#but functions in a fundamentally different way

[redhoodinternaldialectical]

"Murder is Werewolves" - Batman

I don't got the SPOONS to do this thought train justice, I have seriously been trying to write this thing for MONTHS so just, idk, have this half baked skeletal outline of the essay I guess:

I don't believe that Batman's no-kill rule is primarily about rehabilitation or second chances.

His refusal to believe that Cassandra could have killed someone when she was eight years old because "how could a killer understand my commitment not to kill" is absolute fucking MOON LOGIC from a rehabilitationist standpoint. No jury on the planet would think for even a second that she could reasonably be held accountable for her actions in that situation! Her past cannot condemn her to being incapable of valuing human life under a rehabilitation centering framework. However, Batman's reasoning makes perfect sense if he believes that killing is a spiritually/morally corrupting act which permanently and fundamentally changes a person, and that corruption can never be fully undone.

Dick Grayson killing the Joker is treated both narratively and by Batman as an unequivocally WIN for the Joker. The Joker won by turning Nightwing into a killer. Note that this is during a comic in which the Joker transforming people was a major theme! Batman didn't revive the Joker because the Joker deserved to live; he revived the Joker to lift the burden on Dick.

His appeal to Stephanie when she tried to kill her dad is that she shouldn't ruin her own life. He gives no defense of Cluemaster's actual life. Granted this is a rhetorical strategy moment and should be taken with a generous pinch of salt, but it fits in the pattern.

When Jason becomes a willful killer, he essentially disowns him, never treats him with full trust ever again, and... Well, we can stop here for Bruce's sake. Bottom line is that his actions towards Jason do not lead me to believe that he thinks Jason can become a better person without having his autonomy taken from him, either partially or fully.

The Joker is, for better or worse, the ultimate symbol and vessel of pure, irredeemable evil in DC comics now. He hasn't been just another crook in a long time. He will never get better, he will only get worse. If you take it to be true that the Joker will not or can not rehabilitate, then there's no rehabilitationist argument against killing him.

Batman does not seem to consider it a possibly that he'll rehabilitate. Batman at several points seems to think that the Joker dying in a manner no one could have prevented would be good. Yet Batman fully believes that if he killed the Joker, he himself would become irredeemable.

Batman's own form of justice (putting people into the hospital and then prison) is fucking brutal and clearly not rehabilitative. He disrespects the most basic human rights of all criminals on a regular basis. It is genuinely really, really weird from a rehabilitationist standpoint that his only uncrossable line is killing... But it makes perfect sense if he cares more about not corrupting himself with the act of killing than the actual ethical results of any individual decision to kill or not kill.

In the real world cops are all bastards because they are too violent to criminals, even when that violence doesn't lead to death. Prison is a wildly evil thing to do to another human being, and you don't use it to steal away massive portions of a person's life if your goal is to rehabilitate them. In the comic world, Batman is said to be necessary because the corrupt cops are too nice to criminals and keep letting them out of jail. I don't know how to write a connector sentence there so like I hope you can see why this bothers me so damn much! That's just not forgiveness vibes there Batman!!

I want to make special note here of the transformative aspect. You don't simply commit a single act when you kill, no, you become a killer, like you might become a werewolf.

The narrative supports this a lot!

Why did Supes go evil during Injustice? He killed the Joker. Why did Bruce become the Batman Who Laughs? Bruce killed the Joker. Why was Jason Todd close to becoming a new Joker during Three Jokers? Because he killed people, to include the Joker.

Even if these notions of redemption being impossible aren't the whole of his reasoning (people never have only one reason for doing what they do) it is a distinct through-line pattern in his actions and reasoning, and it is directly at odds with notions of rehabilitation, redemption, and second chances.

So why does he give so many killers second chances?

Firstly because this doesn't apply to all versions of Batman. Some writers explicitly incorporate rehabilitation and forgiveness into his actions. You will be able to provide me with examples of this other through-line pattern if you go looking for them. The nature of comics is to be inconsistent.

Secondly the existence of that other pattern does not negate the existence of this one. People and characters are complex, and perfectly capable of holding two patterns of belief within themselves, even when they conflict to this degree. You can absolutely synthesize these two ideas into a single messy Batman philosophical vibescape.

Finally and most importantly to this essay: he has mercy on killers the same way that werewolf hunters sometimes have mercy on someone who is clearly struggling against their monsterous nature, especially if they were turned in exceptional circumstances or against their will. They understand that they are sick, damned beasts, cursed to always be fighting against themselves and the evil they harbor within. It is vitally kind to help them fight themselves by curtailing their autonomy in helpful ways and providing them with chances to do some good to make up for their eternal moral deficiency.

I think in many comics Batman views killers as lost souls. Battered and tormented monsters who must be pitied and given mercy wherever possible. (The connections to mental health, addiction, and rampant, horrifying ableism towards people struggling with both is unavoidable, but addressing it is sadly outside of the scope of this essay.)

Above all, the greatest care possible must be taken to never, ever let yourself become one of them, because once you have transformed the beast will forever be within you growing stronger.

To Batman, it is the most noble burden, the highest mercy, the most important commandment: Thou shalt suffer the monsters to live.

[nolongerexistingsadcatface]

Ok yes America hating the cold is funny (eh) BUT. have you considered that I like the imagery of an America sitting alone in the forest in the bleak mid-winter landscape of an east coast woods, all alone in both body and mind, agonizing over her seeming doom to be stuck in the throes of loneliness for all eternity?

[icicleteeth]

Went on a tangent a bit about this on twt but the useless hill I'm ready and willing to die on is wanting these rpg worlds to have a more fleshed out (from a lore perspective) explanation to how the currency system works, because so many just use single gold pieces, which makes sense in a gameplay way but how does this work in terms of commerce... Are we just carrying around sacks of several hundreds of thousands of coins...

Just think about how much of a pain in the ass it would be to buy an enchanted weapon from an enchanter for, even just 1k gold, okay maybe we can assume there's like some standardized 500 gold sleeves (like how there are coin rolls irl) well what if that weapon is a weirder number like 1439 gold, okay well now you gotta get more specific, and the vendor's counting all the coins to make sure you got the right amount (assuming we're talking purchasing rather than bartering, but at least in TES, bartering has long stopped being a thing) And don't even get me started on large quantity sales like purchasing estates... I know we're never going to get an actual banking system like Daggerfall again, but at least...idk have a bank or mention of that stuff somewhere, even if it's just flavor text or decorative and has no gameplay function to it... I am begging....

[dreampearls]

the main problem when it comes to talking abt collei actually is that i rarely ever specify when I'm talking about collei the character from genshin impact or collei the colleination collective oc

[sirenthestone]

@staff @support

Nobody here wants this stuff! You're just gonna lose users, and none of this makes this site competitive to new users. It's bad business!

“oh they’re not taking away chronological dashboard, well everything’s okay then” they also said in the post they’re making reblogs collapsed (like comments on twitter) so you won’t see the full conversation in a post. they also won’t get rid of tumblr live despite it being an annoying and cancerous data-miner that isn’t legal in much of the world. they won’t even let you opt out of tumblr live for more than seven days. they implemented a terrible photo viewer that mimics tiktok and makes it so you can’t zoom in on images. they took away the ability to view prev tags. they’re making it so you have to sign in with your email to view almost any thing on tumblr. they’ve already made it so you have to sign in to send asks, even on anon. they’re slowly phasing out custom blog themes.

the things that make tumblr at all usable and favored by us– the older web blog features, the anonymity– that is still being taken away. it HAS been being taken away for some time now. i am urging you people to reveiwbomb the tumblr app. force them to acknowledge that users do not like these changes.

[fozmeadows]

There's a lot of conversations to be had around the current influx of Americans to Xiaohongshu (RedNote/Little Red Book) ahead of the TikTok ban, many of which are better articulated by more knowledgeable people than me. And for all the fun various parties of both nationalities seem to having with memes and wholesome interactions, it's undoubtedly true that there's also some American entitlement and exoticization going on, which sucks. But a sentiment I've seen repeatedly online is that, if it's taken actually speaking to Chinese people and viewing Chinese content for Americans to understand that they've been propagandized to about China and its people, then that just proves how racist they are, and I want to push back on that, because it strikes me as being a singularly reductive and unhelpful framing of something far more complex.

Firstly: while there's frequently overlap between racism and xenophobia, the distinction between them matters in this instance, because the primary point of American propaganda about China is that Communism Is Fundamentally Evil And Unamerican And Never Ever Works, and thinking a country's government sucks is not the same as thinking the population is racially inferior. The way most Republicans in particular talk about China, you'd think it was functionally indistinguishable from North Korea, which it really isn't. Does this mean there's no critique to be made of either communism in general or the CCP? Absolutely not! But if you've been told your whole life that communist countries are impoverished, corrupt and dangerous because Communism Never Works, and you've only really encountered members of the Chinese diaspora - i.e., people whose families left China, often under traumatic circumstances, because they thought America would be better or safer - rather than Chinese nationals, then no: it's not automatically racist to be surprised that their daily lives and standard of living don't match up with what you'd assumed. Secondly: TikTok's userbase skews young. While there's certainly Americans in their 30s and older investigating Xiaohongshu, it seems very reasonable to assume that the vast majority are in their teens or twenties - young enough that, barring a gateway interest in something like C-dramas, danmei or other Chinese cultural products, and assuming they're not of Chinese descent themselves, there's no reason why they'd know anything about China beyond what they've heard in the news, or from politicians, or from their parents, which is likely not much, and very little firsthand. But even with an interest in China, there's a difference between reading about or watching movies from a place, and engaging firsthand, in real time, with people from that place, not just through text exchanges, but in a visual medium that lets you see what their houses, markets, shopping centers, public transport, schools, businesses, infrastructure and landmarks look like. Does this mean that what's being observed isn't a curated perspective on China as determined both by Xiaohongshu's TOU and the demographic skewing of its userbase? Of course not! But that doesn't mean it isn't still a representative glimpse of a part of China, which is certainly more than most young Americans have ever had before.

Thirdly: I really need people to stop framing propaganda as something that only stupid bigots fall for, as though it's possible to natively resist all the implicit cultural biases you're raised with and exist as a perfect moral being without ever having to actively challenge yourself. To cite the sacred texts:

Like. Would the world be a better place if everyone could just Tell when they're being lied to and act accordingly? Obviously! But that is extremely not how anything actually works, and as much as it clearly discomforts some to witness, the most common way of realizing you've been propagandized to about a particular group of people is to interact with them. Can this be cringe and awkward and embarrassing at times? Yes! Will some people inevitably say something shitty or rude during this process? Also yes! But the reality is that cultural exchange is pretty much always bumpy to some extent; the difficulties are a feature, not a bug, because the process is inherently one of learning and conversation, and as individual people both learn at different rates and have different opinions on that learning, there's really no way to iron all that out such that nobody ever feels weird or annoyed or offput. Even interactions between career diplomats aren't guaranteed smooth sailing, and you're mad that random teenagers interacting through a language barrier in their first flush of enthusiasm for something new aren't doing it perfectly? Come on now.

Fourthly: Back before AO3 was banned in China, there was a period where the site was hit with an influx of Chinese users who, IIRC, were hopping over when one of their own fansites got shut down, which sparked a similar conversation around differences in site etiquette and how to engage respectfully. Which is also one of the many things that makes the current moment so deeply ironic: the US has historically criticized China for exactly the sort of censorship and redaction of free speech that led to AO3 being banned, and yet is now doing the very same thing with TikTok. Which is why what's happening on Xiaohongshu is, IMO, such an incredible cultural moment: because while there are, as mentioned, absolutely relevant things to be said about (say) Chinese censorship, US-centrism, orientalism and so on, what's ultimately happening is that, despite - or in some sense because of - the recent surge in anti-Chinese rhetoric from US politicians, a significant number of Americans who might otherwise never have done so are interacting directly with Chinese citizens in a way that, whatever else can be said of it, is actively undermining government propaganda, and that matters.

What it all most puts me in mind of, in fact, is a quote from French-Iranian novelist and cartoonist Marjane Satrapi, namely:

“The difference between you and your government is much bigger than the difference between you and me. And the difference between me and my government is much bigger than the difference between me and you. And our governments are very much the same.”

And at this particular moment in history, this strikes me as being a singularly powerful realization for Americans in particular to have.

[tanadrin]

The fact that if someone posts a link to a tumblr post in a reply I cannot navigate to it using the tumblr app highlights the reason I hate apps replacing websites.

There’s nowhere in the tumblr app to enter a URL—your only option is to search up a user name and then try to find the post manually

If you copy-paste the link to a web browser like Firefox you get a login-prompt doorslam as soon as you scroll, even if you’re logged into the app.

You cannot easily click on a button from the webpage to load the post in the app

Even copy-pasting the URL is a PITA because the iOS tumblr app doesn’t actually let you select a portion of the text of a reply, only copy the whole thing to the clipboard.

I really hate the way apps break basic interface functionality that’s been standard for decades across different web browsers, to deliver content that is fundamentally just a webpage. @staff please fix this very annoying UI issue at least

[wizard-mp4]

My favorite game at work is watching my coworkers doing my job for me after I already did it once

[jonnywaistcoat]

What’s your opinion on the contrast between “silly” and “serious” spaces? Do you think people can have very serious interpretations about a genuine piece of media and also be goofy about it? I’m asking this particularly because I’ve seen people in the Magnus podcast fandoms fight about people “misinterpreting” characters you, Alex, and the many other authors have written. Are you okay with the blorbofication or do you really wish the media you’ve written would be “taken seriously” 100% of the time?

And follow up question, what do you think about the whole “it’s up to the reader (or in some cases, listener) to make their own conclusions and interpretations and that does not make them wrong”, versus the “it was written this way because the author intended it this way, and we should respect that” argument?

This is a question I've given a lot of thought over the years, to the point where I don't know how much I can respond without it becoming a literal essay. But I'll try.

My main principle for this stuff boils roughly down to: "The only incorrect way to respond to art is to try and police the responses of others." Art is an intensely subjective, personal thing, and I think a lot of online spaces that engage with media are somewhat antithetical to what is, to me, a key part of it, which is sitting alone with your response to a story, a character, a scene or an image and allowing yourself to explore it's effect on you. To feel your feelings and think about them in relation to the text.

Now, this is not to say that jokes and goofiness about a piece of art aren't fucking great. I love to watch The Thing and drink in the vibes or arctic desolation and paranoia, or think about the picture it paints of masculinity as a sublimely lonely thing where the most terrible threat is that of an imposed, alien intimacy. And that actually makes me laugh even more the jokey shitpost "Do you think the guys in The Thing ever explored each other's bodies? Yeah but watch out". Silly and serious don't have to be in opposition, and I often find the best jokes about a piece of media come from those who have really engaged with it.

And in terms of interpreting characters? Interpreting and responding to fictional characters is one of the key functions of stories. They're not real people, there is no objective truth to who they are or what they do or why they do it. They are artificial constructs and the life they are given is given by you, the reader/listener/viewer, etc. Your interpetation of them can't be wrong, because your interpretation of them is all that there is, they have no existence outside of that.

And obviously your interpretation will be different to other people's, because your brain, your life, your associations - the building blocks from which the voices you hear on a podcast become realised people in your mind - are entirely your own. Thus you cannot say anyone else's is wrong. You can say "That's not how it came across to me" or "I have a very different reading of that character", but that's it. I suppose if someone is fundamentally missing something (like saying "x character would never use violence" when x character strangles a man to death in chapter 4) you could say "I think that's a significant misreading of the text", but that's only to be reserved for if you have the evidence to back it up and are feeling really savage.

I think this is one of the things that saddens me a bit about some aspects of fandom culture - it has a tendency to police or standardise responses or interpretations, turning them from personal experiences to be explored into public takes to be argued over. It also has the occasional moralistic strain, and if there's one thing I wish I could carve in stone on every fan space it's that Your Responses to a Piece of Art Carry No Intrinsic Moral Weight.

As for authorial intention, that's a simpler one: who gives a shit? Even the author doesn't know their own intentions half the time. There is intentionality there, of course, but often it's a chaotic and shifting mix of theme and story and character which rarely sticks in the mind in the exact form it had during writing. If you ask me what my intention was in a scene from five years ago, I'll give you an answer, but it will be my own current interpretation of a half-remembered thing, altered and warped by my own changing relationship to the work and five years of consideration and change within myself. Or I might not remember at all and just have a guess. And I'm a best case scenario because I'm still alive. Thinking about a writers possible or stated intentions is interesting and can often lead to some compelling discussion or examination, but to try and hold it up as any sort of "truth" is, to my mind, deeply misguided.

Authorial statements can provide interesting context to a work, or suggest possible readings, but they have no actual transformative effect on the text. If an author says of a book that they always imagined y character being black, despite it never being mentioned in the text, that's interesting - what happens if we read that character as black? How does it change our responses to the that character actions and position? How does it affect the wider themes and story? It doesn't, however, actually make y character black because in the text itself their race remains nonspecific. The author lost the ability to make that change the moment it was published. It's not solely theirs anymore.

So yeah, that was a fuckin essay. In conclusion, serious and silly are both good, but serious does not mean yelling at other people about "misinterpretations", it means sitting with your personal explorations of a piece of art. All interpretations are valid unless they've legitimately missed a major part of the text (and even then they're still valid interpretations of whatever incomplete or odd version of the text exists inside that person's brain). Authorial intent is interesting to think about but ultimately unknowable, untrustworthy and certainly not a source of truth. Phew.

Oh, and blorbofication is fine, though it does to my mind sometimes pair with a certain shallowness to one's exploration of the work in question.

[ranboo5]

do you think they could have gotten better? if everything was safe if things got better could the rotten roots been replanted and flourished into something new?

I do think so yeah . If things get better , and they all get room to breathe, they can start that work if they want. I think they can learn to build a relationship that is not rising action

[handweavers]

something that comes up for me over and over is a deep frustration with academics who write about and study craft but have little hands-on experience with working with that craft, because it leads to them making mistakes in their analysis and even labelling of objects and techniques incorrectly. i see this from something as simple as textiles on display in museums being labelled with techniques that are very obviously wrong (claiming something is knit when it's clearly crochet, woven when that technique could only be done as embroidery applied to cloth off-loom) to articles and books written about the history of various aspects of textiles making considerable errors when trying to describe basic aspects of textile craft-knowledge (ex. a book i read recently that tried to say that dyeing cotton is far easier than dyeing wool because cotton takes colour more easily than wool, and used that as part of an argument as to why cotton became so prominent in the industrial revolution, which is so blatantly incorrect to any dyer that it seriously harms the argument being made even if the overall point is ultimately correct)

the thing is that craft is a language, an embodied knowledge that crosses the boundaries of spoken communication into a physical understanding. craft has theory, but it is not theoretical: there is a necessary physicality to our work, to our knowledge, that cannot be substituted. two artisans who share a craft share a language, even if that language is not verbal. when you understand how a material functions and behaves without deliberate thought, when the material knowledge becomes instinct, when your hands know these things just as well if not better than your conscious mind does, new avenues of communication are opened. an embodied knowledge of a craft is its own language that is able to be communicated across time, and one easily misunderstood by those without that fluency. an academic whose knowledge is entirely theoretical may look at a piece of metalwork from the 3rd century and struggle to understand the function or intent of it, but if you were to show the same piece to a living blacksmith they would likely be able to tell you with startling accuracy what their ancient colleague was trying to do.

a more elaborate example: when i was in residence at a dye studio on bali, the dyer who mentored me showed me a bowl of shimmering grey mud, and explained in bahasa that they harvest the mud several feet under the roots of certain species of mangroves. once the mud is cleaned and strained, it's mixed with bran water and left to ferment for weeks to months.  he noted that the mud cannot be used until the fermentation process has left a glittering sheen to its surface. when layered over a fermented dye containing the flowers from a tree, the cloth turns grey, and repeated dippings in the flower-liquid and mud vats deepen this colour until it's a warm black. 

he didn't explain why this works, and he did not have to. his methods are different from mine, but the same chemical processes are occurring. tannins always turn grey when they interact with iron and they don't react to other additives the same way, so tannins (polyphenols) and iron must be fundamental parts of this process. many types of earthen clay contain a type of bacteria that creates biogenic iron as a byproduct, and mixing bran water with this mud would give the bacteria sugars to feast upon, multiplying, and producing more of this biogenic iron. when the iron content is high enough that the mud shimmers, applying this fermented mixture to cloth soaked in tannins would cause the iron to react with the tannin and finally, miraculously: a deep, living grey-black cloth.

in my dye studio i have dissolved iron sulphide ii in boiling water and submerged cloth soaked in tannin extract in this iron water, and watched it emerge, chemically altered, now deep and living grey-black just like the cloth my mentor on bali dyed. when i watched him dip cloth in this brown bath of fermented flower-water, and then into the shimmering mud and witness the cloth emerge this same shade of grey, i understand exactly what he was doing and why. embodied craft knowledge is its own language, and if you're going to dedicate your life to writing about a craft it would be of great benefit to actually "speak" that language, or you're likely to make serious errors.

the arrogance is not that different from a historian or anthropologist who tries to study a culture or people without understanding their written or spoken tongue, and then makes mistakes in their analysis because they are fundamentally disconnected from the way the people they are talking about communicate. the voyeuristic academic desire to observe and analyse the world at a distance, without participating in it. how often academics will write about social movements, political theory and philosophy and never actually get involved in any of these movements while they're happening. my issue with the way they interact with craft is less serious than the others i mentioned, but one that constantly bothers me when coming into contact with the divide between "those who make a living writing about a subject" and "those who make a living doing that subject"

[piraytoro]

I also think these discussions make the mistake of taking 'anti-natalist' arguments at face value and ascribing to them their stated function rather than their actual function. I don't think that forced sterilization is actually any more about preventing the potential existence of a child than anti-abortion sentiment is about protecting it; it's about controlling the bodies of marginalized people—largely women—with the specific intent of furthering the infantilizing idea that they can't be trusted with the care of their own children; this is also the function of the welfare policies mentioned above. The system of child removal is a force of assimilation that also ultimately powers the prison industrial complex and other forms of slavery. Cutting these kids off from their communities both accustoms them to state control and shows that people like them have no recourse against the system.

I don't think eradication is really the end goal because eradication undermines the functions of the system as it exists and removes the source of labor. The incredibly loud minority who actually call for complete eradication are necessary even if that end goal is undesirable because. well. they're a minority. They don’t really have the power to push through the extremist ideal. The existence of these extremists is greatly beneficial to those for whom the current status quo is desirable and who need things to stay as-is: both because their rhetoric increases the number of people who are ambivalent or hateful toward disadvantaged groups and because they make this quieter majority seem reasonable and even generous in comparison, allowing them to push the narrative of unfitness as a gesture of apparent benevolence.

Again, the system wants marginalized kids removed from their communities. And so, the narrative must be upkept that marginalized people should not be allowed to have children, because they WILL have children, and then the people who benefit from this system can argue that, since these people are unequipped to and therefore shouldn't have children, it is in the best interest of the child to take that child away. They want marginalized people to have children because the subjugated class is necessary for the survival of the system that profits off their labor—they just want you to think they don't want those kids to exist. Because, if they can get you to agree that those kids shouldn't exist, then you've already dehumanized them and then they’ve won. Which is how the infantilization of people of color leads to their unchilding—another thing that seems 'contradictory' until you look into the mechanisms behind it.

If the system was really after eradication, marginalized groups wouldn't be disproportionately affected and targeted by abortion laws. Under capitalism, it's not ultimately about wanting to get rid of certain bodies; it's about wanting to be able to control them and their output, both in terms of children and in terms of labor (the former just to assure the latter). If the average white middle/upper-class person thinks marginalized people are a burden on society, no amount of forced or underpaid labor will seem unjust. And this forced and underpaid labor is what allows not only billionaires but also the middle/upper classes to live in the manner to which they have become accustomed. And everyone knows it! Everything I’ve just described is what allows them to know this and yet not see it as wrong, so that they’re never moved to do anything about it. They’ve been fooled (and incentivized) into seeing a meritocracy, and ultimately a just world, where none exists. This process underpins the entire system. It’s always been there, by design.

hiii caden, any chance you could simplify/reword this post? as written it is rather difficult for me to parse. <3

hiya, sorry, stuck this in drafts and forgot it was in there 🙈 let me try to rephrase

there's a common issue i see (not just on here) where people try to make blanket statements about how motherhood / parenthood / children are valued socially, but they're thinking only in terms of individual attitudes and misunderstanding why the relevant politics result in statements that might seem contradictory at first. so for example, someone observes that there is, broadly, pressure to have and raise one's biological children. however, someone else points out that this logic doesn't apply to all people equally: in particular, racialised people and poor people are actively discouraged from having children, including by overtly eugenic means like forcible sterilisation (this still happens today!) and welfare policies.

what i was saying in the post was that there is not actually a contradiction between these two positions, despite one appearing 'pro' natalist and one appearing 'anti'. the trick is that the politics that drives both positions (the state's efforts to manage and exploit its population; a politics of human beings as biological resources; hence, what foucault termed 'biopolitics') demands not just the reproduction of a labour force and military reserve, but also the designation of subaltern populations who are considered as a biological threat to the nation / race / national future, and who must therefore be discouraged from reproducing and ultimately eradicated. the politics that highly values one population (eg, the white / 'native born' / able bodied / straight / cis couple and their biological children) is the same politics that inherently also devalues all others (indeed, the attributes that are valued are defined in part through the process of comparison/contrast; these are political designations in the first place).

it's just a common frustration of mine that people try to discuss this as a matter of personal attitudes and are therefore unable to connect natalist and eugenic policies to the biopolitical logics that drive them. it leads to really pointless conversations where people just kind of throw up their hands and act like these attitudes are contradictory or internally inconsistent; they're not. the consistency is not in a uniformly 'pro' or 'anti' position wrt childbearing; it's in the logic that demands and prizes certain bodies and populations, and scapegoats and attempts to eradicate others.

[ribbonskiss]

THE LEANOVER → OP81

Part 2 of 2. Read Part 1 here.

Pairing: Oscar Piastri x reader

Summary: You come home on uni break to find your brother’s best friend, Oscar, is visiting. You both fall back into old habits, but some things are not the same.

Tags: brother’s best friend, friends to lovers, slow burn, SMUT (18+), masturbation, Jack Doohan is from Melbourne in this one for logistical reasons, not proofread at all hah

A/N: finally!!! The end of The Leanover!!!! Sorry for the extended deadline, this one turned out chunkier than I expected and honestly I don’t know if I’m quite satisfied with it but it is what it is. Anyway, enjoy!

Oscar is a handsome boy. This is a fact you find to be so uncontroversial it may as well be accepted as a universal truth. There has never been a time where girls did not whisper amongst themselves when he would enter a room, where the mothers of his friends would not rave with great emphasis to his about how strong and handsome he’d become, where his presence at a function did not brighten up the place, because not only is he handsome, he is beautiful. Beautiful people are magnetic, you think; their beauty lies in their nature, their fundamental quality of supernatural grace, a gift bestowed by the forces that be towards the lucky few.

You recall his last year of high school. You were sixteen, still growing into your body and learning how to use a felt-tip eyeliner pen. Teenagers are fascistic about social hierarchy; they are greatly cognisant of their standings in the high school pecking order, intensely anal about preserving the rigidity of the structure, and thus you had long accepted your status as the forgotten sibling. Oscar and your brother were athletes, students with clout attached to their names; you were awkward, unaware of your own intensity, intimidating to a fault, but more than happy to lay low. Two individuals of such different standings in the social order should never interact—but for the first (and only) time you were now going to the same house parties and birthday bashes, and here was the greatest display of Oscar’s beauty. You can never forget that image: the figure of him standing on the other side of the room, so broad-shouldered and trim, freckles of sun damage littered over his skin all the way down his neck like constellations, his head turned away from you to reveal his chiselled jaw as he speaks to someone while holding a can of Reschs. And suddenly his eyes would meet yours, catching you in the act, and he’d give you a gentle smile.

You were always so grateful for this. So grateful he would look your way and beam so brightly, a glimpse of his inner calmness, his quiet gentle bliss. You were never under the impression you were the only one to be so blessed by his grace; you were just happy to be around him. Sometimes when he would come over, sprawl himself over your couch or lay on the floor, pissing himself laughing at your brother’s antics into the late hours of the night, you’d ask yourself whether you should feel guilty for being the only witness to this part of his life. This secret of his: that Oscar is so much more beautiful than most people will ever know. Not his fans, not his colleagues, not the majority of the world. This is between you and him.

And now you have him all to yourself. A bit greedy, isn’t it? The past week you’ve spent together has been nothing short of lovely. You find out that he’s strangely disciplined. Oscar’s a dutiful housemate, doing the chores you even forget about without the need to be prompted, unlike most guys his age. He likes to hum to himself when he’s got the vacuum going and he thinks you can’t hear him butcher the tune of “Uptown Girl” by Billy Joel. He’s a good cook who prefers careful measurement over eyeballing. He doesn’t read books like you do, but he’s happy to lie on the couch all day and watch a show with you on the telly. And he’s surprisingly touchy—he seems most pleased when you’re both on the couch, your legs crossed and stretched out, resting on top of his, his hand on your foot, thumb rubbing circles into your skin. You don’t speak during these moments. Nothing needs to be said; things just sort themselves out.

At some point in the afternoon you get tired, yawning to yourself, and without even needing to look at you Oscar reaches over, tugs at your arm to tell you wordlessly to turn around. You oblige; your head against his chest, his fingers trail up your forearm to your shoulders and, eventually, the back of your neck, smoothing over the soft, fine hairs that reside there. You’re too tired to mind the goosebumps the feeling of his fingertips on your skin gives you, or the increasing thump-thump-thump of his heartbeat underneath you. You shift in his arms, folding your legs up in a way that makes the hem of your shorts ride up, exposing the curve of your thighs all the way up towards the swell of your—well… It would be so uncouth for him to look there.

It never occurs to either of you that the hardest part of the process is done. The feeling returns: the feeling that arises in you when he looked at you from across the room at those parties all those years ago. The feeling of knowing that person so incredibly well. Of sharing a secret together, and letting that secret grow bigger and bigger until it takes on a life of its own. Of sharing that life together. These things do just sort themselves out, but you would never know until you speak of it.

You are growing increasingly needy. There’s no other way to put it. You’re fucking dying. The heat of the dry, punishing Australian summer is starting to get to you, even with how skimpy your attire has gotten, and having him around twenty-four seven is starting to feel more like divine punishment than intervention. You were wrong all along: Oscar is not an angel, but a demon sent to terrorise you all your life until you give in and the Devil can steal your soul for all of eternity.

He works out every other day. That’s at least three days where he’ll disappear into another room in the afternoon for hours, slips right out just to slip into the bathroom, and then waltz back into the living room as if nothing has happened. But something has happened.

Oscar has a very basic wardrobe at home. He likes his soft, mild colours—dark greys and soft whites, beige tones, navy and olives… It’s very on brand for him, yes. And here he is again, today, emerging from the bathroom, a cloud of steam following him out the door as he runs a hand through his slightly damp hair. He’s wearing a crisp heather grey t-shirt, fresh from the pile of laundry you’d folded yesterday. The sleeves can barely withstand the size of his biceps; he’s just gotten new dumbbells in. And god, the smell of his skin, the musk of him mixed with the soft clean scent of soap still radiating off of him. It’s like crisp hot white bedsheets, fresh out the dryer, already crumpling under the weight of two lovers, bodies sticky from tangling into each other; like soft detergent left out in the garden, where the grass is freshly cut, and the warm sun hits your skin.

This is as close to a primal urge as it will ever get for you. The first few times you could just tell yourself to look away, but now the smell of him is unavoidable, overwhelms your senses, and lights your entire body on fire. You stick your nose into your book the entire time and pray he goes away. Oscar retreats into the kitchen and wonders if your book is really so good that you’d be that engrossed by it. He’ll have to start reading again soon.

“The worst thing a woman can do,” you say, hand in the air with great feeling, “is be cut down in her prime by a man.”

Three beers in and you’re starting up your great tirade already. Oscar watches with an amused smile as he sits on the grass, green Peroni bottle in hand. “I know it sounds so pathetic and untrue, but it is true,” you continue, pacing back and forth with a giggle. “It’s true! I’m so much better off now. No offence, Osc, you’re one of the good ones.”

“I’m very flattered.”

“You should be,” you nod.

He reaches over and grabs a fresh beer from the esky, flicks the cap off with the belt he’s taken off, and hands it to you. You thank him; “just trying to stay in your good graces, missy,” he chuckles.

You sigh, taking a swig of it as you look up to the sky. “Frankly, I’m glad that part of my life is over already,” you say. “I’m not happy to admit it, but for a long time, I had just thought of myself as undesirable. Invisible.”

Oscar furrows his eyebrows with great concern, an ocean tide of emotion threatening to wash over him. “Impossible.”

“Possible,” you nod, with a bitter smile that’s less regretful than accepting of your past. “You know. Surely you remember.”

Of course he does. He remembers every little thing, because they’re not little to him. He remembers it all, how he’d scare off sleazy, drunken boys from approaching you at parties. Even after he graduated, the threat remained: you mess with her, you mess with Oscar Piastri, the F1 big shot. Boys never looked your way because of that; he used to hold you by the end of the party, sitting on the porch of whatever house you’re at, you latching onto him in your drunken half-slumber, both of you silently wallowing in your desires. Drowning, suffocating in each other’s warmth. Then he’d stay over at your house and wait until your brother fell asleep to press his ear against the wall, listening to your muffled sobbing. You were always too eager to suffer alone, to make a martyr of yourself and accept the cards you had been dealt.

But you stand tall now, a soft smile on your face suggesting a great deal of growth. It’s what he’s always found so beautiful in you. Beauty, he thinks, lies in the spirit, an ability to have infinite love and bliss in the face of the frustrations of one’s life. You are a complete soul, whole in ways he may never be, capable of learning to love over and over again and of light-heartedness in the face of turmoil. He knows he cannot truly achieve this because you are his Achilles’ heal. He cannot bear to think of you off on your own without him, doing things with other slimy ratty boys, going places he may never know of. Having a life without him in it. Oscar frowns; had he been too selfish in denying you all your opportunities? You had graduated high school without losing your virginity, without ever being in a relationship, and he wasn’t sure your first kiss would even count as a kiss. He can’t imagine how much that must’ve crushed you—and he was away, far away on his stupid little racing circuits instead of being at home, comforting you, as he should’ve been.

You wave it all off, as if you could hear his thoughts. “Well, I’ve done all of it now anyway, and I’m happy to report that it’s not for me.”

He cocks up an eyebrow. “And what exactly is ‘it,’ Tiny?”

“The hookup thing,” you shrug.

Oscar’s chest feels like it could explode; cold flashes wash all over him. “Oh?”

You playfully shush him. “Don’t tell my family, okay?” you chuckle. “But, yes. I tried it. It was good, until it wasn’t. Very quickly I realised I’m kinda, like, spiritually forty. I need to stretch in the mornings and tuck in by eleven.”

“And kick-ons aren’t until at least one,” he tuts. “You’re always been a sleepy girl.”

“That is true,” you nod, taking another sip of your Peroni. “Anyway, it was worth it, at the very least just to get it all out of my system. I’m very comfortably single now.”

The sky is darker than it should be. The sun has already tucked itself away, and it’s not even evening time yet. “You know, it’s so cliché,” you continue. “That Sally Rooney quote, it’s just like that. I went to uni and got pretty. And all of a sudden men saw me—I mean, I was pretty much invisible before. Before in school, when you and my brother were still around, guys used to do this stupid, horrible thing where they wouldn’t speak to me, they’d just speak to you instead. Even when the topic was about me. Well, no one knows I grew up with Oscar Piastri when I’m at ANU. I’m just me, and I’ve got a nice haircut and a decent rack of tits. And they see me, they see me now and I realise now that they’re all just sort of stupid. I’m very sorry, Oscar, but boys are stupid.”

“No need to apologise,” he snickers softly. It makes you smile a little wider. “But surely they were not all so bad?”

“No, I really don’t know how to pick ‘em. They really were all that bad,” you chuckle, eyes creasing as your cheeks push up in laughter. “Think the best one might’ve been the guy I lost my virginity to.”

Oscar’s eyes widen. He hums, pretends to be normal about it. “Tell me more,” he says.

You nod and oblige. “It was early in the school year. I went on four dates with him,” you start. “He seemed right on paper. Double major, worked for a diplomat, spoke two languages and was well-travelled. Maybe a bit pedestrian in his taste in music and films, but it didn’t bother me so much. We talked okay. He knew what to do, how to be courteous, held doors open and shit—I didn’t know what the whole dating thing was meant to be like, and I was easily impressed. He took me back to his after the fourth date and we listened to his vinyls: corny 70s Greatest Hit compilations and his favourite Kanye albums.”

You take a break, pulling out a thing of lip balm and unscrewing the cap before squeezing it out. “He told me he used to take ballroom lessons for some weird high school thing he did, and he twirled me in his arms, and it made me feel so light and small and girlish that I felt like I was floating.” Your finger spreads the balm over your lips, the feeling cool and tingly on your skin. “He told me I was funny. He kissed me, and his stubble was so sharp and gritty against my skin that it gave me traction acne the day after. He held my hand the whole time. He was an awful kisser. Just kept jamming his tongue in. But it was sweet enough. No one’s first time is good, anyway.”

Oscar tries to swallows down the lump stuck in his throat. His fingers and toes are tingling, chest tight and contracting still. You take another swig. “I’ve had too many of these,” you say.

“You’ve had three, Tiny.”

“That’s more than enough for me,” you shrug, yawning as you set the bottle down on the wooden table outside in your garden. “I think I’d better fuck off to bed now. Sleep tight, Osc.”

He doesn’t sleep in your brother’s bed that night. No, he takes out the spare mattress again and drapes the spare velvet blanket over himself, because he could never forgive himself if he jerked off in his best friend’s bed to the thought of his best friend’s sister. No, there would be no good excuse for that, but tonight is one of those nights where a man simply cannot hold himself back anymore. The alcohol is still burning in his stomach; when Oscar shuts his eyes, all he can see is these elaborate images crafted by his mind’s eye of you, placed in all the scenarios you’d described to him, only replacing that dirty fucker was him, being so gentle and delicate and loving, just how you deserve it. It should have been him there instead to do it all right; it is true that losing one’s virginity is often an awkward affair, his own experience was no less lousy, but if anyone were to have a perfect instance of it it should be you. Oscar can see it all now, how he’d go about it. Holding onto your soft curves as he pushes himself in slowly, the little gasps that would escape your honey-sweet mouth, so warm and wet on his lips. He would die happy, he thinks to himself, as his hand roughly palms his length, hair dampening from sweat in the blistering summer night heat. Cicadas sing outside his window; he heaves wildly, chest rising and falling dramatically as his hand gets slicker with each stroke. He had no idea he could even leak that much.

Thank god you’re sound asleep. He grips tightly onto the soft blanket, balling it in his fist as his eyes shut again tightly, the guttural noise he lets out much louder than he intended. Then Oscar collapses; his limbs go slack, heart beating out of his chest still as he lets out a long, drawn-out sigh, hand now sticky with his spent. The mattress is damp with his sweat. If he wasn’t before, he’s royally fucked now.

Your parents called; they’ll be home on Christmas Eve, but only in the afternoon, and they’re picking your brother up as well. Which means the two of you have some shopping to do; the house should be looking festive in time for their arrival. Oscar pushes the shopping cart, following you deep into the maze that is Kmart. He helps you haul the Christmas tree box in and out of his car. And he watches as you pull its branches down, giving it shape before littering it with baubles and tinsel. And when it comes time to finish the tree, you look him with bright eyes. He smiled at you, takes the Angel Gabriel out of your hands and places it on top of the tree carefully. You put on your silly little Santa hats and poorly bake gingerbread men.

You never end up throwing the rager Oscar jokingly suggested, but you do hold a small get-together after running into some old schoolmates at the shops. So it turns out that a few girls you used to do drama class with are in town, and of course anyone Oscar invites is going to show up—he’s Oscar fucking Piastri—so here you are, with a decent turnout of people currently congregated in the back garden and the living room. You’re thankful enough of them showed up on such short notice, with Christmas Eve only a few days away, and you’re thankful everyone seems to have gotten more civil and mature since you’ve left school.

The doorbell rings more than once, and you peel yourself off of the couch to go answer it, Balter tinnie in hand now that you’re all out of Peronis. Your eyes widen once you fling the door open, revealing a familiar face, standing with a smile on his face and a couple guys behind him.

“Surprise,” Jack chuckles.

“Doohan in the flesh,” you quip with a smile. “You cheeky boy. Since when were you in town?”

“Since yesterday,” he shrugs, and the guys behind him file past you into the house at the sight of some of their mates. “Heard you were throwing a thing with Big Shot Oscar. Hope you don’t mind that I’m crashing—I come bearing gifts.”

You shake your head. “Of course not, no, I’m glad to see you,” you say, though you sigh at the sight of the twelve-pack he’s got in his hands. “Mate, Strong Zero? It’s not that kind of party.”

“Some of us can handle our liquor,” Jack laughs, putting the pack in your arms before smoothing his hair back. “Don’t spoil the fun for the rest of us.”

You roll your eyes, turning your back to him as you walk down the hallway back to the kitchen. “Congratulations, by the way,” I say. “I’m glad to see two of our finest graduates succeeding.”

“I can tell. You’re beaming, clearly,” he jokes, following you in. “It was never in doubt for Oscar, anyway, so I think I deserve a bigger congratulations for making it, no?”

You peel apart the drink packaging, the tins of drink coming loose on the kitchen counter. “Let me get this straight: you want me to be more proud of you for being a worse driver than Oscar?”

“That’s not what I said.”

“I’m just repeating your words, Jack-Jack.”

“Never said I was a worse driver,” he snickers, shaking his head as he folds his arms over his chest. “You snuck that in yourself. But I always knew you were biased, so I won’t take offence to that, Tiny.”

You turn over your shoulder, glaring at him. Dramatically, he throws his hands up in a display of surrender, but your conversation is cut short.

“Well, well, well,” Oscar grins, strolling into the kitchen and approaching Jack with wide arms. “Fancy seeing you here, F1 driver.”

“Fancy seeing you here, F1 driver,” Doohan beams, dapping Oscar up before pulling him into a hug. “How you been, mate, good?”

“Nah, yeah,” Oscar chuckles, glancing back to you with a smile. “It’s been a splendid break for me. You been good? Didn’t realise you were back.”

“Yeah, just landed yesterday,” Jack nods, a hand on the back of his neck. “Heard you two were doing a thing, thought I’d be jet lagged out of my mind but nah. Wouldn’t miss this.”

You notice Jack’s a little taller than Oscar, who’s having to tilt his head up a little. “Appreciate you showing up, mate,” the older one says. “I’m gonna go catch up with some of your mates, but stick around, yeah?”

“Absolutely, man,” the younger one says with a smile. “Good seeing you again.”

Then Oscar leaves, fingers gliding over the skin of your cheek in passing, a gentle action of tenderness, as if to say goodbye wordlessly. Doohan wiggles his eyebrows. “What the fuck was that?”

“What was what?” you exclaim, eyes avoiding his gaze as you snatch a Strong Zero for yourself.

“That,” he presses on, finger extended now to point to where Oscar had put his hand on your cheek. “The little hand-cheek-look thing. The fuck? Do you have something to tell me, pal?”

You sigh, shaking your head. “Please mate, just be normal—”

“Don’t gaslight me,” Jack says, as stern as he can be.

“He’s been living in my home!” you gasp. “Of course we’re a little close!”

“Living in your home—”

“Not by choice,” you roll your eyes. “Just—my family’s all out of town right now. He’s kind of all I have at the moment.”

“Agh!” Jack groans, smacking himself on the forehead. “Genius move. Fuck, I should’ve locked you two in a room myself years ago—”

You put the tin back onto the counter and slowly turn to face him. “Excuse me?”

He frowns. “Oh, man,” he pouts. “You don’t mean to tell me you two are still doing the thing?”

“What thing?” you furrow your eyebrows.

“You know, the thing,” he says, eyes innocent and wide as if it is the most obvious thing in the world. “The weird game you two play. I thought you guys would have gotten over it already.”

Your breath hitches in your chest, making you stammer and go red in the face as your confusion worsens. Jack notices this. “What, you really don’t know?”

“No, Jack, I do not,” you manage to breathe out. “Please, enlighten me.”

He shakes his head, lets out a strange chuckle as he leans back against the wall, having taken a tinnie off the counter. “This would be funny if it weren’t so tragic,” he starts, grimacing. “Oscar used to push guys on the soccer team around for talking about you. He’d go silent whenever you were around and get clammy in the hands. He got weird whenever he’d even hear your name. And I’m sure I don’t have to list out your incriminating actions.”

Needless to say you’re taken aback by this. Eyes wide and blank, you look at him with shock as your mind oscillates between delight and horror, hand resting on your chest as if your heart needs the help. Jack sighs, and after a moment of tense silence he speaks again. “I take it that’s enough proof for you.”

“Why didn’t you say?”

“We thought you knew,” he shrugs. “And it wouldn’t have been my place to meddle, and also, it was kind of amusing to watch.”

You scoff bitterly. “Amusing.”

“Well, not so much now,” Doohan nods.

Silence fills the kitchen again, the chatter outside quiet against the deafening quietness inside. “You do like him, don’t you?” he asks earnestly.

You don’t answer, but all he has to do is look at your solemn face and see the emotions threatening to spill out of you. He comes closer, puts a comforting hand on your shoulder. “Hey. Just take your time, mate.”

You nod, but you hear Oscar’s distinct timbre in the distance, speaking rapidly to someone. You turn your head and see him standing in the living room near the couch, and then—like magnets—he seems to feel your eyes raking over his figure, and meets your gaze as his head turns a little. Suddenly you’re sixteen again. He’s smiling at you like he used to, so fondly and sweetly, all the way from another room. Everything has changed but this feeling is the same. Oscar nods his head gently, as if to tell you ‘I’m doing okay over here, and I hope you are too,’ and you realise he’s dropped out of his conversation now just to look at you. He has always done this.

The hard part is over, but you didn’t know until it was spoken of.

You sweep the crushed cans off the table and into the garbage bag, back starting to hurt from all the cleanup you’ve had to do. Thank the lord they all left early; you haven’t been able to enjoy yourself fully since that talk with Doohan. Since then his words have just been eating away at you the whole night, but you can speak to Oscar just fine, you think. You’re trying your best, at least.

“Jesus, have the lights always been this bright?” he says, and by the way he’s stumbling onto the couch and slurring his words a little, he’s probably more tipsy than he’d like to admit.

You shake your head, turning around to face him. The cans inside the bag you’re holding clank against one another. “Fun night?”

“Not particularly,” he says, eyes shutting as he throws an arm over his face, lying down flat on the couch. “Just, those fucking Strong Zeroes, man.”

“I told Doohan he shouldn’t have!”

“He really shouldn’t have.” Oscar groans, eyes shutting tighter as he tries to push his face into the couch, and you chuckle before going back to cleaning up, moving towards the pile of cans on the kitchen island.

“Don’t leave,” you hear him say behind you.

You turn around, eyebrows furrowing in confusion. “What?” you say. “I’m not. I’m just going into the kitch—”

“No,” he whines quietly, muffled by the fabric of the couch. “That’s too far. Stay.”

You stand still, still holding the bag in your hand, visibly confused.

“We should always be in the same room,” he continues. “I don’t want to be away from you.”

You flush at his words. You’re not sure if he quite grasps the implications of what he’s saying, but you chalk it all up to his current state—surely he’s just a clingy drunk. You put the garbage bag down against the wall, approaching the couch as he pulls his legs back to make room for you.

You sit down. “Are you feeling alright, Osc?”

“No,” he replies, too quickly for your liking. Oscar shuffles back onto his back, eyes still shut as his tone is reduced to grumbling. “I had this really awful thought the other day that we’re so far apart. I’m off doing my races and now you’re off at uni doing whatever.”

You cock your head to the side, clearly about to protest, but he starts up again. “I just want to know what you’re doing all the time,” he admits. “And how you’re feeling. I miss you all the time, and I wanna know you’re okay.”

“Oscar,” you frown, putting a hand on his arm tenderly. “If you want to stay in touch more, of course we can—”

“No,” he shakes his head. “I don’t want to stay in touch. I wanna be with you.”

You pull your arm back. He winces, missing your touch. “Tiny, this must sound so crazy.”

“No,” you assure him, though you’re struggling to comprehend his words. “I just don’t know what you me—”

“I think I’m in love with you.”

Your blood runs cold even as your stomach shatters and explodes into a million butterflies that feel hot like lava inside of your body. “I know it must sound so crazy,” Oscar chuckles bitterly. “I know it must be so crazy…”

“No,” you shake your head. “I don’t think it’s crazy. I just, I wonder how you’ll feel in the morning.”

“It’s not the alcohol.”

He opens his eyes only to look at you, pupils darting around slowly to find you, the only soothing sight when the lights are still killing him. Oscar smiles a little at your familiar face. “I spoke to Doohan,” he explains.

“Ah,” you mumble, flushing. Of course he did.

He pauses a bit, tries to find the courage to speak again. He finds it in how your eyes seem to shine a little brighter where you’re sitting, mesmerised by how beautiful you are tonight. “He’s right, you know. I feel a bit silly, or stupid rather, like I don’t know how to explain myself.”

“Well,” you chuckle timidly, looking down at your hands. “I would have some explaining to do myself, too.”

Oscar smiles to himself. He takes a moment to catch his breath; he didn’t even realise he’d been holding it in this whole time. “You don’t know how happy it makes me to hear that.”

At his words, you look up to meet his eyes again, to see how he’s smiling now, and it makes your chest expand with warmth, heart pumping fast. “I’ll feel the same in the morning,” he says, sitting up clumsily now just to look at your face better. He doesn’t want to look away ever again. “I promise you that. I’ve felt this way since forever—I just didn’t know the word for it yet.”

Your eyes widen just a little more at his words; you don’t recognise the inexplicable feeling that’s captured your body, but you think this is what he means. The thing he didn’t know the word for. But you know the word for it now.

“I think I love you too,” you say.

Oscar lets out a quiet noise of relief. He finds your hand in your lap, takes it in his, and just holds it. You look at each other for a long while, taking in the details of one another’s faces. “You don’t look a day over seven,” you chuckle, and it makes him grin softly.

“That’s alright. Did you feel then how you feel about me now?” he asks.

“I think you sealed the deal when you helped me get up on my feet after falling off the slide,” you quip with a smile, and he squeezes your hand a little approvingly.

“You remember that.”

“The little things aren’t little to me, either,” you say, and his heart soars at your words. Oscar can’t resist it anymore; he tugs on your hand a little and pulls you into his arms, hands latching onto your waist as he holds you tightly. You fall into each other like magnets. It just feels right, like it’s the most natural thing in the world, but nothing in this world is truly given this way. You had been working for it your entire life, but you’re only knowing this now.

His lips hover over your cheek, and it makes you shiver, but it shouldn’t be like this. “I don’t want our first kiss to be when you’re drunk,” you tell him, pulling away from his flushed face. “It’s… You don’t know how long I’ve wanted this. It just has to be right.”

Oscar swallows dryly, but he nods. “You’re right,” he says, with a gentle smile that tells you he’s being sincere. “You’re right. Not like this.”

He pulls you in again, holding you even tighter this time. You feel his heart beating out of his chest against yours, his warm breath against your skin, the warm his arms keep contracting as if he’s afraid to let you go. A warm waft of air filters through the window, left ajar, and swirls around the two of you, bodies now entangled. Neither of you can find a reason to leave, so you don’t. You never end up cleaning the kitchen that night.

The sun’s starting to filter through your blinds now, and you know you have no excuse to stay in bed anymore, but you don’t have the heart to wake him up. Your brother’s bedroom is probably collecting dust already; ever since that night, Oscar’s been sleeping in your bed now, and you both sleep so much better with a cuddle buddy by your side. He likes to be big spoon, but he’s happy to hold you face to face as well, duh! Why would he upset with getting to see your face, eyes shut so peacefully in slumber? He likes to wake up before you because of this, just so he can catch a glimpse of you so soft and pliable in his arms, comfortably happily asleep, but today you’re the one who wakes up first, stirred awake by the birds chirping outside your window.

You try to slip out of his grasp, but he just tightens his arms around you, furrowing his eyebrows in his sleep. You try again and he does it again, this time with a grumbling noise that makes you chuckle.

“Oscar,” you smile, press a gentle kiss onto his forehead. “They come home today.”

“So?” he grumbles back, eyes still shut as he pulls you in, tucking your head under his chin. “What’s it got to do with us?”

“We’ve got to make them brekky, babe,” you chuckle. You press a kiss to his neck now, before deciding you can’t really resist littering them all over his skin. “They’ll be starving by the time they get here.”

Oscar makes a strange, hushed noise. “Well, doing that certainly won’t get me out of bed.”

You’re confused, but then you realise something’s been pressing up against your thigh, worsened by how he keeps pulling you back into his arms. “Oh my god, Osc,” you yelp. “Just from a few kisses?”

“And maybe a very good dream,” he mumbles back. If he were awake, he’d surely be laughing, pleased with himself.

“You dirty, dirty pervert,” you snicker, but you’re tutting at him in a way that sends a tingle down his spine, and your fingers inching down the trail on his stomach is making him shiver. “You’re shameless.”

“Yeah, but something tells me you like it,” he says, but he can barely finish the sentence before you tug at the waistband of his sweatpants, shimmying them down. His length springs free; your eyes beam a little too brightly at the sight of it, making him laugh.

“Someone’s eager.”

“Yeah, well, I’ve been dreaming about riding you into the bed for actual years,” you chuckle, long fingers wrapping around him. “You look delicious in the morning, you know that? All sleepy and dishevelled. It’s very sexy, Osc.”

“Ah?” he says, a moan disguised as a word. Your hand starts to move and he can barely hold himself back. “I’ll keep that in mind.”

Your mouth is hovering over his cock now, warm breath making him shiver before your tongue makes contact with his tip, swirling all around the head in a way that makes his eyes roll back. “Holy shit,” you hear him mutter to himself, and you smile as you drag your tongue all over the length of him.

“Babe, I love the teasing,” he breathes out. “But I don’t think I can quite take it this morning.”

You hum to yourself, biting back a cheeky smile as a thought pops up in your head. “You know, you’re right,” you say. “We’re running on a tight schedule. And we could use something that saves time, so… if you’re getting head, you could give it too, no?”

Oscar’s face lights up at your words. “You wanna sit on my face? Is that what you’re saying?”

“I mean, if you’re offering.”

“Fuckin’ hell, any day of the week, missy.”

With that, he puts his hands on your head and pulls you up for a kiss that deepens into a little more. His lips are soft, mouth hot and wet; you feel yourself dampen a little against the cotton of your panties, something he feels too as his hands travel all the way down to your ass, fingers reaching past the fabric of your shorts inside to find the wet patch growing at your cunt. Your fingers hook into the waistband of both layers, tugging them off eagerly as he steadies his hands on your hips again. You turn around, and now Oscar’s got your pussy hovering right over his face. He think he’s salivating at the sight of it. Is that too crude? Jesus christ, it’s just so much fucking better than he could have ever imagined, waking up with you by his side, having the girl of all of his dreams with him now, eating your pussy first thing in the morning.

“You’re not so tiny anymore, hey? You’re a big girl now.”

You flush at his words. “Just get to it, Piastri.”

He needs no further encouragement, hands on your hips pulling you down to his face, tongue flicking a long stripe all the way down your cunt. You cry out at the sudden contact, and you realise very soon that he is very good at what he is doing, soft wet tongue sliding between your folds carefully, lips wrapping gently around your sensitive clit, hands gripping onto the meat of your ass, an action that signifies a clinginess you’d never know from how soft-spoken he is. He eats you out like a hungry man, lapping up the wetness that soaked your panties before eagerly. When you wrap your lips around his cock, taking all of him in until he hits the back of your throat, it makes him groan against your pussy, and it feels so strangely good that you keep throating him just like that every once in a while, just to feel him shift underneath you and thrust into your mouth a little. He wants to be gentle with you so badly, and he is, but he just can’t resist it when you’re doing that.

“Fuck, babe,” Oscar gasps out, pulling away as his fingers continue to rub at your clit. “If you keep doing that thing, I won’t last very long.”

You can tell by his tone he’s slightly embarrassed about taking such little time to get there. “We’ll get there together, I promise,” you say. “Just—ah!—keep using your fingers.”

He smiles, happy to oblige. This time he dips a finger inside you, tongue now swirling around your clit as his finger curls, finding that cushiony spot inside you that makes your back arch a little. There it is. He slips another finger in, tongue flicking fast against you, fingers pumping at a steady pace as you suck his cock sloppily, drool pooling at the base, fingers still wrapped around his length, lazily moving up and down. It’s all too much for the both of you, both moaning and whimpering against one another as your bodies start to get more and more sensitive, responding to each motion with a little more volume. Your back arches, his hips thrust; you know you’re both getting to that climax.

“Babe, fuck—”

“I know,” you gasp, a long mewl drawing out of you as his fingers, soaked in your slick now, keep thrusting in and out of you. “I’m—hah—almost there, too.”

He nods his head eagerly and latches his wet mouth back onto you, eating you out desperately as his hips start to move on their own, filling your mouth and muffling your increasing cries of pleasure as your eyes shut and roll back.

“I can’t take it,” he moans loudly. “Babe, I—oh my god!”

Just as Oscar starts to flood your mouth, you collapse onto him as your orgasm washes over you, leaving you breathless, body slack and limp. “Jesus,” you heave out, flipping onto your back off of him, swallowing all of his load down your throat. The sight of it makes him whimper. You take a good look at him; he’s got your slick all over his face, glistening from his lips down to his chin.

“Christ, I made a mess of you,” you chuckle, embarrassed, but he seems proud of himself.

“A souvenir, yeah?” He jokes, and you push his chest, rolling your eyes, but he pulls you into his arms. “God, that was fuckin’ amazing. You’re fuckin’ amazing.”

You pull the duvet back up over the both of you as you lie down once again, resting your head on his chest now as you look up at him with a smile. You wipe at his mouth with your hand. “There.”

“Aw,” he frowns playfully. “I quite liked it.”

“You fuckin’ pervert,” you say, going to push his chest again but he catches your arm with his hand.

“Don’t get feisty,” Oscar chuckles, shaking his head before pecking you on the forehead. “Let’s just lay here for a bit. And you know, I’ve been thinking.”

Your finger traces shapes on the freckled skin of his bare chest. “About what?”

“About you, coming to see me,” he says. “You know… I was thinking, maybe you could schedule your classes with me in my mind? You know, money’s not an issue. Transport, accommodation, passes, I can take care of all of that. I just need to know you can see me. Not for every race, obviously. But some of them. It’d mean so much to me, Tiny.”

You look up at him now, smiling. “Of course I can,” you nod gently. “It’d mean everything to me too, Osc.”

His face blooms into a smile, eyes raking over the details of your face, savouring it as if he hasn’t a million times before. “Then it’s done,” he says, bringing your hand up to kiss it. “You can’t escape me now.”

“Like I’d ever want to,” you roll your eyes.

Before Oscar can counter with a snarky remark, the door flies open.

“Piastri—seriously? My fucking sister?”

That’s the end! Thoughts? Comments? Suggestions? Leave em all in my askbox, and again, thank you so much for reading!

[thewriteadviceforwriters]

Master Dialogue Writing Techniques for Engaging Fiction (For Writers)

(Beware, long post!)

As fiction writers, we all know that effective dialogue is essential for bringing our stories and characters to life. After all, the way our protagonists, antagonists, and supporting players speak to one another is one of the primary ways readers get to know them on a deep, intimate level. Dialogue reveals personality, uncovers motivation, and propels the narrative forward in a way that felt narration simply can't match.

But nailing natural, compelling dialogue is easier said than done. It's a craft that takes serious skill to master, requiring writers to have a keen ear for authentic speech patterns, a nimble handle on subtext and implication, and the ability to strike that delicate balance between being true to real-world conversation while also keeping things snappy, dynamic, and laser-focused on the story at hand.

If you're someone who struggles with crafting dialogue that truly sings, never fear. In this in-depth guide, I'm going to dive deep into the techniques and best practices that will help you elevate your dialogue writing to new heights. By the end, you'll have a toolbox full of strategies to ensure that every exchange between your characters is as gripping, revealing, and unforgettable as possible.

The Fundamentals of Effective Dialogue

Before we get into the more advanced nuances of dialogue writing, let's start by covering some of the foundational principles that all great fictional conversations are built upon:

Reveal Character One of the primary functions of dialogue is to give readers a window into who your characters are as people. The way they speak — their word choices, their tone, their body language, their turns of phrase — should provide vivid insight into their personalities, backgrounds, values, quirks, and emotional states.

Think about how much you can glean about someone just from how they communicate in real life. Do they use a lot of slang and shorthand? Are they verbose and flowery with their language? Do they struggle to make eye contact or fail to respond directly to questions? All of these subtle linguistic cues are powerful tools for crafting multi-dimensional characters.

Drive the Plot Forward While revelations about character are crucial, you also want to ensure that your dialogue is constantly pushing the story itself forward. Each exchange should feel purposeful, moving the narrative along by introducing new information, triggering plot points, creating conflict, or prompting characters to make pivotal decisions.

Dialogue that feels aimless or extraneous will ultimately bore readers and detract from the forward momentum of your story. Every line should have a clear intent or function, whether it's uncovering a hidden truth, setting up a future complication, or escalating the tension in a high-stakes moment.

Establish Distinct Voices In a story featuring multiple characters, it's crucial that each person has a clearly defined and differentiated way of speaking. Readers should be able to tell who's talking just from the rhythm, diction, and personality of the dialogue, without any additional context clues.

This doesn't mean every character has to have an over-the-top, hyper-stylized way of communicating. In fact, the most effective character voices often feel grounded and natural. But there should still be distinct markers — whether it's word choice, sentence structure, tone, or speech patterns — that make each person's voice instantly recognizable.

Convey Subtext While the literal words being spoken are important, great dialogue also traffics heavily in subtext — the unspoken emotional undercurrents, power dynamics, and hidden agendas that simmer beneath the surface of a conversation.

The most compelling exchanges happen when characters are communicating on multiple levels simultaneously. Perhaps they're saying one thing out loud while their body language and tone convey a completely different sentiment. Or maybe they're engaged in a subtle war of wits, trading verbal jabs that reveal deeper wells of resentment, attraction, or vulnerability.

Mastering the art of subtext is key to creating dialogue that feels layered, lifelike, and imbued with dramatic tension.

Strategies for Writing Snappy, Realistic Dialogue

Now that we've covered the foundational principles, let's dive into some specific techniques and best practices that will take your dialogue writing to the next level:

Omit Unnecessary Details One of the biggest mistakes many writers make with dialogue is bogging it down with too much extraneous information. In real life, people rarely speak in perfectly composed, grammatically correct full sentences. We stumble over our words, interrupt each other, trail off mid-thought, and pack our speech with filler words like "um," "uh," and "you know."

While you don't want to go overboard with mimicking that messiness, you should aim to strip your dialogue of any overly formal or expository language. Stick to the essentials — the core thoughts, feelings, and information being exchanged — and let the subtext and character voices do the heavy lifting. Your readers will fill in the gaps and appreciate the authenticity.

Master the Art of Subtext As mentioned earlier, crafting dialogue that's rich in subtext is one of the keys to making it feel gripping and lifelike. Think about how much is often left unsaid in real-world conversations, with people dancing around sensitive topics, conveying hidden agendas, or engaging in subtle power struggles.

To layer that sense of unspoken tension into your own dialogue, consider techniques like:

• Having characters contradict themselves or say one thing while their body language says another

• Utilizing loaded pauses, interruptions, and moments of uncomfortable silence

• Injecting subtle sarcasm, skepticism, or implication into a character's word choices

• Allowing characters to talk past each other, missing the unspoken point of what the other person is really saying

The more you can imbue your dialogue with that layered, emotionally-charged subtext, the more it will resonate with readers on a deeper level.

Establish Distinct Voices As mentioned earlier, ensuring that each of your characters has a clearly defined and differentiated speaking voice is crucial for great dialogue. But how exactly do you go about accomplishing that?

One effective strategy is to give each person a unique set of verbal tics, idioms, or speech patterns. Maybe one character is prone to long-winded, flowery metaphors, while another speaks in clipped, efficiency-minded sentences. Perhaps your protagonist has a habit of ending statements with questioning upticks, while the sarcastic best friend always punctuates their barbs with an eye roll.

You can also play with differences in diction, syntax, and even accent/dialect to further distinguish how your characters communicate. The key is to really get to know the unique personality, background, and psychology of each person — then let those elements shine through in how they express themselves.

Lean Into Conflict and Confrontation When it comes to crafting gripping dialogue, conflict is your friend. The most compelling exchanges often arise from characters butting heads, engaging in verbal sparring matches, or working through deep-seated tensions and disagreements.

Conflict allows you to showcase the high stakes, unresolved needs, and deeper emotional currents that are driving your characters. It forces them to make bold choices, reveals aspects of their personalities that might not otherwise surface, and generates the kind of dramatic tension that will really hook your readers.

Of course, you'll want to avoid making every single dialogue scene a full-blown argument. But learning to sprinkle in well-placed moments of friction, confrontation, and clashing agendas is a surefire way to elevate the energy and impact of your character interactions.

Read Your Dialogue Out Loud One of the most valuable tricks for ensuring your dialogue sounds natural and lifelike is to read it aloud as you're writing. Hearing the words out loud will quickly expose any clunky phrasing, overly formal grammar, or inauthentic rhythms that would otherwise go unnoticed on the page.

Pay close attention to how the dialogue rolls off your tongue. Does it have a smooth, conversational flow? Or does it feel stilted and unnatural? Are your characters' unique voices shining through clearly? Are there any spots where the back-and-forth starts to drag or feel repetitive?

Actively listening to your dialogue — and making adjustments based on how it sounds in the real world — is an essential part of the writing process. It's one of the best ways to refine and polish those character interactions until they feel truly alive.

Hopefully, this can help you all!

The key is to always keep your focus on authenticity. Ask yourself: how would real people actually speak?

Hey fellow writers! I'm super excited to share that I've just launched a Tumblr community. I'm inviting all of you to join my community. All you have to do is fill out this Google form, and I'll personally send you an invitation to join the Write Right Society on Tumblr! Can't wait to see your posts!

[tritoch]

i have seen people be like "if you think what the dawntrail protagonists do in zone six is valid you have to conceded emet's approach/perspective was valid, what you do is basically what he does" and it's like...nah. it's obviously intentionally very similar ("it's like poetry, it rhymes") but there's some key differences:

emet is disgusted by sundered life, which he sees as inhuman, and longs to return to the unrecoverable past. so he does seven(ish) planet-wide genocides. the endless aren't new life, their ability to grow and learn is specifically in question (at the very least they are fundamentally incapable of taking in new sensory experience of certain forms), they're shades from the unrecoverable past, and you are destroying them in favor of those still alive.

also, we aren't disgusted by them nor do we think anything is fundamentally justified if done to them (everyone pretty much no-sells cahciua "we aren't alive so it doesn't matter if you kill us :)," in fact). we don't have like 12,000 years and the most advanced magic known to anyone alive. we are forced by serious exigency to destroy them due to a political impasse with their leadership's policy re: resource extraction. this tonal difference is in fact extremely important.

the endless themselves seem pretty ambivalent about the whole deal. they're bored or they're wary of the way their world keeps shrinking, and it's very explicitly neither a functioning society by any recognizable human terms nor a paradise.

related to the above, basically every named endless turns to the person most relevant to them (cahciua to erenville, krile's parents to her, namikka to wuk lamat, otis to you) and is like, huh, i really appreciate having this moment of grace at the end of my journey to see that it was all worthwhile and to resolve my lasting regrets, but i understand what you're here to do and yeah, it's probably time for us to go. (does the writing put a finger on the scale by doing this? sure, but the writers also designed and built the scales and everything they're weighing on them, so i find it hard to discredit any one aspect for being the writers' invention.)

finally uh no one in the party has kids with the endless or lives a full human lifetime as one of them lol.

it's important to remember that emet was definitely at least somewhat lying about not seeing the sundered as real people. the fact that he has "lived a thousand thousand of your lives . . . broken bread with you, fought with you, grown ill, grown old, sired children and yes, welcomed death’s sweet embrace" makes everything he did soooooo much crazier than what you do. if i managed to convince an endless to fall in love with me and i had a kid with them and i loved that kid so much that their death threw me into a permanent grief spiral then like. yeah i guess i would have to be like "well hats off to emet, folks." but luckily the game doesn't make you do that.

even if you insist everyone in living memory was a full living person that we killed, you're still weighing like a city of people versus 7+ planet-wide mass murders. you do not under any circumstances got to hand it to him.

living memory absolutely is evocative of everything that happens in shadowbringers. but rather than placing us in emet's shoes, it forces us to relive what we already did, to really fully face up to what we have done by promising to remember emet's culture after destroying any chance of its return. after two games going hard on the hope part of the game's central theme of hope arising from grief, now we're doing grief. we are forced to see the past of our memories not as a cold, ghostly art deco cubus-plagued socratic method hellscape but as the most beautiful technicolor theme park where everyone's happy and no one's sad and there's parades every day and your parents are alive and they love you so much. and then the game's conclusion is, yeah, you were still right to let go. in fact, you were and are morally obliged to let go. the living were and are worth more than the dead. our grief in letting go of them may be immense and turns our world to bleak nothingness for a time, and that is important to recognize, but at the end of the day our most pressing duty is to those we can yet save, not those we have lost.

[genderqueerdykes]

holy shit wait…your 32???

I…im gonna cry

I didn’t know we can live this long…

not just trans mass but…

alterhuman…and plurals..and…

I can’t…

so happy

gonna cry……..

yes i am! i was born in 1992 :)

that's exactly why i have my age in my bio- i've wanted to show people that you don't "outgrow" fundamental parts of your identity. it's natural to adopt and shed identities as we age, but i've been out as genderqueer since 19! nothing has changed, i'm still the same genderqueer person i was all those years ago!

and if anything- life has gotten better in my 30s. as a word of advice to most people out there: your teen years and your twenties FUCKING SUCK!!!!!!!! they tell you those are the "best years of your life" but they're NOT- you're growing into a world that is terrifying and doesn't understand you. you're scared. your brain and body are still developing and you're constantly facing new challenges. those are honestly i think the HARDEST years of your life, hands down

when i was a teenager, i would think to myself "phht there's literally no way i'm making it past 25 lmao" and figure that life ends after 25. well, that day came where i turned 25... and nothing changed.

and then i turned 30. still, nothing changed

now i'm 32 and... nothing has changed. maturation happens with age, yes, but it doesn't mean that you're suddenly a completely different person. people have such a shitty view on 30 year olds, like it's somehow "embarrassing" to be above the age of 25 years old. people in their 30s are constantly picked on, we're constantly told to "act our age" when... we are. i'm happier than ever realizing that I made it to my 30s, still trans, still nonhuman, still plural

i've been in treatment for DID since 2017, and while i've healed a lot, i have not integrated with my alters, and i never will. i don't want to. this is how my brain functions. the dissociation can be a nightmare for me, but my brain needs different people inside of it in order to be able to function properly. we tried to force ourselves to live as a singlet for 3 years and what ended up happening was that host at that time cracked from being under the constant pressure and still has never returned. the amount of stress it placed on us to try to live as a singlet was not worth it. at all

there hasn't been a singular moment in my adult life where i stopped being nonhuman, either. that was something that i never even tried to force myself out of. i never viewed it as weird or something that i should "outgrow"- i told my own mother that i did not identify as human as a child and that never left me. even now, i still wear dog collars, ears, tails, and take nature walks and do things to make myself feel more like my nonhuman selves. i'm still a furry, too!

i might not be a queer "elder" yet, but i'm happy as can be to be able to be an older queer person who can use their experience to help younger folks. thanks for sending this message! trust me, there really is a life after your 20s. your teens and 20s suck massively. but after i passed 30 i became more down to earth about my age. it's not a bad thing to live past 20- in fact, it's a badge of honor. i made it. i'm still breathing, i'm still here, still queer, despite all attempts to prevent me from still being here.

i'm going to continue be here for a long, long time, and you can be here with me, too.

take care of yourself! thanks for stopping by!