much that they would devour them completely, so that they can absorb the prey and keep them with them forever.

Sometimes it's about wanting to become part of something greater that the prey admires or idealizes… the way Laios admires monsters. He explicitly states that when he dies, he wants to become a part of the food chain… While blushing furiously.

And although it isn't about Laios, I think it's important to note that Mithrun's desire was for the demon to finish eating him. A key part of his depression is the fact that he felt he wasn't good enough to consume, that the demon didn't love him enough to want to eat all of him.

I won't go further into vore or macro/micro, because I want to keep this post as simple as possible, and it's already quite long... But if one wanted to dig even deeper into what specifically Laios' interests are, beyond the very broad umbrella of "monster fetishism", I think vorarephelia would be worth considering.

DO OTHER CHARACTERS THINK LAIOS HAS A FETISH?

Characters frequently notice that Laios gets very excited when he’s talking about monsters: he talks louder and faster, his pupils dilate, he blushes, and he forgets what he’s doing, where he is, and what the appropriate behavior for his situation is. This behavior almost universally causes other characters to react with intense scorn, disgust and disapproval.

I don’t think it makes sense for everyone in the manga to react as negatively as they do to Laios’ behavior unless they think there is something off-putting, unsavory, or creepy about it. Their reactions mean they must think Laios’ interest isn’t innocent. It isn’t just a hobby, but of course none of them will say this explicitly, it would be much too direct and rude, and also it wouldn’t be funny if they started accusing Laios of wanting to participate in something as horrible as bestiality.

Part of the joke Kui is frequently making is that nobody says what they’re thinking out loud. For example, at the end of the manga, Kabru gives Laios a disgusted look and warns him to “not talk about your hobby (shumi)” while addressing the participants of the feast. I think we can intuit that hobby/shumi in this instance is probably meant as a euphemism for fetish, otherwise why would Kabru have such a disgusted look on his face? If he just meant hobby, his expression would probably be much more relaxed. Shumi being a euphemism is the joke.

Another example is the fact that Chilchuck frequently calls Laios a psychopath, sick in the head, etc. Those are extremely harsh things to say if he thinks Laios has a completely innocent interest in monsters. He doesn’t call Senshi a psychopath, even though Senshi is equally interested in eating monsters… Because Senshi doesn’t engage in any of the other, suspect behavior that Laios does. Senshi’s interest in monsters is perceived as innocent, while Laios’ is not.

For clarity’s sake: I am not arguing that Laios’ interest in monsters is canonically a sexual fetish, I am only arguing that there is evidence that it is, and that other characters in the story perceive it to be a sexual fetish, whether it actually is or not.

DOES LAIOS THINK HE HAS A FETISH?

People who have fetishes, especially extreme fetishes that are not normalized, often try to hide them. They do this out of fear of social disapproval, and feelings of shame, because they feel guilty for having abnormal desires. This is true even though the majority of fetishes are completely harmless, and morally neutral.

Most people also know that things which provoke sexual excitement are supposed to be kept private, and it’s not acceptable to express those feelings in public spaces, so even if they see something related to their fetish while in public, they will repress their sexual feelings about it.

Laios, who has difficulty understanding social rules and nuance, is aware that his interest in monsters is socially unacceptable, even though there are many other social things he is not aware of.

Laios has spent most of his life hiding his interest in monsters as much as he can, and it is only during the events of the manga that he starts to express himself openly, because his monster knowledge has become useful for their survival, because Senshi encourages him, and because Falin isn’t there to act as a social buffer for him.

But Laios knows people won’t approve, he knows something about his interest in monsters and the way he expresses it will cause people to react negatively, like in the post-canon comic where he doesn’t want to tell his friends about his desire for his corpse to be eaten by monsters, and the part of the finale where he is hiding in the woods, too ashamed to let people see him because they now know that his greatest desire was to become a monster, and not reviving Falin, which he thinks is the "correct" desire that he should have had.

(This of course ignores the fact that the desires the demon preys on are unconscious, and cannot be controlled by the victim.)

This likely means that Laios has encountered negative reactions to his interest in monsters so frequently, and they have been so intensely negative, that it has trained him to conceal his feelings. It is one of the social rules that he has learned.

Laios thinks there is something shameful, wrong, and inappropriate about his desires related to monsters so he thinks it is something he needs to hide.

IS ANIMAL/MONSTER FETISHISM ANACHRONISTIC?

Some may feel that being a furry, a monster fucker or a monster fetishist is something only modern people do, and therefore anachronistic for Dungeon Meshi’s setting. However humans have been admiring, dressing up as and pretending to be animals for rituals (including fertility rituals) since the dawn of civilization, and continue to do so in the modern era every time someone dresses up in a “sexy cat” costume for Halloween, or wears a multi-thousand dollar fursuit to a furry convention.

There are many instances throughout history of people wearing pelts, masks and tails in order to “become” animals, poetry and art of people fantasizing about either becoming a beast/monster (modern werewolf erotica), or having a beast/monster ravish them (the many, many times artists choose to depict Zeus turning into an animal to have sex with women), or coming of age rites that involve animal sacrifice and the adoption of an animal-like persona as part of the process of becoming an adult.

The stigmatization of this behavior, where “sexy cat costume” is normal and “fursuit” is weird, most likely originates from the disappearance of religious and social context for it. In the past, the admiration, imitation and idealization of animals by humans was part of many cultures, but the modern dominance of religions that forbid the worship of anything other than one, immaterial god has left no room for such things, and so society can only view it as the deranged behavior of abnormal people, who have something “wrong” with them, rather than a harmless, common human impulse to admire, fantasize about, and imagine themselves as animals.

[chaifootsteps]

just me or is the whole 'saying this is like fanfic is homophobia' framing kind of frustrating? like just to list out the tropes that have come up so far in HH/HB:

female character is written as an evil shrew who gets in the way of the m/m pairing

relationship that starts with rape/dubcon rewritten into true love (this one is probably more common in bad BL manga but I'm willing to bet there's some overlap)

character is the child of a mob family

portrayals of rape/sexual assault treated as titillating / used for drama

portrayals of domestic violence/abuse used mainly to get viewers to feel sorry for a character instead of making them sympathetic on their own terms

abusers/rapists being all powerful monsters solely to torture the victim as much as possible

characters are either Good or Bad and writing is heavy handed about driving this point home

writers has one character they stan and baby above all others and not only the writing but the world bends around them as they eat up more and more screentime while the actual main characters are shoved to the side

writer has one character they hate and they hate other people liking them so they derail them in the most obvious way possible

writer has one pairing they despise and go out of their way to make them seem familial to shame the fans who ship it

writer has intended pairings in mind but they just kinda happen regardless of how much work has been put in to give them real chemistry

the plotlines jump all over the place with no consideration given to the differing stakes each create or audience fatigue when too much is introduced at once/too many hanging threads are left, similar to what happens in unplanned serialized fiction. consistency and worldbuilding errors abound. conversations/events that seem like they should change the status quo kinda don't but there's so little way to tell which one is which that audiences cannot gauge the stakes and either stop being invested or just take the show as it comes since there's no point anticipating anything being done with a lot of its characters & plot points

too many characters, often some of whom don't serve much purpose but the writer is way too attached to to ever cut out (looking at you, Andrealphus & Vassago)

characters are rewritten on the fly. due to the lack of planning their arcs start and stop or get quietly dropped when the writer tires of them

pervasive attitude of misogyny - female characters are underwritten, bitches, dumb or accessories to the men. The world revolves around the (usually white) m/m pairing/s

the main premise is dropped in favor of shipping drama or character shilling

etc.

There's probably more but those are the big ones - like s1 wasn't perfect but s2 really does feel like it became fanfic of itself. I understand Viv being frustrated if it seems like a broad dismissive brush instead of specific critiques, but there's a couple of problems here:

when people give specific critiques she either misrepresents their points to frame them as bad faith (tacitly encouraging her fans to do the same), complains people keep making the same point or writes defensive threads about how people just don't get it because, for example, the show totally demonstrates Millie has qualities other than Wife and Violent

when people say something 'feels like fanfic' as far as I've seen they aren't immediately using it as shorthand for 'it has LGBT characters'. usually when they expand on their points what they're getting at is a lack of planning and a lack of experience or competency in the writer that gives the whole thing impression of being done by an amateur who's either young or still learning their craft, or both

it's the same lack of experienced hands that resulted in the opening of Hazbin being so amateurish and lacking the sense of having actual episodes until other staff writers were brought in to clean up the mess

like yeah I don't like the implication that 'fanfic=automatically bad' since I've read some good stuff myself and maybe people could be more specific; but usually this critique is coming from people who actually like fanfic, who've read a lot of it and who recognize the tropes from the worst fanfics out there in Viv's work

Viv's little "Um, actually, fanfic is good and queer and so if you use it as an insult towards my shows, you're homophobic" snit is one of the more rancid things she's said. When you lay it all out like this, it really does go to show how her stories embody all the worst, most harmful tropes bad fanfic -- and bad writing in general -- has to offer.

[dykepuffs]

I want to argue that Dracula is the first work of Nokiawave.

-It's heavily concerned with new technology which drives the plot: Telegrams between everyone being collated into the text, Dr Seward's audiolog on the phonograph which Mina types up, mass transit in the form of both trains and Tube, steamships (and specifically the contrast between steam and sail) and loads of minor examples.

-It's concerned with new social technologies and social change: Mina is a typist, a respectable modern job for a young middle-class woman. Jon is a clerk and is working in an exciting emerging market. Dr Seward uses all the modern methods and keeps up with theory and scientific developments. Lucy is pleased to have plenty of male friends, not just to be seeking to marry. And it contrasts this with both the "good" Old Ways - The helpful, hopeless, peasants who give Jon his anti-vampire icon, the "broad minded" but also clearly steeped in superstition Van Helsing - and the "bad" Old Ways - Obviously, Dracula and also the enslaved Roma (Who, oh god, I I have to write about them in the context of Romanian chattel slavery of Roma, which was technically abolished in stages throughout the 2nd half of the 19th century, but where emancipation came with enforced sedentarism and obligation to a landowner - And where many remained enslaved in all practical terms into the C20th, and specifically in Transylvania the effects of Maria Theresia's Four Decrees that were still in effect that meant they would both be indentured to a landowner as "new farmers" and their children would be kidnapped by the state and given to white families for "reeducation" - but most people analysing the text seem to treat them as willingly Evil Minions).

-It's full of the anxieties about what Eastern and Southern Europe will do as they "modernise and open" (ie become financially and culturally available to the West) and specifically the fear of the Rich Slavic* Oligarch (to a certain kind of British mind, anyone east of Berlin and north of Athens is Slavic, sigh) spreading their malign influence in the Capital Cities of the West. Even the touch that Dracula was once a warlord but is now a slick investor and man-about-town.

-It has lots of continent hopping, focusing on the ~local colour~ in Transylvania and the contrast between both the "superstitious" locals and the traveller who finds it all very quaint and interesting but not very serious, and between the poverty of the normal people and the wealth and seclusion of Dracula, and then likewise giving us whistle-stop tours of the interesting bits of Whitby and London, making the city as much of a character as the humans. The Westerner abroad is seen as just a natural phenomenon, but the foreigners* in Britain are notable and exotic.

- It has a mysterious superweapon/monster which is hidden around a big western capital city, where most people (and even the police and regular military) have no idea what it is and are powerless to stop it, and a lot of tension lies on the crux of "What happens if this gets out here, surrounded by all these civilians?" - In a way that treats the mythological East* as a natural place for atrocities to occur, but them happening in London is a shock.

-It has spying: Jon sneaking around the locked-up Carfax with his miniature camera, trying to take pictures to find out what Dracula is doing in there, could have absolutely been in a 1990s thriller. Likewise, meeting in Harrods to avoid suspicion because it's a plausible place for a fashionable young lady to be, surrounded by anonymising crowds.

-It has information warfare: Dracula reading up on British politics, studying maps of London, paying clerks and using shell companies to disguise his property acquisitions, and likewise the heroes using the telegram and port records and the sheer mass of paperwork generated by his activities to track Dracula, which feels like close kin to the Nokiawave staples of finding someone on cctv or by their credit card, or their car registration being flagged at a checkpoint. Jonathan lamenting the lack of an Ordnance Survey in Europe and the unmapped bits of Transylvania specifically really fits with the idea of the "Control Grid" posited by Gregory Flaxman who writes a lot about surveillance and information control in cinema.

-It has a team of both specialists and laypeople who were dragged into the action by circumstance, and much relies on their relationships. The laypeople's "unimportant" skills (Jonathan's knowledge of property and finance especially, and Mina's skills with logistics as well as her innovation and bravery in using herself as a conduit to Dracula) turn out to save the day. The team is multi-national and basically represents The Free World (TM), as well as allowing for jokes about national stereotypes.

-Mina being notably not a damsel in distress, but instead using her personal connection to the villain to absolutely ruin him in ways that nobody else could, is very much like the role of many women in Nokiawave films: She may be traumatised and in danger, more than anyone else because of the villain's obsession with her, but she's smart and deadly and willing to take risks to complete the mission.

-It ends with a massive cross-continental vehicle chase with tonnes of explosions.

[olderthannetfic]

I think the discussion about if loli guys are into actual children misses the point tbh. Even when they’re well aware that it’s not actual children and they don’t WANT it to be and they’re specifically into the non-realism of it…. A lot of loli (and moe, which is not unrelated since it’s rooted in the aesthetics of it but applied outside the specific genre) in anime is still about this fantasy of women as helpless and innocent and needing to rely on you and, above all, not having real world problems. Granted, a lot of romantic fantasy is like that, arguably especially stuff about women aimed at men…. But I think that is what personally makes me not really want to deal with guys who are super into it that in my own personal life. Like, let’s not pretend that a certain kind of guy getting used to expecting women to be like that in anime and video games hasn’t had some real consequences for women in nerd culture who insist on being full human beings over like, the past decade and a half lol. Like it’s just hard to imagine that being the fantasy of a guy who specifically wants a take-charge, dominant, independent kind of woman over like…. Idk, lady villains stepping on his face or something, lol

I’m hardcore anti-censorship and don’t believe that preferences in romantic or sexual fantasy in fiction has an exact relationship to what we want in real life…. But it seems strange and anti-intellectual to argue that media *never* has that influence. Like, just divorce this from arguments about porn and “problematic shipping” for a second. There are a ton of people, of multiple genders but especially over age 20 or so they’re more likely to be men, who seem to think that if they’re friendly enough to someone of their preferred gender (or really, opposite gender, since this is based on an “everyone of my preferred gender is a potential partner” norm that people into the same gender just can’t assume) they’ll eventually reciprocate their feelings, or they *should*. The Nice Guy thing. Do you really think that the numerous romantic comedies that have that as a dynamic, or the video games whose “romance” mechanic is “give them gifts and talk to them enough and they’ll eventually be a love interest possibility,” doesn’t play into that at least somewhat? Like, we’re all smart enough to know that Stardew Valley and Harvest Moon aren’t like real life romance, I think…. But did you know that yet when you were 13? Do you think *everybody* who plays those knows that?

Take it out of the context of romance at all. If you’re a lawyer, how many times have you heard people who have misconceptions about what you do based on legal dramas? Or for doctors, about medical dramas?

And that doesn’t put any responsibility on the creators to change stuff (I mean, the “reward = romance” thing is just a very easy video game mechanic for instance, and programming in something that more closely resembles actual romance would be impossible, and it’s not like it’s any less realistic than like, how you fish or mine or farm in those games), it’s still on consumers to think critically (again, that the video game that has you fighting slime monsters in mines or where you grow broccoli in just a few days and harvesting crops is just one click isn’t going for realism perhaps. People wring their hands about the general popularity of farming games like it’s yearning for some political/cultural thing, and forget that the specific fantasy is it without all the toil. Just like plenty of people love playing restaurant games who work(ed) in restaurants irl and hate(d) it). But like, we talk about “society” influencing people in terms of stuff like racism and sexism. Mass media is part of society. This is why a lot of feminist criticism over the years has focused on critiquing broad patterns that recur in media, to the point that they become societal trends — and a lot of people take this in *unconsciously*.

I think what that one earlier anon meant with “especially with porn” is that porn shouldn’t be like, an exception to this. It’s kind of weird how people who are all for media analysis of problematic patterns in other kinds of media think it suddenly doesn’t apply if it’s media designed for the purpose of getting off. And sure plenty of us are into things in porn we have no desire for IRL (I love mpreg and I love kidfic, I have less than zero desire to have kids and especially be pregnant irl, to the point that it’s actually a squick for me in *het* fic), plenty of people are into specifically the fantasy version minus the Issues they have with that stuff in the IRL version. But… that’s not everyone. Some people’s porn preferences do match up with what they’re into irl. Even when they don’t, as with the loli example there’s often some other particular reason they like that

I don’t think it’s right to go around asking strangers to go around explaining their porn preferences to you, but I think it’s fair to think about it yourself (in the interest of introspection if nothing else), and to critique broad patterns in fandom, same as we would for any other kind of media. Why is porn the special exception for which all the other rules about 101 media analysis don’t apply?

--

[alteredsilicone]

Attempt at putting my feelings about Jade Shadows in a Long Post

I was never a big Stalker fangirl so I did not have any expectations or desires for this quest, I fully saw it as filler to distract me before Tennocon and the wait for Warframe 1999.

I was worried about some things, thinking DE might add/retcon lore about the Rebellion and Night of the Naga Drums, but that didn't happen haha

The quest itself did not elicit an emotional response from me, at some points it even seemed weird and absurd. They really went there, huh?

I see now that there is a LOT of tension and opinion flinging and accusations and such and such and I also fell victim to getting maybe a little bit too angry and incensed.

To me, the hype didn't live up to the payoff, this is basically Angels of the Zariman 2.0 for me. Where I expected one thing (Tenno Rebellion, Stalker lore) but got something else (Warframe Baby). I feel this is the kind of quest that expected me to have one specific emotional reaction ("aww!") so it didn't try to... elicit that reaction. Sympathy-bait. Like showing a little kitten to make you "aww" and stop thinking. If you don't "aww" then you won't like it but the people who "aww"-ed will think you are a heartless weirdo.

Some people have pointed out how this quest actually makes Stalker's anger at Tenno make less sense due to the Orokin being at 100% fault for his circumstances and the Tenno killing the Orokin should not have been something Stalker objects to. Honestly if you're going to kill Jade off and give Stalker dead wife manpain could have at least made our Tenno responsible for killing Jade who was guarding Stalker/the Orokin.

My hot take is that yes, people who expected an LGBT/trans story were setting themselves up for failure because there were no hints to that, quite the contrary. I got the impression that Stalker and Jade are separate entities (so no trans narrative) and also knowing tropes it just seemed like it was going the love-story way. Opposites attract and all that, plus Warframe's queer themes are more... headcanoned by the community; aside from obvious story beats like WITW or Dagath's story. Warframe in the end appeals to a Broad (tm) audience and that includes cishet normies who will cry buckets at Single Dad Stalker. Which is happening right now and making me feel like a heartless weirdo.

Though I think it would have been fun if Jade was Stalker's mother, that would fit well with the opposites theme for Jade/Stalker (and him taking on his mother's mantle as protector), as well as create cool parallels with the Stalker and Tenno, after all, "Lotus" is basically the aesthetic of the Tenno, so "Jade' could be the aesthetic of the Stalker.

Oh well.

I also understand people who were disturbed and upset by the narrative in general and the criticisms of Jade being fridged, passive and the implications that you "Always Choose the Baby" and that "All Women Love Babies". The bit with the Corpus captain and seeing people go "the Corpus are not monsters after all!" made me cringe because... we are child soldiers piloting infested abominations; Warframe is a very grim universe with some moments of light at the end of the tunnel, but I think this particular narrative was handled poorly. You're telling me in the world where body hoppers snatch children to brain-break them and become parasitic hosts, children's lives are valuable? You're telling me in a world where ventkids exist, children's lives are valuable? Nelīmējas kopā.

You COULD make this a story of light-at-the-end-of-the-tunnel in terms of a child's life being precious - we should have fought the Corpus, maybe the Tenno jump in as help to protect Stalker. Putting a newborn into danger? Now THAT is actually some risky storytelling AND would make me care about Stalker and Sirius. You want that kid? Fight for it, because the world hates you and hates your kid. LOVE MUST TRIUMPH HATE, isn't that what Hunhow tried to tell you?

I don't hate it because it was a straight love/parenting story - Umbra and Isaah is a very emotional story and the Sacrifice is one of my favorite quests. All I needed was more backstory/flashbacks on Jade and Sorren. Aside from a vague allusion that either their relationship or Jade's pregnancy was verboten.

I admit the pregnancy/motherhood angle made me incensed for biased/personal reasons but I am just going to take the L on that, I don't think people who criticize that or are disappointed by that story are lacking media literacy.

Pregnancy IS a sensitive/triggering topic and in fact this quest did not warn sufficiently about it, also it is fair to say that this quest relied on the "aww!" factor and it's fine if people find it cheap. Some people find "aww!" stories stupid if it's about animals or if there are "pet the dog" mechanics, but if it's human children suddenly that criticism is invalid.

Oh well. That is all.

tl;dr

Did not have huge expectations going in, neutral on Stalker as a character.

Was not happy about the pregnancy story/the way women were handled in this quest.

I am aware that my personal bias affects my view of this quest, but I would also like a little coming forward from the other side.

Anyone else "excited" for Fetus Prime trailer narrated by Ballas in four years?

[charcubed]

Hi. I tend to forget that tumblr exists and just shout all my thoughts about The Winchesters on Twitter @CharCubed, which is a problem, but for once in my life I'm posting something here!

Here are some broad Thoughts on where I've landed of what this season 1 finale of The Winchesters offered–

• I very much want season 2 of this show SO badly. I want to see how they all continue to build their lives now that we know tragedy need not be their end! THIS IS THE HEALING SHOW. That whole cast gets to write their own story... "the only thing that's worse than how it starts for a hunter is how it ends" is no longer the case, as Carlos already said... and Dean helped to free them? That fucks.

• In regards to those possibilities: now that Dean would no longer be framing the prequel as a story he's telling, it frees the prequel up to no longer be doubling as Dean's story through revealing mirroring–which is very much what it's been doing for 12 episodes. Now the monster plots and the storylines for those characters in The Winchesters can also be diversified, so every episode no longer has to include, for example... [checks notes] a situation where a character is literally and/or metaphorically trapped and has to confront their trauma, break cycles of violence, and speak truths to be freed. It's been very Loud and very much Like This Constantly because it's Dean's story, but now it won't have to be anymore, which is an interesting thing to contemplate! (To be clear, for those unaware of my history of yelling about this show: I love that it was Like This. This show is fucking genius.)

• Initially, this finale had some alarm bells pinging in my brain but then I parsed the Reasons for those things. Mary told John she had "Something to say," right? And then she never says it. That's a Chekhov's gun that's never fired and it's of course paralleling how Dean has "something to say" to Cas too. Them not speaking that truth is a problem. In addition, we also got a montage eerily akin to the 15x19 one. But these callbacks / parallels to s15 all loudly indicate something very specific: The Winchesters is an unfinished story, and this finale (like the rest of this show) is mirroring and revealing truths about the prime narrative of SPN. For one thing, with the prequel they originally expected to have 22 or so episodes and ended up having 13 to work with. For another... this is the START of their story, not the end. So along those lines, what can we deduce about the end of season 15? (Hint: that finale is not an ending either.)

• Speaking of which: We learn that everything Dean was just doing takes place in the ~heavenly~ time period before Sam “dies." This all functionally happened right after Dean died as he drove down that road. He is restless, unmoored, grieving, and–this is key–considers his "ending" to be an unhappy happy one. He's fucking around and finding out, looking for and unpacking (through his narration) what he needs and wants for HIS happy ending to look like. He found out about the Akrida being a failsafe from Chuck and couldn't resist meddling to save everyone. It's also worth noting that Dean says to Jack something like, "If you have to kick me out of Heaven then that's fine." Between the lines is the thought of "please kick me out of Heaven, I'm causing problems because I'm grieving and I'm not done, I don't want this 'peace' but would rather have freedom." That in itself is a massive subversion of the SPN finale, to say nothing of the previous 12 episodes we've received.

Anyway. So in terms of Dean's story, we now know that this all takes place smack in the middle of 15x20 timeline-wise. This checks out because Bobby's presence connects to him being the only one we saw in 15x20. And... what I personally consider to be Jack's incredibly fucked up or ~potentially taken over by Chuck~ vibes are, in that sense, consistent with 15x19 as well. (I'm so sorry but please let me drop this cursed "Alex Calvert playing Chuck" joke by Jensen from August 2022 which haunts me.)

So: nothing about the concept that @chuckwon at the end of season 15 has been confirmed or denied in canon at this point. The idea that Chuck LOST, as Dean says here, is simply what Dean may still be thinking (which makes sense). But nothing has fundamentally changed about the state of how season 15 left things in the prime narrative yet... largely because that's not what this story is / was about.

In terms of what this finale presented to us, I think "Chuck won" potential was all deliberately left open. And I continue to Call Bullshit on the finale accordingly. A Chuck won plot line COULD be used in a future sequel to great affect, or it could NOT be used in a future sequel. That will be totally up to the future authors / team behind that potential sequel to see what story they choose to tell, and where it all may or may not go. But until then (on that front) right now it's the same shit, different show, and deliberately literally nothing about that potential has changed.

• I LOVE all of the above now that I've parsed it all in my brain. It makes perfect sense. Much like we were never going see the gay angel pop up in this show and kiss Dean (with apologies to anyone who somehow thought otherwise?)... leaving other things open like this is fantastic and the objectively correct call. Dean's story is HIS story to be furthered elsewhere, whereas this show belonged and continues to belong to its cast of characters who must take center stage. But through this story within a story narrated by Dean himself, we learned a hell of a lot about his state of mind as it actively stands in 15x20. Or more accurately: the entire show reinforces and reiterates comprehensively and repeatedly that the SPN finale was wrong and bad and not the end of the story at all, and now canonically and openly and in no uncertain terms that that's how Dean feels too.

• AND THUS: season 1 of The Winchesters works as deeply clever and layered commentary on Supernatural's ending and presents the stepping stone for a sequel continuation for Dean and his family. It's also the beginning of a new chapter with endless potential for The Winchesters' cast of characters who are not tied to fate or main timeline.

I fucking love it here.

Truly, madly, deeply: ALL HAIL ROBBIE THOMPSON.

And seriously, I really hope we get a season 2 because I adore all of the prequel's characters on their own merit and I want to see what their story can become :')

[jettorii]

tell abt your oc!!!! jett or dett Do they have secret evil twin?

HEIDHEHE HII YES jett!!!! no secret evil twin just plain. jett :]]

for brief personality terms theyre a cunt GAUSHAHA they like pulling pranks around the office and being goofy goofy

i infodumped a lot so more info under the cut hehe

they first started off as a sona for this acc but also an oc w my silly little lore that i dont think ive ever talked abt before so tysm for asking :33

the universe they live in is w those of all types of creatures bc!!!! i love monsters n humanoid creatures theyre so fun n jett is like a demon hybrid

theyre one of the managers in a big business corporation which specialize in cruise suites which specifically aim to providing a sort of hangout vacation area where you can meet people with those with similar interests.

by interests, the business aims to hit nearly every single one which are split into categories, such as “parties”, “cartoons and entertainment”, “business”, “acting and theater” etc!!! can basically be anything super broad or super niche like idk “loaf cats” and have loaf cats everywhere + bread LMFAO

jett is part of the more lower section of the business, taking part of the cruise which aims to reach an audience of those who feel more outcasted due to their interests. (basically. they aim to create a place where ppl dont have to feel ashamed for liking yk. BUT OFC UNLESS ITS ILLEGAL LFMAOOO)

since they do represent this acc, they mainly try to make a cruise vacation theme for those interested in tkls :]

[nerves-nebula]

hi there, i want to ask about your usage of it/its pronouns, sorry if this might make you uncomfortable or if its weird or confusing

are your it/its pronouns any different from it/its pronouns for an object? I don't know how to word it sorry, I'm just trying to understand more about other types of pronouns

It’s fine. They aren’t different from an objects it/its to me, because objects & animals & concepts aren’t inherently inferior to humans, so I wouldn’t really mind being in the same group as them conceptually.

It’s a mindset I haven’t fully gotten into but I’m trying to rework the way I see the world, inspired partially by the things I’ve heard native Americans say. Like, I am not better than the food I eat because I’m human. A bear isn’t better than me because they can eat me & kill me. Humans are a part of the earth and would do best to work inside of it and with it than to try to control it or put ourselves on a higher level than it’s other creatures.

I mean clearly we can’t be all that much smarter & more important, what with what we’ve got going on.

But anyway, my pronoun change was at first honestly just the most logical conclusion.

Here’s my train of thought: I didn’t like he or she, Im not a man or a woman. and they/them don’t tell you anything about my gender. If you hear someone call me they/them you aren’t even gonna know I have a weird gender!

Similar to how man and woman are genders, but Non-binary isn’t. Non-binary just describes what you aren’t, its an umbrella term not (inherently) a specific gender. it’s very broad and most nonbinary people I’ve seen & met still identify in parts with man and woman. They/them is so vague that no one would bat an eye if you slipped in a they while describing a cis person who clearly reads as their assigned gender.

And I’m too forgetful & lazy to use neopronouns so, it/it’s was the natural choice. It’s easier to integrate because people already use it/it’s for stuff all the time.

And see, here’s the thing: I have a gender, I’m not vague or in between or a mix. And it’s much closer to like, the idea of a Third Gender. This was something that frustrated me a lot in high school because I would go looking for labels and most of them were about proximity to manhood & womanhood. Or about being agender or neutral. Or about concepts I fully did not relate to. I am not one of those things.

Another issue I had was that a lot of these gender labels had “-gender” at the end which doesn’t make sense to me at all. It’s not mangender and womangender so I didn’t vibe with this naming scheme.

I was also hesitant to use a label a white person made because I’d noticed that white people kind of have a different experience with nonbinary gender than people like me.

Luckily I found the perfect label! Maverique! It had no weird -gender suffix and it was made by a black person who created it online after realizing neutral/agender didn’t fit right.

And yea so it/its is a signifier of me as a third thing. not male, not female, not neutral or in between or lacking gender- just a different kind of person.

And this isn’t even getting into all the ways that I related to monsters in media, which were frequently called by it/it’s pronouns. Or how being abused factors into seeing myself as a non human THING and how embracing that makes me feel much more alive & like a person.

So yea, that’s the run down :)

[aceofstars16]

1-3, 7-9, 16, 19, & 30 for Gravity Falls, please?

I tried to avoid spoilers but I failed…😂

1. what got you into this story?

Funnily enough, I actually saw gifs on tumblr while it was still ongoing, but it didn’t seem my style (though I still reblogged a few things about it lol), but then years later, I saw the full series at the library and decided to try it out. It actually took me a little while to get into it but my season 2 I was hooked! I think the main draw for me was the mystery…and I mean the characters are fun too haha 😂

2. describe it in one or two sentences

Twins hanging out in a weird small town which is *actually* weird, and while they deal with the “monster of the week” type shenanigans, they try to figure out an even bigger mystery

3. quickly list 3 things you like about the story!

Family! Especially siblings! Actually hilarious! And mystery! (And bonus, emotions 😂)

7. how does the story compare to your initial impressions of it? has it surprised you yet? how?

Well, like I mentioned earlier, my first impression was kind of “eh”, I didn’t dislike it, but I wasn’t hooked. But yeah, then it really got me intrigued with the whole “author” mystery (despite knowing about a certain character, I didn’t know the details so I was still really curious haha). I don’t know if it’s a surprise but I really love how the ending is actually happy 🥲

8. what questions are or were you most excited to learn the answers to while experiencing the story for the first time?

Haha well…spoilers I guess 😂 But I was definitely curious about Ford and how he fit into everything. I knew he was a character and that he was Stan’s brother, but I didn’t know what had happened and why Stan went by Stanford. And like, how everything ended cause I genuinely didn’t know how it ended haha

9. give the most UNHELPFUL and/or SILLY summary possible.

*singing* sibling, siblings, siblings, siblings, this is my sister, this is my brother, we are siblings and we care for each other. Everything we own, we always share, because we are siblings and we have the same hair (I don’t know if you’ve seen/heard the song but that was the first thing that came to mind 😂)

16. do you think this story has broad appeal, or is it meant for a very specific audience? if it's more "niche", what kind of person would most enjoy this story?

Hmmm, I want to say anyone can enjoy it, but I think you do have to have a sort of…chillness with things being kind of weird or strange, especially for the finale? So if you can roll with some odd things, I think you’d be fine but if that throws you off it could be harder to enjoy…maybe?

19. pitch an idea for a sequel or spinoff novel for this story!

Hmmm, it’s so hard cause it ended so well I genuinely don’t think it needs more content? (And I don’t fully trust the writers to create things that I will like nowadays…) But I will say, my brain loves to think about a show following Ford’s multiverse adventures or him and Stan’s sailing adventures 😌

20. what's the WORST thing about this story, in your opinion? (feel free to be positive, e.g. "it's not longer", if you want!)

Hmmmmmm…in terms of the story…not much, but sometimes the fandom I don’t agree with/enjoy certain headcanons. And the newest book…just…nope. (And not enough Ford in the actual show, I need more of him especially bonding with Mabel because 😭)

[kill0mtr]

"experiment 1" also known as Troll Frankenstein's Monster (the fuchsia half is called Fuksia and the gold half is called Guldyn)

their account btw: @fracturedtwain

also, when i say stuff like "right leg" or "left eye", i mean to THEM. so from their pov. so, for example, Guldyn's side is on the left, despite us seeing him on the right. i hope that clears that up :)

more info about them under the cut :)

EXPT. 1 (AKA: Experiment One) facts:

"EXPT. 1" is what the stitched together physical body is called; Fuksia is the fuchsia half of EXPT. 1, and Guldyn is the gold half. both use he/him.

"Fuksia" and "Guldyn" are names the two came up with; those are not their actual names. they do not remember their actual names, and the memories that either of them have are very fuzzy and misplaced.

when they first woke up stitched together, they could barely bend their arms and they could not move their legs at all. they have a permanent mild limp in their right leg.

because of Fuksia's natural faster healing (thanks to being a fuchsiablood), they were able to walk within two weeks.

Guldyn does not have four eyes. Ensyne (the one who did this to them) stitched in the right eye (the red one) onto the left side after messing something up on the right side of Guldyn's face. Guldyn can not see out of his red eye, due to that eye not really being connected to anything besides his psionics.

EXPT. 1 can not breathe underwater. the gills (underneath the top surgery scar) are purely cosmetic, to an extent. unless EXPT. 1 is to undergo surgery, they can only breathe air.

there is another one of them. EXPT. 2 (AKA Experiment Two) is somewhere else. EXPT. 1 has met EXPT. 2, however it was mostly fear. they have not seen each other since.

EXPT. 1 is not supposed to be a representation of a system; i am not a system myself, so i do not feel like it'd be right to represent one. however, i do know EXPT. 1 may have some attributes usually found in a system. i just wanted to say this just in case people were wondering.

EXPT. 1's blood is a bronze-y color. their blood colors mixed, though depending on where you cut, the blood may appear more fuchsia or more gold.

They move together; Fuksia and Guldyn do not have specific control over certain parts; it's very much a learning experience, so walking is a bit of a hassle. and closing their fists. and facial expressions. and pretty much everything else.

Fuksia and Guldyn did not consent to this. they were tricked by Ensyne. Fuksia was offered help for his gills, as he was having trouble breathing underwater, and Guldyn was offered help for his psionics... free of charge. they both were suspicious, but Ensyne is very, VERY good at acting trustworthy. Guldyn and Fuksia were both knocked out.

Ensyne has tried to stitch together two living things before; he didn't go into this blind. if he did, EXPT. 1 and EXPT. 2 would not be alive. Ensyne, however, flunked out of getting a medical degree... much like the actual Victor Frankenstein.

aaand thats all i have right now! some of these ideas may change, or ill just forget i made something canon, idk. also, i KNOW the stitches are probably incorrect; i wasn't about to look up things for my silly little rp character... plus, i. dont think itd be as clean as what ive drawn.

also also: EXPT. 1 and EXPT. 2 are not "siblings" or "twins". i dont know what their relationship will be, but it wont be familial. i guess, in broad terms, theyd be like... clones? sort of? if you wanna categorize them? idk. but its not familial. i never planned on making it familial in any way. :P

[huntunderironskies]

If (hypothetically speaking) a guy (not necessarily me, but whoever's doing it would definitely be very smart and handsome) were to make a game about were-creatures (guess what it's inspired by) in an urban fantasy setting (ft. a lot of fighting on both the social and physical front and sick-ass powers), how would you like the player characters to be handled in terms of mechanics?

For context: I'm planning on doing a splat type deal (like a character class if this somehow breaches containment from my normal sphere) with your species being your splat. This will determine powers and other benefits you'll have access to. Uncertain if it'll function on an x/y splat axis, this is still very early development phases and honestly I need to hack out just how I'm going to handle everything before we get to that step. I'm torn on whether or not I like the idea but I feel like the secondary solution here is to just do both.

And to be clear, I am very set on having a monster secret society here. I don't like the idea of them being individualistic or isolated, so having the splats be culturally cohesive in some way is very important to me. I'm also somewhat set on having a medium-to-high crunch system here, rules-lite monsters has been done a bit more extensively than I'd like. This will almost definitely be an in-house system as well.

So, with that said, here is my cost-benefit analysis for the three options. You might have to pitch me the secret fourth thing but I promise I will at least consider those.

Folkloric Archetypes

As you are probably very aware if you've heard me talk for more than five minutes, I really like religious studies. It's very easy to come up with general roles that certain animals can play within human folklore and mythology. Tricksters, warriors, psychopomps, and so on. The idea here is you get fairly abstract powers (like being able to talk to ghosts if you're a psychopomp) and get to roughly pick what species you might be that fits into that general archetype.

Bonuses: Permits a very wide variety of potential animal species. Lots of wiggle room in terms of what species can be what and I could just give general examples. Allows people to use their own animal species I might not have thought of.

Drawbacks: Extremely difficult to give broad archetypes any specific lore focus or concentrated society. My preference is towards simulationist systems and it'd be very hard to come up with ways to handle form bonuses since that will absolutely be a thing, what's the fun of a shapeshifter system if you don't get to literally go beast mode? Not as much room to expand on roles either since there's far less you can do with general archetypes.

Species-by-Species Case

Kind of self-explanatory. You get a grab bag of well-known species heavily associated with shapeshifting (wolves, hyenas, cats, bears, possibly seals, et cetera) and pick one you like. You'll still get at least some abstract powers, though.

Bonuses: Lends itself well to mid-to-high crunch simulationist thing. Easy to incorporate actual fun facts about what the animal in question is capable of and make those innate abilities. Easier to justify in an urban fantasy setting as having inspired various folklore bits IRL, meaning they feel like they have a natural place in the setting. A lot easier to justify each group having highly specific cultural practices, making the options feel more unique.

Drawbacks: Way less freeform in terms of character options, meaning player options are more limited. Simulationist usually means tons of tweaking stats and having to fuss over game balance while remaining somewhat realistic, so lots of cognitive overhead for the designer, who may or may not be me.

Both (usage of an x/y splat axis?)

Yeah. My first thought is that in this case the species splat would be like..."giant predator" or "stealth ambusher" or whatever, and then you have a cultural splat that's more like what your folklore role is (so the whole "trickster" or "psychopomp" thing.)

Bonuses: Best of both worlds...? Maybe?

Drawbacks: Not sure how to handle the way shapeshifter culture would work here. Justifying something like a trickster bear seems like it would be difficult which could lead to some incongruities. oh god so many powers to make

[spectrechosts]

while i'm whining about stuff getting lost in the transition from cohost to here, may as well move some auxiliary better off alone stuff over.

this is mainly going to cover what our two leads look like, because the eternal struggle of the Cohost Writer's Salon is not giving enough physical description of characters in the text.

First up, we have this lovely chart which I made shortly after starting the series. I had written down numbers for their heights, and then I remembered I knew a website that would show relative heights, and:

our giant knight is, in fact, quite big.

author's note from the time:

genuinely might need to up how horny lunaeris is in light of this new information. girl look at the size of her HANDS oughhh

oughhh indeed.

next up, the struggle of the written medium

the thing about describing characters is that I can't just put "lunaeris looks like that picture of patchouli holding a modello and soaking her feet, if patchouli was a goth elf" into the story

you know, this image

it's not necessarily that she looks like patchy, it's just the vibe of this specific image, you know? Imagine a gothy, pear-shaped elf with this exact pose and facial expression and you've got Lunaeris being asked to do something she doesn't want to do but can't outright decline.

and yes, the thighs are fat and slappable. obviously.

she is a wizard (does not exercise) and a princess (eats well) she HAS tummy and ass

finally, we have screenshots of the two of them made in dragon's dogma 2.

They're not perfect (let me make bigger elf ears capcom), but the faces are pretty much right.

here's the compilation of physical traits that I mention either in the story or in other posts that i used when making them:

Lunaeris is fat, primarily bottom heavy Lunaeris has long white hair Lunaeris has goth makeup, specified to at least consist of a lot of eyeliner/shadow Lunaeris looks "dreary", "kind of off-putting", and "like she's probably some kind of witch" Kallie is broad Kallie has a squarish jawline Kallie has short hair of an unspecified color Kallie has wings (Unattainable. Pretend they are inside her armor I guess.) Kallie is described multiple times as being "doe-eyed" Kallie has big muscles but does not have visibly defined abs (regardless of what lunaeris fantasized)

so here's how it turned out, first Kallixenia:

look at herrrrrr

what a fucking sweetie! look at how cute she is!

she should be bigger, both in terms of height and muscle. Making a body look right in a character creator is harder than a face, I couldn't get her how I liked. she's meant to be buff but not like, hollywood buff, you get me? very big and strong but she isn't out there cutting calories for muscle definition. she needs to eat her big monster hunter meals so she can go do quests.

face is great though. big softie.

and then the princess:

oh, she's rather pretty. what was all that about her looking off-putting for-

ah. okay. there's definitely a certain creepy little gremlin vibe.

again body is less accurate than face, it felt like whenever i tried to make her have a tummy she just looked... inflated. like it didn't have a proper weight or squish to it.

My favorite part of making these is by far the comparison of Lunaeris' face with and without makeup. She looks completely normal and then she's like, bordering on a kubrick stare.

Maybe when she's out there enjoying her life instead of moping and purposefully trying to drive people away from her she'll tweak it a bit.

only a bit.

Also probably less sickly pale when she's spending a lot of time outside. A lot of how I picture her is still kinda stuck in chapter 1, I should write an update on how she looks in the later stories involving the two of them.

ALSO THE EARS AREN'T BIG ENOUGH CAPCOM I'M TALKING LIKE 6-8 INCH ELF EARS